Nordisk Panorama welcomes Polish Docs as guest country delegation

Trust Me, a film by Joanna Ratajczak
Trust Me, a film by Joanna Ratajczak

For the second time since 1994, Poland has been welcomed to the Nordisk Panorama Forum. The Polish Docs delegation will include producers and filmmakers developing documentaries and short films. The delegation is organised by the Krakow Film Foundation and co-financed by the Polish Film Institute and the Ministry of Culture, National Heritage, and Sport.

As part of the delegation, ten Polish documentary film producers, who will have the opportunity to participate in Producers meets Producers. Those Producers will also have the opportunity to network with over 40 representatives of Scandinavian film funds, TV stations, film institutes, or distribution companies.

Polish Docs at Nordisk Panorama 2021

  • Lili* (dir. Sylwia Rosak, prod. Katarzyna Kuczyńska) – Haka Films
  • Trust Me* (dir. Joanna Ratajczak, prod. Stanisław Zaborowski) – Silver Frame
  • The Ultimate Joker (dir. Krzysztof Dzięciołowski, prod. Agata Jujeczka) – Vision House
  • Friends, Faggots (dir. Alex Baczyński-Jenkins, prod. Ivo Krankowski) – La Camera Independent
  • Simona (dir. and prod. Natalia Koryncka-Gruz) – Eureka Studio
  • Arctowski (dir. Katarzyna Dąbkowska, prod. Ewa Żukowska) – Żuk Studio
  • The Plague (dir. Monika Kotecka, prod. Marta Szymanowska) – Centrala Film
  • Girls’ Stories (dir. Aga Borzym, prod. Agnieszka Rostropowicz-Rutkowska) – Pinot Films
  • Base 13 (dir. Paweł Hejbudzki, prod. Wojciech Karubin) – Movie Mates
  • When The Wind Becomes Silent (dir. Mateusz Gołębiewski, prod. Małgorzata Prociak) – ZK Studio

*Also selected for presentation during the international pitching

Romanian documentary filmmaker critically beaten covering illegal logging

Mihai Dragolea

While filming a new documentary on illegal deforestation in Romania, filmmaker and journalist Mihai Dragolea, environmental activist Tiberiu Bosutar, and a third companion, Radu Mocanu, were brutally beaten by a group of twenty men.

The attack took place in a forest in Cosna, Suceava County, and was carried out with axes and forks. As well as being critically beaten, Dragolea’s equipment was destroyed, as well as field notes and records. «Among the attackers were the forestry engineer and the owner of the forest. I couldn’t have any dialogue with them. They only shouted: I will kill you !, I will kill you», Mihai Dragolea told the Romanian newspaper Digi24.

Read Also: Wood (dir. Monica Lăzurean-Gorgan, Michaela Kirst, Ebba Sinzinger)

The attack, which rendered Bosutar and the third companion unconscious, has since yielded some arrests, thanks mostly to Greenpeace who asked the Inspector General of the Romanian Police and Chief Inspector of IPJ Suceava to directly involve themselves in solving this case and to watch the investigation until it is completed. Greenpeace is also providing emergency legal assistance to the victims.

Dragolea himself is a young filmmaker whose 2015 film Golden Robot was well-received across the local documentary sphere, while illegal deforestation continues to be a major problem in Romania. Fueled by Austrian companies (ie. Kronospan, Holzindustrie Schweighofer, who operate logging mills in the town of Sebeș), a multi-billion euro industry and a mafia-like system of enforcement and secrecy, Romania’s pristine virgin forests are being cut down to the tune of 260 million trees to logging since the Austrians arrived. Aside from corrupt politicians who have welcomed the foreign companies with open arms, a Romanian forestry company, Romsilva, has issued the logging licenses

Porto/Post/Doc brings «Ideas to Postpone the End of the World» as central theme for 2021 festival

Anthropocene: The Human Epoch, a film by Jennifer Baichwal, Nicholas de Pencier, Edward Burtynsky
Anthropocene: The Human Epoch, a film by Jennifer Baichwal, Nicholas de Pencier, Edward Burtynsky

The eighth edition of Porto/Post/Doc will take place from 20 to 30 November November 20th and 30th in a hybrid format.

In an urgency to look at the world around us, the central theme for the 2021 edition follows the challenge «Ideas to Postpone the End of the World». This central programme brings climate, social, political, and ideological issues to the debate table and will also be the guiding theme of the Forum of the Real. The Forum of the Real will integrate three panels dedicated to the themes: The Earth, moderated by journalist Raquel Ribeiro; The Community, moderated by journalist Abel Coentrão; and Freedom, moderated by journalist Ricardo Alexandre.

«Ideas to Postpone the End of the World» is taken from the renowned Brazilian activist and indigenous leader Ailton Krenak’s book of the same name – an adaptation of the lectures he gave between 2017 and 2019, in which he critiques the idea of ​​humanity as something separate from nature. Ailton Krenak urges us, instead, to find a new and inclusive paradigm, one that privileges collective action, humanism, and ancestral knowledge that can correct the political errors of the day and restore our connection to the natural world.

The film programme encompasses both old and new perspectives, and gestures towards alternative ideas to the logic of consumerism, which constantly seeks to annihilate difference and limit our ways of thinking about our existence and that of future generations.

«Ideas to Postpone the End of the World» Selections

  • Aggregate States of Matters (dir. Rosa Barba) – Perú, Germany
  • Anthropocene: The Human Epoch (dir. Jennifer Baichwal, Nicholas de Pencier, Edward Burtynsky) – Canada
  • Bending to Earth (dir. Rosa Barba) – EUA, Germany
  • Birds In The Earth (dir. Marja Helander) – Finland
  • Demain (dir. Cyril Dion, Melanie Laurent) – France
  • Disseminate and Hold (dir, Rosa Barba) Germany
  • Nuestra voz de tierra, memoria y futuro (dir. Marta Rodríguez, Jorge Silva) – Colombia
  • White Cube (dir. Renzo Martens) – Netherlands, Belgium, DR Congo
  • Who We Were (dir, Marc Bauder) – Germany

Doclisboa announces opening/closing sessions; early programme highlights

The Tale of King Crab, a film by Alessio Rigo de Righi, Matteo Zoppis
The Tale of King Crab, a film by Alessio Rigo de Righi, Matteo Zoppis

The 19th edition of Doclisboa (21-31 October) launches with the motto of resistance, through a double bill reflecting on the continuity of struggle.

From Serbia, Doclisboa brings Landscapes of Resistance (dir. Marta Popivoda). In the same session, The Earth Is Still Blue When I Get Off Work (dir. Sérgio Silva)is a contemplative look at the cinematographic archive and the ephemeral nature of heritage. Later in the festival, Silva will also present a special session, curated by him, dedicated to the Brazilian Cinematheque.

The Tale of King Crab (dir. Alessio Rigo de Righi, Matteo Zoppis) will close this year’s festival. The film, which had its world premiere in Cannes, sits in the folds of the universe of history and mythology, building a fiction upon the legend of Luciano; a complex anti-hero exiled from Italian medieval society, who leaves for Tierra del Fuego in search of treasure.

The opening of the Heart Beat section will be taken on by a-ha The Movie (dir. Thomas Robsahm, Aslaug Holm. It will also welcomes Charlotte Gainsbourg’s Jane by Charlotte. Three Portuguese title will also feature: Everything Must Go (dir. Maria João Guardão), In Eunice or a Letter to a Young Actress (dir. Tiago Durão), and Spread Through Inland (dir. António Aleixo)

The section From the Earth to the Moon will present the three episodes of the documentary Uprising (dir.Steve McQueen, James Rogan, as well as the return of Mark Cousins with The Story of Looking the Argentinian Lucas Larriera’s Channel 54. From The Earth to the Moon also includes two world premieres of Portuguese productions: Jamaika (dir. José Sarmento Matos) and From the Neighbourhood (dir. Diogo Varela Silva), a portrait of the past and present of the historic Portuguese neighbourhoods of Alfama and Mouraria.

Find more information on Doclisboa 2021HERE

Ji.hlava announces first details as it sets to return to cinemas for 25th edition

Dark Red Forest,a film by Jin Huaqing
Dark Red Forest,a film by Jin Huaqing

The 25th Ji.hlava IDFF will take place from October 26 to 31, 2021. Now, it has announced its first details as it prepares to return to cinema with its online portal open for two weeks afterwards.

In line with tradition, Ji.hlava IDFF will offer classical and experimental creative documentary cinema and themed retrospectives, plus a number of off-competition sections, including Special Events. Amongst the first details released are:

The Czech Joy section includes Martin Kohout’s Votes for President or Attempted Counterrevolution and Jan Látal’s This era is not for us, as well as Diana Cam Van Nguyen’s animated film Love, Dad.

The Constellations section will feature British actress Charlotte Gainsbourg’s Jane Birkin biography, Jane by Charlotte, as well as Jean-Gabriel Périot’s Returning to Reims.

The Testimonies competition section will feature Oscar-winning documentarian Errol Morris look at LSD guru Timothy Leary, My Psychedelic Love Story and Jin Huaqing’s Dark Red Forest.

The 25th Ji.hlava IDFF will also feature an extensive showcase of films by the Slovak-Czech ethnographer and filmmaker Karol Plicka, including 1933’s Venice Film Festival winner The Earth Sings.

Finally, a remarkable retrospective featuring 24 experimental films created in underground conditions in Romania during the period 1968–1989. The Conference Fascinations: Romania retrospective will bring many cinematographic revelations including a poetic film set in an industrial environment, The Alert (1969) by Mircea Săucan which will have its world premiere in Jihlava.

Find more information on the 25th Ji.hlava IDFFHERE

«We noticed quite early on that this year’s films would be a challenge to thematise»

Cecilia Lidin Hawa Sanneh
Cecilia Lidin (l), Hawa Sanneh (r)

The 32nd Nordisk Panorama kicks off on 16 September and moves through 21 September in Malmö, Sweden.

A full-fledged film festival, industry event, and meeting point for filmmakers, distributors, financiers, and audiences alike, Nordisk Panorama has existed since 1990, growing into a full-scale meeting place for the professional Nordic short film and documentary community.

Modern Times Review spoke with Nordisk Panorama documentary programmers Cecilia Lidin and Hawa Sanneh on the challenges, trends, and current Nordisk Panorama experience.

«This year we believe that people dared to explore more, both in their history but also their surroundings.»

This year’s festival has a strong focus on climate action and sustainability, particularly across the documentary offerings. Can you explain why did you decide for this topic to be a focal point for the 2021 festival?
The climate issue is definitely one of the major topics that we point out in this year’s range. It is an issue that is constantly topical and is gaining more and more space in the public sphere. This year, we have actively worked to create a space for that topic but it was important that we allow other topics to coexist as well. Other topics seen in this year’s festival are friendship, womanhood, identity, and migration. So I would say that this year’s focus isn’t around a specific topic, it’s broader than that.

Aside from climate, what sorts of themes did you notice across submissions this year? How did these themes translate into the final programming?
We noticed quite early on that this year’s films would be a challenge to thematise. This year we believe that people dared to explore more, both in their history but also their surroundings. We think the pandemic helped people to dig where they stand in different creative ways.

As I understand, you are also involved with the indie game focus and seminars for this year’s festival. Can you explain a little about the form this will take? How do you define the games presented as falling within the genre of «documentary» as they are fictive worlds made around real-life issues? Many see video games as being a very commercial (and lucrative) industry, where do such games present fall within this conversation? What is the target audience/market for them?
The idea of focusing on games at a seminar during Nordisk Panorama comes from a place of curiosity and inspiration. Because many games developed in the Nordic region – often made with public art support, are very far away from what we maybe think of as games developed by commercial interests. The games we will introduce represent an artistic development in visual storytelling, which we are convinced will be interesting for all storytellers – both within fiction and documentary filmmaking They deal with important issues in creative ways, and we hope the film community will find it as inspiring as we do!

Do you have a seminal documentary film, filmmaker, and/or filmography that has been integral in your interest in the genre?
I think all films in one way or another represent the documentary format in its purest form. There is this timeliness, playfulness, artistic height, and honesty that together creates a Nordic showcase of our present.

Nordic Panorama is about presenting a range of what is happening in the Nordic countries at this moment.

Finally, can each of you discuss your approach to programming? What sort of «criteria» do you look for?
Nordic Panorama is about presenting a range of what is happening in the Nordic countries at this moment. We want to create a range in content, topics, formats but also take a look at who the creators are. What is their age/gender/ethnicity? In this sense, we both had the same approach to the selection process – and the strength of being two is of course the discussion we have had that has forced us to think deeply and nuanced about the choices we ended up making.

The enemy knows the system

Russian mass media manipulation tactics or modern marketing techniques ride the emergence and consolidation of collective intelligence applications.

Today it is undeniable that elections are won through social media. This is clearly stated by victories of people like far-right President Jair Bolsonaro in Brazil, who won with a fringe party thanks to an obscure manipulation strategy via WhatsApp. And thus further establishing a new tool for large-scale political manipulation.

Before Brazil, Donald Trump used Cambridge Analytica’s psychographic profiling dataset to manipulate the elections. To find those 2 to 5 million profiles per state that were likely to change their mind -that 1% that tipped the scale in his favour- Cambridge Analytica bought hundreds of databases, including Alexandr Kogan’s dataset. That purchase led to uncovering a personal data transaction scandal that has been abundantly reported and discussed. However, the actual significance of this transaction is that if Cambridge Analytica had hired Kogan instead of buying his dataset, the scandal would not have occurred. The transaction would have been legal. And that is one of the multiple and chilling reflections that Marta Peirano proposes. The point is, as Alexandr Kogan confessed in his public apology:

«I think that the core idea we had -that everybody knows and nobody cares- was wrong. For that, I am sincerely sorry.» Everybody knows the world of data, but this is not common knowledge to the common man. The level of manipulation that social networks exert on common people is mind-shattering.

Before Brazil, Donald Trump used Cambridge Analytica’s psychographic profiling dataset to manipulate the elections.

In 2016, in front of a mosque in Houston, Texas, two groups of antagonistic protesters rallied and barely came to blows had there not been an effective police presence. On one side, congregated by Heart of Texas, a hundred people with confederate flags and armed to the teeth, defending a secessionist and racist FB page with 4 million followers positioned against the «Islamization of Texas». On the other side, the United Muslims of America page summons another hundred people with flags against racism and a soap bubble machine.

The anecdote wouldn’t go any further if it weren’t for the fact that the same person created both pages. A member of the Internet Research Agency, a Russian group with a bot system and $200 in advertising, had called both concentrations simultaneously from the other side of the world.

The Internet Research Agency, known as the Russian «Troll Farm», managed to create and confront half a thousand groups of different political affiliations, including Blacktivists, Secured Borders, or LGBT United. These groups gathered vast amounts of interactions and were very active.

Invasion of privacy

Marta Peirano is a journalist and writer with a remarkable career, specialized in information technology, co-founder of CopyFight, Hacks / Hackers Berlin, and Cryptoparty Berlin; she has written extensively about data privacy. Since the publication of the Little Red Book of the Online Activist, Peirano has made herself a place in technological journalism with activist commitment. She analyses and decodes the whirlwind of profound changes that the information society has been riding since the bursting of the dotcom bubble in an accessible yet detailed and inquiring style, faithful and in-depth. Through her work in various publications, she has taken care to insistently point out the many problems we face with the invasion of privacy at the centre of her research.

In the Little Red Book of the Online Activist, the foreword by Edward Snowden already indicates what is to be Peirano’s spearhead:

The ability to understand the world depends on the unauthorized and unsupervised exchanges of investigative journalists and their sources. The persistent surveillance of investigative journalism undermines basic freedoms. However, journalists are not experts in security or cryptography.

#Bradley Manning#, Julian Assange or Edward Snowden are the tip of the iceberg of a large movement of journalists, whistleblowers, online activists and all kinds of ordinary citizens facing extraordinary situations. In this same league, Peirano invites us to understand the complex ramifications of fascism mutating on the back of this apocalyptic chariot pulled by fake news, attacks on privacy, mass surveillance, and democracies in liquidation process.

What is the original sin? The INTERNET problem.

The ability to understand the world depends on the unauthorized and unsupervised exchanges of investigative journalists and their sources.

Centralization

Back in the 70s, several laboratories and universities approached the task of interconnecting computers in a simple way around the world. But the severe issues they faced were no hardware or software but politics. In Europe, telecommunications were tightly controlled and centralized state monopolies governed by the logic of strategic infrastructures.

Meanwhile, scientists who operated these laboratories were more in sync with Thomas Khun’s The Structure of Scientific Revolutions. In the spirit of interdisciplinary work and the conviction that extraordinary leaps in science occur by interconnecting different areas and talents, the general opinion among the forefathers of the INTERNET was that it could not be a monopolistic endeavour. Not benefiting one type of information over another, the network had to allow indiscriminate and non-centralized exchange. It had to be designed to be fascism-proof, and it had to be unaffected by political changes.

At that time, there were already monopoly-type networks that operated at the national level, such as Minitel by the French PTT, a style of teletext that had terminals without computational capacity and gave a centralized service from the post and telegraph offices. It even had an external application platform called Kiosk, no different from Google Play or Apple Store.

The battle between these divergent positions underlined the birth of TCP / IP. On the institutional side, the OSI system was supposed to be the model to create the INTERNET, supported by large telecommunications companies, with government money and with the International Telephone and Telegraph Advisory Committee in favour.

But while Charles Bachman, president of the Committee at the time, was trying to put together a henhouse of tech conglomerates and ministries from Europe, North America, and Asia, the ARPA network adopted the internet protocol in 1983 in 1984, the ARPA military division separated from the INTERNET. By 1989 there were almost 200,000 computers connected to the INTERNET by TCP/IP, using UNIX in an eminently academic and scientific environment.

At this moment, the obvious becomes apparent, and the pendulum motion between decentralized, anarchic INTERNET, of freely accessible information like USENET, and its opposing system, that of the monopoly, mass surveillance, and centralization becomes a force to be concerned about.

With her extensive knowledge of the history of the INTERNET, Marta Peirano accompanies us on a disconcerting journey. From the birth of the technology to the first laws, treaties, and ideological motivations to the tectonic movements that these powerful ideas generate. And how decades later they affect the way the information society is organized and how it enters the economy of attention.

At this moment, the obvious becomes apparent, and the pendulum motion between decentralized, anarchic INTERNET, of freely accessible information like USENET, and its opposing system, that of the monopoly, mass surveillance, and centralization becomes a force to be concerned about.

Psychophysics

As Perianos tells us, four companies share the global flavour and odour industry. Sodas, soups, cosmetics, cars, dildos, paint, disinfectants, or candy. The flavourings are essential to transform one product into a completely different one. The millionaire formulas of flavours can give the perfect peach scent to a jelly bean made from pork knuckles. Their target is the brain. Aroma engineers operate on the mind with effects that can be truly devastating. They operate in conjunction with branding and marketing machinery that can make you believe that an industrial bun is a homemade muffin or that a chicken from an intensive farm has been raised outdoors eating wild grain.

Our brain is conditioned by evolutionary learning. Sweetness has always indicated the presence of carbohydrates, which are our primary source of energy and which are highly attractive. This evolutionary experience causes our brain to treat the consumption of candy as it treats sex or drugs, releasing dopamine. The problem appears when we can eat sugar at all times; the release of dopamine is excessive and suppresses normal function, which generates anxiety and nervousness, typical of the withdrawal syndrome. This syndrome leads us to consume more sugar to mitigate the effects, thus entering an addictive loop.

Industries of all kinds of markets have favoured the study of psychophysics to deepen the effectiveness of marketing and increase the sales of their products. Howard Moskowitz is a scientist in this branch of psychology. He studies the relationship between the magnitude of a physical stimulus and the intensity in which the subject perceives this stimulus. He is famous for having coined, in the early 1980s, the concept of «bliss point», the G-spot of the food industry. The right point of fat, salt, and sugar causes just the right dopamine secretion, enough to be pleasant but not saturate, generating an addictive cycle in the consumer. And giving birth to the junk food industry, leading cause to a painfully current paradox: a third of the North American population is obese and malnourished at the same time.

Our brain is conditioned by evolutionary learning.

Manipulating our willpower through colours, smells, flavours, words, music

The addictive process works on multiple levels. In its most voracious expression, it urges us to consume what we know we should not consume while making us feel guilty for our lack of containment. At the same time, we are bombarded by techniques exquisitely designed to manipulate our willpower through colours, smells, flavours, words, music. We will rather think that we are undisciplined instead of becoming aware that powerful and toxic industries maintain teams of highly motivated geniuses – with astronomical salaries, specialized in manipulating our stimuli to make us addicted to their products.

In the 1940s, a Harvard psychologist B. F. Skinner put a mouse in a box. In the box, there was a lever that, when operated, gave the mouse food. Dubbed Skinner’s Box, it demonstrates an addictive three-act, claim-action-reward drama. Skinner called it a continuous boost circuit. Continuing with his experiments, Skinner decided to vary the reward so that the lever did not always return food.

Contrary to what might appear, the «variable interval reinforcement» did not discourage the mouse but rather reinforced its addictive behaviour. The little mouse’s brain had integrated that pulling the lever gave pleasure, even if it did not return food. These same studies are on the table of engineers who develop the engagement applications that inhabit your cellphone.
Creating a repetitive and mechanical gesture that generates learning through a reward stimulus in dopamine, apps create addicts. If Skinner were alive today, he would work at Facebook.

Entering fully into the studies of psychology, psychophysics, marketing, manipulation of the unconscious, mass media, applications of collective intelligence, social networks, and the economy of attention, Marta Peirano manages to bring forth an essay that makes the hair on your neck stand on end. It’s a scary book, yet a necessary assertion on the world we live in today. It explains in detail the manipulation framework in which we are currently immersed and points to possible resistance from the INTERNET trenches.

Doing the right thing: Spike Lee’s NYC EPICENTERS 9/11➔2021½

NYC Epicenters 9/11-2021½ , a series by Spike Lee
NYC Epicenters 9/11-2021½ , a series by Spike Lee

Like the majority of Americans of a certain age – and citizens around the globe – I witnessed the disaster movie-level events of September 11, 2001, unfold in surreal fashion across a TV screen. Unlike the majority of Americans, however, my television screen was in Brooklyn. I’d been tuned in to my local NY1 News station as I was every weekday morning, simultaneously readying for work while catching «weather on the ones» (abundant sunshine), subway updates (no major delays heading downtown), and the primary day politics (Mark Green looked to be the next NYC mayor). And then anchorman Pat Kiernan cut away to an image as likely as King Kong scaling the Empire State Building. In other words, for me – as for fellow New Yorker Spike Lee, whose latest four-parter for HBO Max NYC EPICENTERS 9/11➔2021½ is both epic (7½ hours!) and utterly magnificent – 9/11 wasn’t an international or even a national news story. This shit was personal.

A sentiment made abundantly clear from the very first episode (chapters one and two) of NYC EPICENTERS, which deals not with that sudden tragedy but with the slow-moving crisis that nearly two decades later would throw the Big Apple back onto the «ground zero» stage. What’s perhaps more surprising than Lee’s local approach to his beloved hometown – all New Yorkers know NYC isn’t really a metropolis, just a gigantic small town (comprised of five fiefdoms) – is his unconventional execution. No longer the righteously angry director of Do the Right Thing, railing against The Man and his system that once again failed to protect its citizens, Lee is now solidly middle-aged. And unselfconscious, lighter, and wiser. Able to craft something that would seem practically oxymoronic on its face: a fun, feel-good – and poignant – pandemic capsule.

NYC Epicenters 9/11-2021½ , a series by Spike Lee
NYC Epicenters 9/11-2021½ , a series by Spike Lee

A specific rememberance

Indeed, in loud red letters that flash across the screen, we’re treated in an unfamiliar way to the familiar names of people and places that defined the early days of the lockdown – as well as foretold it. Press conference footage featuring the likes of «President Agent Orange» – a nickname infamously coined by Busta Rhymes, who likewise appears onscreen to wrestle with the existential question of why anyone would actually want to be orange – and President Barack «Brudda Man» Obama. Boroughs are referred to in New York-ese: Da People’s Republic of Brooklyn, Da Boogie Down Bronx. Far from a sober universal reflection, this is a very specific remembrance of history – and one all the more soaring for it.

So by the time we get to episode two (chapters three and four), Lee has really hit his maverick stride. Though the director has long been accused of conspiracy-mongering (but more on that reedited final episode later), he chooses this time to craft what is practically a public service announcement aimed at saving the African American community, long skeptical of medical establishment interventions. (And lack thereof. See the dehumanizingly titled Tuskegee Study of Untreated Syphilis in the Negro Male.) He focuses less on current American hero (or villain if you’re mainlining Steve Bannon bunk) Dr. Anthony Fauci than on the practically unknown Dr. Kizzmekia Corbett – a thirty-something Black woman who was a key developer behind the Moderna vaccine. And the very first person to get a shot in the arm on these shores? That would be Sandra Lindsay, the director of nursing for critical care at Northwell Health in Queens – and yet another unsung Black female hero. Suddenly one gets the sense that we’re witnessing not just history but a thrilling reclamation of narrative: BIPOC on the frontlines writing themselves into the American history books. (As opposed to, say, waiting for white folks to toss over a marginalized holiday now and again.)

Suddenly one gets the sense that we’re witnessing not just history but a thrilling reclamation of narrative

Heroes

Yet as riveting as episode two is, episode three (chapters five and six) is all the more extraordinary – a work directed by a master unafraid to take off the gloves and wear his cinematic heart onscreen. Indeed, the piece begins with an entire clip from On the Town, the «New York, New York» number featuring Sinatra, Kelly, and Jules Munshin – which ends with a cut to a photo of Leonard Bernstein and lyricists Betty Comden and Adolph Green in playful conversation—credited to Stanley Kubrick no less. Talking heads in this endlessly surprising episode run the gamut from Black flight crews who worked for United Airlines at the time of 9/11, a Black female firefighter who hauled hoses through WTC rubble, maintenance worker William Rodriguez who, in his Spanish-inflected accent, recounts realizing he was the only one with a master key to unlock all of the North Tower’s staircase doors. He ran right back into the burning building, fighting against the tide of those fleeing. It’s nothing short of a revelation that so many of the heroes of 9/11 – as it has been during this pandemic – were a reflection of the nonwhite melting pot that is the greatest city in the world. And yet, it’s equally a shame that this is even a revelation twenty years on.

And then, of course, there’s one of the largest maritime rescues in history. No, not Dunkirk – but the 9/11 evacuation by water of over 50,000 people in a nine-hour period at the tip of Manhattan. (Which begs the question, why has there not been a movie made about this? And why am I learning about it from the director of Malcolm X?) Lee speaks deeply with the men and women who bravely worked their boats nonstop in the face of an unfathomable event. And also a typical New York response. When one captain relayed to his passengers that he was whisking them to safety in New Jersey, they started griping, «We don’t want to go to New Jersey!” His (equally predictable New York) response? «This isn’t the subway.» That it has taken this long to hear these rescuers’ stories finally is pretty much unconscionable.

NYC Epicenters 9/11-2021½ , a series by Spike Lee
NYC Epicenters 9/11-2021½ , a series by Spike Lee

«Truth»
This brings us to that final controversial episode (chapters seven and eight), which initially contained an additional half-hour allotted to the Architects & Engineers for 9/11 Truth – a group most (in)famous for their claim that the WTC collapse is the result, not of a jet-as-missile attack, but controlled demolition.

[Read another opinion on this from Architects & Engineers].

The NYC EPICENTERS didn’t need guys pontificating about the causes of the 9/11 catastrophe, better are the many selfless first responders already highlighted in episode four. Guys like the fire chief – who last saw his firefighter brother when he gave him the nod to lead his men up the stairs of a burning tower. Or another brave onetime fireman – the actor Steve Buscemi. How about the street artist who dutifully arrived every day to capture events at «Da Pile» on his easel? And then there’s construction worker John Feal, an average hometown Joe, who would go on to set up a foundation to fight for the rights of those sickened at the site (and later became famous when Jon Stewart joined his cause all the way to DC).

In the series the focus stays on those who never sought the spotlight: the Black film technicians who lit up the «holy site» so the search for victims could run day and night. The Black female heavy equipment operator («Big Liz») transformed a hulking machine into a delicate sifter. The leaderless, ad hoc collection of undaunted New Yorkers who just picked up a bucket and found a job to do. The sister of the supposed «falling man», who reflects on whether her beloved brother was, in fact, the person so elegantly captured descending from the sky in that tragic photo. «In these 19 years, I have found peace with not knowing», she calmly explains.

«In these 19 years, I have found peace with not knowing»

«LIE»
This isn’t to say institutional leadership of any color gets let off the hook. Everyone from the head of the EPA – who falsely assured New Yorkers that the air was safe – to other Bush administration officials, whose «with us or against us» rhetoric led to Americans turning on one another, are held to account. (Who needs conspiracy when malfeasance is abundant in plain sight?) Again Lee makes things personal by interviewing his Sikh actor Waris Ahluwalia from Inside Man – for whom life seems to have imitated fiction in the wake of 9/11. (A Black flight crew member even admits that he struggles to this day with his shameful racial profiling of a Middle Eastern passenger.) «LIE» – in bold red letters naturally – is stamped across the screen as Bush and Condi Rice and Colin Powell all spew their lethal spin.

And yet there is hope – and truth – as New Yorkers attest to the city’s resilience, sing its gritty praises while a bold red «FACT» flashes like a middle finger to all the doubters. As the nearly eight-hour journey comes to a close – with the image of a bloodied Brando in On the Waterfront having the last visual word – the quote from high wire artist Philippe Petit (quoting Le Corbusier on NYC) is solemnly given weight. «What a beautiful disaster.» In fact, that’s why we love it.

CPH:LAB announces 9 projects for 2021/2022

CPH:LAB Transormations 2021
PC: Joel Filipe

Nine immersive documentary projects have been selected for CPH:DOX’s talent development and training programme, CPH:LAB.

Exploring the subject of Transformations the participants will present their prototypes in March 2022 at the Inter:Active Symposium at CPH:DOX 2022. The teams will be working with Head of Studies, Mark Atkin, and a team of internationally renowned mentors.

CPH:LAB 2021/2022 projects

  • Anguilla Anguilla (UK, Germany, Denmark) – By Joey Bania, Lion Bischof, Tine Mikkelsen
  • Deep Truth (Sweden) – By Jennifer Rainsford
  • Local Binaries (Australia, Iran) – By Lauren Moffatt, Mohsen Hazrati
  • Mono No Aware (Finland) – By Timo Wright, Ada Johnsson
  • Non-Aligned Newsreels (Serbia) – By Mila Turajlic, Maja Medic
  • SWARM (Poland, Hungary) – By Ula Sowa, Viktória Szabó
  • The Pathogen of War (Lebanon, France, UK) – By Yasmin Fedda, Ladan Anoushfar, Daniel Davies
  • The Sacred Cave of Kamukuwaká (Brazil, UK, Spain) – By Piratá Waura, Nathaniel Mann, Alejandro Romero Hernández
  • Unknown Territory (Denmark) – By Laurits Flendsted, Sissel Dalsgaard Thomsen, Darshika Karanuhara, Anne Sofie Steen Sverdrup, Mads Damsbo

Find more information on CPH:LAB and its 2021/2022 projectsHERE

Beldocs Industry announces events as Belgrade-based documentary festival kicks off

Ironman, a film by Kiril Karakash, Svetislav Podleshanov (Beldocs in Progress)
Ironman, a film by Kiril Karakash, Svetislav Podleshanov (Beldocs in Progress)

Beldocs Industry offers a range of industry activities accessible and available both on-site in Belgrade and online lasting from today through 15 September.

Beldocs Industry events will begin with public seminar of «Beldocs Documentaries for Kids & Youth. Documentary filmmakers», representatives of TV channels, representatives of film centres and festivals will engage in discussions on how to reach younger audiences and will listen to opinions of Beldocs Teen jury members who will join the seminar with their contributions.

Beldocs Academy, a 3-day training session for the second year in the row will focus on VR/AR. Participants from Croatia, Latvia, Moldova and Serbia will work on the development of their immersive content projects, attend lectures and masterclasses by industry professionals and pitch their projects to an international jury.

Industry panels will focus on changes in audience behaviour and new ways of watching films and sales and distribution strategies to address those changes. A special event will be organized with two esteemed guests of the festival – the Russian director and Artdocfest founder Vitaly Mansky and Serbian director and Golden Bear winner Želimir Žilnik, entitled «A conversation between Vitaly Mansky and Želimir Žilnik: Documentary Cinema – A Mirror or A Magnifying Glass?»

Young and experienced documentary filmmakers coming from Western Balkan countries and a wider geographical region from Baltic States to Ukraine and Georgia will participate in Beldocs in Progress and Serbian Docs in Progress pitching sessions. The participants of Beldocs in Progress (10 projects) and Serbian Docs in Progress (5 projects) will present their projects in various stages, from development to post-production, to an international audience and compete for numerous prizes, including monetary awards granted by Beldocs IDFF and awards presented by the festival’s partners.

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