Doclisboa announces opening/closing session information for 2020 extended hybrid festival

The 2020 edition of Doclisboa takes place across six sessions, over six months, with the first one taking place between 22 October – 1 November. Now, the 18th edition of the documentary festival has announced information on the opening and closing sessions.

Opening the festival will be José Barahona’s Nheengatu – The Language of the Amazon. This event will take place in the presence of the filmmaker and be held at Lisbon’s Cinema São Jorge. Nheengatu – The Language of the Amazon takes viewers on a journey along the Negro River, on the trail of this language imposed on indigenous people by the first Portuguese colonialists who landed in Brazil in the 15th century.

The closing session will feature German filmmaker Ulrike Ottinger’s Paris Calligrammes. The film, which premiered at the Berlinale, go through the director’s memories of the exuberant Paris of the 60s, where she lived between 1962 and 1969, revealing the encounter with so many essential names of the most diverse artistic movements such as Jean-Paul Sartre, Simone de Beauvoir, and Jean Rouch and with the political issues that shaped that period.

After initial postponement, Mallorca slow festival MajorDocs returns; full programme announced

After its initial postponement in March of this year due to the COVID-19 situation, Palma’s (Mallorca) MajorDocs will hold its second edition from September 29th to October 3rd in a hybrid format.

The films presented will only be available physically in order to support the cinemas. At the festival, each day two documentary features will be screened followed by an exclusive interview with the director(s). These have been recorded remotely and will offer the audience the chance of getting close to the authors without them being present in the screening. Films will also be eligible for two cash prizes, the Audience Award and the Jury Award. MajorDocs jury members are producer Jacques Bidou, cultural manager and programmer Andrea Guzmán, and scriptwriter, producer, and lecturer Marta Andreu.

The «slow festival» will screen 8 titles, each of which have been premiered in the most recognized documentary film festivals around the world:

  • Talking About Trees, Best Documentary Film and Audience Award at Berlinale 2019
  • In a Whisper, Best Film IDFA 2019
  • Midnight Traveler, Special Jury Award at Sundance 2019
  • Inland, winner of L’Alternativa de Barcelona
  • Love Child, premiered at Toronto 2019
  • Wintopia, official selection at Hot Docs, IDFA and Thessaloniki 2020
  • Drømmeland, world premiere at Movies that Matter 2019
  • The Last Autumn, official selection at Karlovy Vary, DOKLeipzig, CPH:DOX and San Francisco IFF

Aside from the films screened, MajorDocs will also host several industry activities, which will take place at Sa Nostra Cultural Center, and also online through the festival’s website for free. Activities include masterclasses by filmmakers José Luis Guerín and Isaki Lacuesta, producer Jaques Bidou, Docsbarcelona’s distributor Salima Jirari, and scriptwriter Marta Andreu. There will also be roundtables focused on different creative processes (DOC Sessions) and a One to One session for the professional audience.

Featured Image: Wintopia, a film by Mira Burt-Wintonick

Ji.hlava IDFF announces special sections for its 24th edition

The 24th programme of Ji.hlava IDFF will offer classical and experimental documentary alongside a themed retrospective and off-competition sections. Here, Ji.hlava, running 27 October – 1 November 2020, has announced its special sections.

For 2020, these special sections cover a variety of topics and presentations. Amongst them will be a look into the speed end of humankind featuring Jóhann Jóhannsson’s sci-fi poem Last and First Man. There will also be festival retrospectives focused on Poland, as well as on the phenomenon of gardens. Additionally, Ji.hlava «best of fests» section Constellations returns along with the intimate Testimonies section. Finally, the 2020 music film section will include a focus on female creativity with its Siren Test programme, as well as a variety of outdoor sunset concerts.

Find all the film’s presented below and read more on the Ji.hlava IDFF 2020 special sections – HERE

Special Event

Last and First Men (Jóhann Jóhannsson, Iceland, 2019)
Five Hundred Plateaus (Andrea Slováková, Czech Republic, 2020)


I Walk (Jørgen Leth, Denmark, 2019)
Epicentro (Hubert Sauper, Austria, France, USA, 2019)
Merry Christmas, Yiwu (Mladen Kovačević, Sweden, Serbia, France, Germany, Belgium, Qatar , 2020)
The Truffle Hunters (Michael Dweck, Italy , USA, Greece , 2020 )
The Foundation Pit (Andrey Gryazev, Russia, 2020)
Bulletproof (Todd Chandler, USA 2020)
Microcassette – The Smallest Cassette I’ve Ever Seen (Igor Bezinović, Ivana Pipal, Croatia, Serbia, 2020)
The First Bridge (Laila Pakalnina , Lithuania, 2020)
Me and the Cult Leader – A Modern Report on the Banality of Evil (Atsushi Sakahara, Japan, 2020,)
The Wall of Shadows (Eliza Kubarská, Germany, Poland, 2020)


The Jump (Giedre Zickyte, Latvia, Lithuania, France, 2020)
Homecoming – Marina Abramovic and Her Children (Boris Miljković,Serbia, 2020)

Conference Fascinations: Poland

My city (Wojciech Has, 1950)
There and Here (Andrzej Pawłowski, 1957)
Article Zero (Wlodzimierz Borowik, 1957)
The Musicians (Kazimierz Karabasz, 1960)
My Street (Danuta Halladin, 1965)
Pavement (Ryszard Waśko, 1972)
A Square (Zbigniew Rybczyński, 1972)
ABC (Janusz Polom, 1974)
Video C (Pawel Kwiek, 1975)
A Cube of Sugar (Jacek Blawut, 1986)
Kineforms (Andrzej Pawlowski, 1957)
Somnambulists (Mieczyslaw Waśkowski, 1957)
Erotique (Jerzy Skolimovski, 1960)
Sweet Rhythms (Kazimierz Urbański, 1965)
System I-VI (Ryszard Waśko, 1973)
My Film (Józef Robakowski, 1974)
Text Door (Wojciech Bruszewski, 1974)
Input output (Wojciech Bruszewski, 1977)
A New Book (Zbigniew Rybczyński, 1975)
Video A (Pawel Kwiek, 1974)
Exercises for Two Hands (Józef Robakowski, 1976)
Working Women (Piotr Szulkin, 1978)

Fascinations: Garden

Film Studies of Impatiens, Vetch, Tulip, Mimosa, and Desmodium (Wilhelm Pfeffer, Germany, 1900)
Poem 8 (Emlen Etting, USA, 1932)
Neighbours (Norman MacLaren, Canada, 1952)
Mothlight (Stan Brakhage, USA, 1963)
Easyout (Pat O’Neill, USA, 1971)
There is a garden in my head (Jacques Verbeek, Karin Wiertz, Netherlands, 1987)
Our Garden (Martin Čihák, Jan Daňhel, Czech Republic, 1993)
Lilium (Karø Goldt, Austria, 2002)
Wax Experiments (Oscar Fischinger, Germany, 1921-26)
Bloeiende bloemen en plantenbewegingen (J.C. Mol, Netherlands, 1932)
3/60 Trees in autumn (Kurt Kren, Austria, 1960)
Carol (Ed Emshwiller, USA, 1970)
Selected Treecuts (Steina Vasulka, USA, 1980)
Ma: Space/Time in the Garden of Ryoan-Ji (Takahiko Iimura, Japan, 1989)
Biostructures (Alice Růžičková, Czech Republic , 1998)
Dendromité (Karine Bonneval, France, 2017)

Siren Test

Lydia Lunch – The War Is Never Over (Beth B., USA, 2019)
Sisters With Transistors (Lisa Rovner, Great Britain, 2020)

Featured Image: Last and First Men, a film by Jóhann Jóhannsson

Women Power

At first, The Rossellinis seems a rather ordinary documentary about an extraordinary subject: the family legacy of Roberto Rossellini, one of the most innovative film directors of the 20th Century. It starts with archival shots of the director’s funeral, introducing the director’s grandson Alessandro, the narrator, and director of the film, and proceeds with home-movie style shots of him visiting his relatives and asking about their feelings about being «a Rossellini». For those viewers who are a bit familiar with the topic, talking about Rossellini and his family is everything but ordinary. With the words of Alessandro, who at the age of 54 decided to become a film director: «grandpa was cutting edge, not only in cinema».

Roberto Rossellini-documentary-post1
The Rossellinis, a film by Alessandro Rossellini

Radical ideas

Roberto Rossellini was one of the key directors of Italian neorealism, a cinematic movement known for introducing, among other things, filming on location. In the film, Alessandro’s focus is on this formal innovation. Early on, we see the great director …

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IDA & American University launch global industry survey seeking equity & funding data knowledge in documentary

The International Documentary Association and researchers at the Center for Media & Social Impact (American University, Washington DC), have asked international documentary professionals to document the challenges and opportunities in their field. Responses are meant to contribute to a deeper knowledge of equity and funding data in the documentary industry and are kept anonymous and confidential.

Focusing on independent, documentary, entertainment, and public media, the Center for Media & Social Impact is an innovation lab and research center that creates, studies, and showcases media for social impact. The International Documentary Association supports the vital work of documentary storytellers and champions a thriving and inclusive documentary culture.

Access the survey – HERE

Docaviv 2020: The complete winners

Docaviv has just announced the winners of its 2020 festival, the 22nd edition.

Taking place in a hybrid format, beginning on 3 September through until 12 Seeptember, Docaviv will continue online through the end of the month. The list of films featured online will be announced at festival’s end.

The winners

  • Frank Lowy Award for the Best Israeli Film: Love It Was Not (dir. Maya Sarfaty)
  • Best International Film Award: Collective (dir. Alexander Nanu)
  • Best Short Award: Huntsville Station (dir. Chris Filippone, Jamie Meltzer)
  • Artistic Vision Award: Tokyo Ride (dir. Louise Lemoine, Ila Bêka)
  • Beyond the Screen Award: Aswang (dir. Alyx Ayn Arumpac)
  • Best Director Award: The War of Raya Sinitsina (dir. Efim Graboy)
  • Special Jury Award: No Hard Feelings (dir. Arthur Abramov)
  • Best Debut Film: Rain in Her Eyes (dir. Ron Omer)
  • Best Cinematography Award: The War of Raya Sinitsina (DoP. Efim Graboy, Daniel Binsted)
  • Best Editing Award: The Three Yossi (ed. Tor Ben Mayor)
  • Research Award: Kings of Capitol Hill (dir. Mor Loushy)
  • Students Competition: (1) Home (dir. Smadar Epstein Plagi); (2) With Slight Steps (dir. Guy Hodes); (3) Bleeding (dir. Moaad Gader)
  • Student Award (Cinematography): The Last Fishermen in the Sea of Galilee (DoP. Nachshon Taishi Tanaka)
  • Student Award (Editing): With Slight Steps (ed. Yuval Nitzan)
  • NEXT! Award: 99.7% CONVICTIONS (dir. Einat Weizman, Emi Sfard)

As an Academy Award qualifying documentary film festival, the winners of the international competition, Israeli competition, and short competition are automatically eligible, including a 24,900 EUR marketing grant for Love It Was Not.

Featured Image: The War of Raya Sinitsina, a film by Efim Graboy. Credit: Daniel Binsted

IDFA, IFFR, EFA launch International Coalition for Filmmakers at Risk

IDFA, IFFR, and the EFA have joined together to establish the International Coalition for Filmmakers at Risk (ICRF) – a collective response to cases of filmmakers facing severe risk. Its creation is in response to the increasing number of filmmakers being threatened while in their field, and across the world.

The announcement, which came from the Venice International Film Festival, starts a collaboration amongst the international filmmaking community and will “closely collaborate with an international network of strategic partners made up of international film networks, affiliated NGOs, international human rights and ambassadors. It will respond to cases of persecution or threats to the personal safety of filmmakers at risk and will defend their right to continue their work, by mobilizing the international film community.”

On the ICRF initiative, IDFA’s Orwa Nyrabia said: «Film Festivals and institutions have always been involved in supporting filmmakers in danger but never has there been an organization to co-ordinate this.»

IFCR was originally born out of the film industry’s collective experiences campaigning for filmmakers in trouble including Ukrainian filmmaker Oleg Sentsov who spent five years in captivity.

Sentsov also spoke on the initiative, saying: «No human rights should be violated. No artist’s right to work should be violated. Each of us has an inviolable, guaranteed opportunity for both civic and creative expression. And each of us must take responsibility for the observance of these principles of freedom and art, coming to the aid of our colleagues, talking about the existence of this problem in society, highlighting it in our work and infospace…I urge you to support [the International Coalition for Filmmakers at Risk] because only together we are strong and able to change the world for the better.»

DOK Leipzig unveils six special progammes for 2020 hybrid festival

The 63rd International Leipzig Festival for Documentary and Animated Film runs 26 October to 1 November 2020 in hybrid festival format due to the year’s COVID-19 pandemic.

With only two months t go, DOK Leipzig has begun to unveil details of its programme starting with its six specially curated programmes. Below you can read about the details of each. Overall the programme will include some 120 films.

2020 DOK Leipzig Special Programmes

  • Homage Annik Leroy: This year’s Homage is dedicated to director, photographer and cinematographer Annik Leroy. Her meditative works situated between film, video art and installation invite the audience to reflect on European history and the human condition. During the week of the festival, there will also be a master class held online in which Leroy will share her personal view of her work with the audience.
  • Animation Perspectives: Media artists Patrick Buhr and Aaron Jablonski exchange ideas about their animated miniatures in a virtual setting. The two artists share a fascination with artificial identities as an extension of reality, such as through 3-D animations or Instagram face filters.
  • Re-Visions: The «Re-Visions» programme celebrates the 25th anniversary of our animated film competition with 25 films made using the most diverse animation techniques and narrative styles in the festival years since 1995.
  • Kids DOK: documentary and animated films for audiences as young as age 5, 8, 10 and 14 — in cinemas as well as online. The protagonists of the documentary films are all children and adolescents who invite the audience to enter their worlds.
  • Films on the theme of industrial heritage: In the East Wing (Osthalle) of Leipzig’s main railway station, and in collaboration with the Saxon State Archive, we present films from the 1960s to the 1980s that revolve around railway stations and railways — including amateur films, musicals and promotional films.
  • DEFA in Person: Kurt Tetzlaff: The Leipzig region is also topic of another Special Programme. Together with the DEFA Foundation, the festival is screening Kurt Tetzlaff’s documentary film Memories of a Landscape — to Manuela, which was restored in 2018. In this 1983 film, the director followed the lives of a number of people south of Leipzig for several years, whose villages had to make way for lignite mining.

Find all the information on the special programmes for DOK Leipzig 2020HERE

Communications and Press Officer – Copenhagen Film Festivals

Copenhagen Film Festivals, which is behind three of the country’s most important film events, has been in rapid development in recent years. CPH:DOX has grown to today be one of the world’s leading documentary film festivals, BUSTER has re-emerged as an independent film and media festival for children and young people, and CPH PIX is in the process of developing several initiatives to strengthen the festival’s position as a showcase for new film talents.

Now Copenhagen Film Festivals is looking for a committed person who is passionate about placing films and digital media in an agenda-setting dialogue with both the general public and the media. You must help to strengthen the narratives and support the visions of all three festivals and be ready to work strategically with communication from development over planning to execution. Qualified candidates have relevant, documented communication experience, and knowledge of the cultural industry.

The position is a full-time position with reference to CEO, Tine Fischer.

Your duties will include:

  • Development and execution of overall communication strategy for all three festivals and other activities in the organization
  • Strategic press management in both Danish and international contexts
  • Development, planning and execution of campaigns across …

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Nordisk Panorama unveils full programme for 2020 hybrid festival

Nordisk Panorama Film Festival, taking place 17-27 September, has announced details on their ten-day celebration of Nordic documentary and short films to be presented (mostly) online with a select few in-person events in Malmö, Sweden. All Nordisk Panorama Film Festival films will be streamed for free and will be available (with only a few exceptions) in all Nordic countries. This year, Nordisk Panorama Film Festival also invites the Baltic delegation, joining festivities to connect with the Nordic documentary community.

Read about the entire Nordisk Panorama Film Festival 2020 programme, and all the competition films. Amont the films in competition are several that have appeared across the Modern Times Review pages including iHUMAN (dir. Tonje Hessen Schei), Songs of Repression (dir. Estephan Wagner, Marianne Hougen-Moraga), The Cave (dir. Feras Fayyad), The Painter and the Thief (dir. Benjamin Ree), and Colombia in My Arms (dir. Jenni Kivistö, Jussi Rastas).

Select Special Events

  • Among the special events are online masterclasses with Austrian documentary filmmaker Hubert Sauper (Epicentro) and Swedish animation director Niki Lindroth von Bahr (The Burden, Bath House, Tord and Tord).
  • An online panel discussion about the effects of COVID-19 through the perspectives of film festivals, markets, and filmmakers’ experience when launching a new film or project.
    • Brigid O’Shea – head of industry, DokLeipzig and founder of the Documentary Association of Europe
    • Charlotte Gry Madsen – commissioning editor, SVT
    • Emma Möndrup – technical producer, CPH:DOX and Cannes Digital/Scandinavian Films
    • David Herdies – filmmaker, Momento Film
    • Signe Byrge Sørensen – producer, Final Cut For Real
    • Moderator: Klara Grunning
  • Video Work: My Aunt – Ikram Abdulkadir from the Malmö-based photographer and poet – and creative force behind the Instagram account @ikramianism
  • Waste Not, Want Not at Malmö City Library and Online – Jan Ijäs series on the theme of waste.

Featured Image: The Burden, a film by Niki Lindroth von Bahr

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