Tópico: IDFA 2015

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VPRO IDFA Award for Best Feature-Length Documentary

Don Juan
de Jerzy Sladkowski



Twenty-two-year-old Oleg doesn’t live up to his mother Marina’s idea of a real man. She thinks he’s an autistic loafer. He’s enrolled at the University of Nizhny Novgorod and is supposed to be watching online lectures, but his mother says all he actually does is hang around watching TV. Oleg doesn’t have any need for friendships, either. Marina wants him to improve his life and subjects him to a series of unconventional treatments. In one particularly uncomfortable scene, we see the therapist riding him as if he were a horse. Another psychiatrist tells Oleg how useless he is and that he will always be alone. Strangely enough the camera seems to be welcome everywhere, and it closely follows these dramatic developments. This gives this documentary a slapstick feel – with a nice dose of satire for good measure. Nonetheless, heated kitchen table conversations between Marina and her own mother reveal the bitter seriousness of the matter, and Marina’s mother wants her to adopt a more positive attitude towards Oleg. Don Juan raises questions about the distinction between introversion and autism. When will Oleg be allowed to be himself at last? Salvation eventually comes from an unexpected source. It is an encouraging victory for humanity, as well as a comment on mental health care.



IDFA Special Jury Award for Feature-Length Documentary

Ukrainian Sheriffs
de Roman Bondarchuk



In a rural village in southern Ukraine, the tragicomic sheriff duo Viktor and Volodya has to solve crimes such as the theft of two ducks. The other main problems are neighbor disputes, drunkenness, physical abuse and car breakdowns, and many of them have their roots in the prevalent unemployment, poverty and illiteracy. When the mayor gives a speech, his audience consists mainly of children and old women. The filmmakers follow the adventures of Viktor and Volodya with a keen eye for the comical side of everyday situations. Driving in their yellow Lada flying its own little Ukrainian flag, they travel from incident to incident – calming an angry neighbor, investigating the discovery of a body, struggling to unfold a stroller and attempting to re-integrate Vova, the freeloader who eats other people’s dogs but actually longs for a normal existence – just like everyone else here. The seasons pass until political developments reach the village by way of the TV screen, sowing separatist discord. The only music comes from the radio or when someone breaks into a folk song about a goat. Around the time of the celebrations for the country’s 70th Independence Day, the men of the village are drafted into the army.



IDFA Award for First Appearance

When the Earth Seems to Be Light
de Salome Machaidze, Tamuna Karumidze and David Meskhi



Young Georgian skaters, artists and musicians feel trapped between the powers of the church and the political world. They create their own open spaces beneath viaducts and at other “non-places” that lend themselves to romantic notions of a free existence. Questions are posed to them about God, love and freedom, but these boys would much rather just be skating – for many of them it has grown into an obsession. They may be unfazed by painful falls, but narrow-mindedness really gets to them. One of them was bullied because of his hairstyle, and he explains that Georgians simply won’t accept people who look different. Many of their friends share their bleak vision of their country. The way they see it, Georgia is all about the old rather than the new. They get no acknowledgement here, so they spend their evenings throwing Molotov cocktails at a concrete slope. Their tattoos are “a diary you can’t escape from. You tattoo what you feel; what’s important for you at that moment.” The portraits of the skaters are based on a series of photos by David Meskhi, one of the three co-directors. This impression of their daily lives is intercut with news footage of demonstrations in Georgia.



The Special Jury Award for First Appearance

Roundabout in My Head
de Hassen Ferhani



The men working at an abattoir in Algiers are mostly busy at night, and what they most love to talk about is the life from which they are so far removed. We see the workers in their bloody overalls surrounded by animal hides. Every once in a while one of the men peeks into the camera, which moves only on very rare occasions. The observational scenes of the men going about their work are interspersed with high-contrast shots of carcasses hanging in rows reminiscent of vanitas paintings – and accompanied by powerful Algerian folk music. Rarely has the unpleasant atmosphere of a slaughterhouse been rendered in such an extraordinarily beautiful way. The abattoir is a microcosm, a world within a world; during their breaks the men discuss politics, the refusal of some French-Algerian soccer players to sing “La Marseillaise,” and their own expectations for the future. And something of the history of the country also seeps into the film through conversations with “Uncle” Ali and Youssef. Ali was born during French colonial rule and lived through the bloody war of independence; Youssef comes from the generation inspired by the Arab Spring, but his hopes for a better future have been dashed. These scenes from everyday life in the slaughterhouse gradually segue into social critique.



TIDFA Award for Best Mid-Length Documentary

At Home in the World
de Andreas Koefoede



In the schoolyard, Magomed quietly watches from the sidelines as his classmates fight over the soccer ball. The shy, pensive boy is no different in the classroom, where he studies Danish with full concentration. The 10-year-old Chechnyan refugee and his fellow classmates at the Red Cross school in the Danish town of Lynge are hoping to get a residence permit. This observational, poetic documentary follows Magomed’s class as they sing, do arts and crafts, play and argue, just like kids do at any other school. The difference is that these children all bear their own painful memories. Among them is Ali from Afghanistan, who, like his traumatized father, is plagued by nightmares. There’s restless Amel, who misses his friends back in Bosnia, and a Chechnyan named Heda who’s preparing for the exciting transition into a regular school with the help of her dedicated teacher. This same teacher believes that Magomed is very bright and is ready to take that step as well, but Magomed is hesitant. A conversation between the teacher and his father reveals that the boy isn’t only haunted by a traumatic memory, but also faces the frightening prospect of his dad not being able to stay in Denmark. - See more at: https://www.idfa.nl/industry/tags/project.aspx?id=A89AA14D-6A98-4835-8A83-32C21EC74B65&tab=-#sthash.4Agb3YUt.dpuf



IDFA Special Jury Award for Mid-Length Documentary

The Fog of Srebrenica
de Samir Mehanovic



What happens to you when you live in a society riven by civil war, when you’re forced to entertain the inconceivable thought that your neighbors are out to kill you? Hatidza, one of the mothers of Srebrenica, sums up this sense of disillusionment: “Because of what happened in World War II, we thought people must have been uncivilized back then. We thought civilization had progressed and that we understood each other now.” And the disillusionment was followed by fear. Survivors of the 1995 siege of Srebrenica talk about the events leading up to the mass murder of 8,372 Bosnian men. Women and children were carried off in buses, and along the way they saw “their” men, half-naked on a soccer field. One of the girls was the then-13-year-old Zinahida. She thought they were being driven to her deaths while the men played soccer. The Fog of Srebrenica presents interviews that are structured in chapters, each of which handles a new phase of this atrocity: the chaos and desperation, the starvation, the severely weakened Bosnian militias marching through the woods – a hellish ordeal that few survived. The sometimes-shocking images of the past drag up the horrors of a nightmare that just won’t end.



IDFA DOC U Award for the youth jury's favourite film

Sonita
de Rokhsareh Ghaem Maghami

What happens to you when you live in a society riven by civil war, when you’re forced to entertain the inconceivable thought that your neighbors are out to kill you? Hatidza, one of the mothers of Srebrenica, sums up this sense of disillusionment: “Because of what happened in World War II, we thought people must have been uncivilized back then. We thought civilization had progressed and that we understood each other now.” And the disillusionment was followed by fear. Survivors of the 1995 siege of Srebrenica talk about the events leading up to the mass murder of 8,372 Bosnian men. Women and children were carried off in buses, and along the way they saw “their” men, half-naked on a soccer field. One of the girls was the then-13-year-old Zinahida. She thought they were being driven to her deaths while the men played soccer. The Fog of Srebrenica presents interviews that are structured in chapters, each of which handles a new phase of this atrocity: the chaos and desperation, the starvation, the severely weakened Bosnian militias marching through the woods – a hellish ordeal that few survived. The sometimes-shocking images of the past drag up the horrors of a nightmare that just won’t end.



The Oxfam Global Justice Award

Walls
de Pablo Iraburu and Migueltxo Molina



The fall of the Berlin Wall in 1989 raised hopes of a world with no more concrete borders dividing populations. But today we see the exact opposite, and walls have been erected all over the world to set the boundaries between poverty and prosperity. On the U.S.-Mexican border, we meet a Vietnam vet placing crosses where Mexicans lost their lives trying to find a better life. On the other side, a Mexican couple is waiting for the right moment to attempt a climb over. A sentry patrols the banks of the Limpopo River along the border of Zimbabwe and South Africa, where many refugees drown trying to cross. At the Moroccan-Spanish border, we see a woman carrying huge packages on her back. The border scenes flow effortlessly into one another. Directors Pablo Iraburu and Migueltxo Molina add new meaning by placing the tableaux in split-screen compositions such as a Mexican tunnel placed beneath an African baobab. Meanwhile, a voice-over explaining the situation in Mexico accompanies scenes from the Moroccan border. The countless partitions all over the world form a universal problem.

[ibbins]

Que possam logo estar aqui no fórum! Com legendas!