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My Afghanistan Solar Mamas Mercy, Mercy Film is published by# the Danish Film76 institute / November 2012 iDFA 2012 MY AFGHANISTAN SOLAR MAMAS MERCY, MERCY Dance for me / A normal life the ghost of PiramiDA stealing africa / free the minD the recorD BreaKer PAGE 2 / FILM#76 / IDFA / DOCUMENTARY ISSUE editorial / short news / FILM#76 / PAGE 3 MEETINGS AND CONVERSATIONS 08 12 / EDITORIAL Free the Mind. Framegrab The gaze of a scientist 04 15 24 “I use the camera to understand the world more than to make films," says director Phie Ambo who is bringing her fifth work to IDFA. In Free the Mind, Ambo explores the power of thought and meditation and their effect on the In early November we celebrated the 10th anniversary of Copenhagen’s CPH:DOX brain. Read more page 15 and catalogue in reverse section. film festival, and now IDFA is turning 25. Aren’t we lucky to have them, these generous festivals and their brave and tireless organisers who take reality, art and audiences seriously? DANISH FILMS AT IDFA 2012 INSIDE Why are film festivals so important? Because that’s where we experience films we wouldn’t otherwise get to see: challenging, edgy, experimental, provocative works, FEATURE-LENGTH COMPETITION retrospective looks at the art form and its creators, hybrid forms, crossovers and the 03 Editorial and short news 28 The Record Breaker tantalising contours of things to come. MY Afghanistan / Reflecting images: Panorama NAGiEB KHAJA 04 My Afghanistan / Feature-length Competition Larger-than-life characters appear to be the common Festivals are important because that’s where landmark meetings take place, between FEATURE-LENGTH COMPETITION Janus Metz's Armadillo from 2010 was a milestone film denominator in producer Mette Heide’s films, including creators and audiences, and between audience members. It’s where professionals about soldiers at war in Afghanistan. Now Nagieb Khaja the record holder for most world records Ashrita Furman. meet, in forums for financing, distribution, new storytelling forms and technical Film#76 iDFA / documentary issue SOLAR MAMAS November 2012 shows us life from the other side in My Afghanistan. innovations. Not to mention all the informal meetings where new partnerships and moNA ElDAiEF, JEHANE NouJAim 30 The Act of Killing / Signe Byrge Sørensen new friendships are struck. Published by Danish Film Institute 08 Mercy, mercy / First Appearance Competition Joshua Oppenheimer's new documentary The Act of MID-LENGTH COMPETITION Editor Susanna Neimann (SN) Katrine Kjær once thought adoption was a merciful act. Killing has garnered massive attention. A talk with the A seismic shift in film audience patterns is happening these years. We want to see Co-editor Annemarie Hørsman (AH) Editorial team Lars Fiil-Jensen, After making Mercy, Mercy, she's not so sure. Danish producer Signe Byrge Sørensen. films where and when we want to. Use of VOD services is in explosive growth. But A NORMAL LIFE Anders Budtz-Jørgensen, Anne Marie Kürstein in our enthusiasm at the availability and the volume of digital content across many miKAlA KRoGH Translations Glen Garner 12 A Normal life / mid-length Competition 34 Introducing six (women) producers different platforms, we should not overlook the importance of physical meetings: Design Rasmus Koch Studio FIRST APPEARANCE COMPETITION Mikala Krogh was always known as "the serious one". Seven out of the nine Danish films at IDFA are produced meetings that happen when we share experiences, are shocked or amused, reflect or AD Morten Bak Type Holton, Akzidenz-Grotesk, Cendia There's plenty of Strindbergian gravity in her new film. by women. Mere coincidence, or does gender play a part? discuss – together. Mercy, Mercy Paper Munken Lynx 100 g KatriNE KJæR Printed by Rosendahls 15 Free the mind / Reflecting images: masters 36 Across trans-media Circulation 4,000 The camera is her filter on life. Profile of IDFA FILM takes a closer look at Danish trans-media projects. “Meetings and conversations are essential FIRST APPEARANCE COMPETITION iSSN 1399-2813 (print version) iSSN 1903-7511 (online version) veteran Phie Ambo plus her producer Sigrid Dyekjær. ingredients in developing a vibrant and diverse Cover My Afghanistan. 38 New films to watch out for Dance for ME Photo by Henrik Bohn Ipsen. 18 The Ghost of Piramida / music Competition Introducing three new documentaries: Break of Dawn, film culture." KatriNE PHilP Most of the articles are written by freelance Andreas Koefoed follows the band Efterklang as they The Human Scale and The Visit. film critics and journalists. MUSIC COMPETITION record the sounds of an abandoned mining town. The Danish Film Institute supports both dimensions: Films should be available to Film is the Danish Film institute’s 40 Danes in co-productions at iDFA everyone on as many platforms as possible, and there should be opportunities to international festival magazine THE GHOST OF PiramiDA 20 Dance for me / First Appearance Competition Danish creative professionals are on board two films meet, discuss and celebrate them with others. ANDREAS KoEFoED The price of perfection is high for the young Russian at IDFA made with support from the Danish Film Issued prior to the three major festivals in Berlin, Cannes and Amsterdam, the dancer in Katrine Philp's first feature documentary. Institute's co-production programme. We support the festivals in Denmark as well as the participation of Danish films REFLECTING IMAGES: MASTERS magazine brings articles and interviews and filmmakers at international festivals, because meetings and conversations are presenting the films in competition, films in 22 Why Poverty? / iDFA Focus 41 Cinematographer Henrik Bohn ipsen essential ingredients in developing a vibrant and diverse film culture. FREE THE MIND progress, young talents and news stories. Can films change the world? Maybe not, but they can Curiosity and wonder are important driving forces for PHiE AmBo Catalogue in the reverse section gives a kick-start a debate. The Why Poverty? series intends to Henrik Bohn Ipsen who shot My Afghanistan and Since the first festival 25 years ago, around 150 Danish films have been invited to REFLECTING IMAGES: PANORAMA view of current Danish documentaries and do just that by asking questions about global poverty. Mercy, Mercy, both screening at IDFA. IDFA, and I know that participation has been hugely important to the films’ makers. short films. Moreover, I hope that the films have had an influence in the opposite direction. 24 Solar mamas / Feature-length Competition 42 Four Danish films at iDFA Forum THE RecorD BREAKER The Danish Film Institute is the national BRiAN mCGiNN agency responsible for supporting and en- Rafea, a Bedouin mother from Jordan, travels to India to 1989, Cooper's Challenge, Embracing the Dead and Nine powerful Danish films are participating in this year’s festival. I hope the coming couraging Danish film and cinema culture. become a solar energy engineer. Part of Why Poverty? Slow Motion Revolution pitching at IDFA's financing event. meetings will enrich and move both audiences and filmmakers. SPECIAL FOCUS WHY POVERTY? Danish Film institute 26 Stealing Africa 43 Jørgen leth exhibition in Amsterdam Happy 25th anniversary, IDFA. Gothersgade 55 / DK-1123 Copenhagen K SOLAR MAMAS / Stealing Africa T +45 3374 3400 / dfi.dk/english Christoffer Guldbrandsen takes a closer look at Swiss- Retrospective exhibition of a leading figure in Find facts on all films in the catalogue in reverse section. [email protected] owned copper mines in Zambia. Part of Why Poverty? experimental documentary filmmaking. Henrik Bo Nielsen, CEO PAGE 4 / FILM#76 / MY AFGHANISTAN / NAGIEB KHAJA / IDFA FEATURE-LENGTH COMPETITION MY AFGHANISTAN / NAGIEB KHAJA / IDFA FEATURE-LENGTH COMPETITION / FILM#76 / PAGE 5 research and familiarised ourselves with the potential THE mAKiNG oF … consequences. We knew that they risked getting their phones smashed or getting beat up by the rebels. In The 6 Afghans in the film were chosen from a larger group of 30. fact, one of my first participants got his face punched In 2009, the team behind My Afghanistan distributed 30 and his phone smashed, but they were all ready to live mobile phones to local Afghans and asked them to film with such consequences. Luckily, that turned out to be their everyday lives. The ambition was to collect stories the worst that happened underway as a direct effect of mainly from the rural areas, and the filmmakers wanted our project. both men and women to participate. Also, they wanted My biggest challenge, however, was to find them to represent as many ages and social layers as women to work with – and keep them on the project. possible. In the second round of the selection process, It would not have been much of a problem to find a the filmmakers narrowed the field down to those who woman in a big city like Kabul, but I wanted to show showed the most dedication and were good storytellers. real life in the villages, where people traditionally are From the larger group of 30, 6 were finally chosen for much more conservative than in urban areas. the film. Director of Photography Henrik Bohn Ipsen has shot the frame story, read profile page 41. The women would be taking a far greater risk than the men because of how rumours spread in village-based societies, where concepts of honour are THE a big deal. An Afghan woman is not expected to leave mYAFGHANiSTAN.Tv the home, unless it is absolutely necessary. Contact A digital storytelling project with support from with strange men could ultimately cost her her life. the Tribeca Film institute But I had to try. A film without women would not The Afghans who were handed out mobile phones in have painted an accurate picture of village life. Nagieb Khaja’s film will continue to document their lives in the war zone – right up until the day the allied troops The consequences of war are always worse for the leave Afghanistan by the end of 2014.
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