The Cambodian Room takes us into the uncompromising and claustrophobic world of D’Agata’s search for the intrinsically human.
In "August, a Moment Before the Eruption", Avi Mograbi portrays the hot month of August as a metaphor for the omnipresence of violence, anger, fear and suspicion in Israel. Mograbi’s highly personal and provocative style includes humour as a device to depict the absurdity of violence. The film won a prize for Best Documentary at the ”It’s All True” festival in Brazil. TUE STEEN MÜLLER saw it there and was moved a second time.
DocAgora events promise to be at the forefront when it comes to talking about the digital future of documentaries
Both feature docs by young Danish filmmaker Jeppe Rønde “Jerusalem My Love” and “The Swenkas”-have been enormously successful at festivals round the world.
Peter Mettler is known for his intuitive and experimental film making. The new film Becoming Animal has also an ecological and philosophical depth, as it involves the Canadian philosopher David Abram.
From San Francisco International Film Festival: Andrei Nekrasov and Olga Konskaya captured the immediate aftermath of the bombing, shooting, and looting during the intense 2008 conflict between Russia and Georgia. Two other filmmakers focus on the everyday life of a single US army platoon stationed in the Korengal Valley in Afghanistan – showing just how easy it was for the Taliban to defend their positions in the mountainous terrain.
At a seminar at the Nordic Panorama Film Festival in Reykjavik last autumn I learned that current media developments are threatening the survival of copyright. Is this good or bad news for documentary filmmakers?
Crypto-anarchists across the world are creating a «bitnation» – a virtual community based on crypto-currency. Modern Times Review spoke with the founder of Bitnation in Barcelona to find out what drove her to create an alternative «nation».
Timoner wins the Sundance Grand Jury Prize with a haunting depiction of the extremities of our online existence.
Susana de Sousa Dias uses only twelve minutes of archive footage in her 72-minute archive-based film “Still Life”