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AMSTERDAM SPECIAL ISSUE THE FIVE OBSTRUCTIONS THE SEARCHERS The DFI’s special IDFA Amsterdam issue on new Danish Reviews. Interview with Jørgen Leth. Lars von Trier DFI documentary film consultants talk about the state documentaries / Jerusalem My Love selected for FIRST monologue. Essay. of affairs of the genre and of the inherent challenges of APPEARANCE / 3 films in KIDS & DOCS / The Five the consultancy system. Obstructions and The Perfect Human in REFLECTING IMAGES. PAGE 6-11 PAGE 20 –23 l1l FILM IS PUBLISHED BY#32 THE DANISH FILM INSTITUTE / NOVEMBER 2003 PAGE 2 / FILM#25 / SPECIAL IDFA ISSUE l1l NOVEMBER 2003 #32 CONTENTS PUBLISHED BY Danish Film Institute THE FIVE OBSTRUCTIONS THE SEARCHERS AMSTERDAM SPECIAL ISSUE 3 JERUSALEM MY LOVE / FIRST APPEARANCE Interview with Jørgen Leth. Essay on the film. DFI documentary film consultants talk about the state The DFI’s special IDFA Amsterdam issue on new Danish Monologue from the film by Lars von Trier. Press of affairs of the genre and of the inherent challenges of documentaries / Jerusalem My Love selected for FIRST EDITORS Agnete Dorph Stjernfelt Reviews. the consultancy system. APPEARANCE / 3 films in KIDS & DOCS / The Five Obstructions and The Perfect Human in REFLECTING PAGE 6-11 PAGE 20-23 IMAGES. Susanna Neimann EDITORIAL TEAM Lars Fiil-Jensen 6 –11 THE FIVE OBSTRUCTIONS / REFLECTING IMAGES Luise Jespergaard Sohns l1l Vicki Synnott 6 REVIEWS FILM IS PUBLISHED BY#32 THE DANISH FILM INSTITUTE / NOVEMBER 2003 TRANSLATIONS Stuart Goodale Jonathan Sydenham 7 INTERVIEW: JØRGEN LETH SUBSCRIPTIONS Nina Caroc ART DIRECTORS Anne Hemp 9 MONOLOGUE: LARS VON TRIER Pernille Volder Lund 11 ESSAY DESIGN Koch & Täckman TYPE Cendia (e©) Millton (e©) 12 –19 NEW RELEASES Underton (e©) PAPER Munken Lynx 100 gr. TINTIN ET MOI / WAR / THE TALKING MUSE / PRINTED BY Holbæk Center Tryk A/S CIRCULATION 10,000 WITH A RIGHT TO KILL / WELCOME TO DENMARK / ISSN 1399-2813 RUGGED ROAD TO INDEPENDENCE COVER Jerusalem My Love Framegrab 20 FILM CONSULTANTS 24 DOCS FOR KIDS FILM is published by the Danish Film The Danish Film Institute is the national Institute (DFI). 8 issues annually, 3 are in agency responsible for supporting and 27 – 29 TV & DOCUMENTARY / NATIONAL FILM SCHOOL English and published prior to the festivals encouraging film and cinema culture. at Cannes, Amsterdam and Berlin. The Institute’s operations extend from 27 INTERVIEW: ARNE BRO participation in the development and 28 INTERVIEW: KASPER TORSTING SUBSCRIPTIONS are free of charge. production of feature films, shorts and Contact [email protected] documentaries, over distribution and marketing, to managing the national film 30 DOCS’ BOX OFFICE / DK DANISH FILM INSTITUTE archive and the cinematheque. The total Gothersgade 55 budget of the DFI is DKK 362 m / EURO DK-1123 Copenhagen K, Denmark 49 m. 31 DANISH DOCUMENTARIES AT FORUM t +45 3374 3400 All articles are written by freelance film [email protected] / [email protected] critics and journalists. 32 DOX JUBILEE: 10 YEARS – 50 ISSUES FILM #32 er et engelsk særnummer i anledning af den internationale dokumentar- filmfestival, IDFA, i Amsterdam. 34 NORDISK PANORAMA FESTIVAL STAFF DFI Every year some 200 Danish short films and documentaries are screened at film festivals worldwide. The Danish Film Institute is continually developing new initiatives to strengthen the presence of Danish documentaries and short films abroad. Photo: Kirsten Bille Photo: Jan Buus Photo: Kirsten Bille Photo: Kirsten Bille ANDERS GEERTSEN HANNE SKJØDT ANNE MARIE KÜRSTEIN ANNETTE LØNVANG Head of Department / Distribution & Marketing Manager / Distribution, Shorts & Documentaries International Relations, Shorts & Documentaries International Relations, Shorts & Documentaries [email protected] / Cell +45 4041 4697 [email protected] / Cell +45 5125 5137 [email protected] / Cell +45 4041 4697 [email protected] / Cell +45 2148 8522 FIRST APPEARANCE / JERUSALEM MY LOVE / FILM#32 / PAGE 3 Jerusalem is more than a city. It is a state of mind. Some see the light, others end in the shadow of doubt. Director Jeppe Rønde has sought the innermost essence of religious conviction among the city’s ‘prophets’ and made the documentary film Jerusalem My Love, whose suggestive form captures the unusual vitality of the city. BY CLAUS CHRISTENSEN “One ... you can tell you’re getting closer to Jerusalem. Two ... you want to go to Jerusalem to discover why you lost your religious conviction. Three ...” It’s not every day a documentary film starts by putting the director in a hypnotic trance. Jeppe Rønde is lying on a couch in Denmark, while a woman therapist with a calm tone of voice is taking him – and the viewer – on a hypnotic trip to Jerusalem. Dream-like scenes from his childhood file past, after which we are unnoticeably lowered into a narrow alley in a strange city. We have crossed the border: we’re in Jerusalem. You don’t see an opening shot like that every day, Photo: Jan Buus nor has Jerusalem My Love remotely anything to do with everyday life either. It deals with the profound questions in life: Who am I? Why am I? Is there a God? – and it takes place in one of the world’s hottest hot spots, a city that can throw pilgrims into a state of religious rapture, and a city scarred by the bloody CONSUMED WITH conflict between Palestinians and Israelis. “Jerusalem is extreme. To cite a popular saying, it has nine-tenths of the beauty in the entire world and nine-tenths of its pain,” says 30-year-old Jeppe Rønde. “Jerusalem is best described as an oxymoron. It’s a contradiction in itself, unfathomable to describe in words. War and death are part of the city; ultimate JERUSALEM evil is found here and ultimate good. It’s like being in PAGE 4 / FILM#32 / FIRST APPEARANCE / JERUSALEM MY LOVE Jerusalem My Love. Framegrab love: I am consumed with Jerusalem, I feel at home – with clothing and other necessities every day, and achieved by merely thinking about it. Religion is yet I don’t after all; as if I can have everything, but lastly Mohammed, a Muslim, who converts drug about renouncing ‘I’. This absence of an ‘I’ – also a also lose it all.” addicts in a mosque in the Judean Desert. familiar phenomenon in war – is fascinating and “The three men represent the three monotheistic frightening at the same time.” UNDOUBTING PROPHETS religions, i.e., Christianity, Judaism, and Islam. And Jerusalem My Love is about religious conviction The film should have originally dealt with the since they are driven by goodness, they act. This is versus doubt, about the encounter between the firmly Jerusalem Syndrome, i.e., a phenomenon in which fascinating. Why does Israel the Jew expose himself convinced prophets and the director who is nagged ordinary people who, when they encounter the old to great danger by visiting Arab villages to hand out by doubt and the fear of losing control. As the quarter, are afflicted by a spirit of sorts and believe clothing? Whereas evil can always be explained, prophets try to convert Jeppe, the director takes an they are an incarnation of Jesus or Moses. Some of unconditional goodness is irrational. This defies unusual step of undergoing hypnosis and filming the them end up at the Kfar Shaul Mental Health Centre, explanation, but perhaps some of their essence can course of the therapy after returning home from which Jeppe Rønde visited when he arrived in be captured after all, thereby creating images to say Jerusalem – a way of expressing his experiences and Jerusalem. what cannot be articulated in words.” ambivalent emotions in the film. “But I soon realised that it wouldn’t be right to make “By removing my rational mind-set, hypnosis a film about these patients. It was far more interesting SYMBOL OF HYPNOSIS brings me into the same sphere as the film. Jerusalem to get close to the prophets who are actually respected Jeppe Rønde spent a long time winning the trust of is inside me, and by giving my own self a key role via – respected by the heads of the various religions, too. the prophets, getting to know them and gaining hypnosis, through which I try to fathom my own What is the stuff that religious conviction is made of? insight into their own lives – also as ordinary people. religious conviction – or rather lack of it – perhaps I Why don’t these people have any doubts? Will their He discovers, for example, that Ted’s wife has left can mirror and capture some of the city’s relentless- lack of doubt rub off on me? That’s the kind of him, and whenever Ted preaches in the street, he is ness. The city says, ‘Love me or leave me’. The film question I’ve been trying to answer.” largely talking about his own past. should do this, too. This is the symbolism of In Jerusalem My Love, Jeppe Rønde depicts three “The typical western approach would be to latch hypnosis: you have to go with the flow of the film so-called prophets: Ted, an American who received on to a piece of information like that as the from the outset or leave it.” his revelation in Texas and preaches three times a explanation, but I don’t think it’s necessarily and week in the street Ben Yahuda in downtown exclusively possible. If you wish to understand the AGAINST A BACKDROP OF WAR Jerusalem; Israel, a Jew, who was a member of the nature of religious conviction, then psychological, Jeppe Rønde has previously made a personal army elite corps until he received a call from God at rational explanations fall short. You have to move documentary, Son, from 2001. His father died when the Wailing Wall and now lives on Samuel’s into a space where words don’t exist.
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  • A Hearse Heading Home

    A Hearse Heading Home

    WELCOME “I would like to invite you for a tiny glimpse behind the curtain, a glimpse into the dark world of my imagination: into the nature of my fears, into the nature of Antichrist.” Lars von Trier PITCH A grieving couple retreat to ’Eden’, their isolated cabin in the woods, where they hope to repair their broken hearts and troubled marriage. But nature takes its course and things go from bad to worse… DIRECTOR’S CONFESSION Two years ago, I suffered from depression. It was a new experience for me. Everything, no matter what, seemed unimportant, trivial. I couldn’t work. Six months later, just as an exercise, I wrote a script. It was a kind of therapy, but also a search, a test to see if I would ever make another film. The script was finished and filmed without much enthusiasm, made as it was us- ing about half of my physical and intellectual capacity. The work on the script did not follow my usual modus operandi. Scenes were added for no reason. Images were composed free of logic or dramatic thinking. They often came from dreams I was having at the time, or dreams I’d had earlier in my life. Once again, the subject was ”Nature,” but in a different and more direct way than before. In a more personal way. The film does not contain any specific moral code and only has what some might call ‘the bare necessities’ in the way of a plot. I read Strindberg when I was young. I read with enthusiasm the things he wrote before he went to Paris to become an alchemist and during his stay there ..