interview

  • «Documentaries fill people’s need for featured reality»

    «Documentaries fill people’s need for featured reality»

    DOK.fest München: MTR talks with the programmers at the DOK.fest München’s International Programme, Julia Teichmann and Monika Haas.

  • Getting closer to the heart of the truth

    Getting closer to the heart of the truth

    HOT DOCS: Documentary filmmakers are the last people standing, waving the flag for the truth and facts.»  – Shane Smith, Programme Director at Hot Docs.

  • Diversity

    Diversity

    VISIONS DU RÉEL: Cinema of the real is not a sub-genre.

  • «The power of the Mafia is institutionalised»

    «The power of the Mafia is institutionalised»

    MAFIA: Modern Times Review met the Italian photographer Letizia Battaglia in the Berlinale Lounge to talk about her photographic work and the Italian Mafia today.

  • Breaking the boundaries at CPH:DOX

    Breaking the boundaries at CPH:DOX

    CPH:DOX:«Our festival keeps a sense of being that kind of girl in class, asking the questions that provoke the teacher,» – Niklas Engstrøm, Head of Program Department at CPH:DOX

  • Andrea Slovakova – Jihlava International Documentary Film Festival

    Andrea Slovakova – Jihlava International Documentary Film Festival

    Immigration and memories of home are the two main themes of this year‘s edition of the Jihlava International Documentary Festival, says festival programmer Andrea Slovakova.

  • JAY ROSENBLATT: The human condition – a sense of loss

    JAY ROSENBLATT: The human condition – a sense of loss

    Why is the Jewish filmmaker Jay Rosenblatt from San Francisco so obsessed with loss and death in his films? His many films are like collage essays, usually comprising archive material. As a filmmaker, has he been ahead of his time? And as programming director of a Jewish festival, how does he cope with Jewish history?

  • AVANT-GARDE ARCHIVE FILM: Seeing without Knowing

    AVANT-GARDE ARCHIVE FILM: Seeing without Knowing

    Susana de Sousa Dias uses only twelve minutes of archive footage in her 72-minute archive-based film “Still Life”

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