Las Hurdes: Tierra Sin Pan is a film by Luis Buñuel from 1933. During its half-hour duration, the people living in a remote mountainous region in Spain are portrayed as extremely poor, purportedly neglected and abandoned by the rest of the country, if not the rest of Europe.
DOX‘ Pamela Cohn takes a look at The Andrej Wajda Master School of Film Directing,
Warsaw, Poland.
NIELS PAGH started his career as an assistant to two of Denmark’s most important editors: Christian Hartkopp and Janus Billeskov Jansen. Since 1979, freelance film editor, more than 250 films.
RS: When I was asked by Vibeke to participate in this interesting talking platform of DOX, I thought, the best partner to discuss the regional documentary scene would be you Martichka, not only because we work together now at the Docu Rough Cut Boutique at Sarajevo Film Festival and at the Balkan Documentary Centre’s project – Discoveries but also because you started as a documentary producer from zero and proved that to be a producer devoted to only creative docs projects is possible, even on the Balkans. Your vision showed us that it does make sense even in the countries like our, where broadcasters don’t support or show many (or any) creative documentaries, to insist on becoming a creative producer.
In Erik Poppe’s latest film, photographer Rebecca states that she is furious with people who do not care. For the true war photographers of our time, such as Alexandra Boulat or Zoriah Miller, the job is more profound than that.
Craig Baldwin is not dead yet. The high priest of found-footage free association has made a three-decade career of imploding the very notion of the documentary form. Thomas Logoreci gets the California-born iconoclast to reveal the imaginative method behind his chaotic collage creations.
Large-scale crisis and catastrophes – whether war, famine or disease – often attract film makers, relief organisations and press. Whether this is helpful is debatable.
Canada’s doc festival grew into an international force between the founding of the Toronto Documentary Forum in 2000 and the SARS crisis of 2003. Marc Glassman, then one of the festival’s film programmers, charts Hot Docs’ growth in part two of his historical report.
Interview made by Truls Lie. The Israeli filmmaker Eyal Sivan talks about his films on Israel, and other projects like what he did with Jean-Luc Godard.
Producer and international documentary ambassador Peter Wintonick recounts his findings as a jury member at the First Human Rights Human Dignity International Film Festival in the dawn of a new Burma.
Like a band of filmic pirates, the Sensory Lab plunders what they need from documentary to create something fresh. These are musings arisen from discussions with Lucian Castaing -Taylor and works from the lab.
