纪录片自媒体解说素材-新闻动态参考-乌克兰和俄罗斯在哥本哈根国际文档节上的议程/Ukraine and Russia High on the Agenda at Copenhagen International Doc Fest
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0502/1443ntdfe3bztz0.jpg乌克兰和俄罗斯在哥本哈根国际文档节上的议程
Ukraine and Russia High on the Agenda at Copenhagen International Doc Fest
哥本哈根英特尔。纪录片电影节（CPH：DOX）宣布了其完整节目，其中包括200张新电影和高达76个世界首映。十二部纪录片正在争夺主要DOX的最高奖项：奖项比赛，其中四分之一是在俄罗斯和乌克兰拍摄的，这是组织者对节日的渴望反映我们生活时代的作证。电影节不仅是对电影院的庆祝活动，而且是一个批判性地思考现实，进行民主对话并讨论我们对世界的看法如何产生后果的机会。”“目前，我们的思想首先是乌克兰人民，乌克兰的人民是一个主权国家，被专制政权非法入侵。在基辅，伟大的节日docudays UA应该与CPH：DOX同时发生。在争夺主要奖项的电影中，这是DA尼尔·罗赫（Niel Roher）的圣丹斯（Sundance）轰动是一部关于俄罗斯反对派领导人亚历克西·纳瓦尼（Alexei Navalny）一生的狂热纪录片惊悚片《纳瓦尼》（Navalny）。丹麦电影制片人西蒙·莱伦·威尔蒙特（Simon Lereng Wilmont）由CPH提供的“隐藏和寻求”是由竞争中的Doxscreening of竞争。Luca Gennari和Enrico Parenti的阵容“ Novorossiya”将在音乐节上首映。除了获得DOX：奖项外，音乐节的其他国际比赛还获得了新的：实验和艺术家电影的视觉奖，F：ACT电影奖，涉及调查新闻和纪录片，《北欧：北欧纪录片奖》和下一篇：新兴电影制片人和艺术家的波浪奖。该计划反映了严格的性别平等，有50％的电影导演或Co-D由女董事授予。选择包括由成熟的，屡获殊荣的导演以及五场比赛中的新声音的电影。这些包括智利的迭戈·阿科斯塔（Chile）的迭戈·阿科斯塔（Diego Acosta）的首张作品“在天空庇护所”中，由程序员Mads Mikkelsen描述为“一个令人着迷的美丽的黑色和黑色和黑色 - 白色的16毫米胶片在智利山脉中，有着梦幻般的色彩闪光，没有对话。米克尔森（Mikkelsen）表示，在今年最激动人心的电影中。“在天空下”由CPH：Doxoranghan提供的三个主要主题 - 艺术，科学和社会 - 将在哥本哈根各地的15个场所进行筛选 - 以前用作丹麦大亨西蒙·间谍（Simon Spies）的色情电影电影院 - 以及三个新场所，每个场所都有专门的弹出式电影院NG，辩论，演讲，音乐会，表演和其他特殊活动。行业活动将于3月28日至4月1日在旗帜“不寻常”的旗帜下举行。旗舰融资和联合制作活动CPH：论坛将于3月28日至31日举行，组织者希望大多数与会者亲自参加活动。尽管他们很高兴CPH：DOX在两个在线版本之后，由于COVID-19的大流行而重新开始，但组织者坚持认为它仍然是完全混合的，可以在线访问无法获得丹麦首都的认可参与者。旅行者应能够在3月23日举行的第一个在2月1日取消其所有Covid-19限制之后，在3月23日开放时不受任何限制进入丹麦，包括数字Covid-19CPH：DOX于3月23日至4月3日在哥本哈根跑步。在下面。“他们让我们成为我们的夜晚”由CPH：Doxdox：奖励“ Eclipse”，NatašaUrban（挪威，世界首映），在1999年与Solar Eclipse一起作为她的镜子形象，一位流亡的电影艺术家在她的镜子上，一位流亡的电影艺术家在她的模拟电影摄像头上旋转了她的模拟电影摄像机她在前南斯拉夫的家人绘制了现在的黑暗过去如何嵌入到现在。“秋天，”安德烈亚斯·科夫（Andreas Koefoed）（丹麦，世界首映）一个10岁的女孩奇迹般地从五楼跌倒了。六年后，她希望逃避创伤。一部微妙，敏感的成年电影，讲述了一个非常不寻常的年轻女子。“爱之火”，萨拉·多萨（Sara Dosa）（加拿大/美国，国际首映式），一部独特，诗意和视觉上令人惊叹的冒险电影，讲述了一位法国科学家，完全基于完全基于法国科学家夫妇在他们的旅行中，他们在1970年代和80年代寻找火山的镜头。“女孩帮”，苏珊·里贾纳·梅尔斯（Susanne Regina Meures）（瑞士，世界首映）是一个现代童话，讲述了一个14岁的影响者和她最大的粉丝。但是生活作为社交媒体明星，肾上腺素，名望和免费运动鞋无法弥补的阴影一面。“隐藏和寻求”，维多利亚·菲奥尔（Victoria Fiore）（英国/国际首映式）在那不勒斯最艰难的社区之一中四年，一个单一家庭的所有三代人都生活在法律的边缘。这个家庭最小的儿子可以打破黑暗的遗产吗？“假期，”安托万·卡丁（瑞士，世界首映）俄罗斯的创纪录的假期纪录，在一个乐观的巴拉莱卡节奏中得到了庆祝，并在生动活泼在东方的广阔，难以理解的国家中。“进入冰”，拉尔斯·奥斯滕菲尔德（丹麦/德国，世界首映）在格陵兰冰盖上进行了盛大的电影冒险，三名主要科学家们寻找冰可以告诉我们的东西我们的气候，我们的过去和可能的未来。“助产士”，Snow Hnin ei Hlaing（缅甸，欧洲首映），讲述了缅甸罗兴亚与佛教徒之间复杂关系的故事d五年多，通过两个助产士的两侧的眼睛。“纳瓦尔尼”，丹尼尔·罗赫（美国，国际首映）俄罗斯反对派领导人亚历克西·纳瓦尔尼（Alexei Navalny）都是侦探和假定的谋杀受害者，这是关于暗杀的勇敢的谋杀者尝试他的生活。及时，紧急，令人不安。现在，罗马回到街上，他的口袋里什么都没有，只有一把新的刀子，因为新的冲突迫在眉睫。一部关于启示录的阴影中的一家家庭的不可预测和梦幻般的墨西哥电影。一项活生生的有机作品。“在天空庇护所”，迭戈·阿科斯塔（智利，国际首映）智利首演，在闪闪发光，模拟黑白。一个孤独的牧羊人十字架河流，森林和悬崖和数千只绵羊。当他在山上失去自己时，梦想看起来像鬼。由局外人艺术家。“臭黎明”，利亚姆·吉利克（Liam Gillick＆Gelitin）（奥地利/英国，世界首映式），由利亚姆·吉利克（Liam Gillick）和昆斯塔尔·韦恩（Kunsthalle Wien）的激进表演艺术团体gelitin表演的社会实验转变为音乐。 Trinh Minh-Ha（美国全球首映）根据1993年和1994年中国艺术家拍摄的录像，Trinh的文章反映了中国思想的丰富历史以及电影本身的悠久历史。丹麦，美国，德国，国际首映）埃德·阿特金斯（Ed Atkins）与他的母亲致电。在阿特金斯（Atkins）通过绩效捕捉技术（数字化身）渲染时，听到了她的声音，但没有看到她。劳伦·博伊尔（Lauren Boyle）/迪斯（Dis）杂志（美国，世界首映）一部关于我们的非线性，自然史纪录片 - 智人。 - 通过Google的反向图像搜索找到的10,000张静止图像创建的视频作品。在几内亚 - 比索（Guinea-Bissau）在1965年争取脱离葡萄牙独立的斗争期间，“红树林学校”，菲利帕·塞萨尔（FilipaCésar）＆sóniavaz borges（葡萄牙/德国/法国，国际首映式），教育成为一种反殖民抵抗的手段。运动的历史是纪录片寓言。“空闲人的国会”，巴塞姆·萨德（Bassem Saad）（黎巴嫩，欧洲首映）五个对话者研究了抗议，危机，人道主义和共同援助，移民劳动和巴勒斯坦局外人地位的制图。 “我们知道它们有多美丽，这些岛屿。”人和物体，作为一个人物，在现实与梦想之间的暮光区中漫游。电影在其无形参与者的话语和声音的指导下。“亲爱的黑暗”，Antoinette Zwirchmayr（奥地利，国际首映式）一个令人着迷的美丽的16毫米工作，围绕三个女性和前最好的朋友，他们在20年后再次相遇。 Beny Wagner/Sasha Litvintseva（德国/英国，世界首映），遍历衡量社会和政治历史的幻觉旅程。从现代欧洲早期的欧洲土地围墙到当前的大科学领域。“尼古拉”，Mihai Grecu（罗马尼亚，欧洲首映式）前罗马尼亚独裁者Nicolae Ceaușescu nicolae Ceaușescu再次出现在一个小村庄中的全息图，在一个干燥的智慧干预中，削弱了过去的边界和现在。“蜂窝图像/存档CL添加，” Tinne Zenner/Eva la Cour（丹麦，世界首映）的文本，图像和声音蒙太奇，探索了哥本哈根一栋行政大楼与格陵兰的大理石矿山的交织历史。”方式。”罗马故事，”埃里克·鲍德莱尔（Eric Baudelaire）（法国，国际首映），即兴作曲家阿尔文·柯兰（Alvin Curran）作为指导原则，鲍德莱尔（Baudelaire Karbe，（德国/法国，世界首映）对于黑人曼巴斯的南非妇女，与偷猎者的斗争也是为争取妇女解放和赋权的斗争。e纪录片有关尼日利亚黑手党的武器如何到达欧洲，并利用宗教压力使被贩运的妇女保持卖淫。“战争规则”，吉多·亨德里克克斯（荷兰，世界首映）是红十字会的代表和一群南方苏丹苏丹人士兵们对战争和冲突的看法冲突。从CPH背后的思想：DOX命中了“一个人和相机”。“领土”，亚历克斯·普里兹（丹麦/美国/巴西，国际首映式），由政府支持的农民网络正在巴西雨林中的土著领土上。 ，但是当地的激进主义者和他的团队正在用摄像机作为武器进行反击。“这个被盗的国家，”马克·威斯（厄瓜多尔/德国，世界首映）中国矿业在厄瓜多尔的山区开采中国矿业，为史诗般的战斗奠定了基础Eco-Guerrillas和一个腐败的政府具有巨大的戏剧性。“ Tiktok，Boom”，Shalini Kantayya（美国，国际首映式），随着Tikt的数据流量的数据流，危险的美元和日元超过日元可以回到中国服务器公园。一部关于社交媒体的隐形影响的批判性但技术阳性的电影。“巧克力战”，米奇·米斯特拉蒂（丹麦，世界首映），一个人与可可生产商的行业进行斗争，这些生产商在象牙海岸的种植园中无情地利用童工。调查性游击队新闻业遇到了激烈的法庭戏剧。“法国大革命”，伊曼纽尔·格拉斯（法国，国际首映式），这是一部及时的电影中从内部看的现代抗议运动，详尽地观察了细节，观察了方法，目标和内在的矛盾和内在的矛盾法国的黄色背心。“鲸鱼的味道”，文森特·凯尔纳（法国，世界首映）法罗伊斯捕鲸者已经狩猎了飞行员鲸鱼已有几个世纪了，但今天国际活动家谴责了古老的传统。清醒地看着看似双向冲突的困境。“最后，雷切尔·李尔斯（美国，国际首映式）通过一项新的绿色交易的共同梦想，带领三位年轻的女性活动家进入权力中心，犬儒主义和对变革的需求相撞。道德：DOX奖“电动疾病”，玛丽·莱德恩（英国，世界首映）对电子产品过敏，并在瑞典荒野中孤立在自制的浓毯中。认识40岁的威廉，他的神秘状况未被世界认可。“幸福的工人”约翰·韦伯斯特（芬兰，世界首映）强调吗？烧坏？你不是一个人！有了黑人的幽默和讽刺的讽刺，我们得到了一个令人难以置信的故事，讲述了现代工作生活如何成为自己最大的敌人以及如何改变它。Graversen，” Michael Graversen（丹麦，全球首映）经过多年的滥用毒品，迈克尔的父亲恢复了生命，但一个古老的家庭创伤继续困扰着Graversen家族。Kiertzner（丹麦/瑞典，全球首映）Lars，Eino和Thomas正在为自己和格陵兰东部Tasiilaq的朋友争取更美好的未来。一个关于希望，梦想和成为自己的权利的青年电影。“还有待观察的一切，”朱莉·贝泽拉·麦德森（丹麦/芬兰，世界首映）您想看看是否看不到什么？一个盲目的母亲和她七岁的儿子互相教导如何在世界慢慢逐渐消失和新生活时如何浏览世界。 “瑞典模式的背后，”维克多·诺登斯基德（ViktorNordenskiöld）（瑞典，国际首映式）在瑞典第一台电晕浪潮的场景之后，州流行病学家安德斯·特格内尔（Anders）在全球范围内独奏，并在一夜之间成为了一个非自愿的公众人物。 Jenifer Malmqvist（瑞典/丹麦，世界首映）一部敏感而凄美的电影，讲述了三个年轻女孩的悲伤过程，他们的母亲自杀后说了10年。 ）肾上腺素驱动的激进动物福利电影在第一人称中讲述，关于在政治上意识到以及如何当世界不听时，自己的理想主义可能会反对你。“卡拉OK天堂，”埃纳里·帕卡尼（Einari Paakkanen）（芬兰，国际首映式）一部令人心动的芬兰风格的电影，讲述了卡拉OK的文化如何在您最不期望的地方进行：在我们臭名昭著的情况下北部寒冷的姊妹国家。“最后的人类”，地球上的丹麦弗兰克（丹麦/格陵兰，世界首映）的生活始于格陵兰岛。研究员Minik Rosing的地标发现了第一生生命的发现与伊瓦洛·弗兰克（Ivalo Frank）向她的家园致敬。“光明”，克里斯蒂安·苏尔（《埃及/丹麦》，世界首映式），这是从尼罗到尼罗到尼罗的哲学旅程在革命后的埃及，寻找光明作为政治和宗教概念的含义。“没有像家一样的地方，”埃米莉·贝克（Emilie Beck）（挪威，世界首映）一个年轻的女人面对自己的故事，作为来自斯里兰卡的收养孩子。她的追求变成了在伪造纪录片的泥泞中追求真相恩特，腐败和家庭创伤。在城市街道上方高高的平坦屋顶成为练习礼仪鸽运动的人们的希望的避风港。“ Moosa Lane”，Anita Hopland（巴基斯坦/丹麦/挪威，世界首映），是个人家庭史诗，丹麦 - 巴基斯坦导演Anita Mathal Hopland Look Look Look Look回到她在卡拉奇和哥本哈根的两个家庭的历史。“在我们镇上没有地方，”尼古拉·史蒂芬诺夫（保加利亚，全球首映）是一个破旧的矿业小镇上的铁杆足球小流氓的艰难生活由于关闭，未来看起来黯淡。但是，有没有狂热主义的出路？“没有什么比较，”凯瑟琳·弗格森（英国/欧洲，欧洲首映）“我不想成为流行歌星，我只是想尖叫。”标志性歌手SinéadO’Connor的工匠今天90年代的TIC突破一如既往地具有政治共鸣。“ Pawnshop，” olukasz Kowalski（波兰，世界首映）几个足智多谋的Misfits在波兰拥有最大的Pawnshop。当他们的财务崩溃和爱开始步履蹒跚时，他们着手与他们生命中最艰苦的战斗作斗争。“美国，美国，塞拉·佩特吉尔（美国，国际首映），美国军方在1960年代制作的电影是对象关于美国种族主义和叛乱历史的基于档案的现代文章的研究。 “我们在虚拟现实中相遇，”乔·亨廷（Joe Hunting）（英国，欧洲首映）在第一次锁定期间完全在Vrchat的幻觉虚拟世界中拍摄，这部视觉上奇异但深厚的人类电影探索了技术与情感之间的交叉。”和我。或她自己是女主角。“萨米的奥德赛”，罗宾·迪米特（Robin Dimet）（法国/埃塞俄比亚，世界首映）在埃塞俄比亚迷宫般的首都中，一个隐居者坐落在古老的笔记本电脑上翻译希腊语和罗马神话，作为宇宙的cosmic chaos presses on the Him。，”SaraSjölin（瑞典/丹麦，全球首映）一部喜剧剧院电影，艺术家SaraSjölin正在利用足球游戏作为背景，讲述了她与“情感殖民者”以前的关系的故事。
The Copenhagen Intl. Documentary Film Festival (CPH:DOX) has announced its full program, which includes some 200 new films and a whopping 76 world premieres.
A dozen documentaries are competing for the top prize in the main Dox:Award competition, a quarter of which were shot in Russia and Ukraine – a testimony to the organizers' desire for the festival to reflect the times in which we live.
“A documentary film festival is not only a celebration of cinema, it is also an opportunity to critically reflect on reality, to engage in democratic dialogue and to discuss how our views of the world have consequences,” artistic director Niklas Engstrøm says. “Right now, our thoughts are first and foremost with the people in Ukraine, a sovereign European state unlawfully invaded by an autocratic regime. In Kyiv, the great festival Docudays UA was supposed to happen around the same time as CPH:DOX. That is no longer possible.”
Among the films competing for the main award is Daniel Roher's Sundance sensation “Navalny,” a fly-on-the-wall documentary thriller about the life of Russian opposition leader Alexei Navalny in the aftermath of an attempt on his life.
Screening out of competition are critically acclaimed Sundance winner “A House Made of Splinters,” by Danish filmmaker Simon Lereng Wilmont, about an orphanage in the eastern part of Ukraine, and a last-minute addition to the lineup, “Novorossiya,” by Luca Gennari and Enrico Parenti, which will have its world premiere at the festival.
In addition to the Dox:Award, the festival's other international competitions are the New:Vision Award for experimental and artists' films, the F:ACT Award for films spanning investigative journalism and documentary, the Nordic:Dox Award for Nordic documentaries and the Next:Wave Award for emerging filmmakers and artists.
The program reflects strict gender parity with 50% of the films directed or co-directed by female directors. The selection includes films by established, award-winning directors as well as new voices across the five competitions.
These include debut features “Under the Sky Shelter” by Chile's Diego Acosta, described by programmer Mads Mikkelsen as “a mesmerizingly beautiful black-and-white 16mm film set in the Chilean mountains with dreamy flashes of color and no dialogue,” and “Hide and Seek,” a fast-paced film from Naples about a family across three generations struggling to break from the cycle of crime - “easily one of the most exciting films this year,” according to Mikkelsen.
Organized along three major themes – art, science and society – the works will be screened in some 15 venues across Copenhagen including the legendary Bremen Teater – formerly used as a cinema for erotic films by Danish tycoon Simon Spies – as well as three new venues, each with a dedicated pop-up cinema for screenings, debates, talks, concerts, performances and other special events.
Industry events will take place from March 28 through to April 1 under the banner “Business as Unusual.” The flagship financing and co-production event CPH:FORUM runs March 28-31, and organizers are expecting most attendees to turn up in person for the event.
While they are delighted that CPH:DOX is back on as a physical event after two online editions due to the COVID-19 pandemic, organizers insist it remains fully hybrid, offering online access to accredited attendees who cannot make it to the Danish capital.
Travelers should be able to enter Denmark without any restrictions by the time the festival opens on March 23, after it became the first European country to lift all of its COVID-19 restrictions on Feb. 1, including digital COVID-19 passports at indoor venues and face masks in public settings.
CPH:DOX runs in Copenhagen from March 23 through April 3.
See the full list of competition titles below.
DOX:AWARD
“The Eclipse,” Nataša Urban (Norway, World Premiere)
With the solar eclipse in 1999 as her mirror image, an exiled film artist turns her analogue film camera on her family in ex-Yugoslavia to map how a dark past remains embedded in the present.
“The Fall,” Andreas Koefoed (Denmark, World Premiere)
A 10-year-old girl miraculously survives a fall from the fifth floor. Six years later, she is looking to escape the trauma. A subtle, sensitive coming-of-age film about a very unusual young woman.
“Fire of Love,” Sara Dosa (Canada/U.S., International Premiere)
A unique, poetic and visually stunning adventure film about a French scientist couple, based entirely on their own footage from travels in search of erupting volcanoes in the 1970s and 80s.
“Girl Gang,” Susanne Regina Meures (Switzerland, World Premiere)
A contemporary fairy tale about a 14-year-old influencer and her biggest fan. But life as a social media star has a shadow side that the adrenaline, fame and free sneakers can’t make up for.
“Hide and Seek,” Victoria Fiore (U.K./Italy, International Premiere)
Four furious years in one of Naples' toughest neighborhoods, where all three generations of a single family live on the edge of the law. Can the family's youngest son break the dark legacy?
“Holidays,” Antoine Cattin (Switzerland, World Premiere)
Russia's record-high number of holidays are celebrated at an upbeat balalaika pace and with black hum-our in a lively mosaic of impressions from life in the vast, inscrutable country in the East.
“Into the Ice,” Lars Ostenfeld (Denmark/Germany, World Premiere)
A grand, cinematic adventure on the Greenland ice sheet with three leading scientists in search of what the ice can tell us about our climate, our past and possible future.
“Midwives,” Snow Hnin Ei Hlaing (Myanmar, European Premiere)
A tale of the complicated relationship between Rohingya and Buddhists in Myanmar, told over five years through the eyes of two midwives from either side of the divide.
“Navalny,” Daniel Roher (U.S., International Premiere)
Russian opposition leader Alexei Navalny is both detective and supposed murder victim in a brave docu-thriller about the assassination attempt on his life. Timely, urgent, nerve-wrecking.
“Outside,” Olha Zhurba (Ukraine/Denmark/Netherlands, World Premiere)
As a 13-year-old boy, he became the poster boy of the Ukrainian revolution. Now Roma is back on the streets with nothing in his pocket but a lighter and a knife as a new conflict looms.
“They Made Us the Night,” José Antonio Hernández Martínez (Mexico, International Premiere)
Supernatural visions and indigenous folk myths intrude in an unpredictable and dreamlike Mexican film about a family living in the shadow of the apocalypse. A living, organic work.
“Under the Sky Shelter,” Diego Acosta (Chile, International Premiere)
Chilean debut in sparkling, analogue black and white. A lone shepherd crosses rivers, forests and cliffs with thousands of sheep. As he loses himself in the mountains, dreams appear like ghosts.
NEW:VISION AWARD
“Parkland of Decay and Fantasy,” Chenliang Zhu (China, World Premiere)
Technology and spirituality are parallel forces in an abandoned and possibly haunted Chinese amusement park taken over by outsider artists.
“Stinking Dawn,” Liam Gillick & Gelitin (Austria/U.K., World Premiere)
A social experiment-turned-musical performed by Liam Gillick and the radical performance art group Gelitin at Kunsthalle Wien.
“What About China?,” Trinh Minh-ha (U.S./China, World Premiere)
Based on footage shot by the artist in China in 1993 and 1994, Trinh’s essay reflects on the rich history of Chinese thought - and of cinema itself.
“The Worm,” Ed Atkins (Denmark, U.S., Germany, International Premiere)
Ed Atkins presents a telephone call with his mother. She is heard but not seen, while Atkins is rendered, by way of performance-capture technology, as a digital avatar.
“Everything But the World,” Lauren Boyle/DIS Magazine (U.S., World Premiere)
A non-linear, natural history documentary about us — homo sapiens.
“Abyss,” Jeppe Lange & Google's Image Recognition AI (Denmark, World Premiere)
A mind-bending video work created as a chain of 10,000 still images found through Google’s reverse image search.
“Mangrove School,” Filipa César & Sónia Vaz Borges (Portugal/Germany/France, International Premiere)
During Guinea-Bissau’s struggle for independence from Portugal in 1965, education became a means of anti-colonial resistance. The history of a movement, narrated as a documentary fable.
“Congress of Idling Persons,” Bassem Saad (Lebanon, European Premiere)
Five interlocutors examine a cartography of protest, crisis, humanitarian and mutual aid, migrant labor, and Palestinian outsider status.
“We Knew How Beautiful They Were, These Islands,” Younes Ben Slimane (Tunisia, World Premiere)
A somber and enigmatic work that explores the inner life of people and objects, as a single figure roams a burial ground in a twilight zone between reality and dream.
“Echodrom,” Gudrun Krebitz (Austria, World Premiere)
Dark, dreamy and delirious mixed-media work contained within the frame of a partly animated film, guided by the words and voices of its invisible participants.
“Dear Darkness,” Antoinette Zwirchmayr (Austria, International Premiere)
A mesmerizingly beautiful 16mm work centering around three women and former best friends who meet again after 20 years.
“Constant,” Beny Wagner/Sasha Litvintseva (Germany/U.K., World Premiere)
A hallucinatory journey through the social and political histories of measurement. From early modern European land enclosures to the current frontier of Big Science.
“Nicolae,” Mihai Grecu (Romania, European Premiere)
Former Romanian dictator Nicolae Ceaușescu reappears as a hologram in a small village in a dryly witty intervention that blurs the boundaries between past and present.
“Honeycomb Image/Archive Cladding,” Tinne Zenner/Eva La Cour (Denmark, World Premiere)
A montage of text, image and sound that explores the intertwined histories of an administrative building in Copenhagen with a marble mine in Greenland.
“Through a Shimmering Prism, We Made a Way,” Rhea Storr (Bahamas/U.K., World Premiere)
Three sisters move through public/political space - a square, bridge, garden and hill - in this exploration of Black diaspora.
“When There Is No More Music to Write, and other Roman Stories,” Eric Baudelaire (France, International Premiere)
With the work of improvisational composer Alvin Curran as a guiding principle, Baudelaire creates a triptych that investigates the parallels between artistic theory and political practice.
F:ACT AWARD
“Black Mambas,” Lena Karbe, (Germany/France, World Premiere)
For the South African women of the Black Mambas, the fight against poachers is also a fight for women's liberation and empowerment.
“The Deal,” Chiara Sambuchi (Germany, World Premiere)
Investigative documentary about how the arms of the Nigerian mafia reach far into Europe and use religious pressure to keep trafficked women in prostitution.
“Rules of War,” Guido Hendrikx (Netherlands, World Premiere)
A Red Cross delegate and a group of hardcore South Sudanese soldiers clash in their views of war and conflict. From the mind behind the CPH:DOX hit “A Man and a Camera.”
“The Territory,” Alex Pritz (Denmark/U.S./Brazil, International Premiere)
A network of government-backed farmers is eating into indigenous territory in the Brazilian rainforest, but a local activist and his team are fighting back with a video camera as a weapon.
“This Stolen Country of Mine,” Marc Wiese (Ecuador/Germany, World Premiere)
Chinese mining in Ecuador's mountains sets the stage for an epic battle between eco-guerrillas and a corrupt government in an intensely dramatic feature.
“TikTok, Boom,” Shalini Kantayya (U.S., International Premiere)
There's more than dollars and yen at stake as data flows from TikTok back to Chinese server parks. A critical but tech-positive film about the invisible influence of social media.
“The Chocolate War,” Miki Mistrati (Denmark, World Premiere)
One man's fight against an industry of cocoa producers that ruthlessly exploits child labor in Ivory Coast plantations. Investigative guerrilla journalism meets intense courtroom drama.
“A French Revolution,” Emmanuel Gras (France, International Premiere)
A modern protest movement seen from the inside in a timely film with an eminent eye for detail that observes the methods, aims and inner contradictions of the French Yellow Vests.
“A Taste of Whale,” Vincent Kelner (France, World Premiere)
Faroese whalers have hunted pilot whales for centuries, but today international activists are condemning old traditions. A sober look at the dilemmas of a seemingly two-sided conflict.
“To the End,” Rachel Lears (U.S., International Premiere)
A shared dream of passing a New Green Deal leads three young female activists into the center of power, where cynicism and demands for change collide.
NORDIC:DOX AWARD
“Electric Malady,” Marie Lidén (U.K., World Premiere)
Allergic to electronics and isolated in the Swedish wilderness in a homemade turtle shell of thick blankets. Meet 40-year-old William, whose mysterious condition is not recognized by the world.
“The Happy Worker,” John Webster (Finland, World Premiere)
Stressed? Burnt out? You're not alone! With black humor and biting irony, we get the incredible story of how modern working life became its own worst enemy - and how to change it.
“Mr. Graversen,” Michael Graversen (Denmark, World Premiere)
After years of substance abuse, Michael's father returns to his life, but an old family trauma continues to haunt the Graversen family.
“TSUMU - Where Do You Go With Your Dreams?,” Kasper Kiertzner (Denmark/Sweden, World Premiere)
Lars, Eino and Thomas are fighting for a better future for themselves and their friends in Tasiilaq in eastern Greenland. A youth film about hope, dreams and the right to be yourself.
“All That Remains to be Seen,” Julie Bezerra Madsen (Denmark/Finland, World Premiere)
What would you like to see if you couldn't see any more? A blind mother and her seven-year-old son teach each other how to navigate the world as his vision slowly fades and a new life awaits.
“Behind the Swedish Model,” Viktor Nordenskiöld (Sweden, International Premiere)
Behind the scenes of the first corona wave in Sweden, where state epidemiologist Anders Tegnell went solo on a global scale - and became an involuntary public figure overnight.
“Daughters,” Jenifer Malmqvist (Sweden/Denmark, World Premiere)
A sensitive and poignant film about three young girls' grieving process after their mother's suicide, told over a period of 10 years.
“Just Animals,” Saila Kivelä/Vesa Kuosmanen (Finland, International Premiere)
Adrenaline-fueled activist animal welfare film told in the first person, about becoming politically aware - and about how your own idealism can turn against you when the world won’t listen.
“Karaoke Paradise,” Einari Paakkanen (Finland, International Premiere)
A heartwarming Finnish feel-good film about how karaoke culture has taken hold where you least expected it: in our notoriously introverted sister country in the cold north.
“The Last Human,” Ivalo Frank (Denmark/Greenland, World Premiere)
Life on Earth begins and ends with Greenland. Researcher Minik Rosing's landmark discovery of the first life contrasts with the melting ice masses in Ivalo Frank's tribute to her homeland.
“Light upon Light,” Christian Suhr (Egypt/Denmark, World Premiere)
A philosophical journey from Cairo, along the Nile and into the desert in search for what light means as a political and religious concept in post-revolutionary Egypt.
“No Place Like Home,” Emilie Beck (Norway, World Premiere)
A young woman confronts her own story as an adopted child from Sri Lanka. Her quest turns into a hunt for the truth in a morass of forged documents, corruption and family trauma.
NEXT:WAVE AWARD
“Kash Kash - Without Feathers We Can’t Live,” Lea Najjar (Germany/Lebanon/Qatar, World Premiere)
A vital, cinematic snapshot of Lebanon and its chaotic state, where the flat rooftops high above the city streets become a hopeful haven for people practicing a ritualistic pigeon sport.
“Moosa Lane,” Anita Hopland (Pakistan/Denmark/Norway, World Premiere)
A personal family epic, where Danish-Pakistani director Anita Mathal Hopland looks back at the history of her two families over 15 years in Karachi and Copenhagen.
“No Place for You in Our Town,” Nikolay Stefanov (Bulgaria, World Premiere)
The hard life of hardcore football hooligans in a dilapidated mining town where operations have long since shut down and the future looks bleak. But is there a way out of the fanaticism?
“Nothing Compares,” Kathryn Ferguson (U.K./Ireland, European Premiere)
“I didn't want to be a pop star, I just wanted to scream.” Iconic singer Sinéad O'Connor's artistic breakthrough in the '90s has political resonance today as much as ever.
“The Pawnshop,” Łukasz Kowalski (Poland, World Premiere)
A couple of resourceful misfits runs the biggest pawnshop in Poland. When their finances collapse and love begins to falter, they set out to fight the hardest battle of their lives.
“Riotsville, USA,” Sierra Pettengill (U.S., International Premiere)
A movie set built by the U.S. military in the 1960s is the object of study in an archival-based, modern essay about the history of racism and rebellion in America.
“We Met in Virtual Reality,” Joe Hunting (U.K., European Premiere)
Entirely shot in the hallucinatory virtual world of VRChat during the first lockdown, this visually singular but deeply human film explores the intersection between technology and emotions.
“An Eternity of You and Me,” Sanne This (Denmark, World Premiere)
A touching and humorous tale of gender roles and two people's struggle to fulfill their dream of having a child - with the director herself in the female lead.
“Sami’s Odysseys,” Robin Dimet (France/Ethiopia, World Premiere)
In Ethiopia's labyrinthine capital, a recluse sits translating Greek and Roman myths on an ancient laptop as cosmic chaos presses in on him.
“Sportcast 2,” Sara Sjölin (Sweden/Denmark, World Premiere)
A comedy-drama film where artist Sara Sjölin is using a football game as a backdrop to tell the story of her former relationship with an "emotional colonizer."
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