娜塔莎·乌尔班（Natasa Urban）的“日食”（Eclipse）在哥本哈根INTL获得了最高奖项。纪录节
Natasa Urban’s ‘The Eclipse’ Wins Top Award at Copenhagen Intl. Documentary Festival
NatašaUrban的“ Eclipse”获得了哥本哈根INTL的最高DOX：奖。纪录片电影节。这是在丹麦首都举行的仪式上颁发的，该仪式以向乌克兰致敬 - 节日组织者宣布将在节日结束后立即在全国范围内放映丹尼尔·罗赫（Daniel Roher Roher）的“纳瓦尔尼”（Navalny）是另一个俄罗斯。”“ Eclipse”正在与其他11名最佳奖项竞争 - 其中一半的世界首映式在活动期间不少于76个世界首映。 ，1999年，当塞尔维亚的大多数人口在他们的家中和核掩体中担心完全日食时，这部电影将罕见的自然现象用作一个国家对一个国家对政治选择后果的良心的隐喻。在此过程中，Urban的纪录片论文面临着她国家的战时和犯罪过去，以及今天仍然放松的邪恶。制作这部电影是难以清楚的，但我会再做一次。” Urban代表自己和她的团队获得了奖项。在全球危机时期，这肯定了运动形象的职业。导演敢于看着一个陷入困境的礼物的镜子，并估计一个血腥的过去的幽灵，认为历史健忘症是几代人带来的负担。它勇于勇敢地使它成为主题。随着我们现在的战争和暴力威胁有一天成为昨天的新闻，这部电影以明确的话语告诉我们：不要移开视线；不忘记的。由电影艺术家和理论家特林·敏哈（Trinh Minh-Ha）返回电影她在1990年代初期在中国农村拍摄的摄影作品，对散文的悠久历史的反思。陪审团赞扬她的电影“不仅是通过回顾30年的结构，而且是通过清醒的结构来塑造的。特别提到黎巴嫩的巴塞姆·萨德（Bassem Saad）的“闲聊国会”，他将来自世界各地的艺术家，音乐家和知识分子汇集在一起\u200b\u200b，对政治抗议和移民进行了表演反思。 Mambas”赢得了F：ACT奖，致力于涉及调查新闻和纪录片的电影。它跟随来自南非克鲁格国家公园（Kruger National Park）社区的一群妇女组成了黑人曼巴斯（Black Mambas），这是一个受军事训练的网络，反对偷猎，这也是妇女解放的斗争。 ：“一个看似简单的故事，悄悄地揭示了它的合作社mplex层，“黑曼巴斯”触及了许多主题，承认但也违背了刻板印象。在意识形态上充满活力的景观中，我们可以体验年轻女性的斗争和权力，以抵抗持续的权力结构，在种族，家庭动态和殖民主义的紧密抓住的框架内，拒绝放手。” Alex Pritz的“领土”，“领土”关于亚马逊中的土著活动家，与政府支持的农民一起被吞噬了自己的领土，在F：ACT类别中特别提到。北欧：北欧纪录片的DOX：DOX奖被Ivalo Frank夺取了“最后的人类” ”向格陵兰科学家Minik Rosing的地标发现地球上生命的第一痕迹，陪审团被称为“一部奇怪的电影，敢于将多种样式组装成形象和思想的拼贴画。这部电影既是对一块土地的敏感致敬，又对L的巨大问题打开了ife本身。”“ Tsumu - 您与梦想一起去哪里，”一部关于希望，梦想和在动荡时期做自己的权利的青年电影Kaster Kiertzner在Nordic：Dox类别中特别提及。陪审团赞扬了这一点作为“一部赋予其主角讲故事的力量的电影：敬业的朋友，有梦想的青少年，他们在一代人被认为丢失的地方长大了。 CPH：DOX的新兴电影制片人和艺术家奖CPH：Wave，Wave去了“ Kash Kash - 没有羽毛，我们无法生存” CPH：DOX的奖项：陪审团纳贾尔（Najjar）赢得了奖项，“这部电影从一个很小的轶事中扩大了电影宇宙，并揭示了整个城市的幻想 - 整个国家。从开场场景的幽闭恐惧症的环境到人造鸽子的最后一眼，见证了它从中飞行的地方。” Anit的“ Moosa Lane”霍普兰（Hopland）被陪审团特别提及，称其为“一种感觉，而不仅仅是一个地方。一个人之间的一个人永远无法完全包含或掌握。我们通过导演的微妙而凝视着她记忆中的家族史的淡淡而凝视。电影评论家在领先的丹麦报纸Politiken上授予了丹麦政治：DOX年度最佳电影《年度最佳电影》。他们在声明中说：“获胜者是一部进入当今新闻中最为当前的冲突的电影，但它是由一位导演制作的，他在世界其他地区发现真正打扰的有趣之后就去了乌克兰。”虽然这不是关于当前战争甚至目前冲突的电影，但它带来了关于乌克兰生活的人们的证词在远处。”政治陪审团还特别提到了“先生Graversen”丹麦电影制片人迈克尔·格雷弗森（Michael Graversen），导演回到他的童年时代的家中，在那里他被他的父亲的新版本遇到了他，他们将其描述为“一部充满爱的电影，成熟的洞察力和宽恕。”节日，节日的融资和联合制作活动，CPH：论坛，将Eurimages联合制作发展奖移交给了Biljana Tutorov和Petar Glomazic的“最后一个游牧民族”。和法国，这是一部动荡的家庭戏剧，在黑山的土地军事化背景下展开了，在那里，反对妇女的暴力问题在暴力反对自然界中回荡。欧洲的郊区和我们没有重大共同制作，我们无法想到这部电影。” Biljana Tutorov在获得该奖项后说。 “这也是联合制作伙伴是塞尔维亚的《唤醒》电影，克罗地亚的Kinematograf和法国艺术馆制作公司，是最近事件和对生态的影响的最复杂的项目，尤其是鉴于最近的事件和对生态的影响以及对生态的影响。” Les电影De L'Oeil Sauvage。总部位于多伦多的Syndicado正在处理销售。这将我们带到了一个我们不知道的地方，这是一个对人类的惊人美丽和重要性的地方。一个关于人类在大卫反对巨人战斗中的故事，急切地提醒我们不要在战争的雾中迷失方向。”“回到电影院并让所有人亲自回到电影院，真是令人难以置信”。凯特琳·基尔加德（Katrine Kilgaard）导演告诉综艺。 “它再次向我们展示了即使您不知情，也会发生很多事情，就像水中的戒指一样 - 您把东西放在那里，并付出了自己的生活。从4月1日到4月10日，将在CPH：DOX的流媒体平台Doxonline.dk上提供各种游戏。
“The Eclipse” by Nataša Urban has picked up the top Dox:Award at Copenhagen Intl. Documentary Film Festival.
It was awarded at a ceremony in the Danish capital, which opened with a homage to Ukraine - where fest organizers announced they would be screening Daniel Roher's “Navalny” in theaters across the nation immediately after the festival to show “that there is another Russia.”
“The Eclipse” was competing with 11 others for the top award – half of them had their world premiere at the fest, part of no fewer than 76 world premieres during the event.
Focusing on the events of Aug. 11, 1999, when most of Serbia’s population barricaded themselves in their homes and nuclear bunkers in fear of a total solar eclipse, the film uses the rare natural phenomenon as a metaphor for a nation’s unclean conscience about the consequences of its political choices. In the process, Urban’s documentary essay confronts her country’s wartime and criminal past, and the evil that is still on the loose today.
“This film broke me down and I'm still picking myself up. It was indescribably difficult to make that film, but I will do it again,” said Urban as she received the award on behalf of herself and her team.
Handing out the award, the jury said: “The Dox:Award goes to a film that affirms a vocation for the moving image in a time of global crisis. The director dares to look in the mirror of a troubled present and reckon with the ghosts of a bloody past, arguing that historical amnesia is a burden carried across generations.
“We were stirred by the film’s rage, moved by its tender beauty, and roused by the ugliness it courageously makes its subject. As our present of war and violence threatens to one day become yesterday’s news, this film tells us in unambiguous terms: do not look away; do not forget.”
The New:Vision Award, which is dedicated to experimental and artists’ films, went to “What About China?” by film artist and theorist Trinh Minh-ha, who returns to film and photography she shot in rural China in the early 1990s in an essayistic reflection on the rich and complex history of the country.
The jury commended her film for “a timelessness fashioned not just through the structure of looking back 30 years, but through a lucidity that assumes a contemporaneity without insistence.”
Special Mention went to “Congress of Idling Persons” by Bassem Saad from Lebanon, who brings together artists, musicians and intellectuals from around the world on a performative reflection on political protest and migration.
Lena Karbe's “Black Mambas” won the F:act Award dedicated to films spanning investigative journalism and documentary. It follows a group of women from the communities around Kruger National Park in South Africa who have formed the Black Mambas – a military-trained network that fights against poaching, in what is also a fight for women's liberation.
The jury congratulated the filmmaker, saying: “A seemingly simple story that quietly reveals its complex layers, ‘Black Mambas’ touches upon a multitude of themes, acknowledging but also defying stereotypes. In an ideologically charged landscape we get to experience the struggles and empowerment of young women against the persisting power structures, within the frame of race, family dynamics and the tight grip of colonialism that refuses to let go.”
Alex Pritz's “The Territory,” about indigenous activists in the Amazon who fight government-backed farmers that are eating into their territory, was awarded a special mention in the F:act category.
The Nordic:Dox Award for Nordic documentaries was picked up by Ivalo Frank for “The Last Human,” a moving tribute to Greenlandic scientist Minik Rosing's landmark discovery of the first traces of life on Earth, described by the jury as “a singular film that dares to assemble a multitude of styles into a collage of image and thought. A film that is both a sensitive tribute to a land and opens itself up to the vast questions of life itself.”
“Tsumu - Where Do You Go With Your Dreams,” a youth film about hope, dreams and the right to be yourself in turbulent times by Kaster Kiertzner nabbed a special mention in the Nordic:Dox category.
The jury commended it as “a film that gives the power of storytelling to its protagonists: dedicated friends, teenagers with dreams who carry the weight of growing up in a place where their generation is thought to be lost. To voices from a remote society fighting to overcome the vicious circle that is laid out for them.”
CPH:DOX's prize for emerging filmmakers and artists, Next:Wave, went to “Kash Kash - Without Feathers We Can’t Live” by Lea Najjar.
Handing over the award, the jury said, “From a tiny anecdote, this film expands its cinematic universe and unveils the disillusionment of an entire city - an entire country. From the opening scene’s claustrophobic setting, to the final wide eye of an artificial pigeon, witnessing the place it took flight from.”
‘‘Moosa Lane” by Anita Hopland received a Special Mention by the jury which described it as “a feeling rather than just a place. An in between place one can never fully contain nor grasp. We fade in and out of time through the director’s delicate yet conflicted gaze on a family history that drifts inside her memory.”
Sundance and Thessaloniki sensation “A House Made of Splinters” by Simon Lereng Wilmont, set in an orphanage in Eastern Ukraine, was awarded the Politiken Danish:Dox Award for best Danish film of the year by film critics at leading Danish newspaper Politiken. In their statement, they said: “The winner is a film that enters into the most present conflict of today’s news, but it was made by a director who traveled to Ukraine long before the rest of the world found it interesting to really bother.
“While this is not a film about the present war or even the present conflict, it brings testimony about the people who live in Ukraine, dealing with the hardships of life while the war dogs are barking in the distance.”
The Politiken jury also awarded a Special Mention to “Mr. Graversen” by Danish filmmaker Michael Graversen, where the director travels back to his childhood home where he is met by a new version of his father, which they described as “a film full of love, of mature insight and forgiveness.”
On the industry side, the festival’s financing and co-production event, CPH:Forum, handed over the Eurimages Co-Production Development Award to “The Last Nomads” by Biljana Tutorov and Petar Glomazic.
An ambitious co-production between Serbia, Montenegro, Croatia, Belgium and France, it is a tumultuous family drama that unfolds against the backdrop of land militarization in Montenegro, where the question of violence against women echoes in the violence against nature.
“It’s a very good sign [that we won] because we are coming from the outskirts of Europe and we can't think of this film without a heavy co-production,” said Biljana Tutorov after receiving the award. “It's also one of the most complicated projects coming out of our region, especially in the light of recent events and the problem of the militarization and the impact on the ecology.”
Co-production partners are Serbia's Wake Up Films, Croatia's Kinematograf and French art-house production company Les Films de l'oeil Sauvage. Toronto-based Syndicado is handling sales.
Commenting on their choice, the jury, composed of Final Cut for Real's Anne Köhncke, Vesna Cudić of Met film Sales and Albanian actor, scriptwriter and director Eduart Makri, stated: “We were impressed by this project which brings us to a place we didn’t know existed, a place of striking beauty and importance to humanity. A story of the human being in a David against Goliath battle, urgently reminding us not to lose our way in the fog of war.”
“It's been absolutely incredible to be back in the cinemas and have everyone back in person,” the festival's managing director, Katrine Kilgaard, told Variety. “It shows us once again that there is so much happening even without you knowing, it's like rings in the water – you put something out there and it takes on its own life. That's what a festival is all about.”
A selection of titles will be available on CPH:DOX's streaming platform Doxonline.dk from April 1 through April 10.
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发表于 2022-7-5 01:17:14
发表于 2022-7-21 12:15:40