Dialogue Diálogo

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Dialogue Diálogo

EDITO EDITO Do de Satyajit Ray (Mention OCIC Cannes 1955) et 1955) OCIC Cannes (Mention Ray Satyajit de (Prix OCIC Venise 1956) ont Venise Pour été lece (Prix primés. juryfilm, OCIC de Shantaram V. (Prix OCIC Berlin 1958), ou celui du Japonais Kon Kon ou celui du Japonais 1958), (Prix OCIC Berlin V. de Shantaram Pather Panchali Pather La Harpe Birmane (Redemption) de Joseph Madmony & Boaz Yehonatan Yaacov Yehonatan & Boaz Madmony (Redemption) de Joseph CineMag

Geula qui défendent des valeurs qu’ils ont en commun. Depuis 1952, en Égypte et au Sri Lanka, des Égypteen Lanka, Sri au et 1952, Depuis commun. en ont qu’ils valeurs des défendent qui le monde un dialogue avec le cinéma de leur pays, à travers de SIGNIS construisent, membres et hindou. bouddhiste musulman, Leipzig veulent, à travers les jurys interreligieux soutenir artistiquement des films promouvant promouvant films des artistiquement soutenir interreligieux jurys les travers à veulent, Leipzig (Fajr/Téhéran) et dans le dans le monde musulman Des festivals le dialogue interculturel. films des promouvoir à et dialogue ce développer à SIGNIS invité ont (Jérusalem) juif monde Des festivals comme Religion Today (Trento) et Popoli & Religioni (Terni) ont pour thème pour ont (Terni) Religioni & Popoli et (Trento) Today Religion comme festivals Des Barcelone de celui comme festivals D’autres religions. plusieurs entre dialogue le principal (MCEC) et de Guadalajara (FIC) présentent des religionsfilms et de afin cultures différentes et DOK/ Visions du réel (Nyon) comme Des festivals de rassembler toutes les communautés. voulait souligner la portée spirituelle et humaniste d’une œuvre émanant d’une religion non- émanant d’une religion souligner la portée voulait spirituelle et humaniste d’une œuvre chrétienne. films indiens comme Haath Ankhen Barah Ichikawa, festivals internationaux de cinéma sont considérées par certains comme prophétiques dans certains par considérées sont cinéma de internationaux festivals prophétiques comme le Elles défendent mais aussi dans le monde du cinéma. le monde chrétien et non-chrétien, Déjà dans les cinéma de qualité qui exprime également des valeurs humaines et spirituelles. Ainsi des leur. la que cultures/religions d’autres avec en dialogue entraient elles années 1950, Le dialogue favorisant la compréhension et la cohésion sociale et spirituelle entre les entre spirituelle et sociale cohésion la et compréhension la favorisant dialogue Le Ses activités dans les fait partie de l’ADN d’OCIC/SIGNIS. et religions, cultures différentes 2 Dialogue promoting social and spiritual understanding and cohesion among different cultures and religions is part of the OCIC / SIGNIS DNA. Some consider their Jury activities in international film festivals as prophetic for the Christian and non-Christian world, but also for the world of cinema. They defend quality cinema that expresses human and spiritual values. A considerable number of its awards are considered as classics in film history. Already in the 1950s, these juries entered into dialogue with other cultures-religions than their own. Indian films such as Pather Panchali by Satyajit Ray (OCIC Mention at Cannes 1955) and Do Ankhen Barah Haath by Shantaram V. (OCIC Prize Berlin, 1958) or Japan’s Kon Ichikawa The Burmese Harp (OCIC Prize Venice 1956) were lauded. For Ichikawa’s film the jury wanted to point out the spiritual and humanitarian significance of a work from a non-Christian religion.

Festivals such as Religion Today (Trento) and Popoli & Religioni (Terni) have engaged in dialogue with other religions as their reflection theme. Others like those in Barcelona (MCEC) and Guadalajara (FIC) are working with films with stories about different religions and cultures to bring the different faith communities together. Festivals such as Visions du réel (Nyon) and DOK/Leipzig want interreligious juries to artistically support films promoting inter-cultural dialogue. Festivals in the Muslim (FAJR/Tehran) and Jewish (Jerusalem) worlds, have invited SIGNIS members to develop dialogue and to promote films that uphold values they share. Since 1952 members of SIGNIS in Egypt and Sri Lanka have been building through the cinema a dialogue with the Muslim, Buddhist and Hindu world in their country. GC

N°3/2019 Publication éditée par l’Association Catholique Mondiale pour la Communication Publication of the World Catholic Association for Communication Publicación editada por la Asociación Católica Mundial para la Comunicación SIGNIS – Rue Royale, 310 – 1210 Brussels – Belgium – Tel: 32 (0)2 734 97 08 – www.signis.net Secretary General: Ricardo Yáñez Chief Editor: dr Guido Convents – Lay-Out: Pascale Heyrbaut Team/Correspondents: Magali Van Reeth, Peter Malone, Marianela Pinto, Marc Bourgois, Alejandro Hernández, Douglas Falheson, Hans Hodel, Peio Sánchez, Katia Malatesta, Boutras Danial, Juan Orellana, Sergio Joel Ascencio Casillas, Peter Sheehan, Mac Machida, Masahide Haresaku, Inês Gil Administration: Fabienne Deseau, Florentina Gonzalo, Nadia Tekal E-mail: [email protected] – @SIGNIS – facebook.com/signisworld – youtube.com/user/signisworld Photo Cover: Still from the filmLove and Shukla withTaneea Rajawat (main actress) ISSN 0771-0461 – Prix : 7 euros par numéro - 25 euros par an (frais de port inclus) Les articles signés expriment les opinions personnelles des auteurs. EDITO El diálogo que promueve la comprensión y la cohesión social y espiritual entre las diferentes culturas y religiones forma parte del ADN de OCIC / SIGNIS. Algunos consideran que sus actividades como jurado en festivales internacionales de cine, son profeticas para el mundo cristiano y no cristiano, pero tambien para el mundo del cine. Un número considerable de los premios que otorgan defienden un cine de calidad que expresa valores humanos y espirituales. Un numero considerable de sus premios son considerados clásicos en la historia del cine. Ya en los años cincuenta, estos jurados entablaron un diálogo con otras culturas y religiones que no eran las suyas. Películas indias comoPather Panchali de Satyajit Ray (Cannes, 1955) y Do Ankhen Barah Haath de Shantaram V. (Berlín, 1958) o la película japonesa dirigida por Kon Ichikawa Arca birmana (Venecia, 1956) fueron elogiadas. Con el filme de Ichikawa, el jurado remarcó el talante espiritual y humano de una obra procedente de una religiosidad no cristiana.

Festivales como Religion Today y Popoli & Religioni han entablado diálogos con otras religiones como tema de reflexión. Otros como los de Barcelona (MCEC) y Guadalajara (FIC) exhiben largometrajes provenientes de diferentes religiones y culturas, con la intención de unir a las diferentes expresiones religiosas de sus ciudades. Festivales como Visions du Reel (Nyon) y DOK/Leipzig quieren que los jurados interreligiosos apoyen artísticamente las películas que promueven el diálogo intercultural. Los festivales en el mundo musulmán (FAJR/ Teherán) y Judío (Jerusalen) han invitado a SIGNIS a participar en un jurado interreligioso para desarrollar el diálogo y promover películas que defiendan los valores que comparten. Desde 1952, miembros de OCIC/SIGNIS han estado construyendo, a traves del cine, un diálogo con el mundo musulmán en Egipto y, budista e Hindi, en Sri Lanka.

EDITO CineMag 3 DIALOGUE

Living together and understanding each other in a globalized world - It is all about values we share!

Culture and religion are strongly intertwined and today they are all over the media, in politics, and in communities. With aesthetics and ethics, religion creates culture. Questions arise as to whether Islamic religion can be part of Western Culture, given that it is heavily influenced by modernity, Can Christianity, and how it embraces modernity, be part of Oriental culture shaped by Buddhism, Hinduism or/and Shintoism?

Some cinema professionals express surprise at the idea of film and intercultural dialogue in general and specific interfaith dialogue. They can begin to understand ecumenical dialogue, dialogue between Catholics and Protestants, but seem to think that Christianity and its culture is so different from other world religions that interfaith sharing does not make sense. SIGNIS sees cinema as a meeting place for dialogue Pope John Paul II called media the new areopagus and his promotion of cinema and dialogue in his 1999 address to the Festival of the Third Millennium, held in Rome), there should be an eagerness for this kind of interfaith sharing, essential to understand also culture and to foster inter-cultural dialogue. Since 1947 OCIC, SIGNIS and Ecumenical juries have been giving at International film festivals many awards to films which come from countries with Hindu, Buddhist and Islamic cultures, and especially in recent decades to many films from Iran and North Africa. They all dramatize basic human values, shared values between all human beings no matter what their religion. OCIC, Unda and SIGNIS offices in Taiwan and Sri Lanka have made awards to films in Buddhist culture. The SIGNIS Prize in Zanzibar and the Catholic Cinema Centre awards in Cairo are made in a Muslim context. OCIC juries were active between 1977 and 1978 at the Cairo International Filmfestial and between 1978 and 1992 at the Carthage International Filmfestival in Tunisia. There is a strong dialogue between Hindus and Christians through film in India and several Hindu directors who studied in Kolkata with Gaston Roberge SJ express their indebtedness to him. Former OCIC president Ambros Eichenberger started from the 1970’s with a policy to foster ecumenical and interreligious and intercultural dialogue.

After 9/11, 2001 an official delegation from the Iranian government and cinema industry visited the Vatican. This led to a mutual visit to Tehran’s Fajr festival in 2002 and the establishment of the SIGNIS Interfaith award there, which still continues. It wanted and wants to make clear that there is not a war of religions, or a clash of cultures, going on. A similar prize found place between 2006 and 2014 in Bangladesh, while in Australia, the Brisbane film festival between 2003 and 2008 established an interfaith jury composed with one SIGNIS member and two other members from other religions. SIGNIS and Interfilm chose jurors from other faiths for an interreligious jury in Nyon, Switzerland and in Leipzig, Germany, and discussed how to develop together interreligious dialogue in the world of the international film festivals. In 2008, SIGNIS installed an international jury at the international Religion Today Festival, a Catholic Trento/Rome-based festival and in 2017 with Popoli & Religioni in Terni. Both admit film entries on any theme, and it should be noted that The Religion Today Festival doesn’t want to be called a festival for spirituality and cinema. Its former president David Zordane referred to Jonathan Brant from Oxford University, to reflect on the possibility of revelation occurring in the experience of film-watching. “Interestingly, the concept of ‘revelation’ has a strong religious dimension but can perfectly be assumed independently from any explicit reference to religion, as a synonymous of a sudden apprehension that drives to a self- transformation. The use of this concept of revelation to explain what can happen when people go to the cinema and watch movies is a good way to refer to a vast range of experiences which are deep and spiritual but which are not always perceived as religious. I think therefore that it is worthy to maintain this undefined correlation, maybe this ambiguity, between the religious and the spiritual. This is not an option but a necessity, when dealing with films from many different faiths, as in the case of the Religion Today Film Festival. Here the distinction between religion and spirituality becomes even more complicated, subject to different perceptions and interpretations by different observers because of their origin and history”. It has to be said that in the project and idea of the Religion Today Film Festival explicit religious reference is central. In 2018 SIGNIS was invited to be present in an interreligious jury at the Jewish International Filmfestival in Jerusalem. With the growing interest in the interfaith and intercultural dialogue, SIGNIS and its partner for the Ecumenical juries Interfilm -representing the Protestant Churches- are well aware that not only Europe but also in Asia, Latin America, the Pacific, and Africa are future area for developping dialogue that is essential for a culture of peace.

Peter Malone/GC

4 CineMag Prix SIGNIS à Trento & Terni

RELIGION TODAY - Trento 2013 2018 One Day after Peace Resurrection 2008 de Erez Laufer & Miri Laufer de Kristof Hoornaert (Belgique) Don Zeno - L’ uomo di Nomadelfia (Israël/Afrique du Sud) de Gianluigi Calderone (Italie) ex-aequo 2014 POPOLIeRELIGIONI - Terni Seasons of Love Magic Man de Kalavanal Jiji (Inde) de Erez Tadmor & Guy Nattiv (Israël) 2017 Chocolate Wind 2009 2015 de Ilia Antonenko (Russie) Family on the Edge The Healing de Gilad Goldschmidt (Israël) de Ivan Jovic (Serbia) Enklave (Enclave) 2010 2016 de Goran Radovanovic (Serbie) Zen and War The Island of the Monks de Alexander Oey (Pays-Bas) de Anna Christine Girardot (Pays-Bas) L’Amore senza de Paolo Mancinelli (Italie) 2011 2017 Tala va mes The Chop 2018 (Gold and Copper) de Lewis Rose (Royaume-Uni) Geula de Homayoun Assadian (Iran) & (Redemption) Vedete sono uno di voi de Joseph Madmony 2012 (See, I’m One of You) & The Pillars de Ermanno Olmi (Italie) Boaz Yehonatan Yaacov (Israël) de Moustafa Zakaria (Emirats arabes)

Vivre ensemble et se comprendre Vivir juntos y comprenderse à l’ère de la mondialisation en un mundo globalizado

SIGNIS considère le cinéma comme un lieu de rencontre pour le SIGNIS ve al cine como un lugar de encuentro para el diálogo partage interreligieux, indispensable pour comprendre la culture interreligioso, un espacio esencial para entender la cultura y et favoriser le dialogue interculturel. Depuis 1947, les jurys OCIC/ fomentar el intercambio intercultural. Desde 1947, jurados de SIGNIS et œcuménique ont décerné dans les festivals internationaux OCIC, SIGNIS y Ecumenicos han otorgado numerosos premios en de cinéma de nombreux prix à des films issus de pays de culture festivales internacionales, de películas provenientes de las culturas hindoue, bouddhiste et islamique. Tous ces films mettent en scène hindú, budista y árabe. Todos estos filmes exhiben valores humanos des valeurs humaines fondamentales, des valeurs partagées par tous fundamentales, compartidos por todos los seres humanos sin les êtres humains, qu’importe leur religion. Les membres d’OCIC, importar su religión. Los miembros de OCIC, Unda y SIGNIS en Unda et SIGNIS à Taïwan et au Sri Lanka ont récompensé des films Taiwán y Sri Lanka han otorgado premios a películas inspiradas en de culture bouddhiste. Les jurys SIGNIS à Zanzibar, ainsi que le el budismo. Los jurados SIGNIS en Zanzíbar y el Centro de Cine Centre du Cinéma Catholique au Caire œuvrent dans un contexte Católico de El Cairo operan en un contexto musulmán, mientras musulman. Des prix inter-confessionnels sont attribués à Téhéran que un premio interreligioso es entregado cada año en el Festival (Fajr). SIGNIS et son partenaire Interfilm (œcuménique) choisissent Fajr de Teherán. des jurés d’autres confessions pour constituer un jury interreligieux SIGNIS e Interfilm seleccionan especialistas de otras confesiones à Nyon (Suisse) et à Leipzig (Allemagne) et réfléchissent au para integrar jurados interreligiosos en Nyon, Suiza; y en Leipzig, développement d’un dialogue interreligieux dans le monde des Alemania; y discuten continuamente sobre cómo desarrollar este festivals internationaux de cinéma. tipo de diálogo en el mundo de los festivales internacionales de cine. En 2008, SIGNIS a constitué un jury international au festival Religion En 2008, SIGNIS presentó un jurado internacional en el Festival Today, basé à Trento (Italie), et en 2017 avec Popoli & Religioni à Religion Today en Trento; en Roma, en 2017; y en Terni, sede del Terni (Italie), des festivals sensibles au dialogue interreligieux. En certamen Popoli & Religioni. Todos estos Festivales son sensibles 2018, SIGNIS a été invité à participer à un jury interreligieux au al diálogo interreligioso. En 2018, SIGNIS fue invitado a integrar un Festival international du film juif à Jérusalem. jurado interreligioso en el Festival Internacional de Cine Judío de Jerusalen. Vu l’intérêt croissant pour le dialogue interreligieux et interculturel, Con un creciente interes en el diálogo interreligioso e intercultural, SIGNIS et Interfilm sont conscients du fait que non seulement SIGNIS, y su aliado Interfilm en los jurados ecumenicos, son l’Europe, mais aussi l’Asie, l’Amérique latine, le Pacifique et l’Afrique conscientes de que no sólo Europa, sino tambien Asia, America sont des espaces futurs pour le développement de ce dialogue Latina, el Pacífico Sur y África son áreas para el desarrollo de este indispensable à une culture de la paix. diálogo fundamental para construir una auténtica cultura de paz.

CineMag 5 Love and Shukla de Jatla Siddhartha (Inde)

Sans danse ni chanson, un film indien juste et tendre pour évoquer l’absence d’intimité, et ses conséquences, au sein d’une famille modeste.

Shukla est un modeste conducteur de il montre la violence quotidienne d’une rickshaw qui appréhende de se marier. mégapole surpeuplée, où les plus misérables Dans la société traditionnelle indienne, il y s’agressent entre eux, où ceux qui a peu d’espace pour exprimer le sentiment détiennent la moindre parcelle de pouvoir amoureux lorsqu’on est jeune, et encore en abusent, où la télévision et ses feuilletons moins d’occasion de découvrir la réalité de à l’eau de rose envahissent le peu d’espace l’amour physique en dehors de la vulgarité personnel et de silence qu’il reste. violente de la pornographie sur écran. L’humour graveleux de ses collègues de Pour pouvoir enfin aimer sa femme, Shukla travail n’arrange pas les choses. Lorsque doit reprendre en main sa vie, sa dignité et Au Festival international du film de le mariage arrive, non seulement la jolie et sa famille. Quittant sa carapace de jeune Zanzibar, Love and Shukla a reçu le prix timide fiancée est encore plus terrorisée homme effacé, il doit secouer les traditions SIGNIS, accompagné de l’attendu suivant : que lui, mais il faut partager le quotidien, pour trouver une nouvelle façon, plus « Le film raconte avec pudeur la recherche et l’intimité affective et sexuelle, dans une affectueuse, de vivre ensemble, d’apprendre d’espace et d’intimité d’un couple de jeunes seule pièce qui sert de logement à une à s’écouter avec respect et dignité. mariés en Inde, sans autre choix que de famille de cinq personnes... partager une chambre avec leurs parents. Bien différent des films habituels du genre De l’anticipation initiale de l’acte sexuel Pour son premier long métrage, Jatla Bollywood, Love and Shukla trouve comme expérience la plus immédiate Siddartha réalise un film délicat, tout en un ton juste, entre drame et comédie, et intime du mariage, cette privation de finesse et plein d’humour pour dénoncer pour évoquer les relations familiales, et la vie intime conduit les protagonistes les conséquences de certaines traditions qui dépasse largement le contexte local. à une compréhension plus profonde de ancestrales, aggravées par les contraintes Lorsque les contraintes économiques l’amour mais aussi de la communication, sociales et économiques. Les familles restreignent fortement l’intimité, c’est aussi de l’attention et de la tolérance en famille. doivent s’entasser dans une seule pièce, y la dignité de chacun qui est bafouée. Dans les séquences finales, s’ouvre une compris les jeunes mariés, les privant de relation familiale plus respectueuse, entre toute intimité. Et selon l’usage, les belles- Dans une dernière scène lumineuse, la mère dominante et le reste de la famille, mères se transforment en peste dès les deux jeunes mariés trouvent enfin ainsi qu’un espoir d’intimité pour le jeune qu’elles ont enfin une bru pour exprimer un espace où faire connaissance et, couple. Avec une excellente mise en scène, leur hargne et leurs rancœurs. débarrassés de toute honte et de toute le scénario évoque avec légèreté le contexte peur, ils peuvent - prélude à tous contacts culturel, et l’humour allège l’atmosphère En toile de fond de cette histoire familiale, charnels - commencer à se parler et à se dramatique.» le réalisateur déroule un portrait de la découvrir. L’amour peut alors naître dans société indienne aujourd’hui. Avec légèreté, les faubourgs de Bombay. Magali Van Reeth

6 CineMag #Female Pleasure de Barbara Miller (Suisse/Allemagne)

En donnant la parole à cinq femmes originaires de cinq pays et de cinq religions différentes, le documentaire dénonce la violence avec laquelle le pouvoir masculin, qu’il soit culturel ou ecclésial, dénie aux femmes la liberté de leur corps, de leur sexualité et de leur indépendance.

Si le titre peut prêter à confusion, elle se bat pour faire cesser cette pratique, Il est clair, dans ce documentaire, que les précisons d’emblée que les seules à travers des conférences et des prises de femmes participent aussi à perpétuer images dérangeantes de ce film sont, dès positions publiques qui lui ont valu des cette domination masculine et la violence l’ouverture, les affiches publicitaires de menaces de mort. qui en découle. Pour l’excision, ce sont grandes marques commerciales de parfum, généralement les mères ou grands-mères alcool, voiture ou vêtement, pour justement Rokudenashiko est japonaise. Elle est qui l’imposent à leurs petites filles et c’est montrer l’utilisation irrespectueuse et auteur de manga et elle est en procès pour pourquoi Leyla Hussein participe à de quasiment pornographique du corps avoir représenté et décliné dans son travail nombreuses actions éducatives, au Kenya féminin dans l’espace public. Et introduisent artistique la vulve féminine. Dans une société notamment. Les femmes de la communauté toute l’ambiguïté de l’attitude de ce pouvoir bouddhiste où le pénis est célébré comme ultra-orthodoxe quittée par Deborah masculin qui porte un regard concupiscent symbole de fertilité et montré jusque dans Feldman ont été les plus virulentes dans sur le corps des femmes, tout en empêchant les confiseries, la représentation du sexe leurs insultes et menaces. Quant aux ces femmes de revendiquer leur liberté féminin reste obscène et taboue. religieuses côtoyées par Doris Wagner, pour sexuelle, quand ce n’est pas leur liberté tout certaines, la faute incombait à la victime court. Doris Wagner est allemande et chrétienne, et non pas au violeur. Avec beaucoup elle est entrée très jeune dans un couvent d’humour, les œuvres de Rokudenashko et La réalisatrice Barbara Miller a choisi cinq où elle a été violée par le père supérieur d’autres femmes artistes déclinent la vulve femmes, ancrées dans des traditions et des de sa congrégation. Dans son cas, c’est très comme objet qui ne doit pas faire peur, ni croyances bien différentes. clairement le comportement du clergé aux femmes ni aux hommes, une partie catholique qui est en cause, et contre lequel intégrante du corps de la femme. Deborah Feldman a été élevée au sein d’une elle a essayé, en vain jusqu’à aujourd’hui, communauté juive orthodoxe américaine, de lutter pour dénoncer les abus de ces Pour la réalisatrice, ce n’est pas un film sur la avant de s’en détacher. Elle vit désormais hommes d’influence et de pouvoir et le religion ou la foi mais sur la diabolisation de avec son fils à Berlin et témoigne, à travers silence de leur hiérarchie. la sexualité féminine. Dans ce domaine, les l’écriture et l’expression artistique, de cet liens entre culture, tradition et religion sont étouffement où les femmes ont pour unique Vithika Yadav est indienne. Elle a refusé un très complexes mais une chose est sûre, les rôle la procréation à répétition. mariage arrangé, comme il est de tradition hommes ont de tous temps et partout dans dans la société hindouiste. Ayant épousé le monde, utilisé la religion pour renforcer Leyla Hussein est une musulmane, originaire l’homme qu’elle a choisi, elle a créé un leur pouvoir sur les femmes. de Somalie et vit à Londres. Elle a été une association et un site pour l’éducation excisée à l’âge de sept ans et il lui a fallu sexuelle et contre les violences faites aux #Female Pleasure a reçu une mention du des années pour réaliser que la violence de femmes. Ce qui lui vaut les représailles des jury interreligieux à Leipzig en 2018. cet acte n’est pas que physique. Aujourd’hui, plus traditionalistes de ses compatriotes. MVR

CineMag 7 The Reports on Sarah and Saleem de Muayad Alayan (Palestine/Pays-Bas/Allemagne)

Dans Jérusalem, une ville splendide et en perpétuelle ébullition, même à l’intérieur de chaque communauté, une liaison amoureuse tourne au drame. Un film subtil qui on se définit d’abord par famille, par religion, par clan. dénonce l’impossibilité du désir de l’autre. Portés par d’excellents acteurs, les quatre Depuis Roméo et Juliette, on sait combien Le film est scandé en chapitres, entrecoupés personnages principaux sont laissés seuls il est dangereux d’aimer une personne qui de vues de Jérusalem, lumineuse et belle face à une tragédie qui les dépasse. Pour est l’ennemie de sa famille. Si on pouvait de jour comme de nuit, comme pour Muayad Alayan, l’acceptation de l’autre penser qu’au fil du temps ce genre de souligner l’antagonisme entre la beauté des viendra par les femmes. Les seules - semble- situation était devenue moins dangereuse, lieux et le danger et la haine permanente t-il - capables de compassion, de pardon un film venu de Palestine nous rappelle le qui y règnent. Comme un refrain, il y a et de réconciliation. Les seules capables contraire. Sarah est une jeune femme juive, aussi l’omniprésence du mur séparant les de changer. Bisan, jeune épouse naïve et elle tient un café dans un quartier animé de communautés, métaphore incontournable aimante, respectueuse des traditions de sa Jérusalem. Saleem est arabe et il a fait sa de la scission d’un territoire commun culture, montrera à sa famille et à coups de connaissance en venant livrer les croissants aux juifs, aux chrétiens et aux musulmans, balai les limites à ne plus franchir et prendra, fabriqués à Jérusalem-Est. Souvent le soir, comme une impossibilité de communion. avec beaucoup d’intelligence, en main son ils se rencontrent furtivement pour faire destin. Quant à Sarah, elle paye très cher l’amour dans la camionnette de livraison. Passant d’un personnage à l’autre, le scénario nous introduit peu à peu dans la son apparente liberté et sa décision de dire Avec un début d’histoire très classique, le toile d’araignée qui se referme sur eux, tous la vérité. réalisateur Muayad Alayan tisse peu à peu les personnages sont coupables, chacun un scénario subtil où, de rebondissement à sa manière et, c’est sans doute une des Tout en apportant beaucoup de soin aux en rebondissement, les personnages se grandes forces de ce film, sans qu’il ne soit images – les vues de la ville, si émouvantes trouvent emportés dans un imbroglio jamais question de morale ou de religion ! ou le visage de Saleem derrière les barreaux politique et affectif, prisonniers à la fois de sa cellule, éclairé comme une peinture de leur famille, de leur culture et des The Reports on Sarah and Salem montre classique – le réalisateur construit un film gouvernements en place dans la région. que, dans cette partie du monde, tout est impressionnant par son scénario, où la Enquête policière, portrait d’une société fait pour réprimer le désir de l’autre. Désir mise en scène de schizophrénie collective en tension permanente où les destins sexuel en dehors des liens du mariage mais montre comment tout est fait pour individuels sont liés à l’agressivité collective, aussi désir de connaître l’autre, d’aller dans réprimer le désir de l’autre, au sens propre le récit est aussi une tragédie illustrant son quartier, dans sa maison, de créer des comme au figuré. l’impossibilité du désir. liens entre les différentes communautés. Et Magali Van Reeth

8 CineMag FILMS

Love and Shukla by Jatla Siddhartha

Un conductor de rickshaw joven, pobre familia de brahmanes, Finalmente se casa. El techo de la familia ahora es ocupado por la familia de él, por decir lo menos intrusivo. Para encontrar un momento de intimidad real, el joven se ve obligado a llevar a su esposa a un hotel por horas ... Commerdia dramático en la relación entre la búsqueda de la felicidad individual y convenciones culturales. – Premio SIGNIS Zanzibar 2018

It’s the story of sex, love and the search for privacy in a small, one-room Mumbai chawl. Shukla, an auto driver from an orthodox Brahmin family, has never intimately known a woman other than the celluloid starlets he watches every day on the 4 inch display of his mobile phone. When his mother arranges his sudden marriage, Shukla and his new wife face the experience of more than 55% of couples in Mumbai: a new marriage, no experience in a relationship and a joint family love nest that offers no space for sex, much less a conversation. Their only respite is a line of old suitcases set up by his father to separate them from the family, a cell phone and a city of 18 million eyes. – SIGNIS Prize Zanzibar 2018

#Female Pleasure by Barbara Miller

#Female Pleasure aboga por una liberación sexual de las mujeres del siglo 21. Se cuestionan las estructuras patriarcales milenarias y la banalización de la cultura pornográfica. El filme grafica a cinco mujeres muy particulares en diferentes partes del mundo revelando situaciones universales y mostrando el combate por el derecho a elegir su sexualidad así como a un trato más igualitario entre los sexos que no se base en el placer.

Get ready to meet five courageous women, determined to fight with body and soulfor emancipation, striving to destigmatize their sexuality and conquer the right to erotic pleasure. A documentary that travels to the four corners of the world, only to land in the very core of man-driven oppression. The female body enslaved by religious doctrines, social prejudice and the patriarchal rule. Five women enduring prosecution, threats, marginalization, and violence, only because they dared to stand up and utter the deepest truth.

The Reports on Sarah and Saleem by Muayad Alayan

Inspirada en un hecho real, esta cinta del director Muayad Alayan transcurre en la Jerusalén actual. La ciudad está dividida y aquello se nota. Hay tensión, segregación, opresión y desconfianza. Israelíes y palestinos intentan convivir, sin embargo el conflicto es mucho más profundo, más interno, mucho más poderoso. En este escenario tenemos a dos amantes: Sarah que está casada con David, un alto oficial de ejército y Saleem cuya esposa Bisan está esperando un hijo. Amantes nocturnos, ambos tienen sus propios problemas en casa.

Sarah is Israeli and runs a café in West Jerusalem. Saleem is Palestinian from East Jerusalem and works as a deliveryman. Despite being worlds apart, Sarah and Saleem risk everything as they embark on an illicit affair that could tear apart their unsuspecting respective families. When a risky late-night tryst goes awry and threatens to expose them, the two of them look on helplessly as their frantic efforts to salvage what’s left of their lives further escalate things. Caught up in the occupying machinery and socio-political pressure, Sarah and Saleem find themselves trapped in a web of deceit and not even the truth looks able to stop it.

CineMag 9 TRENTO TERNI Two film festivals fostering dialogue between faiths, cultures, peoples and individuals

Enclave by Goran Radovanovic – SIGNIS prize Popoli e Religioni Terni 2017

The Religion Today Film Festival started in polarisation between cultures and religions in October 2019 the 22nd edition’s aim is Trento in 1997 and it was the first event in our society. It is important to respond to to promote a conscious and non-rhetorical of its kind dedicated to dialogue between the urgency of current times. knowledge of the religions considering the cinema and religions - an event organized theme of mission, which can be found in for a culture of peace and dialogue between The itinerant aspect expresses the will to many religions. Besides, this year’s Festival faiths, cultures, peoples, and individuals. take its awareness and experiences out into encourages the public to relate with the It promotes a journey “exploring the the world, not forgetting its origins but to current events and major changes in progress differences”, both in religious practices and build new homes in different cultures. Over at all levels in our societies, between old and beliefs and in cinematic styles and languages, the years it has traveled to many Italian and new conflicts, unstoppable movements of towards a mutual enrichment through world destinations, such as Assisi, Bologna, peoples, globalizing tendencies and identity reciprocal knowledge and comparison. It Bolzano, Milan, Nomadelfia, Ravenna, Rome, claims. The work and experience of the is not by chance since the place is known London, Jerusalem, Sao Paulo, Teheran, missionaries become indispensable tools for the Council of Trent held between 1545 Dhaka and Zamosc. Every edition confirms to understand the current society and the and 1563 where the Catholic Church had and reinforces this migrant characteristic religious pluralism that characterizes them. to deal with Protestantism. of the festival with films distributed among The festival is also an associate member various Italian international towns. This of SIGNIS and has a SIGNIS jury. In 2018 Lack of information and empathy often is the expression of a developing identity the SIGNIS Prize went to the Belgian explains the prejudice regarding religions which has its roots in a specific history, but production Resurrection by Kristof and the creation of the “other”. The origin of it is precisely thanks to this history that it Hoornaert. This film is an act of faith: it is the festival was the conviction that cinema feels pushed towards the road of change possible to live beyond violence and death, can offer a platform or a meeting place under the sign of discovery and a pluralist suffering and fear, those of which you are to facilitate reciprocal learning between society such as there is today. a victim and those which you inflict on different cultures and their imaginations. We, others. To overcome both hatred and as organizers of the festivals, are convinced Together with the world cinema remorse, the filmmaker proposes a double that the power of the image, enables a competition, open to any film with a path of respect, without the need for words: broad public to discover and to understand religious connection, it offers a platform for communion with nature, whose contact the ideas or worldviews, and the main exchanging ideas and viewpoints, including heals many wounds, and silence, which can figures of different religions. It is a way to a “living workshop” involving filmmakers lead to forgiveness and acceptance of the counter the preconceptions and ignorance of different faiths and nationalities. Every other, and thus open up to a new life. which often causes social and political edition presents an “annual theme” and conflict. This leads often to violence. Going includes special events, academic panels, and Info: Religion Today along this path was for us an answer to the activities for schools and colleges. Therefore,

10 CineMag Reception by Lilla Zentai - Religion Today Commendation 2018

Popoli e Religioni - Enclave d’autres enfants, des jeux où on s’appelle de Goran Radovanovic « le Serbe » ou « les Albanais » et non par Terni Film Festival les prénoms. Il suffit d’un incident pour Parmi les films de guerre, ceux dont les mettre le feu aux poudres. Avec finesse, le This international film festival takes place protagonistes sont des enfants portent scénario tisse la toile de la vengeance et de in Terni every November. It was conceived en eux une dramaturgie particulière. Avec l’incompréhension, et ne dévoile que peu in 2005 by then Bishop of Terni, Vincenzo un scénario subtil, Enclave montre la à peu la résolution du récit. Si certaines Paglia, with the aim of making the peoples complexité d’un conflit ethnique et religieux, scènes sont poignantes, comme celle du and religions dialogue through the art of film. et donne des éléments qui permettent de bus ou de la punition par le père, il y a aussi It was deemed a “meeting of civilizations’’ passer de la haine à la tolérance. En 2004, beaucoup d’humour. Les acteurs, y compris that wanted to be a response to the “clash cinq ans après la fin de la guerre, la tension les enfants, n’ont pas besoin de beaucoup de of civilizations’’ feared after 9/11. One of the est encore vive au Kosovo, dont le statut dialogues pour exprimer le doute, la peur objectives of the festival is the integration of politique est toujours indéterminé. Les ou la résignation. Subtilement, la métaphore immigrants. Further, it deals with interfaith forces des Nations unies (KFOR) tentent de cette enclave politique se décline dans le dialogue, spirituality in cinema, visual d’empêcher les différentes communautés char, qui protège et rend plus visible, ou par education and activities for prisoners. de s’entretuer et le bruit des armes la cloche, qui emprisonne et sauve à la fois. For two consecutive years the festival was automatiques résonne encore trop souvent. Le film n’explique pas le conflit mais montre awarded the Medal of the President of Dans une campagne désolée, Nenad fait les qu’il est toujours possible de construire the Italian Republic. It has been organized trajets vers l’école dans un char de la KFOR. des ponts sur les ruines des générations by ISTESS (Institute of Theological and Il a dix ans et vit dans une enclave serbe et précédentes. Historical-Social Studies) and directed by chrétienne au cœur d’un territoire albanais Stefania Parisi and artistically directed by et musulman. A travers les enfants, la réconciliation est Arnaldo Casali. Hence, every year the festival possible. Pour autant, le film ne verse pas focuses on a selected region of the world, Le film nous plonge au cœur de l’absurdité dans le conte de fées et parce que deux êtres actively involving foreign communities. de ce conflit où des gens, parlant la même ont su réparer, l’insondable bêtise humaine langue et habitant depuis toujours la même n’est pas éradiquée. Arrivé dans une grande In 2017 a SIGNIS jury was first invited to ville où les Serbes sont majoritaires, Nenad participate at this festival. One of the first terre, cultivent une culture de haine pour devient un « Albanais » aux yeux de ses prizes went to the German Serbian co- leur voisin dont la religion, et quelques copains de classe... production Enclave, directed by Goran coutumes, sont différentes. Nenad vit seul Radovanovic and in 2018 to the Israeli film avec son père, un homme rude et taiseux, Magali Van Reeth Geula (Redemption), co-directed by Yossi et son grand-père qui s’éteint doucement. Madmoni and Boaz Yaacov. A l’école, il est seul et joue rarement avec

CineMag 11 NYON LEIPZIG Interreligious juries

SIGNIS and Interfilm collaborate in choosing jurors from other faiths for interreligious juries in Nyon and in Leipzig and are actively discussing how to continue to develop interreligious dialogue in the world of the international film festivals.

Interreligious Jury Nyon: Brigitte Affolter, Carlos Aguilera Albesa, Sascha Lara Bleuler, Behrang Samsami. The International Documentary Film documentaries. For Nyon it was time for the international Interreligious Award Festival of Nyon in the ancient lakeside a renewed presence, having film experts continued without the involvement of town of Nyon on the shores of Lake sensible for these religious values in film and the Templeton Foundation, but now with Geneva has been in existence since 1969. a four-member jury could be guaranteed, the financial support of the national and It had historically been held each year in of which one would come from a non- local Christian churches. The result is that the Autumn. A national Ecumenical Jury Christian religion (Jewish, Muslim, Buddhist) between 2005 - 2019, the Interreligious was present between 1978 and 1995. It in addition to a representative from the Juries provided awards to fifteen films. In awarded educational and artistic films which Templeton Foundation. Two jury members 2005 the French documentary from Nino promulgated spiritual and human values, would be non-Swiss. In fact, this project was Kirtadze, The Pipeline Next Door, obtained particularly justice and peace issues, and the supported by Robin Gurney, a consultant dignity of the human person and respect from the John Templeton Foundation for the prize. It is a story of how a small village for the environment. Following fundamental Europe. He suggested that it would be a is suddenly confronted with globalisation. In changes to the festival beginning in 1996 good idea to give a prize for a documentary the years since, the Jury has continued to (e.g. a switch to a Spring date, and financial film in addition to the European Film of the make convincing choices for its Prize. restraints, etc.), the number of accredited Year Award for a fiction film (European John juries was reduced. The festival also changed Templeton Film Prize awarded since 1997). In 2019 the Interreligious Award went its name to Visions du Réel and the presence He was convinced that the presence of a to the Azerbaijani film directed by Hilal of an Ecumenical Jury was put on hold. jury for such a prize at the Visions du Réel Baydarov, When the Persimmons Grew. would be highly appropriate. “It documents the life of the village of the Ten years later, the previous partners in the filmmaker in a summer when he and his Ecumenical Jury (Interfilm’s representatives The John Templeton Foundation became brother join their mother in the family in Switzerland and the Catholic Media a partner for three years with Interfilm house. It is the persimmon season and the Service Zurich, the Swiss representative of and SIGNIS to support the initiation of village’s inhabitants come together around SIGNIS) agreed to the convincing proposal this international Interreligious Jury from the harvest of this fruit. A happy reunion from the directors of the festival, Jean a financial perspective and to include an for the filmmaker’s family, which also evokes Perret and Gabriela Bussmann, to establish additional prize -- the best festival film an Interreligious Jury instead to replace the dealing with Science and Religion. This the solitude that his mother will face when former ecumenical one. Times had changed. was one of the prime areas of focus for the brothers leave at the end of the harvest. In a post 9/11 world, religion and culture, the Foundation. Finally, in 2005 SIGNIS The director succeeds in interweaving social and political differences, and conflicts and Interfilm together established this linear time with the moment, capturing for in which religious values played a role, were Interreligious Jury, based on the rules for eternity the joys of everyday life.” daily topics in the press, audio-visual media, Ecumenical Juries, in cooperation with the and were also present in fiction films and John Templeton Foundation. From 2008 Hans Hodel

12 CineMag Cahier Africain by Heidi Specogna - Intereligious Prize Leipzig 2016

Cahier Africain primé deux fois par SIGNIS DOK Leipzig

En 2016, le prix WACC-SIGNIS pour Due to the recent social and political changes and situation in Germany, especially les Droits de l’Homme est décerné au in Leipzig, where extremist nationalist movements were attacking emigrants and documentaire Cahier africain. Pour la refugees, mostly Muslims and expressing openly antisemitism, Leena Pasanen, the WACC et SIGNIS, ce documentaire offre artistic director of the International Leipzig Festival for Documentary and Animated une perspective très humaine à l’horreur des Film (DOK Leipzig) asked Interfilm and SIGNIS to react. She invited both international situations de conflits qui impactent les vies organizations to include non-Christian members in their ecumenical jury to support des gens ordinaires, en particulier celles des intercultural and interreligious dialogue. In November 2016, therefore the jury invited femmes et des enfants. En 2017, ce film reçoit a Muslim filmmaker from Turkey and a Jewish director from the Netherlands to join également le prix interreligieux à Leipzig. them in forming an interreligious jury. The award in 2016 went to Heidi Specogna’s Cahier Africain (Germany/Switzerland) about the ongoing atrocities between Cahier africain commence avec la different religious and ethnic groups in the Central African Republic. In the same way découverte d’un petit livre d’exercices an interreligious jury was formed in the following years. scolaires, contenant les témoignages de 300 femmes, filles et hommes centrafricains. Les pages du cahier révèlent les souffrances qu’ils In 2017 it gave its prize to Love is Potatoes (Liefde is aardappelen) by Aliona van ont subies entre les mains des mercenaires der Horst (Germany/Russia). Using the example of a personal search for traces, Love congolais, entre 2002 et 2003. is Potatoes reveals an episode of world history. On a quest for her own roots, the author finds, in a house in Russia, evidence of her origins, the flight, the story of her Filmé à partir de 2008, Cahier africain family, the way the past was dealt with, the issue of forgetting, the effects of hunger – accompagne les victimes de violence, comme all measured against the yardstick of death. Working with pictures of the house and Amzine, qui a donné naissance à une petite the souvenirs, with letters, sound recordings and especially with Italian animation fille à la suite d’un viol, ou Fane, qui a été artist Simone Massi’s excellent visuals, Aljona van der Horst did create a moving and touchée par balle au genou et qui s’est fait profound work of art, not without risking a pinch of irony and humour, too. opérer à Berlin. La réalisatrice Heidi Specogna explique que In 2018 italian documentary Avevo un Sogno (I Had a Dream) of Claudia Tosi, which « le destin de ces êtres humains engendrés not only contains hope but produces it. obtained the interreligious Prize. The film par la violence est une tragédie que le monde “shows a sense of responsibility to make the world a better place inspiring the next ne veut pas voir. A l’origine, le film était dédié generations”, explained the jury its decision. à ces femmes qui tentent de regagner un HH/GC ancrage après avoir vécu la violence. »

CineMag 13 TEHRAN Début des prix Interfaith pour les films iraniens

Au lendemain du 11 septembre, l’industrie cinématographique iranienne a demandé à Peter Malone, président d’OCIC en 2001, de mettre en place une collaboration entre musulmans et catholiques.

SIGNIS Jury Tehran 2017: Hojatollah Ayoubi, Michal Legan et Katia Malatesta giving its Interfaith Prize to the Chinese filmKnife in the clear water of Wang Xuebo.

In the post 9/11 world the Iranian film “magic realism” elements through the For its Interfaith Prize, the jury historically industry and Ministry of Culture wanted depiction of angels. It was a challenging film considered the selection of films pertaining to make it clear that there was no conflict and introduced a kind of standard for what to the new Iranian feature films section. Since between the Christian and Muslim world. SIGNIS understood in awarding an Interfaith 2016, the Interfaith Prize is given to a film Iranian government representatives visited Prize. from the international competition. In that the Vatican in November 2001 with the help A House Built on Water is about an Iranian year the Afghan Australian production Love and encouragement of Archbishop Foley. gynecologist who is not satisfied with his Marriage in Kabul was awarded the Prize. After this visit the suggestion was made that life. He becomes acquainted with a boy who The jury explained that Love Marriage in OCIC (now SIGNIS) could be an organisation has memorized the entire text of the Quran Kabul was a film about Mahboba Rawi, that could help foster the dialogue between and suddenly falls into a coma. The doctor an exiled Afghan woman who has lost her the two religions. It was suggested to Fr. Peter also deals with and treats people who suffer child, and then raises funds in Australia for Malone, President of OCIC, to see what from cancer, Aids and narcotic addiction. Afghan orphanages. Despite many difficulties practicalities could be enacted. He knew Additionally, Fr. Malone gave a commendation she succeeds in making the “love marriage” the organizer of the Fajr Film Festival, Amir to the film, Emtehan (The Exam), the first between Fatemeh and Abdul while continuing Esfandiar, and suggested the possibility of a feature by director Naser Rafaie. The Exam her social activities. “This lively documentary practical collaboration between Muslims and offered a warm, serious but also humorous depicts the difficulties in everyday life in Catholics by creating an Interfaith Jury and glimpse of schoolgirls in Tehran waiting to Afghanistan, especially for women, and the Award for Iranian films (many of which had begin their exams. The awards were made faith of those willing to change. Without ever already received SIGNIS prizes at other film in the National Theatre on the final day of losing humour the film gives us hope for a festivals). the Festival along with the major Iranian better future.” Fr. Malone attended the Fajr Film Festival awards. Fr. Malone presented the Interfaith Founded in 1982, the Fajr International as an observer in 2002. His experience of awards on-stage and the event was televised Film Festival (FIFF) is Iran’s largest annual the festival was one of a warm welcoming, nationally. There was also subsequent film festival held in Tehran. It is an event of enthusiastic and professional festival extensive newspaper and magazine coverage. that celebrates cultural exchange, displays organizers, and of many interesting films. Setting up an Interfaith Jury was a concrete creative achievements of highly acclaimed He even elected to give the first Interfaith way of showing that Catholics and Muslims cineastes and pays tribute to quality local and Prize that year to Bahman Farmanara’s film, could watch and discuss films containing international films. Since its establishment, Khaneiruye ab (A House Built on Water). values which they share. In this way, the first Fajr International Film Festival has played a His justification for the prize was that the official Interfaith Jury was organized in Tehran vital role in the development of the Iranian film was an artistic combination of a drama the following year in 2003. Cinema. Every year veteran directors and about mid-life confusion and a critique of The Interfaith Jury is comprised of two jury new filmmakers devotedly present their contemporary Teheran society. It also relied members selected by SIGNIS and one or two works in the festival. on the teaching of the Koran and introduced Muslim jury members selected by the festival. Peter Malone/GC

14 CineMag Rona, la mère d’Azim Rona, la mère d’Azim de Jamshid Mahmoudi - Prix SIGNIS Téhéran 2019 de Jamshid Mahmoudi

Ce film est le deuxième long métrage de The 2019 Interfaith Jury Jamshid Mahmoudi, après Quelques mètres cubes d’amour (2014). Afghan d’origine, The 2019 Interfaith Jury was comprised of three members – Mr. Seyyed Mohammad le cinéaste qui habite Téhéran depuis très Hossein Navab (Iran) and two members appointed by SIGNIS -- Ms. Ines Gil (Portugal) jeune, revient avec un thème qui lui est cher : and Douglas Fahlson (Ireland). The festival presented 100 films from 75 countries. le combat de réfugiés en Iran, qui luttent The task of the jury task was to select a film from our selection of assigned films contre une bureaucratie qui ne leur facilite that had a high level of artistic quality and technical skill, portrayed universal appeal, pas la vie. Azim veut aider sa mère Rona showcased the transcendent dimensions of life and the shared faiths, and dramatized à fuir vers l’Allemagne, mais à la dernière human values. The assigned films could be grouped into a few select themes. One minute et sans raison apparente, son frère such theme was touching on the concept of loss. Widow of Silence (India) follows Faroogh décide de ne pas l’emmener. Une a Muslim woman in Kashmir as she struggles with the local bureaucracy to produce tension énorme s’établit entre les deux her long missing husband’s death certificate.Yomeddine (Egypt/Austria) is a personal frères, en particulier lorsqu’Azim découvre journey made by an Egyptian leper after the death of his wife. Another Kashmir story, que Rona a besoin d’une greffe de rein. Hamid (India), tells of a disappeared father and his young son’s fantastical search for Comme en Iran, il est interdit de donner him. Laughing (Italy) concerns a comedic take on a young wife’s attempt to deal with un organe à un étranger, il est confronté à the recent loss of her husband. un dilemme : en donnant un de ses reins il Another general theme exhibited was spirituality and faith. Namme (Georgia) focuses peut sauver la vie de sa mère, mais perdre on a spiritual daughter as she takes over the family’s care of a local, traditional source la sienne. of healing water. Beloved (Iran) showcases an independent 80-year old woman who Sans tomber dans le sentimentalisme, fends for her cows and herself in the mountains of Iran. A rural mosque is discovered Rona, la mère d’Azim raconte une to have once been a Catholic church in A Shelter Among the Clouds (Albania) histoire de conflits familiaux et de désir de and the local villagers from both faiths agree to its shared use. Red Flowers and réconciliation. Mais ce qui est véritablement Green Leaves (China) highlights an arranged marriage between a young couple as en cause, c’est la souffrance des réfugiés qui they discover more about each other. Before the Frost (Denmark) is a 19th Century font partie d’une communauté exclue de Danish tale of rural poverty and best intentions gone horribly wrong. And 23 People la société. Un autre problème économique (Iran) is based on a true story of 23 Iranian child soldiers who served as prisoners of et social : le don d’organe. Pour faciliter les war in Iraq during the war in the 1980’s. greffes, l’Iran autorise la vente d’organes depuis les années 1980. Cependant, au lieu Douglas Fahleson d’aider la médecine, la légalisation de la vente d’organe n’a fait qu’empirer le trafic. Inês Gil CineMag 15 JERUSALEM Inter-Faith Jury at the Jewish Film Festival

Sarah Tuttle-Singer, Kadar Herini, Magali Van Reeth, jurés au festival de Jérusalem

In 2018, SIGNIS was proud to be part of the was not the film we liked the best but The Inter-Faith Prize was given to Samaritan, first Inter-Faith Juy at the Jewish Film Festival the most well made film that could help a very well crafted documentary by a French in Jerusalem. It takes place every year during people from different backgrounds to work young director, Julien Menanteau. Through the Hanuka week, a Jewish feast celebrating together for a better world. two main protagonists, the story cleverly light, a very good omen for a cinema festival! tells the difficult daily life of a very small While attending the Jewish Film Festival, I Jewish community that lives in Palestine, Three jury members were chosen by was able to aknolwedge the work done at speaks Arabic and have Muslim neighbours. SIGNIS and the Jerusalem Cinematheque the Cinematheque to promote dialogue They are not very welcomed by other Jews (where the event takes place): a Jewish through films and debates. More than ever, across the border but they know they can person, Sarah Tuttle-Singer from Israel ; a we are convinced that Art is a language plau a role in the peace process. The film Muslim person, Kadar Herini from Palestine and a territory where we can all expose gives hope to all the persons of good will, and a SIGNIS member (myself). The theme peacefully our differences. Cinema and Film even in a conflict area. of the Festival is to show films that have a Festivals are a unique place for overcoming link with the Jewish culture, whether past, misunderstanding and going beyond the present, inside or outside Israel, fiction films, contempt of ignorance of those we have Le prix interreligieux a été attribué à documentaries, comedies or drama. As it never met. Samaritain, un excellent documentaire is holyday time, most of the screenings are réalisé par un jeune réalisateur français, packed and the debate and reactions of the Magali Van Reeth Julien Menanteau. À travers les deux audience lively! personnages principaux, le récit déroule subtilement le During the week of the Festival, quotidien difficile d’une très I had many encounters with the petite communauté Juive vivant audience and I was touched by how en Palestine, parlant arabe et everyone seemed to approved ayant des voisins musulmans. Ils this jury and even thanked us for ne sont pas très bien accueillis being part of this group. With the par les autres juifs de l’autre côté other jury members, we had very de la frontière, mais ils savent fruitful meetings. Eventhough our qu’ils ont un rôle à jouer essentiel believes where not the same, and dans le processus de paix. Le film we were all aware of the outside donne de l’espérance à toutes political tension, we agreed with les personnes de bonne volonté, the criteria: the prize awarded même dans une zone de conflit.

16 CineMag Samaritan by Julien Menanteau - Interfaith Prize Jerusalem 2018

40 years of Jewish culture awarded and commended In 1979 the first film about Jewish culture not produced in Israel got a commendation of OCIC. In the next 40 years about 30 got a prize or a commendation, From 1990 on this was also the case for 33 Israelian productions. Some of the recent ones are listed below.

International films about Jewish culture Israelian films

2012 2014 PRIX ITALIA – SIGNIS Prize RELIGION TODAY – SIGNIS Prize Nicky’s Family - Matej Minac-CTV-Ceska Televize Magic Man by Erez Tadmor & Guy Nattiv (Israel)

2013 2015 MONTE CARLO – SIGNIS Prize RELIGION TODAY – SIGNIS Commendation Le métis de Dieu by Ilan Duran Cohen (France) Vice Versa by Amichai Greenberg (Israel)

2014 2016 KIEV – Ecumenical Commendation CANNES – Ecumenical Prize Anderswo - Anywhere Else by Ester Amrami (Germany) Abulele by Jonatan Geva (Israel)

2015 2015 KARLOVY VARY – Ecumenical Commendation WACC-SIGNIS Human Rights Award Song of Songs by Eva Neymann (Ukraine) Censored Voices by Mor Loushy (Israel)

MONTREAL – Ecumenical Prize 2017 L’orchestre de minuit by Jérôme Cohen Olivar (Morocco) Karlovy Vary – Ecumenical Prize The Cakemaker by Ofir Raul Graizer (Israel/Germany) 2016 MUNICH – SIGNIS Prize 2018 Le Voyage de Fanny by Lola Doillon (France) Karlovy Vary – Ecumenical Prize Geula by Joseph Madmony & Boaz Yehonatan Yacov (Israel) 2017 RELIGION TODAY Trento (Italy) – 20th anniversary SIGNIS Prize Fribourg – Ecumenical Prize The Chop by Lewis Rose (United Kingdom) Foxtrot by Samuel Maoz (Israel/Switzerland/Germany)

CineMag 17 EGYPT SRI LANKA

SIGNIS National Members

Egyptian Catholic Cinema Center Awards 2019

1n 1949 the Egyptian Fr Pierre Franzidis doing so it became the oldest film festival Dalla Megahed, adviser of the American wrote in the International Film Review of in Africa. The Festival has become one of president Baraka for Islamic affairs. OCIC, his first article on the cinema in the most renowned events in the country Egypt in the first six months of that year. At and most appreciated by actors, actresses, In 2019 the jury committee members: The that time, his congregation, the Franciscans, writers, directors. in Egypt. Most of them famed actor Mostafa Shabaan, the Egyptian had founded the Egyptian Catholic Cinema are Muslims. The festival of which the actress Magdy Kamel, the director Adel Center (Centrale Catholique du Cinéma awards are considered as a kind of Egyptian Adeeb, director of photography Mohamed Egyptian) in Cairo, in the midst of the Muslim Oscars, is traditionally organized each year Mokhtar and Scriptwriter Mohamed world and culture. in February. In January-February 2011 the Soliman announced mid-February the 67th Egyptian revolution prevented the festival. CCCE Prizes. Shaaban told Egypt Today In 1949 the CCCE became also a member But the CCCE had not remained inactive, that he was happy with this honorary award of OCIC. The aim was to guide and educate on the contrary. In March 2011, the Central noting that the first award he received was the Egyptians to watch ‘morally good’ and organized two different evenings. The first from the Catholic Center Cinema Festival artistic quality films. It intended to promote was set up on the occasion of Mother’s Day. on his role in Fata Men Israel (A Girl from a value-oriented local film industry in which It welcomed for the first time the mothers Israel) in 2000. dialogue between the different religions was of the martyrs of the revolution. The second highly important. From then on it showed evening was held in the light ’For the Love of The famous Egyptian actor Ahmed el how religious institutions can play an Egypt’, and hosted guests such as renowned Fishawy won the Best Actor award for his important role in society and especially in TV host Moufid Fawzi, the famous actresses role in Eyar Nary (Gunshot). Yomeddine the world of culture and art in Egypt. In Nelly and Ragaa Al-Gueddawi. scriptwriter and director Abu Bakr Shawky the following years Farid El Mazzaoui, Pierre won both the Best Script Writer and the Franzidis, Erminio Roncari, and Joseph A month later young ‘revolutionaries’ from Best Director awards for Yomeddine. Mazloum were the directors. Since 2011 Fr Tahrir Square decided to thank Fr Boutros The Egyptian actress Horreya Faraghaly Botros Danial has been the director. The for his support of their movement. Several won the Best Actress award on her role in CCCE, near Tahrir Square, became over representatives from the world of the media Tale’ Senay (Induced Labor). The veteran the years one of the richest documentation were present, such as the actress Nelly Egyptian director Yousry Nasrallah and the Centers for the history of Egyptian Cinema. Artin Kalfayan, the television presenter renowned Egyptian critic Tarek el Shenawy Sanaa Mansour, the actor Samir Sabri, received the Artistic Creativity awards. From 1952 on the CCCE has organized writer and journalist Hanane Moufid Fawzi, annually the festival of Egyptian Cinema. In the political scientist Amr Al-Choubaki and Boutros Danial/GC

18 CineMag Grasarapa by Jayantha Chandrasiri’(Sri Lanka)

Promoting cultural understanding in Sri Lanka The Sri Lankan branch of the OCIC started in 1972 (today SIGNIS Sri Lanka) to recognize excellence of professionals –with awards– in the local film industry whatever their religion (Catholic, Buddhist, Hindu, Muslim, or others) It was and is an activity of reinforcing social cohesion to society to bring different cultures together and of promoting a good and value-oriented cinema culture in Sri Lanka. Although SIGNIS is a Catholic organization, the majority of those who have benefited from the film awards and workshops conducted by SIGNIS Sri Lanka, are the non-Catholics, especially the Buddhists of this country. The annual awards ceremony, also like its Hollywood counterpart (the Oscars), has become a gala event that attracts film and television stars, directors, cameramen, scriptwriters, critics, and journalists. The awards have gone mostly to non-Catholic Sri Lankan filmmakers, actors and technicians. Film director and screenwriter Pathiraja Dharmasena (1943-2018) who became known as a ‘rebel with a cause’, an ‘enfant terrible of the ’70s’, and can be considered as the pioneer of Sri Lankan cinema’s ‘second revolution’ won the OCIC Sri Lankan Salutation award in 1973 for his first non-commercial film One League of Sky on urban youngsters. A few years later his film Bambaru Awith obtained the OCIC Sri Lankan award showing the conflict between the urban western capitalists minded youngsters and a traditional-minded fisher community. In October 2017 the 40th SIGNIS Salutation Awards Ceremony was held together to celebrate the 70th anniversary of the Sri Lankan cinema. The first Sri Lankan film director Lester James Peries (99 years), whose first film Rekava (Line of Destiny), selected in 1957 at the Cannes film festival and embedded in the Sri Lankan culture was honoured. In 2017 Praneeth Abhayasundere, president of the All Ceylon Buddist Congress was also honored at the SIGNIS Salutation as best lyricist for the film Pathtini. In 2018 Roshan Edward, a video editor received the main SIGNIS Salutation award for his debut, Wind Through the Holes. A story about the travails of a Tamil mother who lost her son, a member of the Liberation Tigers of Tamil Eelam (LTTE), during the 26- year war that drew to a close in 2009. Fathima Shanaz, a Muslim woman was honoured for her short film, Hope, which focuses on the sensitive subject of child marriages, said she wanted to give “a voice to the voiceless” and “a face to the faceless” while raising important human rights issues. Jackson Anthony obtained the award for the best actor and Samanalee Fonseka for best actress acting in the best film Premaya Nam by the Ariyawansa Brothers. The Life Time Achievement Award went to veteran Actresses, Kanthi Lanka, Sumana Amarasinghe, and to film conserver, Tissa Nagodawithana. In 2019 the SIGNIS Salutation Prize for the Most creative film and best director went to Jayantha Chandrasiri’sGarasarapa , a story about a Sinhala boy who falls in love with a Tamil girl, but the Civil War of the ‘80s intervenes! GC

CineMag 19 BARCELONA GUADALAJARA El diálogo interreligioso a través del cine

El primer hombre de Gianni Amelio La Muestra de Cine Espiritual de Cataluña 72 proyecciones en una cuarentena de salas Juana de Arco (1928) a Gertrud (1964) se realiza en Barcelona. Es una iniciativa repartidas en 16 ciudades de Cataluña. Entre pasando por Dies Irae (1946) y, sobre del Departamento de Asuntos Religiosos las películas seleccionadas se encontraron todo, su obra cumbre, Ordet (1955), el del Gobierno de Cataluña. Esta muestra es títulos como La aparición (Xavier cine de Dreyer se fundamenta en el milagro un evento cinematográfico anual que pone Giannoli), El insulto (Ziad Doueiri) o Una de la trasfiguración, en la transformación en valor la presencia de la espiritualidad bolsa de canicas. (Christian Duguay) profundamente espiritual y humana, cuando en la cultura audiovisual, hace visibles las no física, que viven todos sus personajes.” diferentes manifestaciones religiosas y Por primera vez el Premio al Cine En el marco de la conmemoración del Año espirituales, así como contribuye a favorecer Espiritual de Cataluña fue entregado en Raimon Panikkar se programó una selección el diálogo interreligioso y la cohesión social. 2018 a un director de cine conocido de películas que reflejan su pensamiento. La muestra tiene un programa con por su compromiso con la sociedad y la Panikkar, de padre indio e hindú y madre películas de estreno de todas las religiones espiritualidad a través de las sus películas. catalana y cristiana, fue una de las voces más favoreciendo el diálogo y en conocimiento Este premio ha sido un fruto de la madurez lúcidas del pensamiento contemporáneo de la experiencia religiosa. También películas de la misión de la muestra en estos quince por sus aportaciones al diálogo intercultural de cultura laica, que plantean el tema de la años. El ganador, el director y realizador e interreligioso. En esta dirección se transcendencia, como El primer hombre, Paco Arango, explicó que «con el cine proyectó de la película La tortuga roja, una basada en la novela de Albert Camus y que intento dejar un mundo un poco mejor». fábula muda sobre la relación entre el ser dirige Gianni Amelio. También se proyectan Y lo ha agradecido especialmente porque humano y la naturaleza, y que fue candidata películas que tienen interés desde el punto «este tipo de premios te permiten seguir al Oscar de animación. de vista antropológico y nos proponen luchando». cuestiones abiertas en puntos de vista Ya está en marcha la preparación de la morales, por eso es llamado cine espiritual. Los dos nombres clave de esta edición próxima edición de 2019 que dedicará una El evento cinematográfico “permitirá hablar fueron el de Raimon Panikkar y Carl monografia dedicada a los directores de sobre los estereotipos, los prejuicios, la Theodor Dreyer. Del segundo hace 50 años “El estilo trascendental en el cine”, según interculturalidad y la convivencia entre desde que murió, y la Filmoteca de Catalunya el famoso texto de Paul Schrader. Así el personas de culturas, lenguas y creencias homenajeó su figura con una selección de cineasta japonés Yasujiro Ozu ocupará el diferentes”. sus películas más emblemáticas. De él decía ciclo en la Filmoteca catalana. Igualmente, Juan Orellana presidente de SIGNIS España: para la nueva edición se proyectarán La última edición de la XV Muestra de Cine “Así es como abordó el Misterio el padre películas en la Filmoteca Vaticana (que Espiritual de Cataluña que tuvo lugar en de estos creadores [los directores místicos], cumplirá 60 años este año) y en la Abadía noviembre 2018 presentó 19 películas y 2 Dreyer que él mismo definía como “el drama de Montserrat. cortometrajes. Fueron realizadas durante objetivo de las almas”. Desde La pasión de Peio Sánchez

20 CineMag L’Insulte de Ziad Doueiri (Liban) El insulto de Ziad Doueiri (Liban) Festival International de Cine con Valores Festival Internacional de Cine Con Valores inició en 2004 de traer filmes con contenido El insulto de un refugiado palestino de de valores humanos universales en la ciudad de Guadalajara. Organizado por FIC Tercer Beirut a un libanés del Partido Cristiano es Milenio A.C., que gestiona con casas productoras y distribuidoras de todo el mundo, el detonante de una radiografía impactante la presencia de las películas. Dicho festival cinematográfico, es único en México en su de los conflictos de Oriente Medio. tipo, pues incluye en su programa películas que exalten el espíritu humano, de lucha y superación; propuestas de búsqueda por la trascendencia, tramas inspiradoras, de Una película casi judicial que habla de la compromiso social y derechos humanos. necesidad de mirar y perdonar al otro en un mundo de odios y guerras aparentemente Desde su fundación, FIC Valores, ha buscado cintas de calidad, de propuesta artística y de insuperables. Los dos personajes arrastran alto perfil de valores humanos, con el espíritu de trascender muros o prejuicios sociales dolor y motivos para el rencor, pero y ayudando a la sociedad, por medio del arte, a encontrarse y valorarse, logrando así hacen un recorrido que les demuestra que empeñarnos en las causas justas que nos ayuden a crecer civilizadamente. FIC Valores, ese camino de obstinación no sirve para es una iniciativa que no se limita a una ideología, o a una confesión religiosa. No niega ni construir y que deberán despojarse del excluye, sólo desea buscar integración e inspirar a través del cine. Se trata de un encuentro hombre viejo si quieren que la situación fílmico en el que aproximadamente cien películas son exhibidas que son minuciosamente termine de forma satisfactoria. seleccionadas por un comité interreligioso que comulga con la idea de dignificar el espíritu con historias. FIC Valores está convencido del gran aporte humano y espiritual que da la El Seminario Católico de Información experiencia cinematográfica y la utiliza constantemente todo el año para conformar una español Alfa y Omega premia las mejores selección importante e interesante abonando en la formación de líderes para el cambio películas tanto en lo estético como en lo con la creación de cines comunitarios, usando la técnica del cine foro en talleres, charlas, antropológico, estrenadas entre el 31 de y cursos de verano; brinda asistencia y acompañamiento a profesiones de la educación enero de 2018 y el 31 de enero de 2019. para expandir las herramientas de análisis en las nuevas generaciones. El Premio por Mejor película social rue En la edición de noviembre 2018 películas conocidas como El Infiltrado en el KKKlan, attribuda a El insulto. El jurado estaba Tres Rostros de Jafir Panahi que habla sobre la indolencia por la mujer, o Cafarnaum compuesta de Juan Orellana, Peio Sánchez, de Nadine Labaki sobre los derechos de la infancia. También se programaron algunas Mª Ángeles Almacellas, Ninfa Watt y Enrique películas en un contexto religioso. como Red de Libertad sobre un acto de valentía, en Chuvieco. el que una religiosa rescata a miles de un campo de concentración Nazi.

Info: Juan Orellana Sergio Joel Ascencio Casillas

CineMag 21 Ambros Eichenberger est avec Peter Malone, l’un des premiers défenseurs du dialogue interreligieux et interculturel.

22 CineMag Ambros Eichenberger Ambros EICHENBERGER en quelques dates • 1929 - naissance • 1958 - prêtre dominicain • 1972 - président OCIC-Suisse à Zurich Defender of interreligious • 1973 - visite Tehéran (Iranian Filmworld) and inter-cultural dialogue • 1973 - premier jury œcuménique à Locarno • 1975 - rencontre avec Sembene Ousmane • 1980 - élu président de l’OCIC Ambros Eichenberger OP. (1929-2006), president of OCIC Switzerland, • 1984 - invité à Filmotsav à Bombay later vice-president, and president of OCIC, is, with Peter Malone MSC, • 1985 - premier jury OCIC à La Havane one of the first promoters of interreligious and intercultural dialogue • 1987 - rencontre à Moscou avec in the world of cinema. In 1971 he was a member of the OCIC jury in les orthodoxes Berlin which gives a commendation to Gaav (The Cow) from the Iranian • 2006 - décès filmmaker Dariush Mehrjui, featuring a poor peasant who identifies himself with his cow. The film highlights a specific Iranian theme and style.

Ambros traveled to Iran in 1973 and Ambros Eichenberger o.p., président religion et de philosophie, où il utilisait le discovered the work of the filmmaker d’OCIC Suisse, puis vice-président film comme un instrument permettant Sohrab Shahid Saless, who with Mehrjui is et président d’OCIC, est avec Peter aux étudiants de se familiariser avec des part of the Nouvelle Vague Iranienne. He Malone, l’un des premiers défenseurs cultures non occidentales. Notamment avec wrote on Saless first film Yek Ettefaghe du dialogue interreligieux et inter le film, Mababangong Bangungot (Le Sadeh in the Neue Zuricher Zeitung at the culturel. cauchemar parfumé) de Kidlat Tahimik, une end 1973. He brought his film to the Berlin fable semi-autobiographique d’un Philippin film festival (forum) where it won the OCIC En 1971, il devient membre du jury de et sa réaction contre le colonialisme Prize. l’OCIC à Berlin, qui donne un prix à Gaav culturel américain. Il a travaillé avec des (La vache) du réalisateur iranien Dariush protestants et des orthodoxes et a oeuvré In the next years Ambros, who was not only Mehrjui, mettant en vedette un paysan pour une présence œcuménique au niveau a film journalist, but taught as a professor pauvre qui s’identifie à sa vache. Ambros international, ce qui a abouti au premier of Religion and Philosophy in Zurich, where se rend en Iran et découvre le travail du jury œcuménique à Locarno en 1973 et au he used film as an instrument to bring his cinéaste Sohrab Shahid Saless, qui, avec premier jury avec des orthodoxes en 1989 students in contact with non-western Mehrjui, fait partie de la Nouvelle Vague à Moscou. cultures. One of the first films shown was Iranienne. Il écrit des articles sur le premier the feature filmMababangong Bangungot film de Saless, Yek Ettefaghe Sadeh, (Un Sa présence a profondément marqué le (Perfumed Nightmare) by Kidlat Tahimik, a simple événement) dans la Neue Zuricher rôle de la communauté catholique - et en semi-autobiographical fable about a Filipino Zeitung et le présente au festival de Berlin particulier celui d’OCIC / SIGNIS - dans and his awakening to, and reaction against, (section forum) où il reçoit le prix OCIC. la construction du dialogue par le biais du American cultural colonialism. cinéma avec des personnes vivant sous des He worked closely with the Protestant Ambros, qui n’était pas seulement régimes communistes (Chine, Russie, Cuba) and Orthodox churches and favoured journaliste de cinéma, enseignait également ou d’autres confessions. ecumenical presence at the international à Zurich en tant que professeur de GC film world which resulted in the first ecumenical jury at the Locarno film festival in 1973 and with the Orthodox in 1989 in Moscow. His presence profoundly marked the role of the Catholic community - and especially OCIC/SIGNIS - in building bridges and experiencing dialogue through cinema art with people living under communist regimes (China, Russia, Cuba) or with other religions.

Honorary Award by OCIC and Interfilm to Raimondo Rezzonico, President of the International Film Festival Locarno for his sympathy and strong support of the ecumenical presence on the occasion of the 50th International Film Festival Locarno with Ambros Eichenberger and Hans Hodel.

CineMag 23 Japan There are approximately a half-million Catholics in Japan-just under 0.5% of the total population. Most Japanese identifying themselves with Buddhism and Shintoism. Martin Scorsese’s film Silence illustrates that the arrival of Catholicism to this country in the 17the century which was not without conflict. It was not only a “religious” affair but also cultural political. Today, one of the ways to express that Catholic Japanese are entirely part of society and open for dialogue is through film. In 1976 the Japan Catholic Cinema?? and Audio-visual Media Association (OCIC. Japan) was founded. And that year in October it gave its first film award to Toroku. This social critical documentary focused on the industrial contamination in the area of Toroku and its effects on the daily life and the health of those who were victims of the environmental destruction of the Mining Company. On this film a young filmmakers group, among them Kiyochi Ito, had worked four years with a lot of difficulties. It was their first feature production. OCIC Japan praised them for their courage and for this human and social message.

In the following years, OCIC Japan made ‘I’ in this movie was born and brought up I started filming my parents. However, clear that the values it defended were in Kure City, Hiroshima prefecture, and is a through the view finder I started to notice contributing to the spirituality of society. TV Director producing documentaries. She changes in my mother’. While my mother In 1986 e.g., its annual prize was awarded describes in her own words: ‘I moved to was in distress with illness, my father had to to Kei Kumai’s film The Sea and Poison, Tokyo at the age of 18 to enter university learn how to peel an apple for himself and I based on the novel of Shusaku Endo. This and lived there ever since for nearly forty was desperately trying to make up my mind fiction film explored the dilemma ofa years. I am the only child and not married, to give up my job and return home. That was young doctor who participated in medical putting everything into my work, remained when my father said ‘I’ll take care of her. You experiments on American prisoners during far away from them but quietly maintained get on with your career!’ It was the time the Second World War. The conflict of a my contact with them.’ when I began to realize that filming them conscience which tried to justify a series was indeed my mission.” of reprehensible acts but which lacked the ‘When I was 45, I was diagnosed with breast decision to leave the vicious circle which cancer and my mother lovingly supportedme Info: Mac Machida/GC continued to drag him deeper into evil was with great good humor. Having survived one the subject of this human story with its of life’s major crisis, thanks to my mother, almost directly religious overtones. Please Take Care of me as I Will go Senile In 2002 OCIC Japan became SIGNIS Japan and it continued the tradition of attributing It is not uncommon for producers of documentary films to turn their camera towards annually its film award for the best film their own families. To record the family members who remain the closest to you, is in made in Japan in which Christian values are one sense quite natural, but it does present a major dilemma over the objectivity of the reflected. documentation.

In June 2019, the 43rd Japan Catholic This is not a question of right or wrong. If you are recording it as a producer, only a Award Winner of SIGNIS Japan was the dispassionate approach will reveal the truth. When recording as a family member, on documentary Bokemasukara Yoroshiku the other hand, one can capture the closeness of family bonds and therefore move Onegaishimasu (Please Take Care of me our hearts. Both approaches are deeply meaningful, but to record the family usually as I Will go Senile, or I go Gaga, my Dear). requires a whole-hearted commitment to one another. Here, we have a production Director Naoko Nobutomo started filming with a miraculous combination of both the approaches. The documentary producer the everyday routines of her parents, who is the only daughter of an 87-year old mother suffering from senile dementia who is still live alone in their home. Along the way, being taken care of by her 95-year old husband. The screen speaks to us with both of she documents the development of her their voices harmoniously intertwined. When the mother, overwhelmed by emotions, mother’s Alzheimer’s, showing both the tells her daughter ‘Stop the camera’, the daughter continues calmly, sustained by the bright and dark sides of her parents’ life overflowing current of love. together. The intimate confines of the film create a private, natural picture, one that Like these moments, the camera captures and reveals to us the precious truth hidden brings out many beautiful moments despite behind the events it confronts. Here, recording is itself an act of love. And this is how the its heavy subject matte. producer can convey an impartial insight into events experienced subjectively within her own family. The society needs insights like these today. After seeing this documentary, The director Naoko Nobutomo explained those three people are no longer strangers to us. Nor can we feel disconnected from how she made the film.“ Through the camera, those who have seen it with us. Has any other movie ever made us all feel so much like a I saw for the first time how thoughtful my family? This is a precious film and amply fulfills the objectives of the Catholic Film Award. parents were to each other. Mother senile at 87, father starting housework at 95. The Fr. Masahide Haresaku (SIGNIS Japan)

24 CineMag Films

Retablo by Álvaro Delgado-Aparicio (Peru/Germany/Norway) Ecumenical Prize Kiev 2018

Segundo sees silence as his only option for dealing with his father Noé’s secret. The 14-year- old lives with his parents in a Quechuan village in the Andes high up in the mountains of Peru. Noé is a respected artisan and Segundo’s role model. With loving eye for detail, he artfully crafts altarpieces for church and homes, and is preparing his son to follow in his footsteps. But cracks form in their tight bond.

Rooz-haje Narenji (Orange Days) by Arash Lahooti (Iran) Ecumenical Prize Mannheim-Heidelberg 2018

Life is no picnic for 45-year-old Aban. She is the only woman in a male-dominated work environment. As a farm manager, she successfully beats her male competitor Kazem in a bid for a regional harvest job, for which she is even risking her own house as security. She is in charge of an all-female group of seasonal harvest workers on an orange plantation in Northern Iran.

Village Rockstars de Rima Das (India) Premio SIGNIS Buenos Aires - BAFICI 2018

Dhunu, una niña de 10 años, vive en una remota aldea en Assam, India, en medio de una feroz privación. Ella es un espíritu libre, mientras que su madre, viuda, lucha diariamente para traer comida a la mesa y criar a sus hijos. Sin embargo, eso no le impide tener sueños como poseer una guitarra para poder tocar en la pequeña banda que quiere formar con algunos chicos locales, los ‘Village Rockstars’.

God Exists, Her Name is Petrunya by Teona Strugar Mitevska (Macedonia/Belgium/Slovenia) Ecumenical Prize Berlin 2019

Pour l’Épiphanie, une cérémonie unique au monde prend place dans toute la Macédoine, les grands prêtres lancent une croix dans les rivières et des centaines d’hommes se jettent à l’eau pour aller la chercher. Celui qui la récupère est béni pour l’année et devient une sorte de héros local. Petrunya est une jeune historienne au chômage qui vit chez ses parents. En rentrant chez elle, elle tombe sur la cérémonie et décide de sauter dans l’eau et elle récupère la croix. Mais les femmes n’ont pas le droit de participer...

Yomeddine de Abu Bakr Shawky (Egypte)

Beshay, lépreux aujourd’hui guéri, n’avait jamais quitté depuis l’enfance sa léproserie, dans le désert égyptien. Après la disparition de son épouse, il décide pour la première fois de partir à la recherche de ses racines, ses pauvres possessions entassées sur une charrette tirée par son âne. Vite rejoint par un orphelin nubien qu’il a pris sous son aile, il va traverser l’Egypte et affronter ainsi le Monde avec ses maux et ses instants de grâce dans la quête d’une famille, d’un foyer, d’un peu d’humanité…

CineMag 25 Let There Be Light by Marko Škop

Karlovy Vary in the light of family

One of the striking themes at the 54th edition was the relation between a parent with his or her son or daughter. No big dramatic stories but often subtle cinema in which the image says more than thousand words. A theme which reflects also a growing tendency in society worldwide where one parent families seems to become a normal phenomenon.

Mother and Son philosophical school. It will break up her in the village is missing. Waleed finds him family because at that moment she doesn’t drowned. At the same time his grandfather The German film Lara of Jan-Ole Gerste understand the Confucian values herself. dies. Walleed discovers the value of life and centers on the relation of a frustrated Living alone, she starts to study Confucian living. He turns also back to praying. His mother and her son, who had been philosophy and understanding her own stay and experiences in the village changes harassed in his youth to become what mistakes and learns why her marriage the relation between father and son in a she never became, a virtuoso pianoplayer. broke up. In that sense it is a positive way of positive way. Her obsession is due to her lack of self- considering this philosophy. She becomes a confidence, which she unintentionally teacher and tries to transmit human values There are some similarities between Akher transmits to her son. It is also the reason in daily life of chinese via private workshops Ziyarah and the Czech documentary of why her husband divorced her to protect and lecturers. Martin Marecek Dalava (Over the Hills) their son from her. The ecumenical jury but the culture is different. Vit and his son gave its prize to Lara because of being “a Father and Son Grisha are planning to travel almost three well-acted and intelligently directed film thousand kilometers by car from the Czech of a depressed mother’s psychological Several films were about father and son city Brno to the Russian Diveyevo to visit humiliation of her composer-musician relations. The Saudi coming of age story the mother and sister of Grisha. They son. The interactions of mother and son Akher Ziyarah (Last Visit) of Abdulmohsen haven’t seen each other for eight years. In dramatically and dynamically capture their Aldhabaan is in that sense somewhat the car the son puts his headset on, and the alienation and shows signs of movement special. Nasser drives with his son Waleed father immerses himself into his thoughts. toward positive resolution”. from the city Riyadh to the countryside He once had believed that his love for a to see his father, who is dying. During the Russian would transcends faith and culture, The Chinese filmKongzi Meng (Confucian ride, they don’t talk much and there is a but it didn’t apparently, and they divorced. Dream) of Mijie Li is set in today’s modern tension between them. The son is under Gradually Vit and Grisha confront each China where the educational system the influence of the western culture and other. Their common search for wife and produces efficient workers without a lot of Nasser sees him as a spoilt child. mother brings them back together, again sense for spirituality. A mother, who is a and their joureny becomes a spiritual one technician, doesn’t want her five-year old With his grandfather they go and pray, for them both. son to be confronted by the cultural and but the adolescent grandson doesn’t. He spiritual emptiness she experiences. In an befriends his nephew and has a sound Let There Be Light (Nech je svetlo) by obstinate way she wants her son to study the bound with his father. They have the Marko Škop. This Slovak film is set in a “classics”, the Confucian writings to impart same age and he sees how his uncle gives small very Catholic village of today. Milan, the moral foundations of this traditional responsibility to his nephew. One day a boy father of a family comes home every year

26 CineMag at Christmas. He is a migrant worker her mother doesn’t tell her. One day she Une nouvelle revue internationale in Germany and wants the best for his goes for a long journey to Patagonia where du cinéma family. Due to his absence his eldest son, she goes to fight a match as an amateur an adolescent, is alienated from him. The boxer. She finds a trucker who gives her a Le cinéma est omniprésent dans nos son became a member of a local Catholic lift and who tells her about his life. Through sociétés. SIGNIS tient compte de cette paramilitary organisation Milan and his wife his stories she experiences what kind of présence signifiante. Cet art, expression de note that the boy behaves strange, and life her father had. Almost at the same la créativité humaine, est comme un média they are worried when his friend commits time her father gives also a lift to a girl. qui influence les cultures avec des valeurs et suicide. In his desperate efforts to help and Through her he learns the importance of des visions sur la vie et le monde. Depuis to understand his son Milan finds out that being with someone who could have been 1947, l’association, alors appelée OCIC, a the organization is under the control of the his daughter. He is sick and it is his last job. été invitée par les festivals internationaux local Priest. The Priest, however, is depicted By chance he can assist the boxing match pour mettre en place des jurys SIGNIS, as a kind of fundamentalist who is against of his daughter. He brings her to the grave œcuméniques et interreligieux afin de the cultural influences of the West which of his father as transmitting a way of family- promouvoir des films de qualités, traduisant artistiquement ses valeurs. Ainsi plus de harms Catholic Slovakia. feeling. Although understands now why 2000 films ont été primés ou distingués, la he was never around, she leaves him. to plupart étant devenu des classiques. Cette Bashtata (The Father) by Bulgarian continue her journey. At the end both find nouvelle revue veut marquer la présence filmmakers Kristina Grozeva and Petar their version of peace. de SIGNIS dans le monde professionnel du Valcanov is a kind of road movie in which cinéma mais aussi être un outil pour ses the caring love of a son for his father is The title of Damjan Kozole’s film is membres, journalistes, critiques du cinéma tenderley expressed. The father Vasil has significant Polsestra (Half-sister). In this et éducateurs aux médias travaillant dans lost his wife and is in shock. He believes Slovenian film a family broke up because plus de cent pays. she, from «beyond» life, is trying to contact the father left with a younger Albanian him on his cellphone, because she had to woman with whom he has also a daughter, A new international tell him something important about some Neza. His Slovenian daughter from the film magazine instances before she died. He believes that first marriage is Irena a hairdresser and a psychic, living on the countryside can help she has problems with her divorce. She Today, cinema is still very present in society. him to establish that contact. His son Pavel has to find a place to stay and her father SIGNIS takes into account this significant does everything, with a lot of patience, to advices her to go and share the apartment presence. This art, an expression of human convince his father that he is chasing an of Neza who is still studying. Irena cannot creativity, is like a medium that influences illusion. Helping his father creates a lot of come along with Neza who apparently has cultures with values and worldviews Since problems, private and profession, for Pavel, a cold an indifferent character, the opposite 1947 the organization, called at this time OCIC, has been invited by international but he doesn’t let his father be alone. There of Irena. She had always blamed Neza’s festivals to participate with juries (SIGNIS, is some humor in the film in which quince mother of being the cause of the breaking Ecumenical and interreligious) to promote pear jam plays a role, and which will help at up of her family, but then she learns to see quality films that artistically translate values. the to reunite father with son. the situation different. It was her father In its 72 years, more than 2,000 films have who had made the choice to leave her been awarded or mentioned and most are Father and daughter mother! Neza, although younger, becomes now considered classics. This new journal the person who protects and helps Irena, wants to mark the presence of SIGNIS in The Chilean director Felipe Rios tells like an older sister! The paradox is that it is the world of the cinema but also to be an with El hombre del futuro a kind of through the father that the two half-sisters organ for its journalists-critics and media bittersweet story set in the Chilean part discovers also the notion of being family. educators working in more than one of Patagonia. Elena doesn’t know much hundred countries. about her father who is a truckdriver and GC Una nueva revista de cine internacional

Interreligious sensibility Hoy en día, el cine sigue estando muy presente en la sociedad y SIGNIS está One of his films Al-Naser Salah al-Din consciente de ello. El cine, una expresión (Saladin) of 1963 is a promotion for inter- de la creatividad humana, es como un religious dialogue between Christians and medio que influye las culturas con valores Muslims. The film is a fictional retelling of y visiones del mundo. Desde 1947, la the Crusades which expresses the desires organización, denominada en esa época, of peace of the Muslims between the two OCIC, fue invitada por diversos festivales religions in the 1960s during the time of internacionales a participar con jurados Egyptian president Nasser. Chahine tells (SIGNIS, ecuménicos e interreligiosos) how Western propaganda and fake news y promover películas de calidad que dehumanize the Muslims and how the traduzcan valores de forma artística. Desde entonces, más de dos mil películas West is acting out of greed to invade the han sido premiadas o han ganado una Holy Land, which had nothing to do with mención. Con el tiempo, la mayoría de las defending Christianity. The film was based cintas galardonadas se han convertido en on Saladin’s reputation for generosity– clásicas. Esta nueva revista quiere marcar la living peaceful together with the Arab presencia de SIGNIS en el mundo del cine, Christians, religiosity, and commitment to This year a retrospective of the work of pero también convertirse en un órgano the ideals of a holy war. the Egyptian filmmaker Youssef Chahine de referencia para periodistas, críticos y GC was on the program of Karlovy Vary. educadores de los medios de comunicación en más de cien países.

CineMag 27 «I am a particle, I am the sun...»

BEYOND THE LIMITED SELF

BAKU, AZERBAIJAN

www.nasimifestival.live www.nasimifestival.live fb.com/nasimifestival SIGNIS – Rue Royale, 310 – 1210 Brussels – Belgium Tel: 32 (0)2 734 97 08 – E-mail: [email protected] – www.signis.net instagram.com/@SIGNISnasimi – facebook.com/signisworldfestival – youtube.com/user/signisworld