One day from the Berlinale now and the sadism in the air has condensed into snow.
People walk around pretending its ok – but I know better.
Here's three of them as seen from the window of ex-ECA classmate and Bridging the Gap film-maker, Tali. Notice how these three lunatics have left their houses to promenade through the polar-powder, jauntilly and purposefully and, in some cases, pouting to whistle bravely like nothings wrong at all. Unfortunately the man with the hat on the corner had been in mid-stride for 3 hours. That's where bravado gets you.Read more
Having finished my copy of Stasiland I now feel ready for a stay with my ex-ECA film making buddies Tali and Johanna in East Berlin. I am hugely excited about the Berlinale Talent Campus. Guest speakers include Kossakovsky, Juliette Binoche, Herzog and Mike Leigh. And the company of 300 other 'New Talents', from all walks of the film making. For what it's worth, I'll also be spilling the beans on new films at the Berlinale.
7th Feb 2012
On arrival in Berlin the moisture in my nose freezes on the short one minute walk to the airport station. An odd sensation, like having badly mixed concrete in the nostrils.
It is -18 degrees. Some say -22. The numbing cold rises rapidly up from feet to stomach. It is too cold to remove my hands from their pockets to hold the map I should be following. Better lost and moving than still and searching. My mind jumps to the lesson of Oates, the bloke who travelled with legendary 'Scott of the Antarctic'. Childhood stories say he insisted on letting the cold kill him whilst walking into the Wilderess, rather than dying standing still. Now I understand. I understand Oates. While there is movement there is hope.Read more
It was 1997 in a Wired magazine when Nic Wistreich first read about "virtuous circles". In an article about the "New Rules for the New Economy", Kevin Kelly had come up with this law:
"In networks, we find self-reinforcing virtuous circles. Each additional member increases the network's value, which in turn attracts more members, which in turn increases value, and so on, in a spiral of benefits."
This is what Kelly's circles looked like at the time:
Yet it would take another 14 years for this concept to appear in documentary production.
Fast forward to 2011, and Nic Wistreich has become the tech consultant on an audience engagement project of the Scottish Documentary Institute, aptly named the Virtuous Circle. What is it all about?Read more
Once again we were asked by the British Council to run a documentary workshop, this time, destination: Rabat (Morocco).
The deal is to teach creative documentary skills to 16 young filmmakers in 7 days and get them to make 4x3' films for international distribution. The stakes are high as the last set of films Dhaka Stories is doing extremely well, having been premiered in Sheffield in November 2010.
We always start with the screening of examples of docs exploring what do we mean by creative documentary, how do we prioritise emotions over information? How do we construct, dramatise those emotions keeping to the truth of the character? What do we mean by reconstruction when we are talking about metaphoric images?
Last week we had the pleasure of screening the Scottish premiere of The Woman with The 5 Elephants at Edinburgh College of Art, with a long Q&A by director Vadim Jendreyko.
85-year-old Svetlana Geier dedicated her life to language. Considered the greatest translator of Russian literature into German, Svetlana has just concluded her magnum opus, completing new translations of Dostoyevsky’s five great novels—known as “the five elephants.”
As a precocious teenager living in Ukraine with an unusual facility for languages, Svetlana was brought to the attention of her country’s Nazi occupiers during World War II, and found uneasy refuge translating for them. She fled in 1943 and never returned … until now.Read more
Stay the Same is an experimental film project by Sam Firth funded by the UK Film Council and Creative Scotland. Sam is filming herself every day at exactly the same time in exactly the same place for a year where she lives on Knoydart, a remote Scottish peninsular only accessible by boat. The project is about our relationship with time, nature, and place.
This blog is a record of the process, a collection of related work, and responses to the project from friends, family, other artists and filmmakers. A shared insight into our perceptions of time and modern living.
If you would like to submit a response please see the invite below.
The reasons behind ‘Santiago’
In this film, there’s something from which you can’t run away, which is… It sounds like by talking about it, I’m defending myself from my tyranny, a cleverly narcissistic procedure almost… And because I’m talking about it, it’s as if everything is fine. I admit, therefore it’s as if I’m very brave.
But it’s not like that, it’s not something that I’m proud of… even when I look at it today I feel embarrassed for having done something I didn’t quite realise I was doing, but I still did it. It doesn’t save me from anything; the film was made under those conditions. So by re-editing the film, not to show that I’m brave or to show what I did wrong – there is no bravery in showing what I did wrong when what I did condemned the relationship I had with Santiago. Now, that was the footage and that was the relationship, so if the film has to be made and if the first film failed because it didn’t show what actually happened, I only had two choices. I could either show what happened and expose myself to the critics of ‘He’s such a good guy for showing this, he’s redeemed himself, this film is a redemption, he saw the light, he’s almost a saint’.Read more
The Edit and Voice Over Choices
In this film we didn’t try to disguise the sound cuts. There’s always continuous dialogue instead. And another thing we don’t have is editing… I mean, there is association but not an obvious one, like, for example, someone saying: “I went to Montevideo.” Then you cut it with someone else saying: “Montevideo is a very beautiful city.” You start hooking these themes, which is a classic way of making documentaries; things go hand in hand and evolve through very obvious connections. In this film that doesn’t happen, instead, the themes change dramatically without the need to indicate it, and all the sequences happen in a single shot so when they’re over it’s a clear indication for the audience that there’s been a cut, therefore the film also tells the story of its own edit.
‘When I started talking in the first person the film started to exist’
Noe Mendelle: In contrast with Santiago’s voice, you then took the decision of using someone else’s voice, not yours. How do you explain this?Read more
The Cement City
The Home Space project is based on a 20 year research on how the suburbs and land around Maputo is changing. The cement city aka Maputo city centre is like a fungus growing at the expense of the land around it. The suburbs around the city are mainly self-built dwellings, first out of bamboo now slowly being replaced by cement blocks and corrugated iron. At a time when land had no value, plots were given to poor people mainly dislocated during the war, to cultivate. Over the years families grew and so did poverty and plots got divided and sold off, often sacrificing the allotments where women grew the household food.Read more
Santiago and Memory
The film is very close to that sensation of celebrating nostalgia, which I think of as being the conservative idea that the past is better than the present, and that one needs to recover the past, which is impossible, so all that’s left is sadness and melancholy of the time that went past and the feeling you can’t invest in the present.
From that you get the happiness of the past too. Nostalgia is necessarily melancholic and conservative. The past is better than the present and therefore, sometimes, better than the future… And I didn’t want to convey that in the film.