Edition Documentaries

THETHE TECTONICSTECTONICS OFOF HUMANITYHUMANITY

CHRISTIAN FREI COLLECTION

1 What makes these films so extraordinary? They are authentic moments that endure. Christian Frei takes us along a perimeter that both divides and unites individuals and cultures: the tectonics of humanity. KULTURZEIT

Imprint

Publisher Warner Home Video Switzerland Production Christian Frei Editors Marc Bodmer and Sophie Schricker Texts Peter-Matthias Gaede, Tilmann P. Gangloff, Christian Frei, Norbert Creutz, James Nachtwey, Peter Indergand Layout Mike Hartmeier (Boost) Copyright film stills Christian Frei Filmproductions GmbH James Nachtwey photograph David Turnley / Corbis Bamiyan photographs Christian Frei and Nelofer Pazira Oscar photo “Kodak Theatre” Cour- tesy of Keystone Oscar Nominees 2002 ‘Class Photo’ Courtesy of Academy of Motion Picture Arts and Sciences Oscar Statuette ©Academy of Motion Picture Arts and Sciences® Bamiyan Engraving ©Stiftung Bibliotheca Afghanica Grosny photograph James Nachtwey / VII Portrait Christian Frei Alex Spichale Portrait Peter Indergand Christian Frei Translations Peter Rigney Print Cinram

Kindly supported by Swiss Films

© 2007 Warner Home Video Switzerland / Christian Frei Filmproductions GmbH 2 3 Editorial

By Peter-Matthias Gaede Editor in Chief, GEO rance and hope. Another strength of Frei‘s is that thought I could imagine what its he never upstages his subject. He like for James Nachtwey to pho- is never intrusive. Instead of for- I tograph the human drama. When cing himself on the protagonists of he endures what is hardly endurab- his films, he approaches them with le. I thought I knew him to a certain cautious sympathy. If it were other- extent, the world‘s most important, wise, he would never succeed in most contemplative photographer of getting close enough to experience the realm of horror and shadow. This scenes such as that of a daughter‘s taciturn, almost lonely chronicler of parting from her Cuban father as despair, whose work GEO has been she goes into exile; and he would publishing for years. I thought I had never succeed in transmitting this a picture of James Nachtwey. Until I intimacy to us, the viewer of “Ricar- saw Christian Frei‘s “War Photogra- do, Myriam y Fidel”. pher”. Only then did I truly move clo- Rarely then has a cooperative ser to James Nachtwey. venture pleased me as much as that And not only to him. Whatever which came about between Christian Frei‘s subject matter may be, it Frei and GEO. Not merely due to doesn‘t let go of you. His films sink the subject matter, for the scope of in, despite their doing without all all three films extends far beyond that the media world normally uses their settings and subjects. But to beg for attention – noise, pompous also because Christian Frei is one gestures, the rush of speed. Stillness of the most compelling reporters is the source of power. What sounds of our time. His works will become like a cliché holds true for the work classics of documentary film. To be of Christian Frei and his cameraman precise, they already are. Peter Indergand. Their films are calm, almost meditative, and subtle. They January 2007 exude quiet persistence. They are in- sightful, intelligently researched and well composed. This becomes parti- cularly apparent when director and cameraman, in “Giant Buddhas” for example, weave seemingly far-remo- ved chronological and plot layers into an intensive account of faith, intole-

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“Thou shalt not bore” He is no “War Photographer”: Portrait of the Swiss documentary filmmaker Christian Frei uphold Billy Wilder‘s first com- mandment of filmmaking: “Thou shalt not bore!” Nevertheless, Frei considers it a coincidence that his “Thou shalt not bore” three major documentary films all take place in far away places. THOU SH“I could also imagine taking on a difficult topic right in the middle By Tilmann P. Gangloff the giant Buddha statues destroyed of Zurich.” Except that by now he by the Taliban (“The Giant Bud- enjoys a certain reputation, which his is a good place to work, dhas”). is why Lars von Trier entrusted him no doubt about it. The Rote And yet Frei dismisses any no- with the documentation of his Bay- TFabrik, or ‘Red Factory’ on tion of being an adventurer. “I‘m a reuth production of the Ring of the the banks of Lake Zurich, has documentary filmmaker,” he says, Nibelungen. When Frei asked von something of an artist colony. “and while I might not shy away Trier why he chose him, of all peo- Christian Frei fits in well here. from adventure, I do not seek it ple, the Danish Dogma founder re- And so he analyzes his own oeu- out.” This sets him apart from the plied, “Because you‘re a landmine vre, enthusiastically, with a sharp lifestyle of the “bored and wealthy specialist.” Unfortunately, the pro- eye and an agreeable sense of who are in constant need of an ad- duction was broken off, and with it humor. Our conversation takes renaline rush.” He adds, “I‘m not the joint project. place where Frei and his regular at all interested in any kind of ex- cameraman Peter Indergand plan treme sports; I’m not constantly The reverence. During filming their joint projects. The spartan in search of kicks.” It’s not that he for “War Photographer”, dealing and functionally furnished space gives you this impression either, with real landmines could not be would not have you believe that it‘s just that the reports of his film avoided. But Christian Frei wasn‘t here works someone who nearly shoots happen to sound quite ad- thinking about that when he got won an Oscar. If there were ever venturous. the idea for the film. It came to him proof that planning is half the Frei‘s creed is this: “As a docu- as he sat on an airplane reading battle, then it is to be found in the mentary filmmaker, I want to ex- an issue of ‘Stern’ magazine which films of Christian Frei. Even so, he plore the tectonics of humanity featured a series of Nachtwey pho- regularly gets himself involved in around the globe. Where the plates tos invoking the forgotten war in precarious situations that are ac- rub against each other, where there Afghanistan. The topic was a per- tually anything but predictable. are tremors or earthquakes – that‘s fect match for what Frei demands where I find the stories that inte- of a film subject: “I need the cer- The adventure. If you’re going rest me.” Someone who zeroes in tainty that the story is larger than to the front with James Nachtwey, on emotional epicenters and yet life, and that it‘s worth pursuing the most famous war photogra- is no daredevil? “Naturally, these for the next three years.” pher alive today (“War Photogra- usually aren‘t simple stories, and When the director came to un- pher”), you can hardly entertain sometimes things even turn dange- derstand that the photographer, in hopes that what you will encoun- rous,” answers Frei, “but only when his quest for authenticity, wished ter will in any way be predictab- things become difficult do people nothing more than to be invisible, le. The same can be said for the rise above themselves; only then do he had the decisive idea: The most daring expedition into the remo- the images become important and powerful images in “War Photo- te Afghan Bamiyan Valley, where interesting.” grapher” are captured with a mic- ro-camera attached to Nachtwey‘s Christian Frei devoted himself to That‘s just how it is if you photo camera. This set-up yielded

8 footage of breathtaking authen- While filming in the inhabited ca- ticity. You see Nachtwey at work, ves of Afghanistan for “The Giant and at the same time you are Buddhas”, two or three flashlights eyewitness to the photographer‘s positioned throughout the rooms search for the essential moment served as lighting. The privacy amidst war and despair. Without of the caves‘ inhabitants was re- this high-tech equipment, the film spected, which is precisely what would not have been possible. Frei produced to such highly excee- is still indebted to the specialists dingly intimate footage. “Thanks from the Zurich company Swiss to Indergand‘s enormous emotio- Effects, who “tinkered and experi- nal intelligence, we get images as mented” for half a year. highly precise as those in feature This detail illustrates two films, only without the staging,” things. A crucial prerequisite for says Frei of the cameraman. “He achieving relatively smooth filming simply has an unfailing feel for conditions is Frei‘s ability to anti- situations.” Other shots had to be cipate all potential developments virtually wrested from the difficult – including, of course, the emoti- conditions: For the fascinating im- ons and objections of persons who pressions of the Gobi Desert, Frei will be at the focus of his films. and Indergand had to repeatedly More crucial still is the respect for get up at 2 a.m. in order to reach the people he films, “whether it be a particular spot by 5 a.m.. Once the President of the United States there, they had no more than ten or a mountain farmer who might minutes in which to capture the not like me trampling across his “completely outlandish images” field.” which are among the most power- ful in “The Giant Buddhas”. The images. Peter Indergand‘s con- Once again, Christian Frei‘s ac- tribution also cannot be underesti- counts of these film shoots illus- mated. Although the two are com- trate why meticulous planning is pletely different in character, they so crucial. It sounds like a truism share what Frei calls “a fascinating when he says, “A farmer can only friendship”. The films come about reap what he sows,” but the inten- through a process of “respectful dis- sive preparation that is the basis putation”. Frei says, “I have a ten- of the team‘s success becomes dency toward postcard-like images; particularly clear when critical Peter supplies the breaks and the scenes must be filmed in remote texture.” Thanks to the meticulous locations far from technical ci- preparation of a team that is kept vilization. It was of course clear as small as possible, filming can be from the outset that there would done without being too intrusive. be would be no access to electri- Frei often takes care of the sound city in the desert; and yet just one recording himself, “but never with little missing cable would have a boom microphone – that would at- doomed the ambitious venture to tract far too much attention.” failure.

11 The sound. Another unique mercially, then ‚War Photographer‘ religions and cultures.” Of course it aspect of Frei‘s films is his particu- would have been an adrenaline sho- was an act of ignorance for the Tali- lar way of dealing with sound. This cker, whereas in ‚Giant Buddhas,‘ ban to destroy the giant Buddha sta- is especially apparent in “War the search for the legendary 300-me- tues in the Bamiyan Valley. “But the Photographer”. Frei does without ter long ‚Lying Buddha‘ would have reaction to that ignorance should the use of action-laden music to played a much more central role,” not be equally ignorant.” accentuate the danger that Nacht- says Christian Frei. “The entire film wey is repeatedly confronted with. would‘ve been made in a ‚Discove- The reality of war appears com- ry Channel style’.” And he praises pletely contrary to that which is Switzerland: “I can afford the luxu- normally depicted in war films: ry of investing the necessary time “You‘ll be hard pressed to find only because we have such an ex- adventure and action. There are cellent system of film funding.” And no heroes, no happy end and no that pays off in the end. triumphant victory. Seen from up “The Giant Buddhas” was invi- close, the actions of the so-called ted to 36 film festivals. “War Photo- good guys and so-called bad guys grapher” was sold to over 50 coun- are hard to tell apart. War is com- tries. That film was seen by 100 000, plicated, often boring, and in a perhaps 150 000 moviegoers, inclu- terrible way trivial – simply awful ding at festivals. The viewership for and sad.” This is a truth that Frei television showings was perhaps a neither wants to heighten with thousand times that. Christian Frei musical dramatization nor drown estimates that around the world, at out in sound. least 150 million, if not 300 million The film music is usually deci- people, must have seen the film. Ne- ded on during the research phase, vertheless, during his film shoots, or at the very latest by the time the filmmaker doesn’t have televisi- of shooting. Here too, Frei has on on his mind: “From the start, the an important partner: Manfred film was meant as a travel documen- Eicher, founder and head of the tation. But I wanted to avoid a godli- record company ECM, helps with ke, omniscient commentary.” the selection of music, and fre- He nevertheless makes his posi- quently visits Frei in the cutting tion clear, even if it is never explici- room. The filmmaker is very ple- tly articulated. “War Photographer” ased with the collaboration, since has an anti-war message; “The Gi- Manfred Eicher‘s music lends his ant Buddhas” is call for tolerance, a films a sound of their own. In “The message that Frei conveys through Giant Buddhas”, the compositions the figure of the Chinese monk who of Philip Glass, Jan Garbarek, Ste- set out westwards centuries ago. ve Kuhn and Arvo Pärt give his Frei would like the viewer to rea- images a suggestive and intense lize, “Look, they had their Marco underpinning. Polos as well! We should stop seeing our civilization as the center of the The message. “If I had been world.” He expressly sees his film a forced to produce my film com- “Hymn to diversity of expression,

12 The Return of the Buddhas For the first time in their lives, 3000 inhabitants of the Afghan Bamiyan Valley watch a film. The Return of the Buddhas

THE RETURBy Christian Frei

Sleep is out of the ques- tion. I‘m standing in the Skitchen of the ‘Bamiyan Roof’ guesthouse, making my- self a tea. In a corner, on the bare floor beneath the stove, sleeps one of the young Hazara boys who cook for us. I let him sleep. Quietly, I open the door, sit down on a wall in front of the lodge and gaze out over the valley into the night. Not a moon to be seen. I can hardly make out the long cliff facing me. A full moon would have clearly illuminated the 750 former grotto-dwellings of the monks, which 1500 years ago were chiseled into the cliffs like honeycomb. But now I can hardly even make out the two giant niches where the Buddhas once stood. I am in Bamiyan, in the heart of the Hindu Kush. It is four in the morning, Thurs- day, the 27th of July 2006. I‘ve come to show my film “The Gi- ant Buddhas”. I would like to fill, at least for one and a half hours, the empty space created when the Buddha statues were demolished. I‘d like to give something back to the inhabitants of this valley. How much they gave me during the shooting of my film! Directly

17 in front of the huge niche left by This is the reason why I can‘t sleep ning prayers. Before too long, the the destruction of the larger of tonight. I simply cannot come to muezzin on the minaret before the two monuments, a screen and terms with the fact that my film the niche of the giant Buddha a sound system will be set up. Ne- will have to be shown on a small follows suit. The songs swirl and ver before has a film been shown emergency projector. A ridiculous- echo from the cliff walls, blending in this valley. ly small machine with far too little into a unique Bamiyan atmosphe- Here, there is no electricity, illuminating power to project onto re. Peter Indergand and I came and infrastructure is virtually such a huge screen. My pictures here for filming three times du- non-existent. The concept of an will be reduced to barely discer- ring different seasons. And each open-air screening in this place nable, dull, dark shadows. All this time, this valley fascinates me is nothing short of a logistical work in vain. anew. I decide not to show my dis- nightmare. For months now, I And it was all so perfectly plan- appointment. The specialists and have been involved in prepara- ned. The Afghan airline Ariana technicians that I‘ve brought from tion and planning, with support agreed to sponsor our flights and Kabul will set up the generators, from the Swiss Afghanistan ex- the transport of the projector. One the five-by-three-meter screen and pert Paul Bucherer and a cultu- day before departure, however, the the speakers. Busses will be arran- ral organization in Kabul. The flight was cancelled. And with that ged to shuttle the audience home massive undertaking is financed began the complications. The box safely after the show. The police by Swiss international develop- was already supposed to have ar- will maintain order, and the New ment organizations along with rived in Kabul five days ago. Since Zealand Army will set up security my home canton of Solothurn. then, the date’s been postponed day posts on the cliffs. Since the majority of people here after day, despite our protests, pe- How many people will come? cannot read subtitles, we‘ve had titions to the customs authorities, 300? 400? And how will they react? a version of the film dubbed into and despite interventions by the The film‘s protagonists will be in the Dari, the local language. And German ambassador. The last word audience: Sayyed Mirza Hussain, a so that the inhabitants find out is that the projector is due to arrive Hazara and one of the few eyewit- about the showing, huge banners on the afternoon of the screening. nesses to the destruction of the sta- and countless posters have been However, the trip here takes at least tues. Professor Tarzi, the archeolo- hung throughout the valley, and eight hours, which means that the gist who is excavating in the valley a man on a motorcycle has been projector will arrive in Bamiyan for the legendary Sleeping Buddha, circling the local bazaar for days, too late. And a postponement of a third statue which is thought to using a megaphone to announce, the screening is out of the questi- be located here somewhere. And “Attention, attention! On Thurs- on, as the date has been announced Nelofer Pazira, who has come from day night, a film will be shown in throughout the region. I’m simply Canada. Also expected are the Go- front of the giant Buddha!” running out of options; I’m forced verness of the Valley, Habiba Sa- Meanwhile, the heart of this to accept the fact that, for the first rabi, and the German ambassador whole undertaking, the 40-kilo time in my life, I will not attain my Hans-Ulrich Seidt. He is traveling heavy video projector, has yet to goal. I’ve failed. from Kabul to see my film. My film, arrive in Bamiyan! For days, the I drink my tea and inhale the which sadly must be shown without box has been stuck in customs crisp morning air. A shimmer of a professional video projector. somewhere in the Persian Gulf. dawn creeps through the moun- I angrily stomp my feet in the Last night, the shipping compa- tains of the Koh-i-Baba range. Now dust. It‘s not easy for me to ac- ny from Kabul reported that the the cliff across the valley turns cept this disappointment. Behind chances of the equipment arri- blood red. Somewhere far away, me, someone clears his throat. It‘s ving in time were slim to none. the first muezzin begins his mor- Paul Bucherer. He‘s beaming from

18 ear to ear. I stare at him in disbe- who have never seen a film be- lief. The word from Kabul is that fore in their life. A film about the video projector is on the way. their own valley. About their The German ambassador is trans- past. Their identity. porting it with his airplane and During the scene in the film in will deliver it this afternoon. Ap- which the Buddha is destroyed, parently, the airplane was already it becomes so quiet that you can heading for the runway when a hear a needle drop. frantic shipping agent ran out and flagged down the plan. The freight compartment was opened and the box loaded on board. I can hardly believe my luck. That evening, 3000 instead of the expected 300, among them many women and children, stream onto the square in front of the niche of the giant Buddha. On a platform in the middle of the audience stands the video projector, which arrived by plane via Bamiyan’s dirt runway just hours ago. But there are still other hurdles to overcome. At 6 p.m. there is a small sandstorm, forcing me to cover all the equipment with plastic tarps. After the storm sub- sides, one of the generators breaks down, and I can‘t get the amount of electricity I need. Once again the whole undertaking teeters on the brink of failure! I desperately radio my Afghan partners. May Allah and Buddha help us to succeed. And low and behold... Just before 7 p.m., Go- verness Habiba Sarabi gives a short speech, after which the film runs without a hitch. During the entire film, a spotlight illuminates the empty, desecrated niche whe- re the Buddha once stood. It was here that the Taliban, in March of 2001, provoked the world with this monstrous act of ignorance. And now I sit here before 3000 people

21 „This moment is so much bigger than me!“ “War Photographer” on the way to the Oscars By Christian Frei

he red carpet is lined with gi- ant replicas of those all-too © Tfamiliar and arguably most co- veted trophies of the film world. They Oscar Nomination form a proud honor guard, the golden knights, the noble swordsmen who go OSCARof five of us will get the ‘icing on the documentary he had ever seen. Our by the profane name of Oscar. cake’, the Oscar itself. press agents are busy making more I’m on the way to the ballroom of Admittedly, it makes me proud to contacts with the media. the Beverly Hilton Hotel in Los Ange- be playing in this league. After three The two weeks leading up to Os- les. It’s Monday, March 11th, 2002, two years on the heels of a war photogra- car Night are filled with invitations, weeks before the big show. 165 nomi- pher, after so many difficulties and interviews and arrangements for the nees have been invited for lunch. The dangers and seemingly unsolvable coveted tickets for the ceremony. Af- President of the Academy greets each problems, I am relishing this suc- ter all, we will be joined by my came- guest personally. I’m accompanied by cess. And the best part about this raman Peter Indergand, my longtime Francine Brücher, who is responsible race is that there are no losers. At assistant Barbara Müller, my partner for marketing at Swiss Films. A good the insistence of the Academy! Ever Kveta Henzen and my agent Jan Ro- dozen press photographers are on the since 1989, the announcement “And fekamp. Protagonist James Nacht- lookout for celebrities. I expected the winner is...” has been replaced wey will also be coming from New more of a buzz. by “And the Oscar goes to...”. But of York. The whole family will be here. The atmosphere in the ballroom course everyone wants to win. We Sunday, March 24th, 2:30 p.m. on the itself is almost intimate. Cameras all want to take home that four-kilo dot. A black limousine pulls up in and journalists have no access. I look heavy, pewter alloy and gold-plated front of the hotel by Santa Monica around. Back home in Switzerland, object. beach. Let the show begin! At 5 p.m. we’ll surely have to report on which Mainstream production companies is when the festivities are to com- stars we met. Naturally, they’re all launch million-dollar campaigns that mence. But the drive takes hours; here: Nicole Kidman, Halle Berry and I as an author-producer could never hundreds of stretch limousines inch the wonderful Judi Dench. Denzel afford. But in Francine Brücher I have their way toward the Kodak Theater Washington, Russel Crowe and the found someone whose commitment at a snail’s pace. Finally, after pas- master directors Robert Altman, Da- and professionalism can match even sing through a security tent, we see vid Lynch and Ridley Scott. But this the most expensive advertising cam- it: the famous red carpet. Nearly 200 ‘nominees luncheon’ is meant more paign. In the two weeks until the Os- meters in length. The staccato barra- as a tribute to screenplay writers, cars, I realize how much hard work is ge of camera flashes is surreal. Gro- sound engineers, directors, anima- behind our campaign. Together with tesque, nearly obscene is the throng tors, makeup artists and documen- the Swiss consulate in Los Angeles, of cameras and journalists, all eager tary filmmakers whose names are Francine organizes a special scree- to capture the ceremonial appea- largely unknown to the audience at ning of “War Photographer” on the rance of the stars and celebrities. A large. Each one receives an equally Warner Brothers studio grounds. Over Swiss satirist describes the scene as heartfelt and long round of applause. 130 journalists and film professionals a „parade of impeccably adorned After all, everyone holds in the hands are invited. The response to my film is mammals”. the same ‘certificate of nomination’ phenomenal. Many are calling it this The show itself is stunningly pro- for an Oscar. The most important film season‘s film, the documentary of the fessional and truly exciting. James award, a perpetual myth, now sudden- year. A New York Times critic disc- Nachtwey and I sit in the 12th row. ly so real. And on March 24th, one out losed to me that my film was the best Naturally, we are slightly disappoin-

25 ted when in the end we fall short of an Oscar. That honor goes to the documentary film by Jean-Xavier de Lestrade, “Murder on a Sunday Mor- ning” – and rightly so. It’s an impor- tant film with a topic that is ideally suited to the message of this year’s Oscar awards – the long-overdue tribute to African American actors. And so we, along with a billion other television viewers, sit back and enjoy, among other things Halle Berry’s un- forgettably sympathetic acceptance speech (“This moment is so much bigger than me!”). One consolation for us is that the Swiss director Marc Foster helped to stage her triumph. The quest for the Oscar – in the end, it’s a lottery. Alfred Hitchcock never got one. In 1965, “Doctor Zhivago” lost to a film called “The Sounds of Music”. Richard Burton was nominated seven times, but ne- ver took a statuette home with him. In any event: The Oscar nomination propelled my film to an internatio- nal breakthrough. It will go on to win a number of international prizes and awards; even today, it is considered one of the most successful documen- tary films.

27 Ricardo, Miriam y Fidel Documentary, 90’, Switzerland 1997 By Norbert Creutz On the other hand, the film might the film, if there is one, lies in the king greater objectivity, Frei high- play the role of mediator, enabling ambivalence of her feelings.” lights contradictions and paradoxes he first contacts leading to them to talk honestly to each other. Though well received on the fes- while being careful to avoid taking the making of this film were In the end, it required three years tival circuit (a good 30 showings), sides. He plays his cards slowly, sho- Tmade in 1992. While staying of preparation and an authorization “Ricardo, Miriam y Fidel” did not wing great empathy towards everyo- in Cuba and attending the Havana undoubtedly emanating from Castro have an impact commensurate with ne he interviews, examining things Film Festival, Christian Frei made himself before shooting could begin its ambitions and historical relevan- critically without ever making a the acquaintance of Miriam Martí- (in video format) in April of 1995. ce. It would in fact be difficult to judgement. In the end, he leaves the nez and her family. Like thousands After filming Ricardo and Miriam’s find a film which better embodies viewer to struggle with the issues he of other Cubans, Miriam wanted to farewell, Frei accompanied Ricardo the idea of the ‘demise of politics’ has raised. All this is done with an at- leave the island, not sharing its ‘re- on an emotional pilgrimage into the that has followed the break-up of tention to story-telling and aesthetics volutionary’ ideal, especially since Sierra Meastra. Finally, he recorded the Communist bloc. Although the (from the quality of the photography her doubts – too clearly expressed Miriam and her husband Augusto’s film is unquestionably ‘political’, it to the sparing use of music) which – had led to her dismissal from the first impressions of exile, six months is not motivated by the same ‘acti- reinforces the overall impact of the school where she was teaching. after their arrival in Miami. vism’ as films of the earlier genera- film. With „Ricardo, Miriam y Fidel“, But her plans were not facilitated A mixture of authentic moments tion; its political commitment lies in Frei undoubtedly forged a style of his by the fact that her father, Ricar- and planned situations, the film was its search for a new complexity. own which he was to develop further do Martínez, was a former compa- completed in 1997. Requiring a large In keeping his distance and see- in the films that followed. nion-in-arms of Fidel Castro and amount of editing, it bears the marks Che Guevara. Formerly the force of its long gestation and development. behind Radio Rebelde, the legen- In the end, however, the masterfully dary radio station of the Sierra assembled drama of this family, and Meastra Guérilleros, Ricardo had the parallels between the two radio Protagonists:: remained a faithful servant of the stations echoing across 30 years, ba- Communist regime. Here were two lance each other to perfection. “Ri- Ricardo Martínez Co-founder of Radio Rebelde ideal characters for someone wan- cardo, Miriam y Fidel“ is far more Miriam Martínez His daughter ting to explore the Cuban malaise than an account of individual desti- Fidel Castro Ruz Cuban revolutionary palpable since the 1980s. Their nies, as it is imbedded in the crisis situation mirrored that of Castro of a utopia and a battle of ideologies. Crew: himself and his daughter, who had Frei expressed this as follows: “At the Written, Directed and left to settle in the United States global level, the failure of Socialism Edited by Christian Frei in 1991. Frei was also fascinated as an alternative to consumer society Cinematography Peter Indergand scs by the parallels between Radio has left a gaping void that is affecting Sound Martin Witz Rebelde and the modern-day Ra- a whole generation. Miriam expres- Editors Christian Frei, Damaris Betancourt dio-TV Martí, an anti-Castro stati- ses people’s need to get information Supervising Editor Jorge Abello on subsidized by the United States and be allowed to form their own opi- Research Collaboration Christina Rachmühl which broadcasts from the Florida nions. She is right to complain about Assistant Director Antigone T. Froehlich Keys. Both radio stations use the the lack of public debate in Cuba. Video Operator Hugo Würsch very same motto: “Tell the truth.” But she leaves a country subject to Sound Editor Pius Morger Initially skeptical about the film, censorship for another which is com- Sound Mastering Dieter Lengacher Miriam and Ricardo were fearful pletely saturated with information. of reopening scars that had only She moves from the ‘country of not On-Line Editor Patrick Lindenmaier Tape to Film Transfer Swiss Effects

recently healed over. They thought enough’ to the ‘country of too much.’ www.christian-frei.info it impossible to talk about feelings Hence the inevitable failure of her Music Arturo Sandoval, Chucho Valdés and politics in front of a camera. search for happiness. The message of

30 31 The best part about this film is that nobody talks bad about Fidel Castro – except Fidel Castro himself. Press and Festivals PEDRO LUIS FERRER, KUBANISCHER PROTESTSÄNGER

The departure is the focus of a film as rich in information as The deep conflict of today‘s it is in emotional drama, a film Cuba becomes perceptible which sovereignly blends an through the moving relation- individual story with highlights ship between father and from Cuban-American media daughter. history. NEUE ZÜRCHER ZEITUNG BASLER ZEITUNG

A moving film, sensitive and An amazing feat! precise. CHICAGO TRIBUNE FACTS

The humane portrayal of a political conflict makes ‘Ricardo, Miriam y Fidel’ a masterpiece. VISION DU RÉEL

An extremely interesting and riveting film achievement by a young director. Bold and coherent. SDA

A multifaceted film, sovereign and striking. NEUE MITTELLAND ZEITUNG Festival Invitations: Brilliant. Nyon, Chicago, New York, San Sebastián, Geneva, São Paulo, Huelva, Puerto Rico, LIVE Amiens, Amsterdam, Solothurn, Saar- brücken, Munich, Cologne, Innsbruck, Excellent! London, Vienna, Seoul, Salzburg, Prague, AGENCE FRANCE PRESSE Kiev, Ramallah, Tel Aviv.

32 33 out everything. If it were not for Ra- agreements that they themselves dio Martí, we would have no means have signed. What is even more of making up our own minds. It is absurd is the fact that TV Marti the only station by which the op- is completely unknown in Cuba, position can reach the people.“ Mi- as no one there can receive it. War of the airwaves riam Martínez, talking about Ra- This is because Castro has set up dio Martí. hundreds of jamming transmitters According to the ‘Office of Cuba around Havana. Nevertheless, eve- iriam Martínez is born but none is as ridiculously cy- Broadcasting’, Radio Martí is the ry day for the past seven years, the in Havana in 1955, du- nical as its total control of the most successful radio station in his- Americans have produced a one- Mring the time of the mass media, as Fidel Castro tory. Within months of its launch in hour program, which they beam dictatorship of Fulgencio Batis- explained on air to Radio Re- 1985, this station, a branch of ‘Voice to Havana by way of a captive ta. While the Cuban people are belde. On January 8th, 1959, of America,’ reached a listenership balloon – despite the fact that no being brutally oppressed, each the Guerilleros triumphantly of 80 percent. The head of Radio one is watching. In the film we see evening brings planeloads of rich enter Havana. One year later, and TV Martí, historian Rolando E. TV Martí‘s complicated broadcast Americans from Miami to the the ‘Comandante en Jefe’ bans Bonachea, states in the film: „If we set-up in the Florida Keys, 90 mi- ‘Tropicana’ nightclub and to the the conservative newspaper cannot conquer him with cannons, les from Havana. For a television brothels of Havana. Miriam‘s fa- Diario de la Marina. From now we shall conquer him with truth.“ signal to be transmitted to Hava- ther Ricardo is only 19 years old on, Castro’s principle is the TV Martí is also unique. It is na, the stationary balloon must be when she is born. He works for a law: ‘Within the Revolution, the only TV station in the world to raised to an altitude of 10,000 feet. small private radio station in the anything goes; against the Re- broadcast exclusively to listeners Each and every night. capital. Miriam is not quite two volution, nothing.’ Increasingly, of a foreign country. The Ameri- It is a war of the airwaves. years old when he quits this well- freedom of expression in Cuba cans thereby violate international paid job from one day to the next is curtailed. On May 20th 1985, in order to join Fidel Castro‘s re- 27 years after the founding of bels in the Sierra Maestra. Radio Rebelde, another ‘pirate „In the evening hours the who- radio station’ goes on air. Sup- le family gathers round the radio, ported by the wealthy Cuban turning it down enough that you exile Mas Canona, U.S. Presi- can still hear the ticking of a clo- dent Ronald Reagan launches ck – for there are spies everywhe- Radio Martí, a branch of Voice re. At first all they hear is static, of America. The reaction out but then come the words they’ve of Cuba is not long in coming: all been waiting for: ‘This is Ra- Castro has two huge jamming dio Rebelde.’ Everyone listens transmitters built, each one with rapt attention and moves in with the power of a half million closer, so as not to miss a single watts – ten times as strong as a word.“ Ricardo Martínez, in his normal station. book „La historia de Radio Re- „We close the blinds because belde”. the neighbors across the street Radio Rebelde proves to be are informers, and we turn the an effective tool in exposing volume very, very low. Due to the Batista’s propaganda lies and jamming transmitters we can media censorship. The tyranny only receive it on short wave, and is despicable in all its forms, sometimes it is difficult to make

34 War Photographer Documentary, 96’, Switzerland 2001 By Norbert Creutz As Nachtwey took photographs, In- body and soul, in the attempt to raise even before naming them openly. dergand filmed him from a distance people’s awareness so that things will The musical accompaniment from t was in an aeroplane, on the with his big Digital Betacam, while change, so that the tide of war, pover- the ECM catalogue (Arvo Pärt, way to a festival in Chicago, Frei controlled the images and ty and injustice might at last begin to Eleni Karaindrou, David Darling), Ithat he was first struck by the sound of the minicam remotely. The ebb. Clearly overwhelmed, Frei had chosen with the help of Manfred work of the American photogra- film is rounded off by stories told found his master, but nevertheless Eicher, combines effortlessly with pher James Nachtwey (born in by Nachtwey’s colleagues and a vi- he did not dwell in endless introspec- these often terrible images, adding 1948 in Syracuse, NY). Frei saw sit to the photographer’s New York tion. Completely at the service of his an element of distance and wel- one of his reports on Afghanistan apartment-lab at the time of an ex- subject matter, he too kept himself come touch of spirituality. in an issue of the German ma- hibition featuring his work. “War in the background. Filmed without We all know what happened gazine ‘Stern’. He soon tracked Photographer” was completed in superfluous artistry, “War Photo- next: nominated for an Oscar in Nachtwey down and found him the autumn of 2001. grapher” is nevertheless a model of 2002, awarded prizes at a dozen to be an engaging personality A portrait of an exceptional man how to construct a film. It gradually international film festivals, “War – the diametrical opposite of the in extreme situations, “War Pho- approaches the figure of its subject, Photographer” became the Swiss hardened and cynical war corre- tographer” is also Christian Frei’s playing intelligently with the doubts film industry’s success story of the spondent. But their first contact most compelling film. It raises a who- of the viewer and hinting at the cont- year. was disappointing. Not wanting le host of questions in the viewer’s radictions of the reporter’s profession to be disturbed in his work, by mind: about humanistic commit- its very nature solitary, nor to en- ment, the need and best way to danger lives other than his own, bear witness to the worst in human Nachtwey initially turned down nature, about respect for others and Protagonists: the idea of a documentary. It the principle of avoiding direct in- took a great deal of persistence tervention, about voyeurism, media James Nachtwey Photographer and inventiveness to overcome bias, and so on. Its impact has less to Christiane Amanpour Chief International Correspondent CNN his reluctance – in particular, the do with any underlying danger (Frei Hans-Hermann Klare Foreign Editor STERN Magazine development, with the help of avoids the temptation to embellish Christiane Breustedt Editor in Chief GEO SAISON Magazine engineers from Swiss Effects in his film by creating a sense of thrill Des Wright Cameraman Reuters Zurich, of a robust and easy-to- or spectacle) than with encounte- Denis O‘Neill Screenwriter/Jim’s best friend control mini film camera which ring a fascinating and enigmatic could be fitted to Nachtwey’s own character, a sort of modern Don Crew: camera in such a way as to show Quixote, a gentleman catapulted Written, Directed and Edited by Christian Frei things from his perspective wit- into a barbarian environment who Photographs by James Nachtwey hout inhibiting him. seems to have transcended all the Digital Betacam Cinematography Peter Indergand scs For two years, Frei and his ca- ambiguities of his profession. So- Add. Cinematography (Palestine) Hanna Abu Saada meraman Peter Indergand follo- metimes his code of behavior seems Microcam Cinematography James Nachtwey wed Nachtwey on a number of shocking, his embracing of danger Microcams built by Swiss Effects (Patrick Lindenmaier) missions to Indonesia, Kosovo and, madness, his sacrifices pointless. finally, Palestine. These were not And yet, we end up understanding Assist. Director/Assistant Editor Barbara Müller always situations of open conflict, why he acts as he does. Sound Design and Mix Florian Eidenbenz because Nachtwey was equally Too flattering a portrait? The Music by Eleni Karaindrou, Arvo Pärt, David Darling committed to exposing the rea- suspicion is soon swept away, so Music Producer Manfred Eicher lity of poverty. But whatever the much is modesty an integral part of Production Christian Frei Filmproductions nature of the mission, violence Nachtwey’s character. Armed with a in Co-Production with Swiss TV

was on the agenda, making the surprising mixture of realism and ide- www.war-photographer.com and Suissimage shooting a very testing exercise. alism, he devotes himself to his craft,

38 39 This is as close to being inside a photojournalist‘s mind as it gets. TELE

Press A gripping portrait! LA WEEKLY

Startling, engrossing! See the world through Nachtwey’s eyes. An instant classic. VARIETY THE NEW YORK TIMES

A moving documentary. A unique insight! THE INDEPENDENT ON SUNDAY DER SPIEGEL

A great documentary film. A remarkable portrait of a Nominated for an Oscar. remarkable man. It deserved to win. LOS ANGELES TIMES STERN Nachtwey clears the cynicism Fabulous. right out of you. NEW YORK MAGAZINE ART – DAS KUNSTMAGAZIN

This is documentary cinema This film is an act of spiritual so real and direct that it faith – an eloquent, deeply felt sweeps you off your feet. meditation on the nature of compassion. TAGES-ANZEIGER SAN FRANCISCO CHRONICLE

So sublime is the respect which Nachtwey pays to those Gripping and sophisticated. he photographs. Intelligent and full of It’s as if he is our conscience. humanity. Not a word too FRANKFURTER ALLGEMEINE ZEITUNG many, not an image too few. Masterful! BLICK

40 41 Festivals and Awards

Festival invitations:

Amsterdam, Solothurn, Gent, Nyon, Tel Aviv, Toronto, London, New York, Cologne, Seoul, Sidney, Karlovy Vary, Locarno, Cape Town, Johannesburg, Durban, Viareggio, Warsaw, São Paulo, Jakarta, Stockholm, Valladolid, Hot Spring, Istanbul, Osaka, Beirut, Havana, Boston, Saarbrücken, Oslo, Hong Kong, Singapore, Prizren, Sichuan, Helsinki.

42 43 that if I ever allow genuine compas- ming a camera can be a violation sion to be overtaken by personal am- of humanity. The only way I can bition I will have sold my soul. The justify my role is to have respect stakes are simply too high for me to for the other person‘s predica- believe otherwise. ment. The extent to which I do that Why photograph war? I attempt to become as totally re- is the extent to which I become sponsible to the subject as I possibly accepted by the other, and to that can. The act of being an outsider ai- extent I can accept myself. By James Nachtwey the middle of a war in order to com- municate to the rest of the world In 1985, shortly before becoming what is happening, he is trying to a member of the world famous negotiate for peace. Perhaps that photo agency Magnum, the then is the reason why those in charge 36-year-old James Nachtwey wrote of perpetuating a war do not like to the following text, a credo about have photographers around. the relevance of his work as a war It has occurred to me that if ever- photographer. yone could be there just once to see for themselves what white phospho- here has always been war. rous does to the face of a child or War is raging throughout what unspeakable pain is caused by Tthe world at the present mo- the impact of a single bullet or how ment. And there is little reason to a jagged piece of shrapnel can rip believe that war will cease to exist someone‘s leg off – if everyone could in the future. As man has become be there to see for themselves the increasingly civilized, his means fear and the grief, just one time, then of destroying his fellow man have they would understand that nothing become ever more efficient, cruel is worth letting things get to the point and devastating. where that happens to even one per- Is it possible to put an end to a son, let alone thousands. form of human behavior which has But everyone cannot be there, and existed throughout history by means that is why photographers go there of photography? The proportions of – to show them, to reach out and grab that notion seem ridiculously out of them and make them stop what they balance. Yet, that very idea has mo- are doing and pay attention to what tivated me. is going on – to create pictures power- For me, the strength of photo- ful enough to overcome the diluting graphy lies in its ability to evoke effects of the mass media and shake a sense of humanity. If war is an people out of their indifference – to attempt to negate humanity, then protest and by the strength of that photography can be perceived as protest to make others protest. the opposite of war, and if it is The worst thing is to feel that as used well it can be a powerful in- a photographer I am benefiting from gredient in the antidote to war. someone else‘s tragedy. This idea In a way, if an individual assu- haunts me. It is something I have to mes the risk of placing himself in reckon with every day because I know

44 The Giant Buddhas Documentary, 95’, Switzerland 2005 By Norbert Creutz also determined by aesthetic consi- reby cementing the reputation of tent and trail-blazing. He sets an derations; to secure the finest possib- its creator once and for all. example for an alternative form n international success of le images, the team often had to wait Will Christian Frei be able to of globalization which dares con- the magnitude of “War Pho- for the evening light. And all this was maintain such high standards in front today’s growing complexity Atographer” raises the bar capped by a new technological explo- the future? Though his resources following the collapse of old ide- considerably. To those who still saw it used for the film’s final sequence: may appear limited, almost deriso- ologies and the reduction of the it as a stroke of luck, Christian Frei the authentic reconstitution in simu- ry when set against the magnitude world to mere commercial aspects. replied in no uncertain terms with lated 3D imagery of the celebrated of the subjects that interest him, The fact that this approach leads “The Giant Buddhas”, a no less Buddhas of Bamiyan. he clearly possesses the necessary to beautiful cinema – intellectu- remarkable achievement. The de- But “The Giant Buddhas” was capabilities. Ever since Jacqueline ally, morally and aesthetically – is struction by the Taliban in March above all a triumph of organization. Veuve and Richard Dindo, no care- as encouraging a sign as can be 2001 of the giant Buddhas of the Ba- Rarely has a film required more intel- er in the history of Swiss documen- found today. miyan Valley in Afghanistan was the ligent traveling – from Bamiyan and tary cinema has been more consis- trigger for this film, which is much back to Bamiyan, along unexpected more than simply an attempt to re- detours. The film achieves a meeting visit the event. In the final analysis, of past (as evoked by the journey of Protagonisten: it was more of an ‘essay‘ – in the the Chinese monk Xuanzhuang, who form of a travel documentary – on described the Buddhas in the 7th Nelofer Pazira Writer and Journalist faith and fanaticism, tolerance and century) and future (embodied in the Xuanzang Wandering monk (602 – 664 AD) terrorism, identity and ignorance, reconstruction projects sponsored Sayyed Mirza Hussain Cave Dweller in Bamiyan and on our feeble attempts to come by UNESCO and the Zurich Federal Taysir Alony TV-Journalist ‘Al Jazeera’ to terms with transitoriness. Institute of Technology). And then Zémaryalaï Tarzi Archaeologist A good year after the destruction there is human interest, in the form of the Buddhas, Frei was contacted of the displaced cave-dwelling family, Crew: by Swiss restorers involved in a re- the homecoming of the emigré wri- Written, Directed and Edited by Christian Frei construction project. Two now-emp- ter and her archaeologist colleague, Cinematography Peter Indergand scs ty niches in a remote valley, lots of not to mention the ambiguous role of Assistant Editor Denise Zabalaga Western technology, nothing really Taysir Alony, the only journalist who Sound Design and Mix Florian Eidenbenz human and emotional to work on – recorded images of the Buddhas’ des- Visual Effects Patrick Lindenmaier, Paul Avondet Frei was initially not very keen. But truction. ECM music and unobtrusive Narrator (German Version) Stefan Kurt after a few hours of surfing the web, narration complete the picture. See- Narrator (English Version) Peter Mettler he was persuaded that this was an mingly miraculously, everything falls Narrator (French Version) Jean-Luc Bideau excellent starting point for a film. into place by the end of the film, and A long period of research, making this complex system of echoes invites Narrator (Italian Version) Riccardo Merli contacts and tracking down evi- the viewer to consider a hundred ti- Initiated by Bernard Weber dence was still necessary to decide mes more questions than would have Based on an idea by Peter Spoerri on the thrust and theme of the film, been raised by a straightforward Advisors Paul Bucherer (Afghanistan Institut) which was far more complex than journalistic account or reportage of Armin Grün (ETH Zürich Christian Manhart (UNESCO Paris) its predecessors. In the end it took the event. Frei and Indergand, again working Launched at the 2005 Locarno Music by Philip Glass, Jan Garbarek

www.giant-buddhas.com Steve Kuhn, Arvo Pärt on this venture as a team, 24 weeks Festival, the film did not attract Music Advisor Manfred Eicher of filming to get the footage they the crowning of an Oscar nomi- needed. This is partly explained by nation that its predecessor did. Produced by Christian Frei Filmproductions GmbH in Koproduktion mit Schweizer the geographical reach of the film. Nevertheless, it was screened at Fernsehen, ZDF/arte und Suissimage But the long period of filming was some 40 major film festivals, the-

48 49 knows how to tell a story. Press He fills those niches with memo- ries. At the end of this opulent A subdued, Zen-like rumination. cinematic meditation, the Buddhas Moving, elegant and profound. are more alive than ever.fresh TIME Magazine (USA) information as I’ve ever absorbed from a single documentary. ARTE-METROPOLIS A lucid, flickering light, in which incredibly beautiful landscapes hang like golden Frei’s images are as momentous pebbles. as his subject matter. BERLINER ZEITUNG BASLER ZEITUNG

A thoughtful, well researched Poetic and resolute. Fantastic! and beautifully filmed analysis. L’HEBDO JURY LEIPZIG (Silberne Taube) The Giant Buddhas places us Drama of stone colossus at a fascinating intersection of and dynamite. politics, religion and culture. SONNTAGSZEITUNG Frei’s account ranges from the horrifying to the comic, and in the process delivers as much A cutting-edge topic... a ma- fresh information as I’ve ever nifold and ambitious essay... a absorbed from a single docu- filmic work of mourning... with mentary. exquisitely beautiful images. NATIONAL POST DER BUND An urgent appeal for tolerance This journey into the Bamiyan MITTELBAYERISCHE ZEITUNG valley is so much more than a tribute to two desecrated monuments, more than a masterful Fantastic! piece of research. Christian Frei DER SPIEGEL

50 51 Festivals and Awards

Festival invitations:

Locarno, Toronto, Vancouver, Leipzig, Vi- enna, Valladolid, Copenhagen, Solothurn, Sundance, Saarbrücken, Portland, Bang- kok, Prague, Thessaloniki, Washington D.C., Bermuda, São Paulo, Rio de Janei- ro, Florida, Paris, Tel Aviv, Istanbul, Sin- gapore, Boston, Nashville, San Francisco, Trento, Munich, Taipei, Warsaw, Catalonia, St. Malo, Durban, Maui, Rhodes, Zanzibar, Prizren, Tahoe/Reno, Avostanis, Turin, Ras- segna, Miami, Two River, Banff.

52 53 of mines, grenades and bombs at the feet and shoulders of the statues, and set off one enormous detonation. The Bamiyan – torso of the giant figure, however, re- The valley of the giant Buddhas mained intact. Only after some 20 days of senseless attacks were spe- cialists flown in at the beginning of March 2001 to blow up the two giant or fifteen hundred years, two practicing Buddhists, a true global Buddhas. gigantic Buddha statues stood center of Buddhism and a melting pot Following the destruction of the Fin their niches cut in the cliff of cultures. Buddhas, the world suddenly began flanking the remote Bamiyan val- However, in the spring of 2001, Ta- to take an interest in the remote Ba- ley of present-day Afghanistan. The liban leader Mullah Omar issued a miyan valley. The ‘liberators’ arrived, smaller of the two statues, thirty- fatwa giving the order to destroy the followed by journalists and charity five meters high and referred to as two Buddha statues. The world was up organizations. Then, once again, life ‘Shamama’ (Queen Mother), was in arms. Until then, neither the years on the cliff face took a dramatic turn. hewn into the soft conglomerate of of looting of Afghanistan‘s cultural Since spring of 2004, the caves and the two kilometer long rock face in heritage nor the religious fanaticism grottoes in the cliff face are abando- the year 507. Painted blue, with a of ‘God‘s warriors’ and its devasta- ned and empty. Sayyed Mirza and the golden face, the figure was a portra- ting consequences for the people of other families have been resettled and yal of the Buddha Sakyamuni. The Afghanistan had provoked much in- now live in a sterile village of huts on second statue – the ‘Salsal’ Buddha terest. Now, all of a sudden, UNESCO a high plateau, at least two hours wal- (‘light shines through the universe’) was hastily sending a special envoy to king distance from the bazaar. A win- – was built fifty years later. At fifty- Kabul, and the Metropolitan Muse- dy place, without water and devoid of five meters, this was the largest stan- um of Art in New York had offered to any community structure. What had ding Buddha statue in the world. purchase and seal the statues in their happened? The governor of Bamiyan The present dwellers in this valley niches. But to no avail. and a French charity decided that the are proud of their pre-Islamic past. At the beginning of March 2001, cliff and the Buddha niches were now They talk of the old times when Ba- the giant Buddhas of Bamiyan were part of UNESCO’s global heritage, and miyan, the main link between central blown up by specialists belonging to that the cliff-dwellers were no longer Asia and India, provided the main the Al Quaeda terror organisation. welcome. UNESCO was outspoken access to the Silk Road and was the One of the cave-dwellers is named in its protests. They had always been trading center for thousands of cara- Sayyed Mirza Hussain. He is one of firmly against any resettlement plan vans. It was this prosperity that led the very few people to have directly for the cave-dwellers. After all, accor- to the Buddha statues being hewn witnessed the destruction of the Ba- ding to UNESCO, people had lived in into the soft rock face, along with a miyan Buddhas. Sayyed relates how the cliffs of Bamiyan for centuries, complex system of steps, niches, bal- the Taliban initially attempted to hack and the residents had protected the conies, meeting rooms, altar rooms away at the Buddha and the frescoes frescoes in the caves from looting. But with cupolas and dwelling quarters, adorning their niches. And how they the protests were in vain. all cut into the rock and nestling bet- then began attacking the statues with The cave-dwellers of Bamiyan ween the two colossal figures. tanks, grenades and anti-aircraft mis- were forbidden from living in the For hundreds of years the Ba- siles. But even those attacks caused cliffs. miyan valley, lying in the Hindu much less damage than was expec- Kush, was one of the most important ted. Frustrated by their failings, the and attractive pilgrimage sites for Taliban positioned huge quantities

54 Biography Christian Frei

hristian Frei is conside- Photographer”, the portrait of James red to be one of the most Nachtwey, whom Frei accompanied Crenowned contemporary to various places of war and calamity documentary filmmakers. Born around the world. “War Photographer“ on September 16th, 1959 in Schö- is nominated for an Oscar in the catego- nenwerd, Switzerland, he studied ry of ‘Documentary Feature’ and recei- visual media in the Department ves numerous international awards. of Journalism and Communication 2005 saw his third documentary at the University of Fribourg. He feature, “The Giant Buddhas”, a shot his first documentary, “Die film journey into the world of fa- Stellvertreterin” (the Represen- naticism and diversity, terror and tative) in 1981, and has been wor- tolerance, ignorance and identity. king as an independent filmmaker The film revolves around the des- and producer since 1984. He crea- truction of the two giant Buddha ted several short and educational statues in Afghanistan’s remote Ba- films and works regularly for Swiss miyan Valley. National Television ‘DOK’. In 2006, Frei began research on In 1997 he produced his first “Space Tourists”, an essay on space feature length documentary, tourism. “Ricardo, Miriam y Fidel”, the In 2006-2007, Christian Frei is a vi- portrait of a Cuban family torn siting lecturer on Reflection Compe- between loyalty to revolutionary tence at the University of St. Gallen, ideals and the desire to emigrate and president of the ‘Documentary to the United States. Film commission’ of the Swiss Minist- In 2001, this is followed by “War ry of Culture. He lives and works in Zurich.

Filmography (Selection) 1981 Die Stellvertreterin (50’) (Documentary) 1982 Fortfahren (Co--director) (40’) (Documentary) 1984 Der Radwechsel (24’) (Documentary) 1997 Ricardo, Miriam y Fidel (90’) (Feature length documentary) 1998 Kluge Köpfe (53’) (TV Documentary for SF) 2000 „Bollywood“ im Alpenrausch (52’) (TV Documentary for SF) 2001 War Photographer (96’) (Feature length documentary) 2005 The Giant Buddhas (95’) (Feature length documentary)

56 Filmography (Selection)

1989 Face of the Enemy (feature film by Hassan Ildari) 1993 Gasser & Gasser (documentary film by Iwan Schumacher) 1995 Der Nebelläufer (feature film by Jörg Helbling) Biography Peter Indergand 1997 Zwei im Berg (feature film by Christoph Kühn) 1997 Ricardo, Miriam y Fidel (documentary film by Christian Frei) 1998 Le Monde à l‘envers (feature film by Rolando Colla) 2000 Gran Paradiso (feature film by Miguel Alexandre) wiss cameraman Peter Inder- Indergand films “The Giant Bud- 2000 Heidi (feature film by Markus Imboden) gand is born on February 26th, dhas”. In 2005, he films “Störte- 2001 War Photographer (documentary film by Christian Frei) S1957 in Crest, France. After six beker”, a feature film about the 2002 Oltre il confine (feature film by Rolando Colla) semesters of art history and English legendary pirate Klaus Störtebe- 2003 Ni Olvido ni perdòn (documentary film by Richard Dindo) studies at the University of Zurich, ker. That same year, he films “Play 2003 Sternenberg (feature film by Christoph Schaub) he attends the American Film Ins- your own thing”, a film about jazz 2004 Grüße aus Kaschmir (feature film by Miguel Alexandre) titute AFI in Los Angeles, where he in Europe. 2005 Störtebeker (feature film by Miguel Alexandre) completes his degree in photography Peter Indergand lives in Winterthur, 2005 The Giant Buddhas (documentary film by Christian Frei) in 1982. Between 1977 and 1981, he Switzerland. 2006 Play your own thing (documentary film by Julian Benedikt) gains experience as cameraman in a number of films made by a group of film-enthused friends. In 1984, Peter Indergand and Ro- lando Colla found the film produc- tion company Peacock in Zurich. Together they make feature films such as “Le monde à l’envers“, “Oltre il confine“, the television film “Operazione Stradivari“ and the short films “Einspruch II” and “Einspruch III“ (Objection II and Objection III) In 1989, Indergand leaves Peacock to work as an inde- pendent cameraman. Since then he has filmed nume- rous feature and documentary films in various countries, including his first collaboration with Christian Frei, “Ricardo, Miriam y Fidel“ (1997). The film “War Photogra- pher”, Christian Frei’s portrait of the photographer James Nachtwey, gains international acclaim and is nominated for an Oscar in 2002. In 2004, Peter Indergand receives an Emmy nomination for the film. Back on Christian Frei’s team,

58 Ricardo, Miriam y Fidel was shot in The Giant Buddhas was shot in 01 Havana, Cuba (March/April 1995) 12 Bamiyan Valley, Afghanistan 02 Sierra Maestra, Cuba (October 1995) (February 2003, August 2003, March/April 2004)

03 Miami, USA (October 1995) 13 Kabul, Afghanistan (April 2004)

04 Washington D.C., USA (October 1995) 14 Al Jazeera TV-Station, Doha, Qatar (March 2003)

05 Florida Keys, USA (October 1995) 15 Mogao Caves and Gobi Desert, Dunhuang, China (October 2003)

16 Xingjiao Temple, Xian, China (November 2003)

17 Leshan Grand Buddha and Oriental Buddha Park, Leshan, China War Photographer was shot in (November 2003)

06 Kosovo, The Balkans (June 1999) 18 ETH Zurich, Institute of Geodesy and Photogrammetry, Switzerland (December 2003) 07 Ramallah, Palestine (October/November 2000) 19 UNESCO Headquarter, Paris, France (June 2003) 08 Jakarta, Indonesia (May/June 1999) 20 Marc Bloch University, Strasbourg, France (December 2003) 09 Kawah Ijen, A Sulfur Mine in East Java, Indonesia (October 1999) 21 Munich, Germany (December 2003)

10 New York City, USA (May 2000) 22 Toronto, Canada (December 2004) 11 Hamburg, Germany (January 2001)