Covering more than a century of Indian history, Patwardhan weaves a story that exposes the roots of Hindu nationalism and the endless war against India’s «imaginary demons».
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.
After centuries of hatred, violence and massacres, Ukraine is yet again at war. People continue to kill in the name of the Motherland, flag, culture or religion. Crossing checkpoints, Peter Entell takes us from loyalist Ukrainians to pro-Russian separatists, all the while searching for traces of his own ancestors who fled the country a century ago.
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.
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