纪录片自媒体解说素材-新闻动态参考-IDFA在最好的节日，大师，Paradocs部分中添加了65个标题/IDFA Adds 65 Titles to Lineup Across Best of Fests, Masters, Paradocs Sections
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0504/4043bw055se5fl2.jpgIDFA在最好的节日，大师，Paradocs部分中添加了65个标题
IDFA Adds 65 Titles to Lineup Across Best of Fests, Masters, Paradocs Sections
国际纪录片电影节阿姆斯特丹（IDFA）周二在其阵容中增加了65个冠军，揭示了非竞争力节的最佳节日，大师和大众。 IDFA的第34届IDFA于11月17日至28日在阿姆斯特丹举行。节日荣誉获奖者，评论家的选秀者和当年节日的观众收藏夹。 46个强大的选择包括印度式的故事，讲述了疏远恋人的“一夜一无所知”，Payal Kapadia是戛纳电影节的纪录片奖得主，野生动物电影《 The Velvet Queen》，首次导演玛丽·阿米格特（Marie Amiguet），“用户”，探索纳塔利娅·阿尔玛达（Natalia Almada）的《人类的未来》和《驯服花园》（SaloméJashi）的“驯服花园”。这些都是由艾莉森·克莱曼（Alison Klayman）的阿拉尼斯·莫里塞特（Alanis Morissette）传记片《锯齿状》（Jagged），刘·刘（Bing Liu）和约书亚·奥特曼（Joshua Altman）的《所有这些儿子》（所有这些儿子）等嗡嗡作响的观众电影加入的。本节还向节日巡回演出的惊喜宝石致敬它包括AnaïsTaracena的弱者屡获殊荣的“痣的寂静”，以及StefanPavlović的“寻找马匹”。大型者从世界上一些领先的电影制片人那里挑选了16个冠军。几个参赛作品讲述了在安德里亚·阿诺德（Andrea Arnold）的牛体验“牛”和卡里姆·艾诺兹（KarimAïnouz）的《山上的水手》中，在小说和纪录片世界中工作的跨界日益加剧，绘制了导演的第一次旅行，这是导演的第一次旅行，这是他父亲的祖国中的第一次旅行，其他标题。选择还介绍了纪录片Auteurs的新作品。全球首演包括海伦娜·蒂科瓦（HelenaT坡）的“雷内 - 自由囚犯”，这是她2008年杰作《名义主角》杰作的后续作品；迈·马斯里（Mai Masri）的“贝鲁特：风暴之眼”，其中四名年轻妇女记录了最近在贝鲁特的起义和锁定，导致港口爆炸爆炸。 Laila Pakalnina的“房屋”是人们及其房屋的颂歌。 Sergei Loznitsa回到了“ Babi Yar”。上下文，”关于磨损第二次世界大战大屠杀，而“ Futura”汇集了意大利大师Pietro Marcello，Francesco Munzi和Alice Rohrwacher的集体电影制作。八部电影包括著名艺术家文森特·梅森（Vincent Meessen）的《 Just Anotion》，Omar Blondin Diop的肖像，塞内加尔艺术家，Freedom Fighter和Jean-Luc Godard演员；跨学科艺术家斯蒂芬·洛耶（Stephen Loye）的抽象论文电影“在山的肚子里”； Shengze Zhu的精美拍摄了“河流，转弯，擦除，替代”，探索了武汉的大流行状况，给城市带来了大气的印象。上周，IDFA推出了即将到来的版本的两个焦点节目：未来时态和无意识的偏见。音乐节还宣布了第15版IDFA Doclab的计划，以及相应的主题计划Liminal Reality。将十九个标题添加到选择中。 fuTure时态提出了“电影的思考和对未来的思考的镶嵌”，通过10个冠军，包括新旧的冠军。高光包括赵琳的国际首映，“我很抱歉”，对核灾难的缓慢而冥想的反映。 Yael Bartana的“两分钟到午夜”探索了核威胁的表现方面，现实生活中的专家在虚构的环境中上演，而“ Homo Sapiens”，这是Nikolaus Geyrhalter的2016年著名电影，在Aura的Aura中，想象着遗弃的废墟，想象一下当时人类不再存在的时代。还有其他电影的规模较小，例如彼得·布罗森斯（Peter Brosens）和多尔·汉德（Dorjkhandyn Turmunkh）1998年的宝石“狗状态”，这是一种神秘的种类转世。由11个新的和先前发布的T组成Itles，无意识的偏见探讨了当今关于殖民过去意义的论述，以及过去继续在现在留下自己的印记的许多方式。该计划的中心是约翰·范·德·库肯（Johan Van Der Keuken）标志性的“阿姆斯特丹全球村庄” 25周年，这是穿越城市及其许多相互交织的文化和居民的旅程。其他电影将目光转移到了其他欧洲城市，调查了殖民时期如何隐藏在其社交结构中：希托·史蒂尔（Hito Steyerl）的早期论文电影《空中中心》（The Ambty Center）考虑了德国统一后上升的新墙；塞内加尔 - 法国电影制片人爱丽丝·迪奥普（Alice Diop）的新电影《我们》（We We' 。让·加布里埃尔·佩里奥特（Jean-GabrielPériot边缘化社区的阶级也有发言权。其他头衔采取了个人方法，希望在电影制片人自己的家庭中进行世代化的转变：Shin-ichi Ise的“现在就是过去”考虑了殖民宣传的生活； ErikaEtangsalé的“在滚滚之夜”将神话和记忆融合在一起，讲述了Réunion的奴隶制，连根拔起和代际痛苦的深刻个人化故事。为了庆祝IDFA Doclab成立15周年，该节日展示了特殊主题计划Liminal Reality：庆祝生活，技术和艺术的歧义。指的是既熟悉又未知的中间状态，限制现实反映了我们现在发现自己的集体歧义。第15版将看到IDFA DOCLAB返回阿姆斯特丹的物理位置，包括Tolhuistuin，包括tolhuistuin，Eye，Vlaams Cultuurhuis de Brakke，除了在线和虚拟世界内部的活动和表演外，Grond和Artisplanetarium。我Nteractive会议将在五天内分布，充满演讲和现场表演，并与知名艺术家和思想家Rahima Gambo，Lauren Lee McCarthy，Polymorf，Anagram，Anagram和许多其他特别嘉宾合作展示。
The International Documentary Film Festival Amsterdam (IDFA) added 65 titles to its lineup Tuesday, unveiling the non-competitive program sections Best of Fests, Masters and Paradocs. The 34th edition of IDFA takes place from Nov. 17-28 in Amsterdam.
Best of Fests honors award winners, critics’ picks and audience favorites from the year's festivals. The 46 strong selection includes India-set story about estranged lovers "A Night of Knowing Nothing" by Payal Kapadia, documentary award winner at Cannes, wildlife film "The Velvet Queen," by debut director Marie Amiguet, "Users," an exploration of humanity's future by Natalia Almada, and "Taming the Garden," the slow-cinema feature by Salomé Jashi.
These are joined by buzzy audience films such as Alison Klayman’s Alanis Morissette biopic "Jagged," and Bing Liu and Joshua Altman’s "All These Sons," from the filmmaking team behind "Minding the Gap." The section also pays tribute to the surprise gems from the festival circuit, including underdog award-winners "The Silence of the Mole" by Anaïs Taracena, and "Looking for Horses" by Stefan Pavlović.
Masters selects 16 titles from some of the world's leading filmmakers. Several entries speak to the growing crossover between filmmakers working in both the fiction and documentary worlds, as seen in Andrea Arnold’s bovine experience "Cow," and Karim Aïnouz's "Mariner of the Mountains," charting the director’s first trip to his father’s homeland, among other titles.
The selection also presents new work by documentary auteurs. World premieres include Helena Třeštíková’s "René - The Prisoner of Freedom," the follow-up to her 2008 masterpiece on the titular protagonist; Mai Masri’s "Beirut: Eye of the Storm," in which four young women document the recent uprising and lockdown in Beirut, leading up to the devastating port explosion; and Laila Pakalnina’s "Homes," an ode to people and their houses.
Sergei Loznitsa is back with "Babi Yar. Context," about a World War II massacre, while "Futura" brings together Italian masters Pietro Marcello, Francesco Munzi, and Alice Rohrwacher in a feat of collective filmmaking.
The Paradocs program showcases some of the year’s best experimental documentary art. The eight films include "Just a Movement" by renowned artist Vincent Meessen, a portrait of Omar Blondin Diop, the Senegalese artist, freedom fighter, and Jean-Luc Godard actor; "In the Belly of the Mountain," the abstract essay film from cross-disciplinary artist Stephen Loye; and Shengze Zhu’s beautifully shot "A River Runs, Turns, Erases, Replaces," which explores the pandemic situation in Wuhan, delivering an atmospheric impression of the city.
Last week, IDFA unveiled the two focus programs of its upcoming edition: The Future Tense and unConscious Bias. The festival also announced plans for the 15th edition of IDFA DocLab, and the corresponding theme program Liminal Reality. Nineteen titles were added to the selection.
The Future Tense presents "a mosaic of cinematic reflections and contemplations of the future," through 10 titles, both old and new.
Highlights include the international premiere of "I’m So Sorry" by Zhao Liang, a slow, meditative reflection on nuclear disaster. Yael Bartana’s "Two Minutes to Midnight" explores the performative side of nuclear threats, with real-life experts staged in a fictitious setting, while "Homo Sapiens," the acclaimed 2016 film by Nikolaus Geyrhalter, basks in the aura of abandoned ruins, imagining a time when humans no longer exist.
Other films look to imagined futures that are already past, as in Kidlat Tahimik’s "Perfumed Nightmare," the 1970s postcolonial classic that playfully dreams of the idealized West—subverting the notion of “progress” as place. Still other films look smaller in scale, such as Peter Brosens and Dorjkhandyn Turmunkh’s 1998 gem "State of Dogs," a mystical docu-fable of interspecies reincarnation.
Consisting of 11 new and previously released titles, unConscious Bias explores today’s discourse on the meaning of the colonial past, and the many ways that this past continues to leave its mark on the present.
At the center of the program is the 25th anniversary of Johan van der Keuken’s iconic "Amsterdam Global Village," a journey through the city and its many intertwined cultures and inhabitants.
Other films shift the gaze to other European cities, investigating how the colonial past is hidden in their social fabric: Hito Steyerl’s early essay film "The Empty Center" considers the new walls that went up after German reunification; Senegalese-French filmmaker Alice Diop’s new film "We" travels the Paris RER B train route to encounter the diverse city dwellers who make up a collective whole.
Several new films look at the systemic nature of colonialism and its lasting grip on economic and social spheres. Jean-Gabriel Périot’s "Returning to Reims (Fragments)" delves into the archives to tell a more inclusive story of the French working class in which marginalized communities also get a say.
Other titles take a personal approach, looking to generational shifts in perspective within the filmmakers’ own families: "Now Is the Past" by Shin-ichi Ise considers how colonial propaganda lives on; and "In the Billowing Night" by Erika Etangsalé brings together myth and memory to tell a deeply personal story of slavery, uprooting, and intergenerational pain from Réunion.
In celebration of IDFA DocLab’s 15th anniversary, the festival presents the special theme program Liminal Reality: a celebration of ambiguity in life, tech, and art. Referring to an in-between state that is both familiar and unknown, Liminal Reality reflects on the collective ambiguity we now find ourselves in.
The 15th edition will see IDFA DocLab return to physical locations in Amsterdam, including Tolhuistuin, Eye, Vlaams Cultuurhuis de Brakke Grond, and ARTISPlanetarium, in addition to events and performances online and inside virtual worlds. The Interactive Conference will be spread over five days, filled with talks and live performances and presented in collaborationwith leading immersive artists and thinkers Rahima Gambo, Lauren Lee McCarthy, Polymorf, Anagram, and many other special guests.
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