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BELDOCS 2011: Serbian independent cinema
At the festival the selections were all over the map ideologically, stylistically, and otherwise: some works were preoccupied with parsing unsolvable episodes of the past, some paid homage to a lost Fatherland, some recreated new contexts for historical conflicts.
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Drifting in a sea of amiguity
According to Pirjo honkasalo: ”making the image is the documentary – the visual aesthetic is the essential part.” AS DOX’s Pamela Cohn comments, she is attached to the logic of the dream, and trusts the simple poetry of images.
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CPH:DOX 2011: Recyclers and exorcists
The new:Vision Award is a competition for documentaries that are experimental innovative, reflective – but beyond the limits of reality. DOX’s Pamela Cohn participated.
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SHEFFIElD Doc/FEST 2011: A good and faithful Muslim
Making and exhibiting independent documentary in the Arab world is a challenge in several distinct ways. Pamela Cohn writes about two outstanding films from the Sheffield festival. Are they calling for a more humanist, modern approach to being a faithful Muslim?
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Leipzig 2010: A personal vision
At the festival four animation programs contained Animadok, Neue Deutsche Animation, the Anima Für Kinder program and Pink Elephants. If real life can be intensely surreal, there is no better cinematic tool to explore surrealism than animation.
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(LGBT) community against a police
Stonewall Uprising illustrates another great step forward in the story of human rights. The gay community organized en masse in 1968, and fought back with a vengeance. This was at the height of many national civil rights movements in the United States.
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The Moment of Recognition
Thessaloniki International Documentary Film Festival held a 9-film retrospective on the works of Nicolas Philibert. DOX spoke to him there about the musicality of editing, ethics, and the constant self-examinations of an artist.
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ETHICAL DILEMMAS: Docs under duress
What are the ethical dilemmas of telling real stories in war time? And, to what extent will filmmakers go to tell those stories?
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TARKOVSKY’S ARTISTIC ZONE
The downfall of the relationship between Tarkovsky’s cinematographer (DoP) and the great director stemmed mostly from the mutual acknowledgment that there was just not enough space on the set for two self-proclaimed “geniuses” to work side by side.