The woman in front of us explained that her role in the Bosnian prison camp was to run around cleaning up blood. After the brutal execution of her brother and father – which she was forced to witness – she had to bury them! She lost count of everyone who raped her. But, she survived. She was strong – and following her war experiences, decided to work with helping others – helping women.  Her name is Zainab Salbi.

Two years ago, she opened London’s large documentary festival Goodpitch. During the break, we talk, she grabs my hand, holds it, and I stare straight into a pair of large brown eyes set in a round face. Her hair is cut short. I sense a strong woman, with a lot of love and enormous charisma. Her unique ability to communicate has brought her into TV-programmes worldwide, and she has collected millions of kroner for her aid work. Her message is that it is important to carry on. Now she has taken control of the camera, and has directed a documentary.

What exactly is Goodpitch? This British initiative has, since 2008, gathered humanistic inspired documentarists to meet NGOs – non-Governmental aid organisations. Currently, around 250 documentary films under development have been awarded around 120 million kroner to productions and campaigns, from these organisations. This week, the Oslo Opera is hosting Goodpitch. A selection of seven film productions is presented to 100 organisations for potential cooperation or financial support – among these are the Rainforest Foundation, Fritt Ord, DnB, NRC and the Foreign Office.

Is this mostly mutually beneficial for the business partners, or is it more about values? Britdoc, the Ford Foundation and Sundance Institute in the USA was to start with convinced that documentaries are a powerful tool to further societal changes. Probably something the almost 2,500 organisations that have visited Goodpitch are able to corroborate on. However, does an alliance between film makers and private foundations – which have an organisational goal to further – maintain film makers’ critical integrity? They risk ending up in the campaigns of worldwide NGOs, such as the participating Progressive Christianity Network, Oxfam or the World Economic Forum. If they do, it is doubtful if they are able to maintain their necessary distance, and act independent. Completed campaigns have been financed with almost exactly the same amount that it cost to make a film – around two million kroner. For instance, NRK’s Odd Isungset pointed out in 2013, during a Norwegian Goodpitch debate, that campaign-driven documentaries are not that welcome.

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