Tag Archives: Ντοκιμαντέρ

Young audiences in the spotlight

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?

, 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!



[email protected]
[email protected] 

A Decade with Alice

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.



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.


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

Ο Patricio Guzmán στη Θεσσαλονίκη

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.

Φιλιά εις τα Παιδιά

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.

Ο Ρενέ Ρετζέπι στο ΝΟΜΑ επί το έργον

Ο Ρενέ Ρετζέπι στο ΝΟΜΑ επί το έργον

Ραντεβού CineDoc στο Παρίσι!

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.

Why poverty? avant premiere at the French Institute in Athens

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.

Κρυμμένα παιδιά στην Ελλάδα της Κατοχής

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

A great Greek feature-length film at idfa 2012

One step ahead (Ena vima mprosta) is the portrait of the unconventional Greek wine producer Yannis Boutaris and his bid to become the mayor of Thessaloniki, the second-largest city in Greece, in 2010. Athiridis' camera follows closely the charismatic entrepreneur throughout his political campain and personal moments, while Greece sinks further into the financial crisis. What I liked the most about this film is its balance, with its second layer where he talks about his background and private life, his alcoholism and the death of his wife, while we watch great previously unseen family footage. In 132 min. (could be 10 min. shorter) Dimitris Athiridis provides  us with a deep look into the Greek society and helps us to understand the current situation in Greece. Artemis Anastasiadou has done a good job in the editing room and both Stavros Gasparatos and Terry Papadinas have chosen great music for the soundtrack of the film. The film is co-produced by ZDF/ARTE, ERT and YLE. It is a world premiere at idfa and will be broadcast on ARTE's special theme day on Greece, in June 2013.

You can still watch it on Thursday November 22 and Saturday 24 at idfa.

Thursday 22/11, at 21.45 Munt 13 and
Saturday 24/11, 14.45 Munt 13

Watch One Step Ahead trailer at idfa