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The Last Expedition, interview with the director Eliza Kubarska

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The director Eliza Kubarska

Pioneering Polish mountain climber Wanda Rutkiewicz disappeared in the Himalayas in 1992. What happened on that final climb? Filmmaker and mountaineer Eliza Kubarska traces Wanda’s footsteps on the world’s highest peaks in a journey into the mystery surrounding the fate of the first woman to summit K2. Could Wanda be still alive, in a monastery in Tibet? Weaving together Wanda’s own, previously unseen diaries, audio and video archives from her Himalayan expeditions, interviews with legendary climbers, Sherpas, Buddhist nuns and monks, this is a riveting account of the emotional struggles and aspirations of a woman who rose above a world that often sought to limit her and charted her own path to freedom.

Dimitra Kouzi: Is Wanda’s (Rutkiewicz's) story still relevant today?

Eliza Kubarska: Of course. Although this story happened 30 years ago, it is still relevant. We made a film about a woman who had vision, passion, and dreams. She wanted to live her own way and at that time most women thought that was impossible.

I think that the situation of women in many countries today, even in Europe, is still not good. A lot of things need to change everywhere – in the film industry, in business, politics, sport, at home – women’s status is not the same as men’s. And I’m not talking about feminism only. To me, it’s about women and men having the same right to decide about themselves, to make their own decisions. Both men and women should have this right equally.

The world of mountain climbing – especially scaling the highest peaks – remains predominantly male-dominated, with a narrative shaped by men.  Naturally, fewer women are involved. If only for biological reasons, a woman's price for being a climber will always be higher, and it will be harder for her to lead a normal life outside of this passion. Therefore, I believe that if a woman wants to climb the highest mountains, the mountain community must support her. It is not a question of whether they like it or not.

Dimitra Kouzi: What elements of this story were most interesting for you?

Eliza Kubarska: This story unfolds in the highest, most challenging mountains, the Himalayas, and is about a woman who wants to make her own choices. For her, personal freedom is what’s most important, to be able to say what she wants and be clearly heard.

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Dimitra Kouzi: In your film, you reveal for the first time Wanda’s incredible personal archive. What was your approach to navigating and exploring this wealth of material?

Eliza Kubarska: We didn't know about this archive, which has several dozen boxes. I received the material from Wanda's sister, Janina Fies. We had no budget to digitise it, no people to work on it. I was alone.  At some point Daria Sieracka joined me to help.

There are more than thirty 16mm film tapes from the 1970s and ’80s, and dozens of video tapes in various formats. There are also a few thousand slides from the Himalayas, including from Everest ’78, or even earlier, from the 1960s. I started from the slides by myself, I went through 5,000 slides, but there are still more. I didn’t complete this work because I saw the possibility to scan all the tapes. Luckily, we got support from the Documentary and Feature Film Studio in Warsaw (WFDiF).

There are private letters, expedition documents, original typescripts of books, articles, and important writings. There is a box of letters to Wanda from her fans, which she never opened because there were simply too many of them.

There were also thirty audio tapes. On two of them I found very strange recordings of trekking in the Himalayas, a kind of Wanda’s personal journal. Here, she asked herself many questions, questioned some of her life choices. She related what she experienced along the way, poor Nepalese villages, local families, to herself. She wondered if she could live there, why she didn't become a mother, even though she had wanted to. She talked about why it was difficult for her to find a life partner and about Kurt Lyncke, the man she loved, who died in the mountains. I don't know what her purpose was in recording these intimate thoughts. I decided to use them in the film.

I know exactly when she recorded this material: in 1991, less than one year before she disappeared. It was during an expedition to Kanchenjunga, the same mountain, but from a different side. She hadn’t succeeded in 1991, and then she went back in 1992. On these audio tapes, she stated that she didn’t belong to any world, that there was no way back for her, that perhaps at a certain moment she changed from the ‘travelling Buddha’ to the ‘settled Buddha’ – but this is not the time to talk about that. 

She was able to give a name to certain feelings, and I think that was the moment when she realised that she had paid a very high price for her choices, and there was no way back for her. She recognised that she had crossed the line. If only there had been someone to point out to her that this was not the end, that it was still possible for her to change her life… I’m not talking about the physical possibility. She experienced a level of depression so high that she could not stand it.

Dimitra Kouzi: What was the high price she paid?

Eliza Kubarska: She was extremely lonely at the end, and she didn’t want to be lonely. She was a woman who wanted to have a life partner, to have a family and children. And I know this from her audio diary and from her sister, who told me that Wanda, who was already an outstanding climber, visited Janina when she gave birth to her daughter and said that she was jealous of her having a child. Wanda also wanted to climb with other people but sadly she was partially excluded from the community.

Dimitra Kouzi: And what was the line that she crossed?

Eliza Kubarska: She couldn't be happy here in the lowlands anymore, but she couldn't stay in the Himalayas all the time, either. When you're a climber, you're often in life-threatening situations, between life and death. That's – as Messner said – one of the most powerful experiences a person can have. And maybe you get addicted to it. When you return to this lowland reality, it becomes very difficult to live normally, especially if you don't have family here who can support you emotionally and help you readjust. If Wanda had survived, if she had come back, she might have become a filmmaker, as she always had a photo camera and a film camera with her. That’s what happened to me. I used to be an alpinist too, I went on mountain expeditions. Now I look for that same chemistry in my brain when I work on film productions. It’s also associated with stress, instability, a lack of security. I’m probably addicted to that as well; that’s why I make documentaries.

Dimitra Kouzi: These experiences as a climber and traveller are very inspiring. What other sources of inspiration do you have in your work as an artist?

Eliza Kubarska: Relationships with other people are very important to me, both those around me and those from other cultures I meet while travelling. Human psychology and nature have always fascinated me. While travel provides an interesting backdrop for my stories, my primary focus is on human relationships. I'm always intrigued by why people behave the way they do. And also nature inspires me. I love being outdoors, but it’s the interaction between humans and nature that is my main interest. I love making films exploring these themes.

Dimitra Kouzi: What role do the personal accounts by these iconic climbers play in the film?

Eliza Kubarska: When I received Wanda’s private archives, I discovered her own perspective. But I wouldn’t have been able to build this topic without other people who knew her. I met over thirty people, including Wanda’s sister and friends. Wanda was friends with some very interesting women. But I also met some men and women from the climbing community who had issues with her. And I wanted to do this film because the narrative about Wanda is controversial. On one hand, you have an amazing woman, who gave us a lot of inspiration. But on the other hand, I heard voices from some in the climbing community, that she was an egoist who was focused only on her own goals at all costs. 

Dimitra Kouzi: And what about Reinhold Messner?

Eliza Kubarska: I needed a strong, informed person to give me a statement. And I knew the only person who could do that was Messner. There is no discussion, he is the most renowned mountaineer and he’s been in the climbing community for more than fifty years. He’s the first person to climb all the highest peaks. Also, he’s a philosopher; he has a way with words; he knew Wanda, and he is from the same generation. They met each other on expeditions many times. They never happened to be on the same expedition, but they were on the same mountain, in the same Base Camp. He knew her from the very beginning: the first time they met was in 1975 in Karakoram.

He refused to be interviewed two or three times but I insisted, and finally he accepted. I didn’t know what he would say, but what he says is right on point. And he gave a beautiful reply to the common question why people climb, why they take such risks.

Carlos Carsolio from Mexico was the last person to see Wanda. He’s also one of the first who completed the eight-thousand-metre peaks. Carlos is the fourth who did it; Krzysztof Wielicki is fifth. Their achievements are at the highest level, yet all of them have different perspectives. Carlos is a very spiritual person. He was 30 and she was 49 at the time when they climbed Kangchenjunga in 1992. His young team called her “Abuela,” which means “Grandmother.” And when I asked him about the relationship between him and her, he said that it was a platonic romantic relationship. Carlos faced a very difficult situation when he passed Wanda at 8,300m. She did not want to come down with him. And he, as he relates, had no right to tell her to.

Krzysztof Wielicki from Poland, first a student of Wanda's and then a mountain friend, was the leader of the Annapurna expedition in 1991, during which Wanda was accused of falsely claiming to have reached the summit. In an official statement, Krzysztof stated that Wanda had conquered the mountain.

Dimitra Kouzi: What were some of the most challenging aspects of filming in the Himalayas, both technically and logistically?

Eliza Kubarska: My film crew were talented filmmakers but not great outdoor adventurers. For instance, while filming “The Wall of Shadows” in 2017–9, a film about Sherpas, with producer Monika Braid, when we were in fact already producing material for “Wanda”! I knew we would not be able to come back to the same places because it’s too far, too high and just too complicated and expensive. We had to stay with our film crew at an altitude of 5,000m on a glacier for over three weeks, in winter in the Himalayas! Monica is such a great producer: she’s brave, she trusts me and she organised such complicated film sets.

Sleeping, filming, and even copying footage on the glacier was extremely difficult, especially with limited access to electricity. As an experienced climber and climbing instructor, I was more comfortable in that environment. But it was a constant challenge to ensure the safety and well-being of our less outdoor-savvy crew. We always have to be very sensitive to that.

Dimitra Kouzi: Were there any parts of the story that were difficult to convey on screen, that you really wanted to show but didn’t know how to tackle?

Eliza Kubarska: When you go to Nepal or Sikkim and you visit Buddhist nunneries and spend time with the women there, which I did and then Monika joined me, after a while we were in a completely different world. I mean, in a spiritual sense. I am a fulfilled person, and I have a reason to come back. But when I was in these nunneries, at one moment I got the feeling – and I love adventures and I’m really bored when I do nothing, you know – but at one moment I was sitting there and thought, “Hey, I could stay here much longer. I feel so good. I would just like to be here.”  And then I realised Wanda might have felt the same and done that. 

Director Eliza Kubarska and producer Monika Braid

Dimitra Kouzi: Are there any moments in the film, or during the entire process, when you felt transformed personally and as a filmmaker?

Eliza Kubarska: Definitely. It holds special meaning for me as a woman climber. If I weren’t a climber, the story would be different. I watched Wanda through my own eyes, through the perspective of a filmmaker and an alpinist.  Initially, when I learned about the price she paid, I felt deep sympathy for her. I thought, “This is how it went for her in this world.” I believe the price she paid was her incredibly painful loneliness. Being excluded from society and feeling like you don’t belong anywhere. I used to think that this was a price she paid. Yet, now I realise that she followed her own path. I came to see that she wasn’t a loser; she was a winner. She remained loyal to herself until the very end. When you look in the mirror at any moment in your life, you should ask yourself if you are being true to yourself and to what you believe is right for you. 

Wanda had strong values. When the events at Annapurna happened – when she was accused of being dishonest – it was devastating for her because honesty was paramount to her as an athlete from the very beginning. That accusation broke her completely. Unfortunately, I have had a similar experience as a climber myself, where I was accused of dishonesty about a climb during my expedition. It almost destroyed me. And then, for many years, I’ve felt ashamed that such a thing happened to me, that I allowed a group of people to hurt me so. Being slandered became one of the hardest experiences of my climbing life. Wanda described her experience of Annapurna in the very same terms. We both felt tainted. When I discovered that very word in her archives, I felt angry that she, too, had to go through this difficult experience. I thought, “No, I’m not ashamed anymore. It is not I who should be ashamed, but the people who unfairly slandered me.” That realisation was transformative for me.

Dimitra Kouzi: Therefore, you believe that Wanda may have had reasons not to want to come back?

Eliza Kubarska: Absolutely, without a doubt. It doesn’t matter if it’s true or not; we have nobody to confirm her fate. You can never be one hundred percent sure that someone is dead if the body has not been found.

The interview has been edited for length and clarity.

The international Premiere of the film is at IDFA 2024, Luminous

Find out more about the film's background, protagonists, creative team in the Press kit

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KinderDocs Industry Event – spotlight on Young audiences – Marije Veenstra, Head of Education at IDFAKinderDocs Industry Event

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This is the documentation of KinderDocs’ first Industry Event, titled ‘Documentaries for children and young people: International Approaches and Perspectives'. With its primary goal of illuminating effective strategies and creative approaches for engaging the coveted young audience, KinderDocs and its founder Dimitra Kouzi joint forces and invited acclaimed film professionals and representatives from prestigious festivals in the Netherlands (IDFA) and Germany (doxs Ruhr). Each presentation offered valuable insights into this multifaceted subject, encompassing filmmaking, content, programming, production, distribution, financing, and partnerships. The event took place in October 2023 at the Goethe-Institut Athen, and the Benaki Museum as part of the 8th KinderDocs International Documentary Festival for Children and Young People.

Marije Veenstra | Head of Education, International Documentary Film Festival Amsterdam (IDFA) (additionally watch her interview here)

Thank you for inviting me, Dimitra. I'm Marije Veenstra, the Head of Education at IDFA, which stands for International Documentary Film Festival Amsterdam. Today, I'll be discussing our approach to and perception of documentaries, particularly focusing on youth documentaries.

First, I would like to provide you with an overview of what we do at IDFA in this regard. In the Netherlands, we produce approximately 20 youth documentaries annually, funded through a pyramid scheme involving broadcasters and producers. Each Sunday evening, there's a dedicated slot on television where a youth documentary is broadcasted by the public broadcaster. Additionally, we have two major festivals for youth documentaries: CineKids and IDFA. As a new development in the Netherlands, we've also put out a call for full-length documentary films, in which Martijn Blekendaal is working as well.

At IDFA, we hold a competition specifically for youth documentaries. This year, aiming to give the youth competition a little bit of a boost, we invited Niki Padidar to be an external programmer. As a filmmaker, Niki brings a truly interesting perspective on youth and documentaries, and I'm very proud of the selection she curated. Among our initiatives are the IDFA-Junior, a family day held during the festival, and the school program, which falls under my responsibility. We also offer training programs for documentary development throughout the year, and we host a forum dedicated to youth documentaries during IDFA.

Our school program reaches approximately 10,000 students who attend IDFA over ten days. We start from 8 years old students and target all educational levels, collaborating closely with numerous theaters across the country. Film selection for the school program involves teachers and students, as we conduct test screenings at schools to get feedback before finalizing our lineup. Furthermore, we complement screenings with educational materials and post-viewing discussions. Additionally, we've launched Doc School Online, a free online tool designed for schools to utilize documentaries in the classroom. We recognize that some students may lack access to theaters or the resources to visit cinemas. The platform offers filters for various topics such as history, climate change, and justice, along with educational material for teachers.

Moreover, we organize activities for professionals, including training and pitching sessions during the forum. So, our focus isn't solely on showcasing documentaries; we also prioritize nurturing the development of youth documentaries, aiming to elevate the genre each year.

Now, what exactly do we mean by a youth documentary? We believe that one of the foremost criteria is that these films are made for children but not exclusively about them. The documentaries we showcase should leave room for imagination and reflection, avoiding fixed endings or solutions to problems. Our aim is to take the genre seriously and select films that also take the audience seriously—that’s why we collaborated with Niki this year. By this, I mean that we are open to all kinds of topics for children; there is no topic we would not screen. However, it's important to be aware of the context and facilitate discussions afterward.

Why do we do all this? Primarily, to cultivate empathy which is a vital necessity in today’s world. To broaden children’s horizons, encourage them to travel mentally and discover new perspectives. Additionally, when it comes to documentaries, an exceptionally important goal is to excite the audience, while also considering the artistic challenge of introducing them to something entirely different.

Two years ago, while already working on education and making my film selections, I was thinking of my starting point and connected it with youth literature, a significant area with ongoing research. So, three key considerations guided my program selection. For children aged 8 and above, youth literature reflects an experimental stage. Thus, we don’t have documentaries for children that are younger, recognizing the expanding worldview of an eight-year-old as an intriguing starting point for a documentary film platform. As children reach 10, individual differences become more prominent, so we aim to challenge them a bit more with the selected films. By the time they're 12, children transition to a more personalized and contemplative perspective, making it a favorable moment to introduce a diverse range of films with varying artistic values. In general, the ability to reflect increases with age, allowing us to experiment and tailor our programming as a festival.

Given my educational background, when facing difficulties, I often turn to Vygotsky, a Russian psychologist from the first half of the 20th century. Vygotsky identified different zones of learning that are well-known in the Dutch educational system. In the yellow zone, people can actually learn something but it’s important to have some guidance or a conversation afterward to reflect on the film. When selecting documentaries for schools, we can focus a bit more on the blue zone, which may offer comfort and enjoyment, but not necessarily contribute to significant learning or offer new experiences. On the other hand, films in the red zone risk leaving audiences frustrated without appropriate context or discussion afterward. As a teacher it is beneficial to focus on the stretch of the yellow zone.

Sometimes, a film initially seems suited to the blue zone. It's comfortable, pleasant, and enjoyable, but why should we actually screen it? What does it have to offer? To truly engage and facilitate learning, we need to strive for the yellow zone, which requires the assistance of a teacher, some guidance or a post-viewing discussion to enable reflection on the film. It's possible to challenge audiences and seek films in the yellow zone, but it's crucial to ensure that screenings are followed by discussions for the experience to be more sustainable. Screening only red zone films without providing the right context or post-viewing conversations can lead to frustration among audiences, who may leave the cinema wondering what they actually saw and feeling like they didn't gain anything meaningful. So, this approach guides my selection process.

Let me share some examples with you. First up is "Our Island," which we initially screened for children aged 8 to 9. However, we later found it might have been quite simplistic for 10-year-olds. While it's a delightful film, many children might find it too gentle for their age group, thus staying in the blue zone. It's perfect for 8-year-olds but lacks the challenge for 10-year-olds.

The next film, “Tungrus” is quite different. When we screened it at IDFA, many children asked, 'Why are you showing this to me, actually?' They enjoyed it and laughed a lot, but they also felt a bit disconnected. Their reaction was, 'It's not about us.' So, this was a film that required a conversation afterward. We started asking who has a pet, what kind of pet they have, how they deal with it when it doesn't behave as expected, and what the possible solutions are. This led to a meaningful discussion, transforming a film that initially fell into the red zone into one that resonated in the yellow zone, making it meaningful for many kids to watch.

Another film I'd like to share was selected by Niki this year. Initially, when we presented “Figure” to adults, particularly a special group funding IDFA, there was skepticism. As an entry for the Youth Competition, they questioned whether it even qualified as a documentary. However, through meaningful dialogue, we saw that it's possible to transition from the red to the yellow zone again. Such conversations are necessary and important for this transition. Even though it might raise questions for some people, I believe perceptions can change when engaging in an interesting dialogue with children afterward.

It would also be beneficial to have both the filmmaker and the programmer responsible for the film present in the screening room, to facilitate a discussion related to questions such as, "Why do you think this is a documentary?” Why do you think it's not?" “Is it important to have a close distinction?” ‘’How flexible can it be?” Through such conversations, we can transition from the frustrating red zone to a more engaging yellow zone. As the Head of Education, it's essential to keep this in mind when developing programs or selecting films. Sometimes, we may step into the red zone, but it's crucial to ensure that we provide educational context so that the experience is meaningful for many children.

  

As mentioned, it's both interesting and important to diversify the selection. Just as teachers approach youth literature in class by ensuring that all children are provided with something interesting to read, the same principle applies when developing an educational film selection for a festival. It's about offering a variety of films—some may be challenging, while others are more easy-going. That's perfectly fine. However, as a teacher or as the head of education, make sure that you add something to the mix, so viewers can stretch their understanding, delve deeper, and learn from the experience. Also, it’s important to note that the more a child reads, the more their ability to reflect grows. This is particularly significant when considering youth documentaries as well; maintaining a consistent presence throughout the year is crucial, rather than just once or twice annually.

So, how do we effectively reach them? In the Netherlands, broadcasters and film promoters discuss strategies for marketing these films, likening it to selling broccoli or sprouts. The notion that “they just have to learn to eat it” is quite disheartening, in my opinion. Similarly, a Danish Film Institute’s report published in May, highlighted as one of its key findings that young audiences prefer edgy narratives, genre play, boundary exploration, over social realism and 'the all-too-nice'. This underscores the importance of not underestimating our audience; they are capable of handling more than we often credit them for.

Another interesting point I'd like to share is related to the promotion of the film “Shabu”. The film also had a theatrical release in the Netherlands. I had a conversation with the person responsible for its sales, discussing her approach to promotion. She mentioned creating a commercial for a public broadcaster where she didn’t explicitly label the film as a documentary; instead, she referred to it as a family film. It's not about a definitive right or wrong approach, but rather an alternative one that may be worth considering. Ultimately, what's more important than just determining whether we’re selling sprouts is how we’re presenting and marketing them to our audience.

I would also like to emphasize the importance of keeping in mind that every child attends school. Thus, in my view, the gateway to reaching children is through schools. While it's advantageous to target families and encourage their participation in festivals, as we do at IDFA, I firmly believe that genuine change occurs through engagement with schools and the educational system.

Furthermore, it’s important for films to align with educational projects, so they are on the same page as the educational fields, enabling their collaboration and intersection. Additionally, new media and different platforms present some challenges too. At IDFA, we're still exploring ways to integrate these technologies, as it can be quite complex. For instance, while we're keen on screening VR projects in schools, it's challenging due to the required materials.

Finding suitable venues and partners interested in youth, especially when focusing on individual experiences, is also intriguing. Dimitra Kouzi asked me about the types of subjects we encounter or search for. While we come across a great amount of stories about children facing social and emotional challenges, which are both important and educational, I believe it would be equally interesting to see more films about art or history. For instance, I am struggling to find a compelling film about the colonial history of the Netherlands, that strikes the right balance between educational value and engaging storytelling—this would be valuable for schools as they are always seeking such quality content. Therefore, I believe youth documentaries should broaden their scope beyond solely focusing on children having problems that we can or can’t solve.

Lastly, empowering stories are particularly significant to me. Given the numerous conflicts in today's world, children are increasingly aware of these issues. Therefore, exposing them to these kinds of stories would be immensely beneficial, inspiring, and hopeful.

The event took place with the support of the The Dutch Embassy in Athens

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Young audiences in the spotlight

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Through cinema and creative documentary – an inexhaustible genre – we get fascinating glimpses of the world in which we live, we take distance from what happens to us, and we connect with all that’s happening to others and concerns us.

Guided by this motto, the KinderDocs International Documentary Festival for Children and Young Audiences in Greece celebrated its eighth year, with a fascinating programme of award-winning, thought-provoking documentaries complemented by educational activities, exciting encounters with international guests, and in-depth discussions that push the boundaries. Over the course of seven days, from 16 through 22 October 2023, three different venues welcomed cinephiles, film professionals, and enthusiastic young people, all seeking to delve into the many different facets of reality offered by documentaries designed specifically for young audiences. From a diverse array of perspectives a shared agreement emerged: these films hold importance and relevance.

An exciting and vibrant festival week

This year’s edition of KinderDocs kicked off with a Special Screening centred around the theme In search of our place in the world. Part of our extensive tribute to Germany, the event was held on Tuesday 17 October at the Goethe-Institut Athen.

Premiering in Greece, the desktop documentary Dear Dad and the episodic observational documentary Either Way skillfully capture the diverse concerns and aspirations of today's young generation in Europe through very distinct formats. Coming from Germany, the four promising emerging filmmakers (Karoline Roessler, Eva Louisa Gemmer, Hannah Jandl, and Lea Tama Springer) engaged in a comprehensive discussion on identity politics and other explorations that arise on the cusp of contemporary adulthood. Friedrich Burschel, drawing from his extensive experience as the Director of the Rosa Luxemburg Stiftung Office in Greece, delved into the socio-political dimensions embedded in the films' themes. Moderated by the filmmaker Dimitra Kouzi, KinderDocs director, this enlightening discussion engaged the audience, providing an opportunity to draw parallels with the Greek context.

KinderDocs Industry Event

KinderDocs’ first Industry Event, titled ‘Documentaries for children and young people: International Approaches and Perspectives,’ explored strategies for engaging the coveted young audience on Thursday 19 October, hosted at the Goethe-Institut Athen. 

Acclaimed film professionals and representatives from prestigious festivals in the Netherlands, Germany, and Greece illuminated their approaches in how to make creative documentaries appeal to young viewers. Each presentation provided valuable insights into this multifaceted subject, encompassing filmmaking, content, programming, production, distribution, financing, and partnerships. Crucially, the ensuing discussion prompted insightful questions and generated fresh perspectives on current challenges and future possibilities. After eight years of working with young audiences, KinderDocs posed fundamental questions: 

What issues does documentary deal with? Are there other issues to highlight? What limitations must documentary overcome in order to mature as a film genre? What is the range of budgets in youth documentary production? Why are most documentaries for children shorts? How can you work interdisciplinarily with documentary films? What is the landscape in distribution and European co-productions in the Youth category?


IDFA, the first to feature documentaries for young people in its competition, entrusted this year's programming to award-winning director Niki Padidar (Ninnoc, All you See). She joined the KinderDocs industry event in Athens to present her vision for the future of the genre for the first time in public and posed the question on how we define a film for young people.


Marije Veenstra, IDFA's Head of Education, highlighted psychosocial approaches  and underscored the significance of diversifying genres and themes in a festival's educational programme; Having an enormous experience through her work at IDFA, she especially emphasised the importance of school screenings.

Gudrun Sommer, Director, DOXS RUHR Festival, underlined the genuine effort required at the European level in order to tell stories about specific situations experienced by young people through documentaries. This approach aims to gain a deeper understanding of their concerns, which go beyond mainstream topics and issues.
Drawing on the experience of organising KinderDocs for eight years now, and a decade of international collaborations in audience development for award-winning films such as La Chana, dir. Lucija Stojevic (IDFA Audience Award 2016), Communion, dir. Anna Zamecka, (EFA Best Documentary 2017), Radiograph of a Family, dir. Firouzeh Khosrovani (Best Feature-Length Documentary IDFA 2021) Apolonia, Apolonia, dir. Lea Glob, (EFA Awards 2023), Dimitra Kouzi a filmmaker herself works on, ‘How can we directors/producers/festivals/curators introduce creative documentaries to a wider audience, including  reaching out to young audiences, which are regarded as the most challenging to engage?
Sophia Exarchou, director of internationally acclaimed films Park and Animal, addressed the spreading conservatism in art, extending beyond youth documentaries; she discussed the implicit adjustments and moderations necessary when presenting a film. The spotlight should be on effective methods of educating the audience.
Directors Martijn Blekendaal (The Man Who Looked Beyond The Horizon) and Susanne Kim (Cabinets of Wonder) concluded with a profoundly important message that could only serve as a motivation for the industry: ‘We must take young people seriously’ – this involves not acting on behalf of them, but listening to their needs and engaging them, creating compelling stories.
Finally, director Martijn Blekendaal who starts his inspiring manifesto about youth documentaries sayig: ‘youth documentary has an image problem: it is the most underrated genre. documentary makers don’t take it seriously’ stated, ‘Almost any subject is suitable for a youth documentary; it's about how you tell the story.’ 

KinderDocs Festival Programme for Schools

Throughout the week, schools – both private and public – joined in the festival programme specifically curated for educational screenings at the Benaki Museum.

Elementary school children had the unique opportunity to meet the director Susanne Kim after the screening of her film Cabinets of Wonder. The school children that attended Sustainability: The Present Becomes the Future had an exciting hands-on experience inspired by one of the three short films they watched, Ramboy. The film explores the relationship between a grandson and his grandfather, a farmer in Ireland. The educational activity, titled The Wool Cycle: From Tradition to Today, was crafted in collaboration with The Pokari Project.

Meanwhile, secondary-education pupils attended a special screening of Aurora's Sunrise, a multi-awarded animation documentary recounting the story of a young girl who survived the Armenian genocide. Schoolchildren had a memorable Q&A with filmmaker Martijn Blekendaal (The Man Who Looked Beyond the Horizon), talking about personal fears and the limits we impose on ourselves to avoid the risk of failure. Pupils and teachers alike left the Benaki Museum enthused, inspired, and eager to continue exploring more educational material in the classroom.

The KinderDocs Festival wrapped up with the motto: EVERYBODY KinderDocs!

KinderDocs Family Weekend

The 2023 festival’s edition culminated in a vibrant weekend, inviting audiences of all ages to two days filled with back-to-back screenings at the Benaki Museum/Pireos 138. A total of 17 award-winning documentaries from 10 countries were screened in 8 thematic sections, tackling contemporary issues such as sustainable development, lesser-known aspects of world history, alternative youth pursuits, gender issues, human rights, juvenile delinquency, and the fragility of our digital selves. The films sparked compelling questions and stimulated lively discussions with guests from Greece and other countries, featuring international and Greek filmmakers (Martijn Blekendaal, Tine Kugler, Günther Kurth, Maria Sidiropoulou), historians (Serko Kougioumtzian), psychologists (Elena Koutsopoulou, Eva Spinou, Marilena Spyropoulou), and start-uppers (The Pokari Project). At the same time, participants immersed themselves in the imaginative world of youth in a unique VR experience linked to the film Cabinets of Wonder.


‘Standing in front of the camera was a form of psychotherapy for Kalle (the protagonist of the film Kalle Kosmonaut).’ Günther Kurth, Director/Producer
‘I was confronted with my own insights, because my film (The Man Who Looked Beyond the Horizon) is about being afraid and overcoming the fears that feed you. The end can also be seen as a beginning.’
Martijn Blekendaal, Director

8th KinderDocs Festival:
A genuine celebration for all creative-documentary enthusiasts,
offering a generous glimpse of what's yet to come!

Aurora’s Sunrise (97’), Inna Sahakyan, Armenia, 2022
Cabinets of Wonder (79’), Susanne Kim, Germany, 2020
Colors of Tobi (81’), Alexa Bakony, Hungary, 2021
Dear Dad (17’), Karoline Roessler, Germany, 2021
Either Way (45'), Eva Louisa Gemmer, Hannah Jandl, Lea Tama Springer, Germany, 2021
Herd (37’), Omer Daida, Israel, 2021
Ιnsight (20’), Emma Braun, Austria, 2022
Kalle Kosmonaut (99’), Tine Kugler, Günther Kurth, Germany, 2022
My Family is a Circus (16’), Nina Landau, Belgium, 2020
My Hair (3’), Max Jacoby, Luxembourg, 2021
One in a Million (84’), Joya Thome, Germany, 2022
Ramboy (31’), Matthias Joulaud, Lucien Roux, Switzerland, 2022
See you Tomorrow (20’), Kevin Biele, Germany, 2022
The Man who Looked Beyond the Horizon (26’), Martijn Blekendaal, Netherlands, 2019
The School by the Sea (29’), Solveig Melkeraaen, Norway, 2021
View (5’), Odveig Klyve, Norway, 2021
Water, Wind, Dust, Bread (25’), Mahdi Zamanpoor Kiasari, Iran, 2021    

Watch our interviews with KinderDocs 2023 guests:  

Either Way (So Oder So, Germany, 2021, 45ʹ): Interview with the Filmmakers
KALLE KOSMONAUT interview with the directors, Günther Kurth & Tine Kugler

Stay tuned, there is more coming out of the editing room!

We are always delighted to engage in partnerships with like-minded professionals across Europe who share our vision. If you’d like to collaborate with Kouzi Productions, we would love to hear from you!

Contact

kinderdocs.com

[email protected]
[email protected] 

EN

A Decade with Alice (Alice On & Off)

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Dimitra Kouzi Interviews Isabela von Tent, Alice On & Off before the world premiere in the international competition at Krakow Film Festival 2024

Dimitra Kouzi: What made you stay with Alice and film her story for more than ten years?

Isabela von Tent: The story goes back to 2014. I was in film school and, for an exam, I needed to make a documentary portrait of someone interesting. I had just moved to Bucharest a year before and barely knew anyone outside of school. Back in my tiny hometown in Transylvania, things were different. So, I asked my classmates for suggestions on interesting subjects. One of them, who also happens to be the sound guy on the film, knew Dorian and thought he could be a good subject. I found out he had a very young wife, and that's how I met Alice.

DK: How did that first encounter go?

IT: We were both shy. At the first shoot, I was super polite, asking formal questions, and Dorian gave these long-winded replies. Alice was mostly taking care of their child. After a few days of filming with them, I finally built up the courage to ask Alice if she wanted to talk. She said yes, but only after asking Dorian's permission, which he casually gave.

DK: And what kept you coming back?

IT: In the beginning, it was the exoticness of their lifestyle that drew me in, something completely unfamiliar to me. It took me a while to realize that we had similar pasts. I was raised by grandparents too, and my childhood wasn't easy, not like hers, but I understood her feelings – that longing for love and guidance while growing up.

DK: What exactly made you curious about them?

IT: It was the first time I wasn't being told what to do. My grandparents were very strict, and here I had this chance to explore and find out who I really connected with. Meeting Alice was a special experience. It was a feeling in my gut, a strong instinct that told me I had to stick with her. After finishing the short film for school, I thanked them and moved on. Funny how things turned out, but I randomly ran into Dorian on the street later and asked him about Alice. He told me the sad story of their breakup and how Alice had to give up her studies at the Fine Arts University to focus on taking care of the family. This news coincided with needing another documentary project for my next school year. Slowly, the idea of making a feature film about their messy but captivating life together started to form.

DK: So, how much footage did you end up with after ten years?

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IT: Not so much – around 70 hours.

DK: And did the story come together in the editing room then?

IT: Exactly. A big turning point came when my short film about Alice won a National Film Academy Award. Irina (Malcea, Luna Film) is a member of the Academy, saw the film, and someone connected us. It was a lucky break because at 23, I wasn't prepared to approach producers on my own.

DK: How much did these ten years of involvement influence your own life and decisions? What kind of mark did that involvement leave on you?

IT: A lot. I think the biggest thing that happened to me during this process was that it helped me understand why I was acting the way I was. I mean, why I just wasn't myself. For a long time, I was very very upset with how my parents and grandparents treated me. Of course, therapy is an option, but this was my process, through Alice, through our developing relationship. She wasn't very forthcoming about her past. Letting her tell her story helped me understand my own. That's why I agreed to share a bit of my personal journey in the film. Training my patience was a challenge for me as well. Throughout this process, I was constantly honing my patience while surrounded by colleagues who were actively working on various projects and films.

DK: You made the brave decision to become part of the film.

IT: Yes, but that decision came later, I guess. It was made in the editing room, because that's when a lot of things became clear. Over these ten years, I think the awakening moment, the moment I truly understood what the film was about, came during editing.

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DK: How did the producer, Irina Malcea, help you get to that point?

IT: Irina fulfilled many roles for me. She was a mentor, a sister, and a very caring and loving friend.

DK: Did you ever feel like putting the camera down?

IT: No, I never felt like quitting. However, I was always very careful about how I filmed them. We have a lot of raw footage that's more aggressive, or grounded in reality, but I didn't include it because I didn't think it was essential.

DK: How about the scene where Aristo shuts his ears while they're fighting?

IT:  When I went home afterwards, I questioned myself a lot. Why didn't I put the camera down? Why didn't I call the police? The answer is, I think I was more scared than he was. For him, this was a kind of reality, and somehow, he knew how to cope with it. If I'd stopped filming, I would have chosen not to show a very important part of this child's life. Even though it's difficult to watch, and many people will criticize me for continuing to film, I'm more than happy to answer their questions and explain that I couldn't ignore this significant aspect of Aristo's life.

DK: How much responsibility do you feel towards Aristo in general? You've followed him from birth until now, when he's a young boy aged 11.

IT: I actually feel a lot of responsibility. I don't know if that's a good or a bad thing. I've heard many opinions on how to act or behave with your characters after filming is complete. But I choose to behave like a human. It's important to me to be part of his development, as much as he allows me to be, especially now that Dorian has just been diagnosed with cancer. We found out two weeks ago [April 2024]. So now I'm quite involved in what's happening with Aristo.

DK: That is very sad to hear. So what's happening with Aristo now?

IT: He's actually doing okay. He's continuing his martial-arts training, which has helped him develop a lot. He's changed a lot. He's a teenager, of course, a young teenager just starting his journey through those rough teenage years, but he's changed significantly. He looks healthier and more energetic. This sport has really helped him. I connected him with his trainer and helped him start training. It's been very beneficial for him. That's one way I'm helping him. Also, after his mother disappeared, I never stopped searching for her. We searched for her a lot.

DK: What other ethical challenges did you have to overcome? How did you manage to balance being an artist with making your film?

IT: It wasn't an easy journey to overcome the ethical questions. But most of the time, when I faced ethical dilemmas, I tried to imagine how I would feel if I were the character being filmed. I did this a lot and asked myself, 'Would I be comfortable with this?' We participated in many workshops where I shared my thoughts and fears with others, especially at Ex-Oriente and the Doku-Rough Cut Boutique. Those discussions helped us solidify the understanding that respecting the characters was the right approach. The rule, I think, was always to respect your character – respect Alice as a friend, respect her as a woman, and keep that in mind at all times.

DK: Would you say that your protagonists also learned something through this process?

IT: I want to believe that, after seeing the film, something changed within Alice. It was an hour and a half of roller-coaster emotions because it was the first time they were together in the same room, watching their lives unfold. I saw a shift in her, a sense that change might be coming. I don't know if it will happen in two months or three, but for the first time, she said to me, 'Thank you.' Just hearing her say 'Thank you' – it was very deep and heartfelt. She looked me in the eyes and said it, and that was very emotional for me.

DK: In general, Alice was very self-reflective in the film. I was very impressed by that. Do you think that's just how she is, or was it the filming process and your questions that brought that out?

IT: I think it was a combination of both her personality and her needs. The documentary process, the filming itself, became a way for her to be heard. She felt trapped in a family dynamic where she was solely responsible for providing – for the child, for Dorian – and her own needs were left behind. Talking to me, and having most of our conversations focus on her, I believe, created a balance that allowed her to be heard and to talk about herself.

DK: So, how would you describe Alice now that the film is finished? Now that you have some distance and perspective.

IT: I think Alice is an unloved girl, an unloved child trapped in a young woman's life. There's a lot of beauty within her that often goes unseen. She has a lot to offer. I saw the hope and the spark of joy within her. I truly wish that it will come back and that she will find the strength to overcome this very dark period in her life. She's vulnerable, but at the same time, she's powerful. Somehow, through her craziness and her courage to express her feelings authentically, she's grown. I saw the light in her paintings, a place where she felt safe. I saw the light when she played with her son.

DK: Can you reflect on the film's logline: 'How can you be loved if nobody has taught you how?'

IT:  It just emerged instantly. Mirroring myself through Alice's story, when I asked myself what I was missing in my personal development and what Alice was missing, the word 'love' came to mind.

DK: You refer to Dorian as an anti-hero.

IT: I appreciate him a lot for what he did for the child and how he helped Alice. When they met, she was in a very dark place, full of drugs and alcohol. He gave her hope. He had the emotional space to listen to her and encourage her to find a better path. He also gave her the space she needed to do that. But at some point, his darker side emerged – perhaps selfishness. He can be selfish when he wants to be, when his own interests take priority over their common ground. Interestingly, he was very aware of the camera.

DK: In what sense?

IT: In terms of his behavior. For example, remember the scenes where they were fighting? He was very quiet, uncharacteristically silent. I think, because he knew I was there, he put some limits on himself to avoid looking bad. During workshops, many people felt that Dorian wasn't all right, that he didn't always make good choices. On the other hand, you can't entirely blame him. We have beautiful footage of him caring for the child and taking care of Alice when she was younger. And after she left, he continued to care for the child. It's difficult to solely blame him for not always being honest.

DK: Where is Alice today? What's she doing?

IT: She has a new boyfriend, and from what I understand, he also struggles with drug addiction. She still visits her son often. I was surprised to see her at Dorian's place when I went to show them the film. She doesn't have a phone or internet access now, so I had no idea she would be there. I found her to be in a much better state than the last time I saw her, which was after an overdose. She was in a very bad shape then.

DK: Do you think there's a chance she can be saved or escape this path?

IT: She can escape it if she wants to. I can try to help her in a million different ways, but if she doesn't want, she won't be saved. 

DK: What emotions do you hope the audience experiences when they watch your film?

IT: I want them to question themselves. I've learned that uncomfortable feelings can reveal a very beautiful truth.

DK: Thank you, Isabela. It was a pleasure. I feel like I know you a bit better now. 

IT: Thank you for giving me this opportunity.

WORKSHOPS

BIOS

Isabela Von Tent, Director, DoP

Isabela's filmmaking journey began after she studied film directing and journalism.  She initially served as an assistant director on both national and international productions, collaborating with renowned Romanian filmmakers like Radu Jude and Tudor Giurgiu. These experiences provided invaluable training, but it was Isabela's unique perspective on reality and her passion for storytelling that drew her to documentary filmmaking.

Her debut in this genre, a short documentary, garnered the prestigious Romanian National Film Award. Driven by a desire to explore non-classical approaches to documentary storytelling, Isabela embarked on her first feature film. Shot over a span of ten years, this ambitious project led Isabela to participate in influential international training programs like Docu Rough Cut Boutique, ExOriente, and ZagrebDox Pro.

FILMOGRAPHY

All the Names that Start with C (2016), 14 min

short fiction

  • Festivals: Anonimul IFF, Romania 2016; STIFF Student International Film Festival, Croatia 2016

Chat with Alice (2015)

short documentary, 20 min

  • Cinemaiubit ISFF 2015 Awards: Best Short Documentary
  • Gopo Awards 2016: Best Short Documentary Film
  • Visegrad Film Forum: Case Study
  • Alter-Native 24, Tg Mures: Official Selection
  • STIFF International Student Film Festival, Croatia: Official Selection
  • Toamna La Voronet International Film Festival: Special Mention
  • Astra Film, Sibiu, Romania, 2016: Official Selection
  • DocuArt Fest, Bucharest, Romania 2016: Official Selection

Alice (2014)

Short documentary, 7 min

  • Cinemaiubit ISFF 2014, Victor Iliu Prize for Best Director of Short Documentary Film
  • Premiile Gopo 2015: Nominated for Best Short Documentary Film
Doc-making, EL, Festivals

Ο Patricio Guzmán στη Θεσσαλονίκη

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Patricio Guzmán at the Thessaloniki Documentary Festival
Μέσω Skype γνωρίσαμε τον καταπληκτικό Χιλιανό κινηματογραφιστή Πατρίσιο Γκουσμάν σήμερα το πρωί (21-3-2013), στην Αίθουσα Τζον Κασσαβέτης, στο 15ο Φεστιβάλ Ντοκιμαντέρ Θεσσαλονίκης.

Χθες είδα τη ταινία του για τον Σαλβαδόρ Αλιέντε (Salvador Allende) (2010, 100') στη γεμάτη αίθουσα Παύλος Ζάννας. Σήμερα δεν βλέπω την ώρα για να δω τα Chile Obstinate Memory, του 1997, και Chile, a galaxy of Problems, του 2010. Ο Guzmán έκανε έναν άμεσο, ποιητικό, προσωπικό και δυναμικό κινηματογράφο. Ακολούθησε τον κόσμο που βγήκε στους δρόμους της Χιλής, και με έναν δικό του, καθόλου αντικειμενικό (όπως είπε) τρόπο, κατέγραψε και αφηγείται εδώ και 30 χρόνια την πολιτική ιστορία της χώρας του, της Χιλής.

Απλός, με χιούμορ - κάποια στιγμή έγραψε σε ένα χαρτάκι "MERKEL NO" και το σήκωσε στην κάμερά του - μίλησε για την πολιτική μνήμη, με αφορμή μια ανοιχτή συζήτηση που διοργάνωσε το Φεστιβάλ Ντοκιμαντέρ με τίτλο Από την μάχη της Χιλής στην Ευρώπη της κρίσης: Λάθη, διδάγματα και ελπίδες. «Η μνήμη, είπε, δεν είναι κάτι αφηρημένο· είναι μια κατάκτηση του σύγχρονου κόσμου. Παλιά κανείς δεν μιλούσε για την οικολογία, τους αυτόχθονες, τα δικαιώματα των γυναικών και των ομοφυλοφύλων. Η μνήμη βοηθάει τα πάντα να λειτουργούν καλύτερα, το κράτος, την υγεία, την παιδεία.»

Κατά τον Patricio Guzmán, «Η Ισπανία είναι ατελής επειδή δεν έχει δουλέψει την ιστορική της μνήμη. Το ντοκιμαντέρ αποτελεί αντιπληροφόρηση, μπορεί ελεύθερα να πει ό,τι δεν μπορεί να πει η τηλεόραση. Ένα ντοκιμαντέρ μπορεί να θίξει τα πάντα - τι κάνει τι δεν κάνει η κυβέρνηση». Μιλούσε φυσικά για τα ντοκιμαντέρ άμεσης κινηματογράφισης, που υπερβαίνουν τα μέσα ενημέρωσης που δεν αγγίζουν ορισμένα θέματα. Όπως για παράδειγμα θέματα ταμπού στην Χιλή, τις εκτρώσεις, την εκκλησία, το ποδόσφαιρο.

Ευτυχώς που στην Αργεντινή όσο και στο Μεξικό και την Χιλή υπάρχουν καμμιά τριανταριά ενεργοί κινηματογραφιστές ντοκιμαντέρ. «Βέβαια, συνέχισε ο Γκουσμάν, πολύ δύσκολα μπορούμε να μάθουμε στην Ελλάδα από την πολιτική ιστορία και την εμπειρία της Χιλής, γιατί δύσκολα αποκτιούνται τέτοιες εμπειρίες. Ο Αλιέντε ανέλαβε την εξουσία μετά από ατελείωτα χρόνια πολιτικής και πολιτιστικής οργάνωσης».

Και συνέχισε: «Κάθε χώρα πρέπει να βρει τον δικό της δρόμο, και οι πολίτες πρέπει, εκτός του να μιλάμε, που είναι σημαντικό, να περάσουμε άμεσα στη δράση.» Δεν μπορείς, κατά τον Γκουσμάν, να κάνεις ντοκιμαντέρ μόνο με καλές προθέσεις. Θέλει δράση, σεκάνς κινηματογραφικές, αλλιώς ο θεατής θα φύγει. Όταν κάνουμε ντοκιμαντέρ δεν αρκεί να αυτοσχεδιάζουμε. Τα ντοκιμαντέρ παρουσιάζουν μια θέση. Αν για παράδειγμα θέλεις να κάνεις μια ταινία για την παιδική ηλικία, δεν αρκεί να πας σε ένα σχολείο ή ένα νηπιαγωγείο να τραβήξεις τα παιδιά, να συνδέσεις τις σκηνές και να βάλεις και μια μουσική. Αν τα κάνεις αυτά, τότε νομίζεις ότι έχεις κάνει μια ταινία αλλά δεν έχεις. Αν αντίθετα πας στο δάσος και βάλεις έκει ένα χαρισματικό παιδάκι και παρατηρήσεις εκεί πώς λειτουργεί, πώς μιλάει με τα έντομα, με τα φυτά, πώς αντιδρά, τότε αποκτά ενδιαφέρον, πετυχαίνεις να συγκινήσεις. Δεν είναι το θέμα λοιπόν που εγγυάται το αποτέλεσμα. Τα ντοκιμαντέρ για τα ανθρώπινα διακαιώματα είναι συνήθως κακές, βαρετές ταινίες. Χρειάζεται δραματική εξέλιξη για να κρατήσεις το ενδιαφέρον του θεατή. Το ντοκιμαντέρ δεν είναι ένα διδακτικό μέσο, είναι ένας έμμεσος τρόπος να μιλάς. Τα εκπαιδευτικού χαρακτήρα ντοκιμαντέρ ανήκουν στον περασμένο αιώνα! Σήμερα είναι ποιητικά, δημιουργικά, προσωπικά. Το καλύτερο ντοκιμαντέρ που έχει δει, είπε ο Guzmán, για το θέμα της μετανάστευσης δεν δείχνει ούτε έναν μετανάστη! Αντίθετα, ασχολείται με εκείνους που μένουν πίσω.

Κάθε κατάσταση θέλει τα δικά της αφηγηματικά μέσα. Γι’ αυτό υπάρχουν και πολλά είδη ντοκιμαντέρ: δημοσιογραφικό, μουσικό, άμεσο, αρχειακό. «Κι αν το ντοκιμαντέρ είναι υποκειμενικό, δεν πειράζει», είπε στο τέλος, «αποτελεί έναν χώρο για στοχασμό».

«Δεν υπήρξα ποτέ αντικειμενικός. Ένα ουδέτερο ντοκιμαντέρ είναι κενό, είναι σαν να βλέπεις τις λήψεις από τις κάμερες ασφαλείας σε μια τράπεζα».

Πολύ καλή η διοργάνωση του Φεστιβάλ! Αν θέλετε να μάθετε περισσότερα για τον Patricio Guzmán αναζητήστε τις ταινίες του και την ομώνυμη έκδοση του Φεστιβάλ.

EL, Screenings-Events

Φιλιά εις τα Παιδιά

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Το ντοκιμαντέρ του Βασίλη Λουλέ,
από την ΚΥΡΙΑΚΗ 17 Φεβρουαρίου
στην Θεσσαλονίκη (αίθουσα Παύλος Ζάννας). Πέντε μικρά Εβραιόπουλα στην Ελλάδα της Γερμανικής Κατοχής, που σώθηκαν από το θάνατο χάρη σε οικογένειες Χριστιανών, πέντε «κρυμμένα παιδιά» που έζησαν μέσα στην απόλυτη σιωπή αφηγούνται τις ιστορίες τους. Η Ροζίνα, ο Σήφης, η Ευτυχία, η Σέλλυ και ο Μάριος. Η ταινία παρακολουθεί αυτά τα πρόσωπα από την παιδική ηλικία μέχρι σήμερα, φέρνοντας στο φως πολύτιμα προσωπικά τους ντοκουμέντα –ένα παιδικό ημερολόγιο, μια σχολική έκθεση, φωτογραφίες και οικογενειακά φιλμάκια– τεκμήρια μιας ολόκληρης εποχής. Παράλληλα, σκιαγραφείται η ζωή των Εβραϊκών κοινοτήτων της Ελλάδας πριν τον Πόλεμο και αποκαλύπτονται σπάνιες εικόνες της κατεχόμενης Αθήνας και Θεσσαλονίκης, μέσα από κινηματογραφικά αρχεία, ερασιτεχνικές ταινίες Γερμανών στρατιωτών και παράνομες λήψεις Ελλήνων πατριωτών.

Τα γυρίσματα έγιναν στο χρονικό διάστημα 2007-2009 σε Αθήνα, Θεσσαλονίκη, Ιωάννινα, Χανιά και στο Άουσβιτς της Πολωνίας.
Ένα διαφορετικό ντοκιμαντέρ για το Ολοκαύτωμα. Συγκλονιστική η Ροζίνα Ασσέρ-Πάρδο, όταν λεει πώς έχει απαλλαγεί πια από το μίσος και πώς μισεί μόνο εκείνους που πάνε να τους μιμηθούν. Και πόσο επίκαιρη. Κατά τη γνώμη μου το ντοκιμαντέρ θα μπορούσε να είναι λίγο πιο σύντομο, όμως διαθέτει πολύ ενδιαφέρον και πλούσιο αρχείακό υλικό.

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Ο Ρενέ Ρετζέπι στο ΝΟΜΑ επί το έργον

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Ο Ρενέ Ρετζέπι στο ΝΟΜΑ επί το έργον

CineDoc, Festivals, Screenings-Events

Ραντεβού CineDoc στο Παρίσι!

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Το CineDoc τον Δεκέμβριο μας δίνει ραντεβού στο Παρίσι! Πρώτη πρόσκληση, ένα απόλυτα προσωπικό ραντεβού με τον Λακάν στις 12 Δεκεμβρίου, και στη συνέχεια, στις 19 Δεκεμβρίου, λίγο πριν τις γιορτές, πρόσκληση σε ένα ρομαντικό τετ α τετ με την υπέροχη Ωραία της ημέρας, και του κινηματογράφου, Κατρίν Ντενέβ.

Το ντοκιμαντέρ για τον Ζακ Λακάν An appointment with Lacan, του Gerard Miller (Γαλλία, 2011, 52’) σκιαγραφεί το πορτραίτο ενός από τους πιο διάσημους αλλά και αμφιλεγόμενους ψυχαναλυτές στον κόσμο, με μαρτυρίες ασθενών, μαθητών, φίλων και συγγενών. Η προβολή διοργανώνεται σε συνεργασία με την Ελληνική Εταιρεία της Νέας Λακανικής Σχολής.
Το ντοκιμαντέρ Cathrine Deneuve, της Anne Andreu (Γαλλία, 2009, 52’) παρακολουθεί τη λαμπερή καριέρα της Γαλλίδας ντίβας και ταυτόχρονα μισόν αιώνα κινηματογραφικής ιστορίας, μιας γενιάς που βίωσε βαθύτατες αλλαγές. Μετά την προβολή, δώρο για τα Χριστούγεννα, θα κληρωθούν τα βιβλία από την ερωτική σειρά των εκδόσεων Μεταίχμιο, μεταξύ των οποίων Η ωραία της ημέρας, Η ιστορία της Ο, Ο εραστής της Λαίδης Τσάτερλυ, και πολλά άλλα.
Δύο υπέροχα ντοκιμαντέρ για τον έρωτα, τη ζωή και τις προκλήσεις της, αντίδοτο στους καιρούς που διανύουμε, που κανείς δεν πρέπει να χάσει.

Τα ντοκιμαντέρ προβάλλονται παράλληλα στους κινηματογράφους: Δαναός (16.12.2012 και 23.12.2012) τηλ.: 210 69 22 655, Παύλος Ζάννας (9/12/212 και 16.12.2012) τηλ.: 2310 378 404 και Μουσείο Κινηματογράφου Θεσσαλονίκης (12/12/2012 και 19.12.2012) τηλ.: 2310 508 398.

Festivals, Screenings-Events

Why poverty? avant premiere at the French Institute in Athens

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Μην χάσετε το δεύτερο μέρος των ειδικών προβολών του Why poverty? που πραγματοποιούνται στα πλαίσια του 25ου Φεστιβάλ Κινηματογράφος και Πραγματικότητα στο Γαλλικό Ινστιτούτο, την Τετάρτη 5 Δεκεμβρίου από τις 17.30 το απόγευμα.

Φτώχεια, γιατί; (Why Poverty ?)

Μία διεθνής πρωτοβουλία με σκοπό την συμπαραγωγή οκτώ μεγάλου μήκους και 32 μικρού μήκους ντοκιμαντέρ με θέμα την καταπολέμηση της φτώχειας. Συμμετέχουν περισσότεροι από 70 ραδιοτηλεοπτικοί φορείς σε όλο τον κόσμο, μεταξύ των οποίων: BBC/UK, ARTE & ZDF-France/Germany, YLE/Finland, RAI/Italy, PBS/USA, NHK/Japan, ABC/Australia, ERT/Greece, TV3/Catalonia-Spain

Τετάρτη 05/12, 17.30

Why Poverty Α’

Η Παρκ Άβενιου Δεν Είναι Μία (Park Avenue), Alex Gibney, ΗΠΑ, 52’, Έγχρ.

Η περίφημη λεωφόρος της Νέας Υόρκης ταυτίζεται το πλούτο, αλλά φιλοξενεί και την ανέχεια του Μπρονξ. Ο πάντα ευφυής Άλεξ Τζίμπνεϊ οπτικοποιεί και σχολιάζει τη ραγδαία αύξηση της ανισότητας στις ΗΠΑ.

Νανούρισμα (Lullaby), Victor Kosakovskiy, Γερμανία, 3’

Στην αίγλη του Βερολίνου, για να σηκώσεις χρήματα από το ΑΤΜ πρέπει να περάσεις πάνω από τους άστεγους που κοιμούνται. Ενοχλητικό – αλλά για ποιον;

Κακά Για τους Φτωχούς (Poop on Poverty), Vijay Jodha, Ινδία, 5’

Μια λαμπρή θρησκευτική γιορτή προσφέρει στις φτωχές οικογένειες την ευκαιρία να συλλέξουν ένα πολύτιμο

καύσιμο: κοπριά καμήλας.

Το Νήμα (The Thread), Alicia Cano, Ουρουγουάη, 7’

Η χειραφέτηση μιας έφηβης μέσα από τη ρήξη της με μια παράδοση που υπερβαίνει τα όρια των κοινωνικών τάξεων.

Γουίλμπουρ (Wilbur), Adrien Roche, Ινδία, 3 ταινίες, 13’

Βγάζοντας τη γλώσσα στην κομψότητα και στην καλαισθησία, ο πρώτος Ινδός σταρ του YouTube παρουσιάζει χιουμοριστικά την ανισότητα στη χώρα του.

Τετάρτη 05/12, 19.00΄

Why Poverty Β’

Δώστε τα Λεφτά Σε Μας (Give Us The Money), Bosse Lintquist, Σουηδία, 52’

Ο Μπομπ Γκέλντοφ (Live Aid), και ο Μπόνο (Make Poverty History), είναι δύο μόνο από τους διάσημους που ασχολήθηκαν με τον κοινωνικό ακτιβισμό. Είχαν όμως οι προσπάθειές τους αποτέλεσμα; Αρκεί η καλή θέληση για να σώσει τον κόσμο;

Η Τσάντα του Μόρις (Morris’ Bag), Michele Mellara & Alessandro Rossi, Κένυα, 3’

Η λιγοστή πρασινάδα στην παραγκούπολη του Ναϊρόμπι δεν είναι απλώς διακοσμητική - είναι πηγή ζωής.

Βρίσκοντας την Τζόζεφιν (Finding Josephine), Tomas Sheridan, Ουγκάντα/Η.Β., 10’

Τι μπορεί να συμβεί όταν μια δυτική οικογένεια θελήσει να βρει από κοντά το παιδί που έχει «υιοθετήσει»στην Ουγκάντα;

Κακή Εκπαίδευση (Miseducation), Nadine Cloete, Νότια Αφρική, 4’

Ένα 9χρονο κορίτσι ξεκινάει για το σχολείο και μας ξεναγεί στις επικράτειες συμμοριών που έχει να διασχίσει καθημερινά.

Αφοί ΟΚ (OK Brothers), Kunal Sen, Ινδία, 3’

Animation για δυο αδέλφια που κάνουν μια από τις χειρότερες δουλειές από καταβολής κόσμου.

Screenings-Events

Κρυμμένα παιδιά στην Ελλάδα της Κατοχής

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Το ντοκιμαντέρ "Φιλιά εις τα Παιδιά" (115 ', 2011) του Βασίλη Λουλέ, θα προβληθεί στο Μουσείο Μπενάκη την Κυριακή 25 Νοεμβρίου στις 11.00

Πέντε μικρά Εβραιόπουλα στην Ελλάδα της Γερμανικής Κατοχής που σώθηκαν από το θάνατο χάρις σε οικογένειες Χριστιανών, πέντε ‘‘κρυμμένα παιδιά’’ που έζησαν μέσα στην απόλυτη σιωπή, αφηγούνται τις ιστορίες τους. Ιστορίες τρόμου κι αγωνίας αλλά και στιγμές παιδικής ανεμελιάς μέσα στην αγκαλιά των ξένων. Στοργικές φωλιές, κρυφοί παράδεισοι μακριά από τη φρίκη του Ολοκαυτώματος.

Πέντε παιδιά που μεγάλωσαν απότομα.

Η Ροζίνα, ο Σήφης, η Ευτυχία, η Σέλλυ και ο Μάριος πέρασαν τη ζωή τους κουβαλώντας πάντα μαζί τη μνήμη χιλιάδων παιδιών. Εκείνων που δεν πρόλαβαν ποτέ να μεγαλώσουν.

Η ταινία παρακολουθεί αυτά τα πρόσωπα από την παιδική ηλικία μέχρι σήμερα, φέρνοντας στο φως πολύτιμα προσωπικά τους ντοκουμέντα –ένα παιδικό ημερολόγιο, φωτογραφίες και οικογενειακά φιλμάκια– τεκμήρια μιας ολόκληρης εποχής. Παράλληλα, σκιαγραφείται η ζωή των Εβραϊκών κοινοτήτων της Ελλάδας πριν τον Πόλεμο και αποκαλύπτονται σπάνιες εικόνες της κατεχόμενης Αθήνας και Θεσσαλονίκης, μέσα από κινηματογραφικά αρχεία, ερασιτεχνικές ταινίες Γερμανών στρατιωτών και παράνομες λήψεις Ελλήνων πατριωτών.

Σχετικά με τη δημιουργία της ταινίας

Η έρευνα για την ταινία ξεκίνησε το 2006, με αφορμή την έκθεση  μαρτυριών και ντοκουμέντων “Κρυμμένα παιδιά στην Ελλάδα της Κατοχής” του Εβραϊκού Μουσείου Ελλάδος.  Τα γυρίσματα έγιναν στο χρονικό διάστημα 2007-2009 στην Αθήνα, Θεσσαλονίκη, Ιωάννινα, Χανιά & στο Άουσβιτς της Πολωνίας.

Η παραγωγή έγινε με τη συνεργασία, υποστήριξη και οικονομική ενίσχυση αρκετών φορέων, Μουσείων και Ιδρυμάτων της Ελλάδας και του εξωτερικού.

Κινηματογραφική και Τηλεοπτική προβολή

Η ταινία θα βγει σύντομα σε κινηματογραφική διανομή στην Αθήνα (Ιανουάριος 2013 Ταινιοθήκη).

Θα μεταδοθεί από την ΕΡΤ στις αρχές του 2013.

Μαρτυρίες - Αφήγηση

Ροζίνα Ασσέρ-Πάρδο

Σήφης Βεντούρας

Ευτυχία Νάχμαν-Ναχμία

Σέλλυ Κούνιο-Κοέν

Μάριος Σούσης