IHOR PODOLCHAK PRESS ARCHIVE 2011 - 2012
ІГОР ПОДОЛЬЧАК АРХІВ ПРЕСИ 2011 - 2012
!

"#$$!
UKRAINA 2012: Dwie dekady kryzysu | Film | Dwutygodnik | Dwutygodnik

6/23/13 2:55 PM

84 2012

UKRAINA 2012:
DWIE DEKADY
...
UKRAINA 2012: Dwie dekady kryzysu | Film | Dwutygodnik | Dwutygodnik

6/23/13 2:55 PM

arthousowy segement) jako cz"$& kin...
UKRAINA 2012: Dwie dekady kryzysu | Film | Dwutygodnik | Dwutygodnik

6/23/13 2:55 PM

Ten kod swoje apogeum osi!gn!# w la...
UKRAINA 2012: Dwie dekady kryzysu | Film | Dwutygodnik | Dwutygodnik

6/23/13 2:55 PM

filmu, jeden przy#!cza si" do UPA i...
UKRAINA 2012: Dwie dekady kryzysu | Film | Dwutygodnik | Dwutygodnik

6/23/13 2:55 PM

charakteryzuje ukrai'sk! to%samo$& ...
UKRAINA 2012: Dwie dekady kryzysu | Film | Dwutygodnik | Dwutygodnik

6/23/13 2:55 PM

Siergiej )o(nica, drugi znany w $wi...
UKRAINA 2012: Dwie dekady kryzysu | Film | Dwutygodnik | Dwutygodnik

6/23/13 2:55 PM

„Las Meninas” , re". Igor Podolczak...
Статьи — ART UKRAINE

ГЛАВНАЯ

3/16/11 1:34 PM

НОВОСТИ

СТАТЬИ

АРХИВ

2(21)

Березень-квітень

О ПРОЕКТЕ

рус

СТАТЬИ

у...
Статьи — ART UKRAINE

3/16/11 1:34 PM

Художественного...

15
МАРТ
2011

Китайский арт-рынок обогнал Британию
и занял втор...
Статьи — ART UKRAINE

3/16/11 1:34 PM

Фонд Мазоха, проект "Art in Space", 1991, видео
Дарина Жолдак: Но есть большой плюс...
Статьи — ART UKRAINE

3/16/11 1:34 PM

Александр Гнилицкий. Челунашка, 2002, бумага, акварель
Д.Ж.: Первичных ассоциаций с...
Статьи — ART UKRAINE

3/16/11 1:34 PM

Игорь Гусев. Юра, 2007, холст, масло
Д.Ж.: Да, больше всего нас потряс этот «город ...
Статьи — ART UKRAINE

3/16/11 1:34 PM

думаем, что уже финализировали список, их становится все больше. Каждый
день мы гов...
Статьи — ART UKRAINE

3/16/11 1:34 PM

документальное видео об екстремальном желании почувствовать полет,
вплоть до преодо...
Статьи — ART UKRAINE

3/16/11 1:34 PM

Д.Ж.: C 90-х мало что изменилось в понимании темы, скорее, сильно
изменились технол...
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3/25/11 12:55 PM

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his adventures in the West. 2 Frogs was shown in several film festivals.
After spending six ye...
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Widely considered to be the greatest Brazilian film of all time, Black God, White Devil (Deus ...
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3/25/11 12:55 PM

station, acting pugnacious and withdrawn. His plight stirs something in Dora (she has seen the...
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3/25/11 12:55 PM

product.

Director Paul Hills was born in London in 1969 and moved to Stevenage in 1975. It wa...
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3/25/11 12:55 PM

film. The premise is that God is tired and stressed. Heʼs simply burnt out on people wanting
t...
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3/25/11 12:55 PM

Awards: Best First Film at Toulouse Film festival and Best Actor Award at Madrid Film Festival...
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3/25/11 12:55 PM

tells the town that his name is Battal. But for the object of his affection, the little boyʼs ...
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3/25/11 12:55 PM

auteur directors, who is able to combine popularity at the box-office with high artistic and
i...
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autopsy the victim was sexual abused before the crime. The existence of a free-running
murdero...
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90 minutes
0-13 M
Director: Katalin Gödrös
Cast: Jeroen Willems, Ursina Lardi, Sarah Horvath, ...
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whose mysterious past, full of love and death, has led him to a place where sins are redeemed
...
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3/25/11 12:55 PM

Journalists' prize for Best Film of the Year. His first feature film, Agent Wild Duck (2002), ...
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3/25/11 12:55 PM

in scriptwriting, copywriting, and video art. He twice attended the prestigious Binger Filmlab...
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3/25/11 12:55 PM

personal belongings of the young man could be helpful but they only confuse the investigator
e...
Ihor Podolchak's Press Archive (2011-2012)
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Ihor Podolchak's Press Archive (2011-2012)

  1. 1. IHOR PODOLCHAK PRESS ARCHIVE 2011 - 2012 ІГОР ПОДОЛЬЧАК АРХІВ ПРЕСИ 2011 - 2012
  2. 2. ! "#$$!
  3. 3. UKRAINA 2012: Dwie dekady kryzysu | Film | Dwutygodnik | Dwutygodnik 6/23/13 2:55 PM 84 2012 UKRAINA 2012: DWIE DEKADY KRYZYSU Jakub Majmurek Kino niepodleg!ej Ukrainy ma ju" ponad dwie dekady. I od dwóch dekad ci#gle znajduje si$ w kryzysie: produkcyjnym, artystycznym, to"samo%ciowym. Ukrai&ska kinematografia ci#gle nie mo"e si$ wymy%li' Od upadku Zwi!zku Radzieckiego i uzyskania przez Ukrain" niepodleg#o$ci, tamtejsze kino znajduje si" w ci!g#ym kryzysie. Dowodem jest chocia%by liczba produkowanych nad Dnieprem filmów. Ukraina, kraj z 45 milionami ludno$ci, rocznie produkuje oko#o czterech (!) filmów; w najlepszych latach po roku 1991 liczba ta nie przekracza#a kilkunastu. Wi"kszo$& pozosta#ej po czasach Zwi!zku Radzieckiego infrastruktury filmowej nastawiona jest na produkcyjn! obs#ug" rosyjskiego rynku telewizyjnego. Wiele rosyjskich seriali kr"conych jest na Ukrainie (z rosyjskim aktorami graj!cymi po rosyjsku) ze wzgl"du na ni%sze koszty produkcji. Ale problem z ukrai'sk! kinematografi! nie polega tylko na ilo$ciowej zapa$ci. Kino ukrai'skie ma te% wyra(ny problem z tym, w jaki sposób okre$li& si" jako kino narodowe, kinematografia odr"bna od pozosta#ych kinematografii dawnego Zwi!zku Radzieckiego. Z jednej strony w tematach podejmowanych po uzyskaniu przez Kijów niepodleg#o$ci wyra(nie wida& pragnienie zdefiniowania kina ukrai'skiego jako kina „narodowego”, buduj!cego to%samo$& narodu wyra(nie osobnego od wielkiego s!siada ze wschodu. Z drugiej, najwa%niejsi, najbardziej rozpoznawalni na $wiecie ukrai'scy autorzy (Kira Muratowa, Siergiej )o(nica) w ogóle niespecjalnie funkcjonuj! jako „twórcy ukrai'scy”, postrzegani s! przez mi"dzynarodow! widowni" (jej festiwalowohttp://www.dwutygodnik.com/artykul/3622-ukraina-2012-dwie-dekady-kryzysu.html Page 1 of 8
  4. 4. UKRAINA 2012: Dwie dekady kryzysu | Film | Dwutygodnik | Dwutygodnik 6/23/13 2:55 PM arthousowy segement) jako cz"$& kina poradzieckiego, czy mi"dzynarodowego „kina autorskiego”. Na radzieckiej Ukrainie W czasach Zwi!zku Radzieckiego kinematografia Ukrai'skiej SRR by#a cz"$ci! szerszej, radzieckiej kinematografii. Cz"$ci! wa%n! – powsta#e na Ukrainie studia filmowej (w Kijowie, Ja#cie i Odessie) stanowi#y wa%ne centra przemys#u kinematograficznego Kraju Rad. To w studio w Odessie powstaje „Cz#owiek z kamer!” Wiertowa, studio w Kijowie jako jedno z pierwszych w ca#ym ZSRR zaczyna produkowa& filmy w kolorze. Nie zmienia to jednak faktu, %e kino powstaj!ce w tamtym okresie na Ukrainie mia#o przede wszystkim mie& radziecki, nie „ukrai'ski” (narodowy) charakter. To napi"cie mi"dzy „radzieckim” a „narodowym” najlepiej by#o wida& w twórczo$ci Alekandra Dow%enki. Dow%enk" (którego nazwisko do dzi$ nosi wytwórnia filmowa w Kijowie) mo%na uzna& za figur" fundacyjn! dla kina ukrai'skiego. Jego twórczo$&, która zaczyna si" w latach 20. ubieg#ego wieku, przez historyków kina cz"sto bywa przedstawiana jako cz"$& wielkiego ruchu radzieckiego kina z jego pionierskiego, artystycznie najbardziej innowacyjnego okresu. Dow%enko tworzy kino po$wi"cone g#oszeniu chwa#y spe#nionej rewolucji – nie sposób jednak nie zauwa%y&, %e jego dzie#o stoi daleko zarówno od Eisensteina, jak i Wiertowa, których – przy wszystkich dziel!cych ich ró%nicach – w kinie interesowa#y przede wszystkim obrazy „miasta, masy, maszyny”. Autor „Ziemi” przedstawia, jak efekty rewolucji (mechanizacja, kolektywizacja) przybywaj! na ukrai'sk! wie$. Kamera Dow%enki przygl!da si" jej z uwag!, jego filmy pe#ne s! przepe#nionych lirycznym pietyzmem obrazów ukrai'skiej przyrody, wiejskiego %ycia, ludowych zwyczajów. W#a$nie „ludowo$&”, liryzm i estetyzacja ukrai'skiego pejza%u stan! si" w pó(niejszym okresie Ukrai'skiej SRR podstawowymi kodami, w jakich wyra%a& si" b"dzie „ukrai'sko$&” kina powstaj!cego w Kijowie czy Ja#cie, jego dystans wobec dominuj!cego w Zwi!zku Radzieckim modelu widowiska filmowego i „powinowactwo z wyboru” ukrai'skich autorów z dziedzictwem europejskiego modernizmu (nie tylko filmowego). Kino ze studni http://www.dwutygodnik.com/artykul/3622-ukraina-2012-dwie-dekady-kryzysu.html Page 2 of 8
  5. 5. UKRAINA 2012: Dwie dekady kryzysu | Film | Dwutygodnik | Dwutygodnik 6/23/13 2:55 PM Ten kod swoje apogeum osi!gn!# w latach 60., gdy swoje najwi"ksze sukcesy $wi"ci#o tzw. ukrai'skie kino poetyckie. Za jego prekursora uzna& mo%na pochodz!cego z Gruzji Siergieja Parad%anowa, który w latach 60. pracowa# w Studio im. Dow%enki w Kijowie. Tam w 1964 roku Parad%anow zrealizowa# „Cienie zapomnianych przodków” – poetycki film, osadzony w $wiecie ukrai'skich, karpackich górali, czerpi!cy z huculskiego folkloru i tradycji, a zarazem wpisuj!cy si" w $wiatowy filmowy modernizm. Operatorem „Cieni…” by# Jurij Ilienko, który wkrótce sam mia# zadebiutowa& jako re%yser. Je$li wspó#czesne kino ukrai'skie ma jedn!, ojcowsk! figur", to jest ni! w#a$nie Ilienko. W 1965 roku debiutuje on poetyckim, skrajnie zdedramatyzowanym, praktycznie pozbawionym dialogów filmem: „Studni! dla spragnionych”. Jest to portret starca mieszkaj!cego samotnie po$rodku pustyni, przy studni, która kiedy$ s#u%y#a jako (ród#o wody dla spragnionych w"drowców, a dzi$ kurzy si" nieu%ywana. Starzec wspomina w#asne %ycie, przegl!da nagromadzone w domu zdj"cia z m#odo$ci, kopie sobie sam grób, usuwa si" ze $wiata i przygotowuje na $mier&. Film, powszechnie uwa%any przez ludzi z bran%y za wybitny artystyczny eksperyment, zosta# zatrzymany przez w#adze na ponad dwie dekady. Sekretarz Komunistycznej Partii Ukrainy, Andrij Skaba mia# powiedzie& o „Studni”: „to arcydzie#o, ale obra%a ukrai'ski naród”. Film Ilienki wszed# do kin dopiero w 1988 roku. Gdy trzy lata pó(niej upad# Zwi!zek Radziecki film zosta# uznany za kamie' w"gielny nowego, ukrai'skiego kina: opartego na liryzmie, pejza%u, poetyckiej metaforze, obrazach prowincji, artyku#uj!cego specyficznie „ukrai'skie” („nie-rosyjskie”) do$wiadczenie historyczne. Szukaj#c to"samo%ci W latach 90. kino ukrai'skie próbowa#o zdefiniowa& si" jako „kino narodowe”, podejmuj!c tematy z ukrai'skiej historii, które nie mog#y znale(& artykulacji w ramach kina sowieckiego. „Ukrai'skie kino poetyckie”, próbuj!c przedstawia& najnowsz! histori" z ukrai'skiego punktu widzenia, ci!gle musia#o jeszcze „negocjowa&” z radzieck! (a wi"c silnie rosyjsko-centryczn!) polityk! historyczn!. Dobrym przyk#adem jest kolejny film Ilienki, „Bia#y ptak z czarnym znamieniem”(1971) – portret wiejskiej rodziny z ukrai'skich Karpatów, podzielonych przez wewn!trzukrai'ski konflikt w okresie II wojny $wiatowej. Z pi"ciu braci, którzy s! bohaterami http://www.dwutygodnik.com/artykul/3622-ukraina-2012-dwie-dekady-kryzysu.html Page 3 of 8
  6. 6. UKRAINA 2012: Dwie dekady kryzysu | Film | Dwutygodnik | Dwutygodnik 6/23/13 2:55 PM filmu, jeden przy#!cza si" do UPA i partyzanckiej walki z now! radzieck! w#adz!, drugi pracuje na rzecz jej umocnienia. Ilienko nie pozostawia widzom w!tpliwo$ci, jaki wybór by# jedynym s#usznym, ale jednocze$nie pokazuje cz"$& ukrai'skiego do$wiadczenia, jakiego produkowane w tym samym czasie w Moskwie kino z pewno$ci! by nie pokaza#o. „Studnia dla spragnionych”, re". Jurij Ilienko Po 1991 roku kino ukrai'skie, wolne od radzieckiej cenzury, zacz"#o nie tylko si"ga& po dot!d zakazane w niej tematy, ale tak%e aktywnie pozycjonowa& ukrai'sk! to%samo$& i ukrai'skie do$wiadczenie historyczne jako przeciwstawne rosyjskiemu. Wida& to w takich filmach jak nakr"cony w pierwszym roku wolnej Ukrainy „G#ód ’33” Olesia Janczuka. „G#ód” to epicki fresk, przedstawiaj!cy kl"sk" g#odu na Ukrainie wywo#an! przez bezwzgl"dnie wdra%an! przez stalinowskie w#adze kolektywizacj". Najbardziej oryginalnym przejawem tego kina jest jednak „Modlitwa za Mazep"” (2002), pó(ne dzie#o Ilienki. Oniryczny, wizyjny, barokowy, miejscami balansuj!cy na granicy kostiumowej pornografii film, opowiadaj!c histori" legendarnego kozackiego hetmana, jednocze$nie http://www.dwutygodnik.com/artykul/3622-ukraina-2012-dwie-dekady-kryzysu.html Page 4 of 8
  7. 7. UKRAINA 2012: Dwie dekady kryzysu | Film | Dwutygodnik | Dwutygodnik 6/23/13 2:55 PM charakteryzuje ukrai'sk! to%samo$& w opozycji zarówno do Polski, jak i Rosji – dwóch s!siednich pot"g przedstawianych jako sta#e zagro%enie dla ukrai'skiej niezale%no$ci i to%samo$ci. To, co w filmach Ilienki z lat 60. by#o odwa%nym eksperymentem, poetyck! prac! na formie filmowej, tu jest przede wszystkim krzykliw!, kiczowat! manier!. Jak si" mo%na spodziewa&, tak%e pomara'czowa rewolucja, jako jedno z najbardziej formacyjnych do$wiadcze' politycznych Ukrainy po roku 1989, znalaz#a swój wyraz w kinie. Po$wi"cony jest jej film „Pomara'czowe niebo”, w którym historia rewolucji (przedstawianej jako narodziny nowego, dojrza#ego politycznie narodu) zosta#a wt#oczona w melodramatyczny schemat fabularny. Mi$dzynarodówka autorów Wszystkie te próby zbudowania nowego ukrai'skiego kina jako kina narodowego, nie spotka#y si" uznaniem $wiatowej publiczno$ci i krytyki. Towarzyszy#y im dodatkowo procesy za#amania produkcji filmowej. Nowa ukrai'ska kinematografia nie by#a w stanie nawet wygenerowa& do$& $rodków i energii, by w pe#ni wykorzysta& pozostawion! po Zwi!zku Radzieckim filmow! infrastruktur". Jedynym silnym punktem na mapie ukrai'skiej kinematografii pozostaj! mocne, wyraziste, autorskie osobowo$ci. Jednak poza Ilienk!, najbardziej znani i doceniani w mi"dzynarodowym obiegu kina autorskiego twórcy ukrai'scy funkcjonuj! zupe#nie poza paradygmatem „kina narodowego”. Najbardziej doceniona „ukrai'ska” re%yserka, Kira Muratowa, urodzi#a si" na terenie dzisiejszej Mo#dawii. Cho& od pocz!tków swojej kariery filmy kr"ci g#ównie w studio w Odessie, to wszystkie one mówione s! w j"zyku rosyjskim, nie ukrai'skim. Mimo, %e to jej dzie#a (jak pokazywane w Berlinie „Trzy historie”) reprezentuj! Ukrain" na mi"dzynarodowych festiwalach, Muratowa cz"sto oskar%ana jest o „nie-ukrai'sko$&” i kontestowana przez cz"$& ukrai'skiej krytyki. http://www.dwutygodnik.com/artykul/3622-ukraina-2012-dwie-dekady-kryzysu.html Page 5 of 8
  8. 8. UKRAINA 2012: Dwie dekady kryzysu | Film | Dwutygodnik | Dwutygodnik 6/23/13 2:55 PM Siergiej )o(nica, drugi znany w $wiecie ukrai'ski filmowiec, od lat mieszka i tworzy swoje filmy w Niemczech. Pokazywany tak%e w polskich kinach jego debiut fabularny „Szcz"$cie ty moje” kr"cony by# co prawda na Ukrainie, powszechnie odczytywany by# jednak w kluczu kina posowieckiego, obrazuj!cego rozpad spo#ecze'stwa w zdzicza#ej, zdegenerowanej rzeczywisto$ci, pró%ni jaka powsta#a po upadku imperium. Tak%e tworz!cy we Lwowie Igor Podolczak wpisuje si" przede wszystkim w kontekst mi"dzynarodowego kina autorskiego i $wiata sztuki, a nie ukrai'skiego kina narodowego. Podolczak zaczyna# jako artysta wizualny, swój pierwszy film „Las Meninas” nakr"ci# w 2008 roku. To wymy$lony, bardzo sztuczny obraz: w ca#o$ci rozgrywaj!cy si" w tajemniczej willi, wygl!daj!cej troch" jak dzie#o sztuki wspó#czesnej, troch" jak sceneria taniego horroru. W jej wn"trzach ogl!damy sadystyczno-masochistyczny spektakl m#odego cz#owieka, który u%ywa swojej ci"%kiej choroby do tego, by moralnie szanta%owa& swoich najbli%szych (ojca, matk", siostr") i psychicznie nimi manipulowa&. Po obejrzeniu filmu nikogo nie zdziwi fakt, %e Podolczak kieruje za#o%on! przez siebie Fundacj! im. Sacher-Masocha, po$wi"con! kultywowaniu pami"ci Leopolda Sacher-Masocha – ekscentrycznego pisarza, syna prefekta policji w habsburskim Lwowie, od którego nazwiska wywodzi si" termin masochizm. http://www.dwutygodnik.com/artykul/3622-ukraina-2012-dwie-dekady-kryzysu.html Page 6 of 8
  9. 9. UKRAINA 2012: Dwie dekady kryzysu | Film | Dwutygodnik | Dwutygodnik 6/23/13 2:55 PM „Las Meninas” , re". Igor Podolczak *** Kino niepodleg#ej Ukrainy ma ju% ponad dwie dekady. I od dwóch dekad ci!gle znajduje si" w kryzysie: produkcyjnym, artystycznym, to%samo$ciowym. Ukrai'ska kinematografia ci!gle nie mo%e si" wymy$li&, ci!gle wydaje si" by& tak naprawd" nie gotowa. A mimo to, niektóre jej produkty (dzie#a Muratowej, )o(nicy, czy nawet „Modlitwa za Mazep"”) stanowi! fascynuj!c! lektur" – nawet je$li s! $wiadectwem pewnej kl"ski. UKRAINA 2012 Cykl tekstów przygotowanych przez dwutygodnik.com specjalnie z okazji EURO 2012, we wspó!pracy z Narodowym Centrum Kultury (http://www.nck.pl/) w ramach polskoukrai"skiego projektu kulturalnego pod nazw# „Europejski Stadion Kultury” http://www.dwutygodnik.com/artykul/3622-ukraina-2012-dwie-dekady-kryzysu.html Page 7 of 8
  10. 10. Статьи — ART UKRAINE ГЛАВНАЯ 3/16/11 1:34 PM НОВОСТИ СТАТЬИ АРХИВ 2(21) Березень-квітень О ПРОЕКТЕ рус СТАТЬИ укр Развернуть ART Ukraine on Facebook Like eng Архив всех номеров 5,815 НОВОСТИ Вернуться к статьям К «Космической Одиссее» будь готов! Куратор Мыстецького Арсенала Александр Соловьёв и координатор проекта Дарина Жолдак рассказывают о грядущей неделе современного искусства 25 ФЕВРАЛЬ 2011 16 МАРТ 2011 Ася Баздырева Дарина Жолдак и Александр Соловьёв Like 90 people like this. Мир – это хаос, а я хочу в космос! Аноним Скоро в Киеве произойдет арт-событие «космических» масштабов»: 5-17 апреля в «Мыстецком Арсенале» откроется Неделя современного искусства под названием «Космическая Одиссея 2011». В проекте уже принимают участие около 130 украинских и зарубежных художников, будет задействована выставочная площадь комплекса в 16 000 кв.м. С уверенностью можно сказать, что грядущее событие станет знаковым для современного украинского искусства. Проект претендует на то, чтобы стать некой точкой отсчёта и платформой, вокруг которой в дальнейшем выстроится система организации масштабных художественных проектов в «Арсенале». О том, что нас ожидает в апреле и каким видят событие его организаторы, нам в подробностях рассказали куратор «Мыстецького арсенала» и «Космической Одиссеи 2011» Александр Соловьёв и координатор проекта Дарина Жолдак. Кунстхаус не готов к слиянию с уличным искусством Кунстхаус в Цюрихе – один из главных музеев Швейцарии, построенный национальным... 16 МАРТ 2011 Два главных японских музея не пострадали от природных катаклизмов Экспонаты крупнейших музеев Японии Токийского национального музея и http://www.artukraine.com.ua/articles/338.html Page 1 of 8
  11. 11. Статьи — ART UKRAINE 3/16/11 1:34 PM Художественного... 15 МАРТ 2011 Китайский арт-рынок обогнал Британию и занял второе место по объему продаж Согласно исследованиям Британской федерации рынка искусств (British Art Market Federation), китайский... 15 МАРТ 2011 НА ПІДЛОЗІ приглашает на новую дискуссию на тему искусства и денег Программа неформальных дискуссий НА ПІДЛОЗІ/ON THE FLOOR приглашает на новую дискуссию... Дарина Жолдак и Александр Соловьёв Расскажите нам о проекте «Космическая Одиссея»: что он собой представляет и как возникла идея космоса. Александр Соловьёв: Я рассматриваю это как коллективную мегаинсталляцию. Это будет выставка в формате Недели актуального искусства, который инициирован «Арсеналом» и будет проводиться в Киеве первый раз - что-то вроде биеннале, но только не в таком развернутом объеме, в частности биеннале подразумевает наличие большего количества площадок. А с возникновением идеи всё просто - в этом году юбилей первого полёта человека в космос - ровно пятьдесят лет назад. Помню, я учился в школе в Ростове-на-Дону, во втором классе, и тут по радио голос Левитана: «Внимание, работают все радиостанции Советского Союза…» Мы ведь еще даже не понимали, что такое космос… всех выпустили из класса, и мы бегом ринулись на школьный стадион, орали «Человек на Луне!». Для меня это как раз было время постижения, как сказали бы сейчас, детского бестселлера Николая Носова «Незнайка на Луне». А за четыре года до этого все искали на небе огонек первого спутника. Такие детские воспоминания – самые сильные, хотя тот космос, который мы видели чёрно-белой картинкой телевизора, был лишён спецэффектов космоса современного… Потом пошла целая череда событий: полёт Титова, Терешковой, первый выход человека в открытый космос, началось и космическое соревнование сверхдержав, и был действительно полет на Луну американцев. Происходили трагедии, гибли космонавты, разбился Гагарин – главный символ эпохи. У Александра Ройтбурда, к слову, была инсталляция «В детстве мне было жаль погибших космонавтов», которую мы сейчас хотим восстановить. Но, если говорить о выборе темы, здесь, конечно, есть опасность, что «Космическая Одиссея» может быть воспринята как выставка «на тему», например, как раньше были милицейские выставки - сплошной баскервилизм: милиционеры в фуражках, с собаками… Кстати, о собаках. Помню, уже в перестройку запечатлелась картина питерского художника Африки (псевдоним Сергея Бугаева) «Русские народные космонавты Белка и Стрелка», решённая в стебовом ключе вокруг «основного инстинкта»… Словом, и в космической выставке есть риск утонуть во внешнем: скафандрах, всяких там фракталах, астралах… http://www.artukraine.com.ua/articles/338.html 15 МАРТ 2011 Похвальная инициатива: повышаем культуру чтения в... автобусе В Москве появилась инициатива, опыт которой мог бы быть весьма полезным для украинской... Page 2 of 8
  12. 12. Статьи — ART UKRAINE 3/16/11 1:34 PM Фонд Мазоха, проект "Art in Space", 1991, видео Дарина Жолдак: Но есть большой плюс, поскольку это не просто «тема», а целый философский пласт, который позволяет художнику проявить себя очень емко. Еще Аристотель говорил о космосе, как о самом грандиозном и совершенном произведении искусства. Работы, которые мы собрали для проекта, отвечают чрезвычайно широкому, если не бесконечному диапазону трактовки: противостояние хаоса и космоса, например, как попытка человека упорядочить свое бытие. Или как внутренний космос каждого человека, как развитие цивилизации или как желание заглянуть в будущее... От мифа до извечного вопроса - куда мы идём и откуда. По сути, вся история искусства вокруг этих вопросов и стоит. А.С.: Прочитал на каком-то форуме: «Мир - это хаос, а я хочу в космос». Нас действительно интересует не выставка «на тему», а нечто более мировоззренческое… Дмитрий Орешников, Полуночная песня, 2011 Д.Ж.: И тема космонавтики здесь, как ни странно, вторична. Нас больше волнует, как тема космоса осмыслялась в художественном контексте. А.С.: Конечно, технологической компоненты всё равно не избежать, и будут присутствовать скафандры и прочее… Д.Ж.: И спасибо Национальному космическому агенству Украины за возможность получить уникальные экспонаты из космических музеев. Не все мы знаем, что Украина - это родина самых уникальных разработок, без которых космическая отрасль не состоялась бы в мире. И продолжает удерживать эти позиции. А.С.: Но задача у нас - не иллюстрация этого величия. Счастливая накладка, что космические масштабы «Арсенала», такого себе Соляриса, диктуют форму огромной коллективной инсталляции, провоцируют симультанное высказывание художников. Это специфическая выставка и у нас есть фокусгруппа, которая занимается отбором работ, но жёсткого критерия «соответствия космосу» или табу нет. http://www.artukraine.com.ua/articles/338.html Page 3 of 8
  13. 13. Статьи — ART UKRAINE 3/16/11 1:34 PM Александр Гнилицкий. Челунашка, 2002, бумага, акварель Д.Ж.: Первичных ассоциаций с космосом мы стараемся избегать. Нет в космосе границ - и здесь не будет! А.С.: Допустим, есть в работе какое-то ощущение внутреннего космоса, микромира… Регистр чрезвычайно широкий: это могут быть профессиональные художники, которые задают тон по разряду contemporary art, со всеми концептуальными ухищрениями, изысками, и до художниковнаивистов, у них тоже свой космос и очень искреннее ощущение космизма - и это тоже нам интересно. Задача - посмотреть на это больше, чем на просто выставку. То есть, мы не гнушаемся тем, что ездим по местам Украины, где есть космические музеи. Особо впечатлила поездка на Южмаш – главный ракетный комплекс бывшего СССР, а ныне, естественно, Украины – там мы увидели очень много интересных объектов: спутники, ракеты, какие-то макеты, питание космическое… http://www.artukraine.com.ua/articles/338.html Page 4 of 8
  14. 14. Статьи — ART UKRAINE 3/16/11 1:34 PM Игорь Гусев. Юра, 2007, холст, масло Д.Ж.: Да, больше всего нас потряс этот «город в городе», завод при КБ «Южмаш», с музеем 30-летней давности, все экспонаты которого когда-то демострировали мощь индустрии, а сегодня буквально покрыты толстым слоем пыли. Выцветшие фото сотни сотрудников завода, запыленные космические вымпелы и значки, статуи бывших вождей страны, товары народного спроса от вилок до детских велосипедов, тоже производимых «Южмашем», документация быта 50 000 сотрудников закрытого завода, недостроенная бетонная церковь на територии и ядерные ракеты... Мы поняли, что Илья Кабаков, кстати, уроженец Днепропетровска, по уровню «тотальной инсталяции» нервно курит в сторонке. Но перенесённые из того контекста объекты музея сильно обогатят нашу выставку. К тому же нам предоставят новейшие, совершенно уникальные космические аппараты, аналогов которых нет в мире. Аэрокосмический музей Днепропетровска Расскажите о составляющих компонентах проекта. Д.Ж.: У нас уже есть около 130 участников и с каждым днём, когда мы http://www.artukraine.com.ua/articles/338.html Page 5 of 8
  15. 15. Статьи — ART UKRAINE 3/16/11 1:34 PM думаем, что уже финализировали список, их становится все больше. Каждый день мы говорим фразу – «так, пора ставить точку», но на следующий находим новую работу или проект. Мы, если честно, даже не представляли, что тема найдет такой живой отклик у художников со всей Украины и не только. Запланирована большая международная программа, мы надеемся, что большинство этих проектов будут осуществлены. А какие страны будут представлены? А.С.: Сейчас уже можно точно говорить о Польше (это будет видео Павла Альтхаммера и перформанс Иованны Варжи), России (будет представлена одна из версий «Космонавта» Олега Кулика), может, осуществится «проект в проекте» с корейскими художниками, в сотрудничестве с известным куратором Ману Парком. Из Белоруси будут художники, хотим привлечь Алисию Фрэмис из Испании, Юлиуса Поппа и группу Rochus Aust – из Германии. Нам дает фотографии НАСА, ведём также переговоры с российским космонавтом Юрием Лончаковым, который, находясь в открытом космосе, вел фотосъёмку. Нам интересны эти фотографии и в художественном плане, и как документ. Д.Ж.: Кстати, в программе проекта у нас будет лекторий, в котором проведем ряд интересных встреч с очевидцами из космоса, в том числе и с Каденюком. Планируем приезд Валентины Терешковой, например. А.С.: Тема космоса может показаться избитой, в ней очень легко оказаться банальным и это самое страшное. Когда возникла идея делать проект, сразу пришло в голову название «Космическая Одиссея 2011», которое мы апроприировали у Стенли Кубрика, заменив только дату. Эта тема освоена всеми видами искусства, в частности кинематографом, начиная с «Полёта на Луну» Мельеса, «Аэлиты», лент Фрица Ланга до «Звездных войн» Лукаса и «Туманности Андромеды», снятой в Киеве на студии Довженко… Д.Ж.: Кстати, эти фильмы можно будет увидеть в кинопрограмме проекта, сейчас активно занимаемся их отбором. А.С.: Да, такой себе «науч-поп»! Всё будет переплетено - это не узкий интеллектуальный проект, ориентированный только на технологию или исключительно на космос. Многие из отобранных работ были созданы давно, из внутренней необходимости художника, а не к проекту. Я вспомнил, к примеру, и проект «Art in Space» Фонда Мазоха ( дуэт Игоря Подольчака и Игоря Дюрича) - одно из первых украинских арт-видео. Некоторые работы будем брать у коллекционеров: «Спутник» Арсена Савадова, «Белка и Стрелка» Олега Тистола, «Алконавт» Василия Цаголова… Будет очень много разного видео, связанного как с пресловутыми фракталами (куда ж без них!?), так и повседневностью, обыденностью, но пронзенных, используя название известного фильма, «космосом как предчувствием». Стас Волязловский, Максим Афанасьев. Без названия, 2011 (Видео) Д.Ж.: Вот Стасу Волязловскому, например, удалось посмотреть на Майдан Незалежности как на поверхность другой планеты, где все мы на фоне этой архитектуры настоящие пришельцы. У Сергея Браткова потрясающее видео об украинском «марсианине». Николай Ридный сделал отличное http://www.artukraine.com.ua/articles/338.html Page 6 of 8
  16. 16. Статьи — ART UKRAINE 3/16/11 1:34 PM документальное видео об екстремальном желании почувствовать полет, вплоть до преодоления телесной боли. Также будет проект, посвящённый легендарному Фёдору Тетяничу или Фрипульи - мы покажем фильм о его жизни, представим его чертежи, живописные работы, тексты и, конечно, его уникальные «биотехносферы». В «Космической Одиссее» будет также несколько личных историй… А.С.: Экзистенциальных моментов, связанных с рождением художника. Музей «Южного машиностроительного завода имени А. М. Макарова» (Южмаш) Д.Ж.: Олег Кулик, например, родился в день полета Гагарина в космос, 12 апреля 1961 г, и буквально с роддома его преследовало созвучие «человексобака», обсуждаемое всеми, потому что в те дни было непонятно, кто же первым полетел в космос. И это, по его признанию, повлияло на его творческую жизнь самым кардинальным образом. А.С.: У Маши Павленко мама - астроном, и пока носила её, писала диссертацию по небесным красным телам. Мы представим эту диссертацию в так называемом «экзистенциальном» разделе. Будет и раздел, связанный с картографией - googlmaps со своим спутниково-сателлитным видением. Способы работы художника: от компьютерных технологий до мануальных. Например, Никита Кадан будет делать специальную монументальную роспись. Среди других векторов: космос как полёт, человек и крылья - от гоголевского, языческого, мифического видения, от архаических до утопических аппаратов. Большой пласт - это космос как миф. Подобно серии Цаголова «Украинские Х-files», с инопланетянами и попсовой мистикой, работе Сергея Зарвы, с фотографией космонавта на обложке журнала, но в виде иконы – новой иконы сегодня. Вообще, мы не ожидали, что художники так активно откликнутся на эту тему. То есть, с одной стороны, выставка будет своего рода отображением микрокосмоса художников, поскольку работы апеллируют к их внутреннему состоянию и пониманию, но, с другой стороны, она также охватывает более глобальные масштабы и станет документацией современного технократичного мира. Можно сказать, что «Космическая Одиссея» станет прорывом… Д.Ж.: Скорее попыткой опробовать в полном масштабе уникальное выставочное пространство «Арсенала». Кстати, именно потому, что работы художников в пространстве являют собой некую «коллективную инсталяцию», мы решили не делать каталог к открытию, а дождаться съемок экспозиции, и уже издать его до конца проекта. Вы упомянули художников Новой волны, которые будут представлены, и самое молодое поколение - Никиту Кадана, Ладу Наконечную и других. Будет ли нарратив на то, как менялось «космическое сознание» художника девяностых, например, и до сегодня? А.С.: Думал я на эту тему, но пока, скорее, будет хороший микс. Некоторые узлы в этом вопросе мы постараемся обозначить, но жёстко высветлить не получится. http://www.artukraine.com.ua/articles/338.html Page 7 of 8
  17. 17. Статьи — ART UKRAINE 3/16/11 1:34 PM Д.Ж.: C 90-х мало что изменилось в понимании темы, скорее, сильно изменились технологии как часть информационного общества или как инструмент для художника. Интересней брать больший временной отрезок, тогда проект будет разрастаться, это уже другая глобальная задача и тема для отдельного «музейного» проекта, который готовят несколько лет: проследить развитие «космической» темы в искусстве! Тогда нужно начинать с первых космических календарей на ритуальной посуде. Тогда проект может служить основанием для дальнейшего развития темы… Д.Ж.: И дальнейшего развития «Арсенала», открытого к современному искусству. А в рамках развития Недели современного искусства - каждый год будет новая тема, согласно кураторскому решению. А.С.: То есть, в этом году проект такой, в следующем году – другой. Так или иначе, это своего рода мотиватор художественной среды. И я не зря обозначил опасность неправильного внешнего прочтения идеи и провёл параллель с милицейскими выставками. Это не иллюстрация и раздел ВДНХ, а толчок к размышлению, к пониманию, выход в пограничия или касания. Тот же скафандр может восприниматься и прочитываться в разном контексте, не только космическом. Это будет очень любопытный опыт. Ася Баздырева ГЛАВНАЯ НОВОСТИ СТАТЬИ АРХИВ О ПРОЕКТЕ © 2008—2011 artukraine.com.ua Для использования материалов сайта необходимо письменное разрешение администрации http://www.artukraine.com.ua/articles/338.html Поиск Сайт разработан в студии Perevorot Информация про сайт Page 8 of 8
  18. 18. Features 3/25/11 12:55 PM Search... HOME 2011 FILM FESTIVAL LOGIN CONTACT US GALLERY BLOG ANNUAL REPORT Film Festival South Africa Annual Film Festival Details Login/Register Contact Us Previous Festivals Festival Blog 2010 Brochure Home 2011 Film Festival Films Feature Films LATEST NEWS Features Festival Program FESTIVAL SPONSORS Normal 0 MicrosoftInternetExplorer4 180° Brazil 2010 85 minutes Director: Eduardo Vaisman Cast: Eduardo Moscovis, Malu Galli, Felib Abib. Language: Portuguese, with English subtitles. BRAZILIAN FOCUS AND IN COMPETITION Awards: Audience Award at Festival Latino-Americano de Cinema de Gramado, Brazil. Print source: Limite Filmes, Rio de Janeiro. 180° is an unusual Brazilian film. It is not about drug dealers or corruption, or about the misery endured across the country. The film tells the story of Anna, Russell and Bernardo, three members of the urban intellectual middle class in Rio de Janeiro. They risk it all in a game of passion involving the authorship of a book. The non-linear narrative invites the audience to piece together an elaborate puzzle, the solution of which can be found in the charactersʼ past as well as their present. The film is an universal drama about human relationships and ambitions. Director Eduardo Vaisman has a degree in film production. His short film Dadá was screened at more than 40 film festivals and won over ten international awards. 180° is his first feature film and has received the Ministry of Cultureʼs Award for Low Budget Films. 2 FROGS IN THE WEST 2 Frogs dans lʼQuest Canada 2010 97 minutes Director: Dany Papineau Cast: Mirianne Brûlé, Dany Papineau, Jessica Malka. Language: French and English, with English subtitles. IN COMPETITION Print source: Charlie David, Border to Border Entertainment, Montreal. 2 Frogs in the West tells the simple yet universal story of finding oneself through the experience of travelling. This cross country, coming-of-age, Y Generation film follows the story of a 20-yearold college girl from Quebec who travels to the West Coast to learn English and explore life. Landing in Whistler, she meets a group of friends living life fast and easy in North Americaʼs premiere ski and snowboard resort. Pushing the boundaries on modern sexuality and on the slopes, they will soon find out if they have what it takes to survive life in the mountains. Dany Papineau is a bilingual actor-filmmaker who was born in Quebec into a French-speaking family. At the age of 21, Dany took a summer off from his civil engineering University studies to travel and improve his English in Western Canada. He never returned to his studies. Instead, after two years of extensive travelling, Dany moved back to Montreal to start an acting career. His acting coach referred him to several casting agencies and he starts landing a few parts while taking up various jobs on film sets. In 2000, Dany moved back west to Vancouver, to study Acting for Film at the Vancouver Film School. After his studies, he was involved both in many professional and independent film projects. Fortunately, the National Film Board accepted his proposal and provided a grant to shoot 2 Frogs in the West, a 21 minute short film inspired from http://films-for-africa.co.za/cape-winelands-film-festival/films/feature-films.html Page 1 of 15
  19. 19. Features 3/25/11 12:55 PM his adventures in the West. 2 Frogs was shown in several film festivals. After spending six years in Vancouver, Dany returned to Montreal to continue his acting career in Quebec and to further develop the feature film version of 2 Frogs in the West. 9:06 Slovenia 2009 71 minutes Director: Igor Sterk Cast: Labina Mitevska, Igor Samobor, Silva Cusin. Language: Slovene, with English subtitles. IN COMPETITION Awards: 15 international awards including Best Filmmaker at the Alexandria Film Festival and Best Film at the Slovenian Film Festival. Sloveniaʼs official entry for the 2011 Best Foreign Language Oscar. Print source: Insomnia, Paris. A police inspector Dusan investigates an unusual case, the death of Marjan Ozim. The inspector develops an obsession with the case, especially when he realises it was suicide. He starts to live in the deceased's apartment, digging through his life, getting involved with people Marjan Ozim knew, gradually taking over his identity. As the story progress, the reasons for the inspector's obsession are revealed step by step. 9:06 is a fascinating and compelling study of psychological transformation, brilliantly represented in the movieʼs title, which at first glance may appear to be a sort of numerical half palindrome, but in actuality is a kind of upside down, twisted reflection of itself – and in this case, a potent symbol of how, under certain circumstances, one individual can be drawn into another. 9:06 is ostensibly a fairly simple police mystery story – a man is dead, foul play? -- which director/writer Igor Sterk has dressed up with a complete wardrobe of cool and clever ideas that transforms a death into a study of the amiss and suicide-seeking mind. As well as the absorbing story, 9:06 should also be commended for some outstanding cinematography by Simon Tansek, and some very imaginative, artistic direction by Sterk. Tansek is wonderful, conjuring up some incredible lightplay in what must have been some difficult situations. Sterk's direction is amazing, with endlessly amusing camera angles, some superb architectural set shots, great pacing and the kind of slo-mo, brief conversations that gives all that elusive artistic sheen – Rick McGarth. AHMED GASSAIAUX Morocco/Belgium 2010 80 minutes Director: Ismael Saidi Cast: Rabie Kati, Sanae Akroud, Marc Duret. Language: Arabic and French, with English subtitles. Print source: D3 Films, Tangier. This biopic is based on the memoires of Ahmed Guessous, who was orphaned during the Taza war of 1924 and subsequently adopted and educated by a prominent French family. A beautiful reconstruction of an era with a haunting musical score. BLACK GOD WHITE DEVIL (Deus e o Diabo na Terra do Sol) Brazil 1964 120 minutes 0-16 VS Director: Glauber Rocha Cast: Geraldo Del Rey, Maurício do Valle Language: Portuguese, with English subtitles. BRAZILIAN FOCUS Awards: Nominated for the Golden Palm, Cannes Film Festival. Print source: Courtesy of the Brazilian Consulate in Cape Town. http://films-for-africa.co.za/cape-winelands-film-festival/films/feature-films.html Page 2 of 15
  20. 20. Features 3/25/11 12:55 PM Widely considered to be the greatest Brazilian film of all time, Black God, White Devil (Deus e O Diabo Na Terra Do Sol) influenced such major filmmakers as Martin Scorsese and Sergio Leone and is maestro Glauber Rochaʼs finest and most moving work. An epic and moving work, Black God, White Devil blends mysticism, religion, and popular culture, into a powerful, bleak and cruel epic, that unashamedly expresses its frustration with many of the major institutions of Brazilian life – government, Church and corrupt landowners. Set in the 1940s, the picture follows Manuel, who kills his employer after he tries to cheat him of his wages. From then on Manuel and his wife, Rosa, move around the country, robbing and killing as they go, listening to the words of religious mystics and self-proclaimed saints as try to find their place in a ruthless land of corruption, anguish and violence. What makes this film all the more remarkable is the fact that director Glauber Rocha was only 25 years old when he wrote and began filming this masterwork, a film which cries out for man to determine his own path. The picture was nominated for the 1964 Golden Palm award at the Cannes Film Festival and is considered to be a seminal piece of the Brazilian Cinema Novo movement. CARANDIRU Brazil/Argentina 2003 145 minutes 0-16 VSNL Director: Hector Babenco Cast: Luiz Carlos Vasconcelos, Milton Gonçalves Language: Portuguese, with English subtitles. BRAZILIAN FOCUS Awards: Twelve international awards including Cinema Brazil Grand Prize for Best Director and Screenplay. Print source: Courtesy of the Brazilian Consulate in Cape Town. Prisons don't come much meaner than the São Paulo Carandiru Penitentiary, a decrepit cell block overcrowded with Brazil's most violent criminals. It's a tinderbox just waiting for a spark to ignite it, which is exactly what happened one fateful day in 1992 when riot police stormed the building. Based on the bestseller by real-life prison doctor Dráuzio Varella (played by Luiz Carlos Vasconcelos), the sprawling Carandiru is funny, violent, and shocking. Filmed on location in the actual penitentiary, with a huge cast of novice actors - some of whom are former inmates playing the prisoners, Carandiru is a rich tapestry of stories woven together with a masterful air. Letting each prisoner tell the tale of his crimes, arrest and imprisonment, director Hector Babenco (Kiss Of The Spiderwoman) discovers an unexpected warmth within the grim prison walls as tales of love, jealousy, failed escaped attempts, and the on-going AIDS epidemic grab us by the throat. Amidst the squalor there's dignity and humanity, though, and Babenco takes pains to show us that even criminals can have honour. "The only reason this place doesn't explode is because they don't want it to," whispers one of the outnumbered jailors. Survival in such overcrowded circumstances means living by a code of ethics few would ever have entertained in the world outside. – Jamie Russell (BBC Films) CENTRAL STATION Central do Brasil Brazil/France 1998 113 minutes PG LVM Director: Walter Salles Cast: Fernanda Montenegro, Vinícius de Oliveira. Language: Portuguese, with English subtitles. BRAZILIAN FOCUS Awards: 29 international awards including the BAFTA for Best Film not in the English language and the Golden Bear for Best Film at the Berlin International Film Festival. Print source: Courtesy of the Brazilian Consulate in Cape Town. Dora (Fernanda Montenegro) is a former school teacher who makes a living by writing letters for illiterate people passing through Rio de Janeiroʼs main train station, Central do Brasil. Commuting to the city from impoverished suburbs, workers flock to her, hoping to contact lost family members, send love letters, or simply relate the details of their lives. Dora charges the equivalent of a dollar per letter she writes and a dollar more if she is asked to mail it. Among her clients are Ana (Sôia Lira) and her nine-year-old son Josué (Vinicius de Oliveira), who has a fierce desire to meet his father, whom he has never seen. When leaving the station afterwards, the woman is struck by a bus and killed. Josué, with nowhere to go, begins to loiter around the http://films-for-africa.co.za/cape-winelands-film-festival/films/feature-films.html Page 3 of 15
  21. 21. Features 3/25/11 12:55 PM station, acting pugnacious and withdrawn. His plight stirs something in Dora (she has seen the fate of shoplifters, who are shot, and she reasons that, without her intervention, a similar fate awaits Josué), who brings him home, then sells him to an adoption agency. However, when her best friend notes that Josué is too old to be adopted and that the organization may be a front for organ thieves, Dora kidnaps the boy from the agency, then goes on a journey with him, searching for his father. Director Walter Salles has created more than a road picture; he tells a poignant story about two characters and their destinies. The emotional richness of Central Station is reflected in its vivid colours and cinematography. The camera captures the heat and oppression of the busy, harsh city, and it illuminates the simple roughness of the countryside and small villages. The curve of the train rails turns into the curving architecture of the overgrown apartments. The packed rail station, the transport trucks, small roadside stops, religious pilgrimage spots and urban development add to the texture of Brazilian society. The musical score, which follows the pair from station to station, is equally eloquent. DAYS OF HARVEST I giorni della vendemmia Italy 2010 75 minutes 0-13 MS Director: Marco Righi Cast: Lavinia Longhi, Marco DʼAgostin, Gian Marco Tavani. Language: Italian, with English subtitles. IN COMPETITION Print Source: IERA, Italy. 1984 was a very fertile year for the province of Reggio Emilia. Young Elia is working in the heat gathering ripe grapes and thinking about his future, which is still connected with a peaceful rural life that moves lazily to the rhythm of the summer weather. He doesn't even notice the quiet disputes of his parents anymore. His father, Claudio, is an avid supporter of Marxism, while his wife Maddalena is fully committed to Christ. In a short time Elia's life issues become true sorrows: the beautiful and experienced Emilia comes to their house and thus significantly disrupts his quiet contemplations about his own fate. Debuting director Marco Righi has shot a powerfully intimate story about growing up, showing not only the life experience of the "golden" Italian youth, but also how the historic feud between two powerful trends in Italian politics affects them. The formal style of the film also pays homage to classic Italian film. Director Righi studied directing and editing, then worked for several years as an editor at a production company. Since 2009 he's been working on his own project "stanza505", a video studio located in the Italian city of Reggio Emilia. He has made several short films and the documentary Down With Mussolini (Abbasso il Duce, 2007, together with Cosimo Bizzarrim). His first feature film is Days of Harvest (I giorno della vendemmia). DO ELEPHANTS PRAY? United Kingdom 2010 105 minutes 0-13 LSM Director: Paul Hills Cast: Jonnie Hurn, Julie Dray, Marc Warren. Language: English, French and Breton. IN COMPETITION Awards: Six international awards including the Grand Jury Prize for Best Narrative Feature at the Santa Cruz Film Festival. Print Source: Elephant Features Ltd. Frustrated by the soulless routine world he is shackled to the life of fastidious advertising executive Callum (Jonnie Hurn) decends into poetic chaos when he meets the free-spirited French seductress Malika (Julie Dray) who promises to change his life forever, providing he keeps her identity a secret. Whilst his employees, lead by the boisterous Marrlen (Marc Warren) mutiny over a make-orbreak campaign Callum abandons everything to rough it in a forest in her native France where he is subjected to increasingly demoralising trials that challenge his perceptions, revealing not only the hidden meaning to his unfulfilled life but also the perfect way to sell the unsellable http://films-for-africa.co.za/cape-winelands-film-festival/films/feature-films.html Page 4 of 15
  22. 22. Features 3/25/11 12:55 PM product. Director Paul Hills was born in London in 1969 and moved to Stevenage in 1975. It wasn't long before he was shooting Super 8 films, becoming by the age of 15 a prolific maker of short films. After leaving school he immediately began making music videos for local bands. Over the following years he shot promo's for Fire Records, Bluebeat Records, Unicorn Records, P.M.I., culminating in 1987 with the 60 minute concert video The Legendary Laurel Aitken live at Gaz's Rockin' Blues. Paul went on to make another four short films before producing, in 1990, Danny Cannon's Play Dead at the National Film and Television School. When the 55 minute film was screened on Channel Four it received an audience of 3 million - the highest ever achieved by a U.K. student film. Danny Cannon later remade Play Dead as the feature film The Young Americans. In January 1991 Paul embarked on the feature film The Frontline - a crazy endeavour, shot at weekends over a period of six months on a budget of £8,000. Although nearly destroying Paul financially and mentally, upon its release in 1993, it received much acclaim. Boston Kickout , Paul's award winning autobiographical 1996 film, was his first budgeted feature. Screened at over 50 international film festivals, including Cairo and Tokyo, the film was runner up in audience votes at the London and San Sebastian Film Festivals, the Bermuda Film Festival making it the winner. At the Valencia Cinema Jove Film Festival it won "Best Film" and the lead actor, John Simm "Best Actor". GLENN, THE FLYING ROBOT Belgium 2010 80 minutes Director: Marc Goldstein Cast: Billy Boyd, Dominic Gould, Gérard Depardieu Language: English IN COMPETITION Print Source: Marc Goldstein, House of Film, Bruxelles. Henry and Jack are two famous and talented pianists: They are rivals and try to outdo each other in the various music events where they regularly compete. They have known each other since their days at the music academy and developed a very strong friendship. They met Lana there and Jack had an affair with her then. This friendship deteriorated along the years and Lana left Jack for Henry. Jack's resentment towards Henry will increase even further when he realises that although his talent as a pianist is as great a talent as Henry's, he always ended up second... behind Henry. Simultaneously, Lana slowly realised that the only thing Henry cares about is his job. When she gets pregnant, he tells her he doesn't want the child and she leaves him, taking refuge with Jack who thus finds a way to get back at Henry. From that point, the former friends will clash with no mercy, from contest to contest until the day a domestic robot, GLENN, enters their lives… Glenn: The Flying Robot is a Sci-fi film that has a lot going for it: The two male leads, Dominic Gould and Billy Boyd are terrific together. It is their chemistry that makes the characters believable and realistic. The robot effects are top-notch and the settings and music both add to the over-all atmosphere of the film. The story is ultimately about two men who are forced to dig deep within themselves to find what is really important in life while trying to stop Glenn before he ends it all for the both of them. Thought-provoking in the human sense as well as in the technical sense, it makes you wonder how far is too far when creating machines and giving them power. GOD IS BRAZILIAN (Deus É Brasileiro) Brazil 2003 110 minutes Director: Carlos Diegues Cast: Antônio Fagundes, Wagner Moura, Paloma Duarte Language: Portuguese, with English subtitles. BRAZILIAN FOCUS Awards: APCA Trophy from São Paulo Association of Art Critics Awards Print source: Courtesy of the Brazilian Consulate in Cape Town. Of the small number of actors I can think of whoʼve played God over the years, my favourite is probably still Rex Ingram in The Green Pastures (1936). But having seen Antônio Fagundes as the Crafty But Benign Old Gentleman Upstairs, I think Iʼve encountered His most believable screen incarnation. Fagundesʼ God is an interesting mix of philosophical pragmatist and lonely— and somewhat petulant—old man. Not that God in Carlos Dieguesʼ 2003 film God Is Brazilian ever admits to loneliness, but itʼs at the core of this charming, thoughtful, admittedly meandering http://films-for-africa.co.za/cape-winelands-film-festival/films/feature-films.html Page 5 of 15
  23. 23. Features 3/25/11 12:55 PM film. The premise is that God is tired and stressed. Heʼs simply burnt out on people wanting things from Him (“God, get me this or that”) or blaming him for things. Heʼd like a holiday, but first he must find a saint to put in charge of things while He floats around the universe and watches the supernovas. To this end, He appears in Brazil (standing on a pole in a river like a waterbound Simon of the desert) and enlists the aid of a charming young scoundrel, Taoca (Wagner Moura), to take him to find the elusive Quinca of the Mules (Bruce Gomlevsky), who Heʼs convinced is the man for the job. The problem is that Quinca always seems to have just left wherever God and Taoca go to look for him. Thatʼs the workable premise of Dieguesʼ fanciful movie, which is at bottom a kind of ecclesiastical buddy/road picture that uses its journey to explore both the nature of God and humankind. Funny and frequently perceptive, it raises most of the right questions—some of which have been raised over the years in films as diverse as the aforementioned Green Pastures and Peter Medakʼs The Ruling Class (1972) —and often puts forth strangely satisfying, if not always comfortable, answers. – Ken Hanke. HOMELAND Hora Proelefsis Greece 2010 111 minutes Director: Syllas Tzoumerkas Cast: Amalia Moutoussi, Thanos Samaras, Ioanna Tsirigouli Language: Greek, with English subtitles IN COMPETITION Print source: Marinos Kritikos, Athens. Greek director Syllas Tzoumerkas' Homeland is an explosive parable of Greece coming apart at the seams, shown through the spectrum of a very dysfunctional family. In Homeland Tzoumerkas and co-writer Youla Boudali, who also stars in the movie, follows a family over three generations: growing up in the 50's after the restoration of democracy in Greece, then their lives during the 70's, and finally a look at the current generation. Dysfunctional at best, the characters are torn apart over an adoption issue within the family and resentment and secrets and lies define their relationships. Stergios in particular (Thanos Samaras) is full of hatred. His mother gives his brother up for an adoption within the family, leaving him to deal with his unstable mother, Gena. At the same time the family is also forced to deal with a grandfather who has taken sick and is unlikely to recover, as arguments erupt about who should care for him. Years later, both brothers are grown up and, as the family tensions threaten to explode, the country itself is coming apart at the seams. Riots erupt in the streets, marking the beginning of a profound crisis in Greece not only financially but also psychologically. HOPEVILLE South Africa 2010 91 minutes Director: John Trengrove Cast: Desmond Dube, Leleti Khumalo, Paul Luckhoff, Themba Ndaba, Terry Pheto, Junior Singo, Jody Abrahams Language: English subtitles. IN COMPETITION Print source: Humble Pie Entertainment. Hopeville tells the story of Amos, a reformed alcoholic on a mission to forge a relationship with his estranged son, Themba. When father and son arrive in the dusty town of Hopeville, they discover a mean little community where apathy, fear and suspicion are the order of the day. When Amos decides to restore the public swimming pool so that his son can pursue a swimming career, he is met with scepticism and resistance from the town's authorities and its inhabitants. Through patience, determination and above all courage, Amos' selfless act ripples through Hopeville, inspiring others to take action and to do what they know is right. Slowly but surely, good ripples through Hopeville, transforming the town and its inhabitants for good. IMPOSSIBLE LYRICS El idioma imposible Spain 2010 93 minutes Director: Rodrigo Rodero Cast: Andres Gertrudix, Irene Escolar, Helena Miquel Language: Spanish, with English subtitles. IN COMPETITION http://films-for-africa.co.za/cape-winelands-film-festival/films/feature-films.html Page 6 of 15
  24. 24. Features 3/25/11 12:55 PM Awards: Best First Film at Toulouse Film festival and Best Actor Award at Madrid Film Festival. Print source: Rodrigo Rodero, Spain Fernando lives in the heart of Barcelona in the early 1980s. He is involved with sinister charcters whom he sells amphetamines in order to get by. One morning, after one of his many sleepless nights, Fernando meets Elsa, a young, vital and sweet woman, completely different from anyone he has ever met. Elsa, who turns out to have a strangely self-destructive personality, will become Fernandoʼs worst addiction. Together they will try to survive in a dark and bleak Barcelona that is taken over by the renegades of society after night falls. LAS MENINAS Ukraine 2008 99 minutes Director: Ihor Podolchak Cast: Mykola Veresen, Lyubov Tymoshevska, Hanna Yarovenko, Dvytro Chernyavsky. Language: Ukrainian, with English subtitles. Print Source: Ihor Podolchak. This visually stunning film is about what the routine of everyday life can do to the human mind and psyche. It also reflects on the importance of the choices we make and how limited these choices are in the first place. The plot evolves around a family of four. They live in the suburbs, in a strange villa that appears, through a complex game of mirrors, to be more like a piece of installation art than a real house. The main character, who hardly appears on screen, is the son, a man in his thirties. Suffering from asthma and eczema since childhood, he uses his condition to manipulate his parents and his sister. Thus the existence of the terrorized family turns into an endless ritual of attempting to satisfy his whims, and always on the alert for yet another one of his health crises. Las Meninas resembles the scattered pieces of a puzzle. It is up to the viewer to assemble them in order to form his very own picture something that makes the film itself personal and unique. Taking its name and inspiration from the painting of the same name by Diego Velázquez, Las Meninas is a fabulously visual debut. Pushing the boundary of what an art movie can be, the film leaves behind narrative in favour of sequences of meticulously assembled dioramas and images which can be gradually sorted in the mind afterwards for coherence. Based around a family in a country house, all is not well as is gradually revealed. Ukrainian director Igor Podolchak absolutely captures a vignette style of painting in the camerawork. Notably a bowl of fruit is presented like an oil painting. A visual artist, Podolchak infuses his film with his background to the extent that Las Meninas can feel like an installation. The filmʼs climax is a standout scene where characters move around a bedroom. The shot is fixed but it has a mirror in it where most of the action can be spied. This activity then spills off the mirror in the rest of the shot giving the impression of people walking in and out of shot with a dreamlike logic. Itʼs an unforgettable sequence. Give Las Meninas some time and space and be prepared to be rewarded. - David Perilli, Festival Daily KOSMOS Turkey/Bulgaria 2010 122 minutes 0-16 S Director: Reha Erdem Cast: Türkü Turan, Secret Yesil, Saygin Soysal Language: Turkish, with English subtitles IN COMPETITION Awards: Four international awards including Best Film and Director at the Antalya Golden Orange Film Festival. Print Source: Atlantik Film Reha Erdemʼs award-winning Kosmos taking us on a journey devoid of a sense of time and place. In this magnificent fairy tale, a strange man drifts into a border town, disrupting the stoic and conservative existence of the townʼs inhabitants. Kosmos wowed audiences and critics at last yearʼs Golden Orange Film Festival, and won four awards, including best film and best director. The story is hard to pin down – or, rather, the story on paper hardly reflects what the film is about. A stranger drifts into a snow-laden border town. Even though he could easily be run out of town given his appearance as a deranged or homeless man, he makes a grand entrance. He jumps into the cold river to save a drowning boy. In fact, he brings the boy to life right in front of his older sister. The stranger begins his bizarre journey in the town with the admiration and respect of the townfolk, even if it does not necessarily mean he has won over their hearts. He http://films-for-africa.co.za/cape-winelands-film-festival/films/feature-films.html Page 7 of 15
  25. 25. Features 3/25/11 12:55 PM tells the town that his name is Battal. But for the object of his affection, the little boyʼs sister, he becomes Kosmos. Florent Herry takes the credit for the stunning cinematography, an integral part of the haunting atmosphere of the film. Meanwhile, the relatively unknown Sermet Yeşil portrays Kosmos as wise and primal at the same time. Kosmos is a powerful movie, appealing to the senses. There is not much use in trying to dissect the film rationally; and that, in the end, is the beauty of the film. MALU ON THE BICYCLE Malu De Bicicleta Brazil 2010 96 minutes Director: Flavio Amos Tambellini Cast: Fernanda De Freitas, Mercallo Serrado Language: Portuguese, with English subtitles. BRAZILIAN FOCUS AND IN COMPETITION Print source: Courtesy of the Brazilian Consulate in Cape Town. This film is a breezy romantic drama that is enjoyably fresh and certainly very watchable. It opens in Sao Paolo where serial womanizer Luiz Mario (Mercallo Serrado) opens a new nightclub called Espacofabrica, but after success and more than a few inconsequential affairs he starts hearing voices and needs to take break. He heads off to Rio de Janeiro, and after wandering down the Copacabana beach he accidentally bumps into Malu, who is cycling along the beach. They start a passionate love affair and try to make their romance work, with Malu regularly travelling to Sao Paulo to be with Luiz. But she is a free-spirited Carioca and he is a Paulista, and despite their best intentions their relationship falters and a misunderstanding about a love letter causes even more trouble. Marcello Serrado is suitably charming and confused as Luiz, though the real revelation is the fresh and sexy Fernanda De Freitas who dominates the film with an innate charm and fresh style. As a romantic drama Malu On A Bicycle is delightfully romantic and set against impressive Rio de Janeiro and Sao Paulo locations. MICROPHONE Egypt 2010 120 minutes Director: Ahmad Abdalla Cast: Khaled Abol Naga, Menna Shalabi Language: Arabic, with English subtitles IN COMPETITION Print Source: Khaled returns from USA to his mother's funeral at his hometown: Alexandria, Egypt. He decides to make it a fresh new start even if it meant mending his first love story yet it proved a horrific failure. Khaled clashed big time with a changing more conservative Alexandria but He also stumbles upon fresh youth struggling for their under-ground music bands, art and ideas. in the middle of all the confusion, Will it ever all makes sense at the end? A question for the youth and the city to answer. MESSAGES FROM THE SEA (Rassayel El Bahr) Egypt 2010 133 minutes Director: Daoud Abd El-Sayed Cast: Asser Yassin, Basma Ahmed Language: Arabic, with English subtitles IN COMPETITION Print Source: Arabia Cinema After the death of his mother, Yehia moves back to his Alexandria apartment, where he grew up. He revives his old love to the sea, to his former neighbourhood and to his Italian childhood girlfriend. The film portrays a varied set of characters and their multiple interactions and diversified cultures of the cosmopolitan city. Daoud Abd El-Sayed is one of the very few Egyptian http://films-for-africa.co.za/cape-winelands-film-festival/films/feature-films.html Page 8 of 15
  26. 26. Features 3/25/11 12:55 PM auteur directors, who is able to combine popularity at the box-office with high artistic and intellectual standards. He is also one of the few Egyptian directors, who has been nominated and received various international and Pan Arab awards. MOTEL NANA Serbia/Bosnia and Herzegovina 2010 92 minutes Director: Pedrag Velinovic Cast: Dragan Micanovic, Nikolina Djordjevic. Language: Serbian, with English subtitles. IN COMPETITION Print Source: Sirius Production, Serbia. Ivan teaches history in a Belgrade high school. In his class, Ivan is provoked by a student and ends up slapping him on the face. In Serbia, in the heat of transitional changes, Ivanʼs presence in school is no longer welcomed. He finds a temporary job opportunity in a war-scarred mountain village in Bosnia. On his way there, he meets Yasmina, a young Muslim woman, back from Germany to her homeland after the war and after being invited by an old friend – Hazim - who now runs a motel. A lone kiss in a stormy night, in a village still lying in ruins, will bring Yasmina and Ivan closer together in a joint escape from reality and to a ride on a dusty bus, where neither one of them wants to sit next to the window. Pedrag Velinovic was born on 24 January 1966 in Novi Pazar. He graduated in film and television directing at the Belgrade Faculty of Drama Arts in 1991. He has directed over a hundred television shows and commercials. He directed his first full-length film Shadows of memories during 2000/2001. The film participated in the official competition of international film festivals at Moscow, Riga, Alexandria, Trieste and many more. Motel Nana is his third feature film. He currently works as a professor at the Belgrade Faculty of Drama Arts - The Department for Film and Television Directing and is preparing his next feature film Nowhere. MULLIGANS Canada 2008 88 minutes Director: Chip Hale Cast: Dan Payne, Charlie David, Thea Gill. Language: English. Awards: Several international awards including the Best Gay Film Award and Audience Award at the Fort Worth Gay and Lesbian International Film Festival. Print source: Charlie David Border2Border Entertainment Inc. Tyler Davidson invites his college buddy Chase home for the summer holidays and a secret is revealed that threatens to tear his perfect family apart. When Tyler's mother, Stacey discovers her husband Nathan in an unspeakable affair, the Davidson family's world begins to collapse. The summer is ripe with adventure, revelations, and betrayal as this family learns how to laugh, cry and love again. Set amid the casual, polite homophobia of the upper middle class, Mulligans is a fresh and multilayered take on the coming-out genre. With grace and sensitivity, director Chip Dale shows that a confession of queerness doesnʼt have to end relationships, even if it changes things forever – Philadelphia Film Society. NDOBINE Senegal 2010 68 minutes 0-13 V Director: Amadou Saalam Seck Cast: Masse Ndiaye, Aminata Kâ, Thierno Ndiaye Doss Language: French and Wolof Print source: Azanie Films, Dakar Sakhir, a young pupil disappears after the end of the classes. The police search ends in the discovery of a burnt child body that is presumed to be the missing person. According to the http://films-for-africa.co.za/cape-winelands-film-festival/films/feature-films.html Page 9 of 15
  27. 27. Features 3/25/11 12:55 PM autopsy the victim was sexual abused before the crime. The existence of a free-running murderous pedophile shows itself in all its monstrousness.The suspicions turn immediately to Massata, Sakhirʼs primary school teacher who had held him on the day of the discovery after class... PRINCESS Finland 2010 104 minutes Director: Arto Halonen Cast: Katja Kukkola, Krista Kosonen, Samuli Edelmann Language: Finnish, with English subtitles. IN COMPETITION AND FINNISH FILM FOCUS Awards: Several awards for director Arto Halonen and actress Katja Küttner by the Tallinn Black Nights Film Festival and the Finnish Actors' Guild. Print Source: Courtesy of the Finnish Film Foundation Princess is based on real-life events and a real person. Cabaret dancer Anna Lappalainen, drifting from one foster home to another, ends up in psychiatric care. She claims to be "Princess", a member of the English royal family. Although Princess herself numbers among the patients, helping others becomes her life mission. Her court is comprised of her lady-in-waiting Christina von Heyroth, and a group of fellow patients. From the psychiatric hospital, this broken woman finds her true home and builds a new family, bringing a greater sense of community to the other patients and to people in the local village. The film stars the cream of Finlandʼs leading actors, and is the fiction film debut of the award-winning documentary filmmaker Arto Halonen, director of Shadow of the Holy Book, Pavlovʼs Dogs and The Magnetic Man. He has won a series of social and cultural awards since the film's release. He has been awarded the City of Helsinki Culture Prize for 2010, and the Civil Action Prize of the Finnish Federation for Social Welfare and Health, which has never before been given to a cultural representative as opposed to a political or social figure. Also, in recognition of Princess' discussion of mental health issues, Halonen has received The Finnish National Mental Health Prize. SCHEHERAZADE TELL ME A STORY (Ehky ya Scheherazade) Egypt 2009 134 minutes Director: Yousry Nasrallah Cast: Mona Zaki, Mahmoud Hemida, Hassan El Raddad Language: Arabic, with English subtitles. IN COMPETITION Awards: Lina Mangiacapre Award at the Venice Film Festival Print Source: Misr Cinema Company Karim and Hebba are a young married and loving couple. Both have great careers. Karim is just about to be appointed as editor-in-chief of the greatest governmental newspaper. Hebba is the hostess of much appreciated TV programs about female victims, e.g. daughters who are buried alive because of improper behaviour and people drowning when attempting illegal immigration to Europe. Karim is told that he will only be appointed if his wife avoids political topics. He does persuade her to make programmes on ordinary people instead. But her "non-political" programmes will become even more repugnant to the authorities. The film won widespread praise for its scathing criticism of male chauvinism. Yousry Nasrallah cleverly re-imagines the Arabian Nights for the age of post-modernism, exhaustive politics, and female rights in Scheherazade Tell Me a Story. Utilizing conventions of soap operas and the flamboyant look but cunningly uncertain tone of Almodóvarian melodrama, Nasrallah and screenwriter Wahid Hamid fold three stories of female oppression into the meta-story of a highly polemic talk show hostess (Mona Zaki) being bullied by her husband's need to please the government in order to get a high level promotion. Like the most famous delayed-ending story in literary history, Scheherazade Tell Me a Story subsumes and postpones the hostess's inner turmoil of ethics and love by dramatizing the supposedly apolitical stories of “real women” as the hostess tries to steer her television show away from the unwanted attention and general misery of political commentary. SONGS OF LOVE AND HATE Switzerland 2010 http://films-for-africa.co.za/cape-winelands-film-festival/films/feature-films.html Page 10 of 15
  28. 28. Features 3/25/11 12:55 PM 90 minutes 0-13 M Director: Katalin Gödrös Cast: Jeroen Willems, Ursina Lardi, Sarah Horvath, Luisa Sappelt. Language: German, with English subtitles. IN COMPETITION Print source: Cobra Film AG, Zürich. In an idyllic wine region at the foot of the Swiss Alps lives Rico with his two daughters and his wife Anna. The charming daughter, Lili, brings turbulence into the so far harmonious family life because of the awakening of her sexuality. Her father sees her with new eyes and starts to distance himself from her. Lili feels rejected from her father and reacts with aggression and power games. These developmental changes confuse Lilli as she vacillates emotionally between a need for love and aggression. Intuitively, she realises that the profound family bonds have irrevocably changed. She resorts to ever more drastic measures in her struggle against the inevitable departure from childhood paradise. The film tells of the power that children have over their parents – and the power of parents over their children. A universal story about temptation, lying, persuasion and truth. THE HEIR Lʼerede Italy 2010 85 minutes 0-16 V Director: Michael Zampino Cast: Alessandro Roja, Gvia Jelo, Davide Lorino. Language: Italian, with English subtitles. IN COMPETITION Print source: Panoramic Film, Rome. After the death of his father, Bruno, a doctor from Milan, comes into possession of an old house in a remote region of Central Italy. This inheritance will prove to be a curse however. When he meets his rude and disturbing neighbours, he becomes entangled in a web of suspicions that will dramatically change his life forever… After graduating in Business in France and studying Cinema at New York Film Academy and New York University (Tisch School), Michael Zampino dedicated himself to writing and directing. Since 2001, he has made five short films and written three feature-length scripts. The Heir is his first feature as writer/director. THE LEGEND OF THE FLYING CYPRIAN (Legenda o Lietajúcom Cypriánovi ) Slovakia 2010 108 minutes 0-16 VS Director: Mariana Čengel Solčanská Cast: Marko Igonda, Pawel Malaszynski, Alexander Domogarov Language: Slovak and Polish, with English subtitles. IN COMPETITION Print source: Magic Seven Slovakia LTD. An old legend has it that, in a time long past, a mysterious monk, a scholar of thousand sciences and master of thousand crafts, doctor and herbalist lived in a monastery hidden deep in the mountains. His name was Cyprián. People say he had built a flying machine for himself, and one day flew to God. That legend just might be true. Červený Kláštor (The Red Monastery) is a magical place. Time had ceased to pass here long ago, and it has been ages since someone last stumbled upon it. It is the 18th century, and the Camaldolese hermit monks live their quite, stereotypical lives in the monastery, oblivious to the fact that the surrounding world is changing. One day, they find a half-dead man in front of their gate. They save him and he decides to stay with them. They name him Cyprián. Who is this taciturn young man with blood on his hands, http://films-for-africa.co.za/cape-winelands-film-festival/films/feature-films.html Page 11 of 15
  29. 29. Features 3/25/11 12:55 PM whose mysterious past, full of love and death, has led him to a place where sins are redeemed through miracles? Visually very impressive with a glorious soundtrack! Mariana Čengel Solčanská (1978) was born in Nitra. She studied at the Charles University in Prague, and at the Constantine the Philosopher University in Nitra, earning a degree in Political Science and Cultural Studies. Since 2003, she has been a student of the Film and Television Faculty at The Academy of Music and Dramatic Arts, in Bratislava, studying Film and TV Directing led by director Martin Šulík. She has directed several short student films, including Mlčanie (Silence), List pána Levického (Mr. Levicky's Letter), Šimijé, Monštrancia (Monstrance) and others. Her most recent mid-length movie Ábelov čierny pes (Abels Black Dog), which was co-produced by the Czech national TV, was premiered at the Bratislava International Film Festival in 2006. The Legend of Flying Cyprian is her feature-length debut. THE MAN WITHOUT A PAST Finland 2002 97 minutes PG13 Director: Aki Kaurismäki Cast: Markku Peltola, Kati Outinen, Annikki Tähti Language: Finnish, with English subtitles FINNISH FILM FOCUS Awards: Twenty international awards including the Grand Price of the Jury at the Cannes Film Festival. Source Print: Courtesy of the Finnish Film Foundation The film-making style of Aki Kaurismäki - gentle, charming, quirky and utterly unique - could hardly be seen to better effect than in this deadpan comedy. A welder, played by Markku Peltola, turns up in Helsinki looking for work, dies in hospital after getting savagely beaten by muggers but is then reborn as a man with no memory and joins a community of homeless folk living in genteel contentment in empty container units. From here, the nameless man embarks on a diffident courtship of the Salvation Army lady, Irma (Kati Outinen), who won an acting award at Cannes for this performance. Kaurismaki's compassion for the dispossessed is all more the engaging because of his lack of brow-furrowing seriousness; his movie is like a cork bobbing amiably on waves of lightness and unforced gaiety - always on the edge of surreality but never quite going further. I found myself giggling at loads of Kaurismäki's dialogue long after the final credits. Accused of being fat, a security guard deadpans: "Keep my metabolism out of this." An electrician surreptitiously hooks up our hero to the main power supply. "What do I owe you?" he asks. "If you see me face down in the gutter, turn me on to my back," the electrician replies with a shrug. – Peter Bradshaw THE SNOW QUEEN (Lumekuninganna) Estonia/Norway 2010 99 minutes Director: Marko Raat Cast: Helena Merzin, Artur Tedremägi Language: Estonian, with English subtitles. IN COMPETITION Print source: F-Seitse, Pomor Film Marko Raat's film The Snow Queen is a wintry fairytale for adults. The unusual love story is based on the motifs of Hans Christian Andersen's well-known fairytale. A woman (Helena Merzin) living in an ice castle lures a boy (Artur Tedremägi, an acting student at the Estonian Academy of Music and Theatre) to her. He becomes so spellbound by the woman and her land of ice that he forgets the real world. The woman hides the secret of why she is living in the cold from the boy. The film is a romantic drama about budding love between two people. Those, who remember H.C. Andersen's fairytale, will also remember that only a few lines spoke of the relationship between the boy and the Snow Queen. The question remained unanswered: what did the boy and the Snow Queen do in the ice castle for all of the time that the girl spent looking for the lost boy? This film talks about what Andersen didn't. In The Snow Queen the environment is extravagant and the relationships psychological and realistic. The visually stunning story was mostly filmed in the storage freezer of an ice cream depot. A special interior was built, flooded with a lot of water and then frozen. Shooting took place in very extreme conditions with temperatures as cold as -20 degrees Celsius. Marko Raat has made many successful films. His documentary For Aesthetic Reasons (1999) screened at over thirty film festivals and art exhibitions and won the Estonian Association of Film http://films-for-africa.co.za/cape-winelands-film-festival/films/feature-films.html Page 12 of 15
  30. 30. Features 3/25/11 12:55 PM Journalists' prize for Best Film of the Year. His first feature film, Agent Wild Duck (2002), won the prizes for Best Film of the Year from the Estonian Association of Film Journalists' and the Estonian Cultural Endowment and for Best Debut from the Estonian National Culture Foundation. Knife (2007) received a Special Mention at the Deboshir Film Festival in St. Petersburg and the Estonian Cultural Endowment prize for Best Film. His documentary Toomik's Movie (2008) received a Special Mention at the Black Nights Film Festival and the National Culture Prize. THE TENANTS (Os Inquilinos) Brazil 2009 103 minutes 0-16 V Director: Sergio Banchi Cast: Fernando Alves Pinto, Zezeh Barbosa, Caio Blat Language: Portuguese, with English subtitles. BRAZILIAN FOCUS AND IN COMPETITION Awards: Several international awards including two Première Brazil Awards at the Rio de Janeiro International Film Festival. Print source: Courtesy of the Brazilian Consulate in Cape Town. Despite a recent wave of violent crime in the city, manual laborer and night student Valter lives a relatively content life with his family in working-class São Paulo. But when three young men move in next door, a bunker mentality sets in and Valter soon discovers he is not the only one perversely affected by the mounting chaos of a city under siege, or the unsettling presence of his new neighbours. Building tension throughout with stylish sequences that blend reality and fevered imagination, Sérgio Bianchiʼs gripping domestic thriller offers a shrewd portrait of the social and psychological impact of urban violence, depicting a community beset yet also aroused by a permeating atmosphere of destruction. Bianchiʼs richly detailed film also excavates societyʼs fear of and fascination with violence—from televisionʼs constant stream of mayhem to suspicion between neighbours, petty feuds within married couples, and quarreling among children. Director Sérgio Bianchi was born in Ponta Grossa, Paraná, Brazil, in 1945. A resident of São Paulo since 1968, he graduated from the Communications and Arts School at the University of São Paulo and began his career in film and photography in 1972. In addition to several short films, his features include Romance, The Secret Cause and Chronically Unfeasible. VISA/VIE South Africa 2010 74 minutes PG 13 Director: Elan Gamaker Cast: Mélodie Abad, David Isaacs, Keren Tahor, Charles Tertiens. Language: English, French and isiXhosa. IN COMPETITION Print Source: Big World Cinema. Anna Ronquillo (29), a French-Moroccan émigré working illegally in a trendy Cape Town restaurant, is busted by Home Affairs in the middle of a shift. They tell her she has 48 hours in which to gather her possessions and return to France. In an ironic twist of colonial fate, this child of the First World is now not allowed to stay in the Third World. For Anna this is a living nightmare. Having fled a terrible domestic situation she has nothing to go back to in France. Desperate, she has one option: she must get married. Trouble is she is somewhat of a loner, so knows no-one prepared to tie the knot even in the case of a 'visa marriage'. With her bags halfpacked, she makes a drastic decision. She makes a personal announcement on a local radio station to Cape Town's bachelors: anyone interested in marrying her should meet at the restaurant the following day. There they will have five minutes in which to charm her, and at the end of the day she will make her decision. Visa Vie, a comedy-drama that enjoys the support of the Cape Film Commission and the French Embassy of South Africa, is a collaboration between Big World Cinema and And Nu?, in association with Johannesburg-based Brave Bunny. Shot in two heart stopping weeks in Cape Town, the film was a low budget exercise that included several deals, favours and gifts from equipment companies. It uses innovative techniques and modes of narrative storytelling, plus a groundbreaking, highly stylised aesthetic approach untypical of South African films. Director Elan Gamaker was born in Johannesburg, South Africa in 1974. Following bachelor degrees in English, Linguistics and Drama & Film, he worked in the film industry in Cape Town and London between 1998 and 2003, before forming And Nu?, a creative collective specialising http://films-for-africa.co.za/cape-winelands-film-festival/films/feature-films.html Page 13 of 15
  31. 31. Features 3/25/11 12:55 PM in scriptwriting, copywriting, and video art. He twice attended the prestigious Binger Filmlab in Amsterdam, where he is now based. His recently completed first novel, Wayward Nature, was short listed for the 2008/9 European Union Literary Award, and his second feature-length script, Swart Gevaar, is being supported by the Development Fund of the National Film and Video Foundation. Visa/Vie is his first feature film. WHITE GOLD South Africa 2010 120 minutes PG 13 Director: Jayan Moodley, Paul Railton. Cast: Madhushan Singh, Dean OʼBrian Chetty, Mishqah Parthiephal. Language: Tamil, Hindi and English, with English subtitles. IN COMPETITION Print Source: African Lotus Productions, Jayan Moodley White Gold is a poignant and captivating tale of love and friendship, perseverance and betrayal. Set in the early 1900s, it tells the story of Shankar and his friends who were lured from their rural village in South India, by the promise of a better life in the then Natal, South Africa, where gold was as abundant as their heavily-laden chilly trees back home. The authenticity of the first part of the movie that was shot in various locations in Tamil Nadu, India is incredible as viewers journey back in time to the turn of the 20th century, reliving both the joys and hardships of typical rural life. The treachery of the long and arduous journey of indentured labourers, crammed together on a vessel on the Indian Ocean is masterfully re-enacted before an expose of the realities of life in the canefields of then Natal. Shankar Naidu learns to deal not only with the brutality of the plantation owners, but a betrayal of one of his own. It is tale of passion and love, of the dangers of daring to love beyond the boundaries of ownʼs religion, a tale of struggle, perseverance, of betrayal and atonement. Director Jayan Moodley, an educator by profession, and BSC graduate in computer science and mathematics, joined the corporate world of IT after being the first black teacher at Northwood Boys and Queensburgh Girls High Schools. She realised however that her passion really lay in the creative arts and so she partnered with a friend, Suda Sing to open up the Durban-based production house African Lotus Productions. Firm in their resolve to “grow good through media”, she involved herself in projects that she thought, would appeal to the soul. Ela Gandhiʼs life story, Buddhism, The Shembe way of life and John Dube are some of the many documentaries that she has produced for the SABC over the last five years. Her directorial feature debut, White Gold which she wrote and produced, was a dream realised as it afforded her unique opportunity to pay tribute to her Indian South African forebears whose struggles have inspired many and still continue to do so. Jayan Moodley who is married and a mother of two daughters, lives Durban. Paul Railton has worked in the industry for over 20 years and after completing matric in 1987 he went on to finish a Diploma in Video Technology and has since worked in many countries around the world. when in London he edited programmes and documentaries for the BBC, including City Hospital, Cash in the Attic and Escape to the Country. Returning to South Africa in 2006, he worked on a variety of projects, Producing, filming and editing corporate videos, Commercials and Documentaries. In 2010 he embarked on his first feature film, White Gold. In the film he CoDirected with Jayan Moodley, was DOP and Editor. In the same year he also went into partnership with Shelly Nel and launched Make My Day Pictures in Durban. WHO AM I? (Kto ya?) Russia 2010 98 minutes 13 V Director: Klim Shipenko Cast: Alexander Yatsenko, Zhanna Friske. Language: Russian, with English subtitles. IN COMPETITION Print Source: WeiT Media, Teimur Guzairov. This fascinating story begins at the Sevastopol train station early on a rainy morning. On the platform near the Moscow-Sevastopol train the police find a young man without documents, who has lost his memory. He still remembers a lot of facts such as historical dates, as well as songs of his favourite band “Serga“, but he canʼt recollect his name or say where he is from. The investigator Sergey Shumov and psychiatrist doctor Trofimov have never encountered such a case. The psychiatrist defines the patientʼs state as dissociative amnesia -- when a person forgets the facts of his private life, but remembers the details of many external events. The http://films-for-africa.co.za/cape-winelands-film-festival/films/feature-films.html Page 14 of 15
  32. 32. Features 3/25/11 12:55 PM personal belongings of the young man could be helpful but they only confuse the investigator even more. Shumov decides to turn to the journalist Oksana… Director Klim Shipenko was born on 16 June 1983. After studying film production at California University in Northridge he returned to Moscow and worked at The First Channel. In 2005 Shipenko shot the short film Belaya noch/White Night and in 2006 Night Express. Both short films participated in various international film festivals. In the fall of 2009 Shipenko completed the feature film Neproshchennye, that participated at the Kinotavr Film Festival during 2009. It was chosen for the Russian program of the 31th Moscow International Film Festival. In 2009 he received the Bold Debut Award at the Amurskaya Osen Film Festival. FEATURED TRAILER LATEST NEWS FOLLOW US ON TWITTER Festival Program Festival Program CWFF MEETS UP WITH THAI FILMMAKERS Blake Edwards passed away at 88 The Tree of Life (2011) - Terrence Malick - Trailer FOLLOW US ON FACEBOOK MOST READ South Afica's Cape Winelands Film Festival 2011 Film Festival Schedule of Screenings Blake Edwards passed away at 88 CWFF MEETS UP WITH THAI FILMMAKERS WHEN WE WERE BLACK GOOGLE PAGE RANK RSS Feed Entries Web Design by Estar http://films-for-africa.co.za/cape-winelands-film-festival/films/feature-films.html Page 15 of 15

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