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10-17 September 2016

Неминовна присутност

 

Велат дека секоја книга како да е несвесно наменета само за еден читател, но дали и секој создаден документарен филм е создаден и несвесно реализиран само за еден гледач?
Можеби, но дури и да е така, зарем е тоа необично?
Секогаш има барем еден гледач во треперливиот полумрак, што целосно се поистоветува со сторијата, со протагонистот, а никој друг не го знае тоа, можеби дури ни најблиските не го знаат тоа, можеби ни тој гледач дотогаш не бил свесен и бил фрапиран што некој друг, таму некаде илјадници километри далеку, некој непознат, а во истовреме толку близок, ги говори неговите мисли, ги рони неговите солзи, се залисува од смеење со неговиот глас или повикува за помош - молкум. Така можеби е отсекогаш, но филмот само ни ги потврдува премисите дека сите имаме свои истомисленици, двојници, сострадалници.
Нашите емоции понекогаш намерно ги „инсталираме“ како „пакет во егзил“ и ги оставаме неактивни, непрочепкани, чекаме да дојде нивното време, да се појават на виделина, да проговорат без збор. Такви се филмовите кои со голема внимателност ги селектирав за ова 37. издание на ИФФК „Браќа Манаки“, со сите големи и мали силни луѓе, со нивните секојдневни потреби, желби, пораки, со сите нивни потајни времиња во кои само тие постојат.
Сите десет документарни наслови го содржат режисерскиот концепт на ангажираност, кој антиципира присутност на актуелниот момент во постоењето на акцијата и на немирот на протагонистите. Документарците на Арто Халонен од Финска и Андреас Коефојд од Данска ни ги откриваат тагите на најмладата популација, за децата на различни меридијани, нивните несреќи и таги, оние што се во своите топли домови, а не го чувствуваат тоа и оние кои и самите не знаат каде се. Апсурдноста на ситуацијата и смелите и навидум луди решенија на оставените сами на себе работници е темата на необичниот документарец на грчкиот режисер Апостолос Каракасис, такви храбри одлуки донесуваат и протагонистите на филмот, кој на нашиот фестивал ќе ја има својата интернационална премиера, а реализиран е од Јарден Кармин од Израел. Овие филмови ни ги предочуваат најголемите човечки несреќи, а притоа ни ја откриваат и благородната човекова природа. Пред апокалиптичните слики на цивилизацијата на австрискиот режисер Николаус Геирхалтер остануваме вџашени пред тенковите и цвеќињата на Украинките Алиса Коваленко и Љубов Дуракова, ја славиме слабоста што ја „емитува“ љубовниот неспокој, наместо воените зони и непредвидливите бркотници по правливите улици „трасирани“ од пците на војните. Сјорс Свиестра се „свива во литературата и во убавините на малите нешта, најголемите човекови заблуди и љубови. Словенецот Жига Вирц н# враќа во едно наше контроверзно минато и со својата најнова документарна сторија, која тој повеќе сака да функционира како мит отколку како факти, интригира илјадници гледачи во фестивалските сали, додека младата германска авторка Јулијане Хенрих, преку интроспекција, есеистички го поставува прашањето за во поширока општесвена и естетска смисла што значи Западот како концепт, како архитектонски ритам, како начин на живот...
Како новата културолошка мисла го третира моментот на обземениот од визулената сензација гледач, како се третира таа специфична кинопублика? Во својот најнов документарец на Португалецот Едгар Дега ни нуди неколку гледишта, размислувања на повеќемина, кои ја опсервираат оваа со децении рецентна појава и феномен за филмската кинопублика.
Сите тие со нас заедно во киносалите, создаваме слики за иднината, колку и да се пријатни, или колку и да се грди, тие се наши слики и треба да научиме да ги чуваме, бидејќи тие се нашите најголеми заблуди и нашите најголеми љубови. Дали сме подготвени почесто да погледнеме во нашата темнина?
Еден голем кинематографер вели - „Темното е отсуство на светлината“, така е и во идејата на авторите на овие десет саги на актуелните збиднувања во оваа мала, а за сите нас толку важна точка на бескрајот, во Битола.


Гена Теодосиевска
селектор

 
 
DOCUMENTARY PROGRAM
 
 


khiar v20 stills 16THE WORLD ACCORDING TO MONSIEUR KHIAR
Netherlands/ 2015/ Documentary/ 55’

CREDITS:

Director: Sjors Swierstra
Scr.: Sjors Swierstra
Cinematographer: Erik van Empel
Cast: Jeroen Robert Kramer, Johan Leysen

STORY:
After ten years of working in war zones as a documentary photographer for the New York Times and Vanity Fair, the Dutchman Jeroen Robert Kramer decided to start a new life as an artist in Lebanon. In his hometown of Beirut, he meets Monsieur Khiar, an elderly gentleman in whom he recognizes a better version of himself. “Khiar is the hero I could never be,” Kramer states. “He is the most impressive person I’ve ever met in my life.” Their walks through the old neighborhoods of Beirut, their talks about art, literature and the beauty of small things become a source of inspiration for Kramer. He still feels shame and remorse about photographing people in the worst moments of their lives, without asking their permission. Instead of focusing on the spectacular, Kramer is now attempting to tell an everyday story – one that can help him transform the scars of his past into a work of art. As Monsieur Khiar refuses to be photographed, Kramer’s fascination turns into an obsession.



Alisa 3ALISA IN WARLAND
Poland / 2015/ Documentary/ 74’

CREDITS:
Directors: Alisa Kovalenko, Liubov Durakova
Scr.: Liubov Durakova, Alisa Kovalenko
Cinematographers: Liubov Durakova, Alisa Kovalenko

STORY:
Alisa is a 26-year-old student at the film academy in Kiev. Her life is pretty normal until the day that President Viktor Yanukovych refuses to sign the EU-Ukraine Association Agreement. Suddenly, everything changes: protests erupt in the capital, with the inhabitants demanding the president’s resignation. Alisa witnesses the demonstrations and embarks on a trip through Ukraine in an attempt to understand the war. Her journey takes her to the east of the country, where she comes across demonstrations again, this time of a pro-Russian character. Along the way, she faces shootings, explosions and the searing consequences of the war for the people of her country. Very much against her will, Alisa is then personally caught up in the war when she is arrested by separatists for spying. The risks she is taking also jeopardize her romantic relationship with a French journalist. This candid self-portrait shows us a sensitive, concerned woman in search of answers. The direct, often handheld camerawork gives us an impression of Ukraine in the wake of the protests and of the tensions that arose among the various population groups.

 

 

At Home in the WorldAT HOME IN THE WORLD
Denmark / 2015/ Documentary/ 58’

CREDITS:
Director: Andreas Koefoed
Scr.: Andreas Koefoed
Cinematographers: Sophia Olsson, Niels Thastum

STORY:
In the schoolyard, Magomed quietly watches from the sidelines as his classmates fight over the soccer ball. The shy, pensive boy is no different in the classroom, where he studies Danish with full concentration. The 10-year-old Chechnyan refugee and his fellow classmates at the Red Cross school in the Danish town of Lynge are hoping to get a residence permit. This observational, poetic documentary follows Magomed’s class as they sing, do arts and crafts, play and argue, just like kids do at any other school. The difference is that these children all bear their own painful memories. Among them is Ali from Afghanistan, who, like his traumatized father, is plagued by nightmares. There’s restless Amel, who misses his friends back in Bosnia, and a Chechnyan named Heda who’s preparing for the exciting transition into a regular school with the help of her dedicated teacher. This same teacher believes that Magomed is very bright and is ready to take that step as well, but Magomed is hesitant. A conversation between the teacher and his father reveals that the boy isn’t only haunted by a traumatic memory, but also faces the frightening prospect of his dad not being able to stay in Denmark.



WR Photo6WHITE RAGE
Finland / 2015/ Documentary/ 75’

CREDITS:
Director: Arto Halonen
Scr.: Arto Halonen, Katri Merikallio
Cinematographers: Peter Flinckenberg, Mika Orasmaa
Cast: Lauri, Miro Makela, Linus Tuomenvirta

STORY:
Lauri, and through him also the story of other victims of school bullying and a separate childhood trauma: victims full of white rage, which may lead to school shootings.





Story in Third Person sisters infront of building 1A STORY IN THIRD PERSON
Israel / 2016 / Documentary/ 74’

CREDITS:
Director: Yarden Karmin
Scr.: Yarden Karmin

STORY:
A daughter's tribute to her mother, who against her will became a hero during the Holocaust.
Zuzi Braun and her sister Agi were happy, secure teenagers with a very strong connection, in Slovakia on the 1930’s when their world turned upside down. Zuzi’s daughter celebrates her mother’s courage and perseverance as they travel together and retrace the harrowing journey that Zuzi took in order to save her crippled sister and herself. A beautiful and moving tribute.











FROM THE WEST bridge 1FROM THE WEST
Germany / 2016 / Documentary/ 61’

CREDITS:
Director: Juliane Henrich
Scr.: Juliane Henrich
Cinematographer: Juliane Henrich

STORY:
The film essay "From the West" opens with a child’s question of what “the West” means beyond the cardinal direction, then goes on to retrace how “the West,” as a model of society, inscribed itself in the Federal Republic of Germany’s postwar history and architecture.Long pan shots through unidentified West German cities alternate with interior footage of a house being cleared out. Long drives – down highways, through suburbs and industrial zones – traverse urban sprawl and car-friendly cities to the rhythm of abstract, mellow music inspired by evening news theme tunes.
In the film’s searching movements, the narrator shifts among reflections on modern architecture and property relations, detailed scenes from childhood, and a passed-down memory of a “hemmed-in West Germany,” recalling the years of her parents’ membership in a 1970s communist splinter group.


spectatorTHE AMAZED SPECTATOR
Portugal / 2016 / Documentary/ 70’

CREDITS:
Director: Edgar Pera
Scr.: Edgar Pera
Cast: Miguel Borges, Paulo Borges, Keith Davis

STORY:
“The Amazed Spectator” is a kino-investigation about spectatorship, a continuous conversation between different kinds of spectators: Which one is more cinema? – Citizen Kane on a mobile phone or a football game projected in a cinema theatre? What is the Cinema of Uncertainty? How many kinds of Amazement exist? Does Fear and Belief precede Amazement? What are the rights and duties of the Spectator? Is the Essay Film a manifesto against voyeurism? Should spectators be paid?...


hustonHUSTON, WE HAVE A PROBLEM
Croatia / Germany / Czech Republic / Quatar / Slovenia / 2016 / Documentary/ 88’

CREDITS:
Director: Ziga Virc
Scr.: Bostjan Virc, Ziga Virc
Cinematographer: Andrej Virc

STORY:
The cold war, the space race, and NASA’s moon landing are landmark events that defined an era. But they are also fodder for conspiracy theories. In Houston, We Have a Problem! filmmaker Žiga Virc adds new material to the discussion on both fronts. This intriguing docu-fiction explores the myth of the secret multi-billion-dollar deal behind America’s purchase of Yugoslavia’s clandestine space program in the early 1960s.


NEXT STOP UTOPIA 2 1024x576NEXT STOP: UTOPIA
Greece / 2015 / Documentary/ 91’

CREDITS:
Director: Apostolos Karakasis
Scr.: Apostolos Karakasis
Cinematographer: Apostolos Karakasis

STORY:
On February 12, 2013, a group of fired factory workers reopened their deserted workplace in Thessaloniki. They started a product line of cleaning products, based on the principle that any form of hierarchy was forbidden – everyone was equal. In the presence of the media, this unauthorized relaunch was named Day of the Occupation. Filmmaker Apostolos Karakasis follows these events closely, continuing to do so as the cooperation becomes the public face of solidarity and sovereignty during the Greek financial crisis. Makis Anagnostou, their eloquent spokesman, claims the factory owner, Christina Philippou, was convicted several times for company neglect. From her villa, Philippou in turn contends that their use of her production facilities is against the law. In order to keep the constant threat of administrators and creditors at bay, Anagnostou seeks support from likeminded people in Europe. They contact Greek politicians in the hope that the factory can stay open. But now that Anagnostou is in the spotlight, his colleagues fear that he’ll become an instrument of foreign politics. Meanwhile, factory workers wonder what they’re getting out of all this. Will their dreams of a better world withstand the harsh economic reality?


HOMO SAPIENS 4 CNGF1HOMO SAPIENS
Switzerland, Germany, Austria / 2016 / Documentary/ 94’

CREDITS:
Director: Nikolaus Geyrhalter
Scr.: Nikolaus Geyrhalter
Cinematographer: Nikolaus Geyrhalter

STORY:
HOMO SAPIENS is a film about the finiteness and fragility of human existence and the end of the industrial age, and what it means to be a human being. What will remain of our lives after we’re gone? Empty spaces, ruins, cities increasingly overgrown with vegetation, crumbling asphalt: the areas we currently inhabit, though humanity has disappeared. Now abandoned and decaying, gradually reclaimed by nature after being taken from it so long ago. Homo Sapiens is an ode to humanity as seen from a possible future scenario.