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
To define a “short film” is complicated. There is the industry’s definition that anything under 50 minutes is a short. Or the rules of many festivals where shorts are less than 40 minutes. There’s the TV half-hour, which runs approximately 26 minutes, and the typical student film, often 10 to 20 minutes.
Just came back from Documentary in Europe in Bardonecchia. Fine experience. Good film programme, many people, high quality projects for pitching, nice atmosphere in a small but good panel of committed editors from European (and one Canadian) channels.
Any filmmaker will tell you that getting your title right is half the battle. Canada's annual international documentary festival is blessed with the coolest name in the business: Hot Docs.
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