But Now is Perfect tells the story of how a small local village in the south of Italy opened up their community and welcomed refugees seeking a better future in Europe. But it is also a story about loss and tragedy.
Two highlights of Doclisboa 2018 were documentaries from an often-overlooked category – the mid-length film.
The new artistic director at IDFA talks about the new features of the documentary industry and how watching a documentary can turn into a life-changing experience.
Helena Trestikova’s work epitomises the innovative role of long-term filmmaking, and the inextricable link between big and little histories.
WINNER AT IDFA: When Nori Sharif is given a video camera by director Zaradasht Ahmed to record life in a small Iraqi town, following the US withdrawal at the end of 2011, he decides to film people who “nobody knows about.”
It’s getting darker.
I kept on looking for someone like Ismail, a Darfur refugee that I know, while watching Stranger in Paradise, the Dutch film about migrants in Europe that opens this year’s IDFA
Large-scale crisis and catastrophes – whether war, famine or disease – often attract film makers, relief organisations and press. Whether this is helpful is debatable.
Challenging deeply rooted patriarchal customs. Rafea: Solar Mamas directed by Mona Eldaief and Jehane Noujaim won the Oxfam Novib Award at IDFA last November.
Overall, IDFA 2006 was business as usual with an extensive film programme, countless seminars, workshops and masterclasses, and FORUM and Docs for Sale as the major business events
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