Posts Tagged ‘2015’

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Cele mai bune documentare RO din 2015

11 ianuarie 2016

  1. Aliyah DaDa (Oana Giurgiu)

De departe documentarul care mi-a plăcut cel mai mult în 2015. A fost lansat în oct 2014 la Astra, dar conform declarațiilor regizoarei Oana Giurgiu (aflată la debut), versiunea finală prezentată în cinema-uri și festivaluri în 2015 a suferit modificări. Spre deosebire de multe documentare românești văzute în ultimii ani care urmăreau povești de viață excepționale cu personajele aferente, Aliyah DaDa e genul de documentar cu care cei mai mulți dintre noi sîntem obișnuiți de la TV. Multă informație, istorie, date și momente memorabile din ultimul secol și jumătate – toate spuse într-o estetică care trimite către dadaismul lui Tzara și al prietenilor lui. E cam lung să fie dat pe TV, dar e un Document.

2. Roboțelul de Aur (Mihai Dragolea şi Radu Mocanu)

Chiar dacă n-a prea circulat prin festivaluri – a avut doar 2 proiecții la DocuArt unde a fost filmul de deschidere și a primit Marele Premiu + London East End – e de ne-ratat pe unde va mai rula. Povestea Steluței Duță e dură precum documentarele făcute de străini în Bucureștii anilor ’90 (cu homeleși, copii ai străzii, heroinomani etc.); nu insistă pe „povestea de succes” a sportivei (chiar ironizează gros o emisiune TV unde se încearcă acest lucru), ci o lasă să se desfășoare în franchețea și umorul involuntar specifice acestui personaj. Povestea ei merita un film datorită parcursului neașteptat pe care-l ia viața ei, adică exact ce ziceam că am tot văzut în ultimii ani, dar e printre documentarele care va rămîne în mod cert în istoria măcar recentă a cinema-ului românesc.

3. Outside (Andrei Schwartz)

L-am văzut în primăvară la One World unde n-a cîștigat premiul Juriului format din liceeni (poate pentru că povestea și personajul nu trimit către o astfel de categorie de vîrstă). Filmul e mai aproape de o narațiune tipică unui film de ficțiune, cu un punct culminant răvășitor, care-ți pune la-ndoială orice convenție sau construct mental de care ai fost capabil pînă atunci. Andrei Schwartz a mai fost premiat la Astra și la DocuArt (absolut întîmplător am avut aceleași preferințe anul acesta ca juriul de la evenimentul bucureștean) și e printre regizorii de documentare de după 90 cu o filmografie care ar trebui exploatată mai intens.

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Documentare românești [2015]

28 decembrie 2015

cinema
aliyah dada (2014) – oana giurgiu (libra film)
Le Mont Magique (2015) – Anca Damian (Aparte)
Youtube Bazaar – Dan Chisu (Dakino)

festivaluri
reteaua (cl. Mitcu) – parada film, wearebasca – best, tiff, docuart, astra
Chuck Norris vs Communism – Ilinca calugareanu – anonimul, astra
Youtube Bazaar – Dan Chisu (Dakino) – astra, anonimul, tiff
outside – Andrei Schwartz – one world, docuart, astra
România – Patru patrii – Alexandru Solomon Romania 2015 52′ – astra
Tatal meu, Lucian Blaga – Iulian Ghervas | Adina Popescu Romania 2015 67′ – astra
Robotelul de aur – MIhai Dragolea, Radu Mocanu, Anul: 2015, Durata: 75 min – docuart, london east end
cinema, Mon Amour – Alexandru Belc

Calusarii din Bârla – Adriana Oprea Romania 2014 58′ – astra
Recviem pentru efemeride – Gheorghe Sfaiter Romania 2014 65′ – astra
Rehearsals / Repetitii – Ana-Maria Vîjdea Portugal, Romania 2015 59′ – astra
Bondoc – Mihai Mincan | Mihai Voinea | Cristian Delcea Romania 2015 80′ – tiff, astra, docuart?
Our 1/4 Life Crisis / Criza maturizarii noastre – Sonia Suvagau Canada 2014 81′ – astra
Fratii Dabija – Catalin Draghici Romania 2015 62′ – astra
Szekler Highwaymen, The / Haiduci din Secuime – Attila Zsigmond Romania 2014 52′ – astra
statia #15033 – Iulia Matei, Anul: 2015, Durata: 65 min – tiff, docuart
7 cuvinte – Andrei Negoita, Anul: 2014, Durata: 104 min – docuart

scurte/fest
End Of Summer / Sfârsitul verii – Alina Manolache Romania 2015 25′ – astra
(Lav)storiuri transilvane – Anna Kós Romania 2015 37′ – astra
Borica – Lorincz Lorand-Sandor Romania 2014 15′ – astra
Floating Bridge, The / Brudina – Dragos-Mihai Hanciu Romania 2014 17′ – astra
Cu ochii în lut – Hadrian Gavrilutiu Romania 2015 23′ – astra
Transylvanian Tale, A / Dracula revizuit – Ioana Joca Romania, Spain 2015 24′ – astra
Schweighofer Effect / Efectul Schweighofer – Alexandru Iacob | Razvan Leucea Romania 2015 22′ – astra
Pe când vorbeam cu Dumnezeu – Bálint Zágoni Romania 2015 24′ – astra
Românesti – Artur Boruzs Romania 2014 24′ – astra, docuart
Storm is Coming / Vine furtuna – Daniel Nicolae Djamo Romania 2014 28′ – astra
Omul negru – Alexandru Tudora, 2015, Durata: 36 min – docuart
Meserie naturala – Florin Andreescu, Anul: 2015, Durata: 15 min – docuart
Will fred – Regia: Józsa Levente, Anul: 2015, Durata: 22 min, Tara: România, Kenya – docuart
Fotografiile raman – Raluca Vlad, Anul: 2015, Durata: 16 min,

**făcute în RO sau cu români

Alphabet of Fear, The / Alfabetul fricii – John Albert Jansen Netherlands 2015 55′ – astra
Cici – Yann Bétant Switzerland 2015 65′ – astra
Play, no matter what! / Joaca, mai presus de toate – Kim van Haaster Netherlands 2014 54′ – astra
Spartacus & Cassandra – Ioannis Nuguet France 2014 81′ – astra, one world
Freedom in Childshoes / Libertate în pantofi de copil – Joachim Stall Germany 2015 50′ – astra
Stories of Romanians in China / Povesti cu români în China – Zhi Wang China 2014 43′ – astra
Viflaim.These Kids Are All Right / Viflaimul – Björn Reinhardt Germany 2015 50′ – astra

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Lungmetraje lansate în cinema [2015]

26 decembrie 2015

01/28.02 – de ce eu? (tudor giurgiu)
02/06.03 – Aferim! (Radu Jude)
03/27.03 – alyiah dada (oana giurgiu) [debut] [doc]
04/24.04 – cel ales (cristian comeaga)
05/15.05 – live (vlad paunescu) [debut]
06/15.05 – doar cu buletinul la paris (s. marinescu)
07/22.05 – carmen (doru nitescu) [debut]
08/29.05 – Comoara (Corneliu Porumboiu)
09/12.06 – Fata cu ochii verzi (Mihai Mihaescu) [debut]

10/18.09 – Un etaj mai jos (Radu Muntean)
11/25.09 – Autoportretul unei fete cuminti (ana lungu) [debut]
12/09.10 – Muntele magic (Anca Damian) [doc?]
13/23.10 – Lumea e a mea (Nicolae Constantin Tanase) [debut]
14/23.10 – crima inocenta (adrian popovici)
15/30.10 – Box (Florin Serban)
16/06.11 – acasa la tata (andrei cohn) [debut]
17/13.11 – bucuresti nonstop (dan chisu)
18/27.11 – poveste de dragoste (Cristina Iacob)
19/27.11 – youtube bazaar (dan chisu) [doc]
20/04.12 – Palatul pionierilor (Bobby Păunescu)

Anul 2015 în lungmetraje românești pe marile ecrane: 20 filme, 6 debuturi, 3 documentare

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Cum a fost la NDP 2015 – București

22 noiembrie 2015

Bilete

Pretul a fost accesibil, cu doua variante de pret in functie de locurile in sala. Se pastreaza un oarecare format al evenimentului cu un intro de stand-up si un mini-concert, incluse in pret alaturi de proiectiile de reclame propriu-zise. Sa poti merge la un eveniment care dureaza intre 10 pm – 5 am pentru doar 35 lei e chiar pont.

Singura problema e ca in momentul in care-ti cumperi bilet online de pe bilete.ro n-ai optiunea sa printezi singur biletul, trebuie sa platesti inca 10 lei ca sa ti-l livreze acasa o firma de curierat. Nu inteleg de ce trebuie sa se extinda lantul trofic al firmelor care ofera servicii cind lucrurile ar putea fi mult mai simple, mai ieftine si, nu in ultimul rind, mai ecologice – de ce sa se deplaseze nu stiu citi kilometri prin Bucuresti un curier ca sa-mi livreze un plic cind pot sa printez eu o singura foaie? Plus ca plicul pe care curierul mi-l aduce, pe linga biletul propriu-zis, mai contine inca vreo 4 foi inutile.

livrare

Daca la Les Films de Cannes (cu eventboook.ro) s-a putut printa biletul de catre utilizator, nu inteleg de ce nu evolueaza toate firmele de ticketing & toți organizatorii de evenimente.

Organizare

Desi am platit bilet la eveniment, trebuia facuta si rezervare. Nicaieri pe pagina event-ului nu erau atentionati spectatorii de acest lucru, scria doar pe biletul livrat acasa ca “Rezervarile se fac pina la ora X etc.”. Rezervare pentru ce? M-am gindit sa dau un telefon inainte ca sa nu ma duc ca prostul, dar m-am luat cu altele, in definitiv imi cumparasem bilet – cite alte lucruri tre` sa mai fac ca sa particip la un event? E drept ca sala in care se desfasura evenimentul nu e o sala de spectacole cu locuri numerotate dar asta nu inseamna ca nu se poate organiza un astfel de sistem.

Beraria H nu e un spatiu urit, am fost la NDP si in locuri mai improprii (da, cred ca un astfel de eveniment trebuie gazduit intr-o sala de spectacole!), dar erau destule locuri la masa in care vizibilitatea era redusa. Erau oameni cu rezervare, cu loc la masa, care stateau in picioare ca sa vada intreg ecranul. Ceea ce mi s-a intimplat si mie pina a mai plecat lumea si am prins un loc ok. Ok din punct de vedere al vizibilitatii ecranului, pentru ca aerul conditionat care-mi batea in cap de am stat cu caciula si gluga de la hanorac era absolut infiorator.

Sigur, la Beraria H a existat si avantajul de a putea consuma mincare si bautura in timpul event-ului, ceea ce ar fi fost imposibil la Cinema Patria de exemplu, plus toaletele, aerisirea si servirea angajatilor care sint toate niste plusuri.

12241179_1325609404123009_5692028410693028720_n(Sursa: Louie Lou)

Content

Tin minte ca prima editie de NDP pe care am prins-o era prin 2008 la Iasi, intr-o sala de spectacole la fel de părădită ca Cinema Patria, daca nu chiar mai rau, si l-a avut pe Teo la numarul de stand-up, dar fara concert.

Tibi, sau cum il cheama pe tipul de aseara, a fost fara niciun haz; Simona Radu, daca o fi cintat ceva, nu s-a auzit prea bine desi eram fix perpendicular pe scena centrala si in apropierea mesei lui Dan Chisu, ca idee, dar n-am inteles niciun vers. Cred ca se poate renunta la concert pentru ca exista un feeling de too much cind amesteci atitea chestii, dar stand-up-ul e musai cu conditia ca entertainer-ul sa fie ceva mai hăruit. Plus ca are un singur numar, la inceputul show-ului, iar la urmatoarele 3 pauze pina la sfirsitul event-ului e doar muzica in fundal, lumea merge la baie, sta pe fb etc. Ar merge umplute si pauzele astea cu ceva numere de stand-up, cu efectul normal de crestere a pretului biletului. Nu m-ar deranja sa dau 50 lei pentru ceea ce am cerut mai sus, sau chiar mai mult, daca stiu ca rid toata noaptea.

Cit despre selectia de reclame propriu-zisa… cred ca un sfert din total au fost ok (reclama facuta, intr-un final, de Publicis pentru Carrefour Romania e mai buna decit jumatate din tot ce am vazut aseara). Nu doar funny, ci si witty, cu miez si executate corect. Reclamele la ceai (din orice tara ar fi venit ele) au fost absolut stupide, selectia din Romania (care ar putea fi ajutata cu ceva input venit de-aici) e jalnica – doua reclame cu Loredana Groza la Reprezentanță Avon si Dero, care pe linga faptul ca sint stupide mai au si un aer de plagiat –, SUA la fel, de zici ca Super Bowl-ul sau alte evenimente majore de advertising de peste ocean nici n-ar exista.

Din selectia lui Jean Marie Boursicot reiese ca Marea Britanie sta foarte bine la capitolul reclame, festivalurile de filme atunci cind isi fac clipuri – sint inteligente, campaniile socialo-medicalo-umaniste pot fi si share­-uibile nu doar sursa de stors fonduri europene cum e pe la noi si in general se puteau face mai multe capitole gen „Parisul vazut in reclame” (care a fost un turnoff maxim) cu o selectie de la Cannes Lions sau Super Bowl, de exemplu (personal nu stiu foarte multe despre advertising si cred ca se poate face si o oarecare educare a publicului care vine la NDP in termeni de Premii sau toposuri importante ale industriei).

Nu stiu cit e nostalgie a adolescentei si cit e realitate, dar parca NDP-ul la care am fost eu prima data in 2008 a avut content mult mai misto, apoi a tot scazut ca valoare si impresie cu fiecare editie la care am mai fost. Un big like pentru reclamele (multe) la firmele de asigurari care stiu, nene, sa-si vinda produsul!

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„He’s not mad! And he’s dangerous because he’s not mad” – interview with Benny Brunner (part I)

17 octombrie 2015

I met Benny Brunner at Astra Film Festival 2015 in Sibiu, RO. His last film, The Érpatak Model, was shot in Hungary and it’s following a mayor whose key part of its success (just won the forth mandate) is „divide and rule”. He’s a fascist, he commemorates Nazi soldiers and, as you might’ve guessed, a member of Jobbik. Far-right movement is rising all over Europe and Érpatak, an unknown village from Central Europe, gives one of the most shocking examples of what might happen if we don’t defend democratic principles. The first part of the interview is about his movie and the whole story of mayor Mihály Zoltán Orosz; the second one (you can read it HERE) is more like a dialogue about another exceptional case, Romania, where far-right is almost extinct.

12118721_10153328809349139_7183979529355518007_nBenny Brunner @ Astra Film Festival 2015 (photo by Cornel Moșneag)

So your film is about a mayor in Hungary that has a very fascist, dictatorial way of ruling. From what you’ve said at the Q&A, you’ve found out about the subject from a journalist, Keno Verseck. Was there some personal reason why you selected this subject? Is there any general interest you have about fascism or politics in your movies?

If there’s a red thread that goes through all the work I’ve been done so far in my films, it’s anti-nationalistim, anti-fascism, people or organizations that place their country in the centre of their value system. It’s my – if I can paraphrase the mayor – „mission in life” (laughs). No, i’m just busy with these subjects for many-many years.

Then how is this subject different than what you’ve done so far?

On an abstract level it’s not much different. The point in this film is that it takes place in a very confined, defined geographical space which makes it very fascinating for me; I couldn’t do it before. Because of the mayor’s multiple activities, his hyperactivism basically, there were a lot of situations I could follow in my film – and that made it super interesting for me. This idea of telling the story without having to narrate or to get interviews.

Did it shocked you the way this mayor was showing off?

I wouldn’t use shock, but I was somehow taking a back seat to his extent of fanaticism, of his total belief that all he does is good – it’s good for his country, for his nation, his culture. I thought, of course, in the beginning, I assumed that he might be an opportunist, but I don’t think he is, I think he’s in it, from his point of view, out of pure motives. What surprised me when I started to get interested in Hungary was how quick and how far towards a dictatorship like system that is in place there, how fast it went into a country that it was probably the most relaxed communist wise during the communist era, especially in the ’80s when – you’re probably familiar with the term goulash communism; I mean, Hungary was really relaxed, people could easily travel abroad, private property was allowed, the art scene was kind of more opened than in other countries, but not as much as Poland, of course; and not for nothing Nemeth in ’89 made it possible to end this system.

So where is this „model” coming from, what are the mayor’s roots of this nationalism?

I think that more than 4 decades of communist dictatorship suppressed a lot of national feelings and the moment this lead was taken off, this forces that operated underground just burst into existence and got in the center of the stage. But Hungary, of course, it’s a special case – losing 2/3 of the territory after WWI and almost 40% of the people which remained as minorities in the neighbor countries, the biggest one being here in Romania. And then you get this intellectual or semi-intellectuals who reconstruct a historical imagery and remember how great Hungary was, what a great empire, what grandeur, as the French call it – these were the processes that took place. And as the former communists became the social-democrats in Hungary and kept screwing it up big time and reaching themselves, all sorts of populists found very fertile land to plant these seeds.

And about this political configuration in Hungary, I was surprised to see what a big problem is to be a liberal from this mayor’s point of view.

Well, he compares liberalism to be as evil as the communism. It’s “the new evil force”, he actually says it. It used to be communism, now it’s liberalism.

But aren’t any political opponents in this village/town?

Yes, he has opponents, the biggest one is Gábor Szőllősi, the civil rights activist, he’s a liberal par excellence as we can call him as well. He’s fighting for civil liberties, democracy, freedom of speech, end of intimidation, he’s also against staging of all these far-right nationalistic commemoration events that’s being done an a bi-weekly schedule there. It’s incredible the amount of stuff that’s going on there.

But the one who came second in the elections was from FIDESZ and number three an independent. If the opposition forces would have been united, close their nose and agree on a common candidate, they would’ve won. People that voted for the opposition candidates were many than the ones to vote for this guy from Jobbik. You know, it’s classic divide and rule, it’s textbook. It’s so old it’s amazing that people still fall for it.

Mayor Mihály Zoltán Orosz

And it’s as surprising as this guy has now the forth mandate. What are his key strategies in surviving in this leading position?

Have you heard about the concept of vested interests? Again, it’s so old that it amazes me each time how come it’s possible. You are in a system in which you are unhappy, but you have vested interest in this system to keep going because you have it better than I. And who knows maybe your little privileged position will remain. So every person that has a little bit better condition than the others, are dependent on the system. It’s, after all, about making a living. In this towns’ case it’s about having access to the workgroup program that the mayor controls. He is the one that gets the budget from the government for so and so number of people. If you’re against him, you are out of the program, you have nothing to work.

And the landowners, the ones who make a living out of leasing parts of land to the people that don’t own any, also have some vested interest in the system, so they’re also supporting the mayor. But again, all in all, at absolute numbers, the people who are against him are more than the ones who are with him, but they’re divided.

So do you think that one point they will be able to understand this and put up together to win the elections?

I talked with Gabor at the end of April and he told me that he’s not going to run for mayorship this time, he did in the previous election, but as the last elections come closer he decided to run. And I’ve told him “You, guys, have to unite, you’re going to lose like this”. He replied that he’s aware of this and bla bla bla and then he decided to run and he came last, he got something like 16 votes and here’s how much support he gets in the village. Even if he says in the film that he gets a lot of calls from the people that are having problems with the system, or if they need juridical consultation, they come to him. What can I say… ? People tend to be stupid, it’s a problem that they’re uneducated, they’re misinformed… If you follow the state media in Hungary – I don’t know if independent televisions like ATV or RTL that don’t support Orban have signal in this village, you can only get them on cable and they have no cable TV service in the village – it’s really depressing.

But how large is this “model”? Because you said in the Q&A that we can take this particular case and use it to speak about Hungary as a whole. Is that really the case?

It’s not really the same everywhere, that’s why I brought Orban in the end of the film. There are two reasons actually why I did it: the obscene idea of the democracy that is not liberal, and that we’re going to switch from a welfare system to a working state. This idea of the working state is the key part of the “model”, everybody has to work; even if you get benefits you have to work. The idea of using criminal law to solve social problems it’s… (looking disappointed). He (n.r. the mayor of Érpatak) probably didn’t articulate as neatly and legally elegant as the state does but…

… that’s how Orban’s ideas are put in practice.

Yes. Orban signed an agreement with the head of Jobbik 5 or 6 years ago which would state that every municipality run by Jobbik must put in practice “The Model”. But now, before the last elections in Hungary (n.r. April 2014), when Jobbik changed their appearance and downed their rhetorics with the assistance of some American/Western consultants – they all look nice, they’re very young, all the candidates look like young executives from a big corporation; I don’t think there’s someone older than 40. And they all look successful, kind of, the person you would want to be – it worked for them in the last elections. Also I think they’re distancing from the guy (n.r. the mayor) now; in the last month I think someone came to talk to him, he stopped wearing these clothes – the so-called traditional costumes – he’s now in a suit, he even came to the screening we had in Budapest in a suit.

You also said that right now there are some lawsuits against him, the central administration also has a problem with him.

That’s what I heard, yes. I can’t really follow the Hungarian media, but Keno Verseck helps me with this. It’s not clear, but probably following the film they’re going after him; but not because the central administration are good, law-abiding officials, not at all. It’s just the war against Jobbik, they’re a big threat for FIDESZ. So they’re probably going to remove him.

There was question at the Q&A that someone asked about the morality of your movie. Because we can think that this mayor agreed to show up in the movie in his madness…

He’s not mad! He’s obsessed. I think it would be a mistake to regard him as mad, he’s dangerous because he’s not mad.

But couldn’t he use your movie in becoming a star in the eyes of his Jobbik fellow colleagues, something like “Hey, look at me how fabulous I am, how I rule this city with an iron fist”?

I don’t know what he had in mind when he agreed to cooperate, he was really enthusiastic, maybe he thought that this idea of “the model” would spread to the West, in Holland (n.r. Benny Bruner is Dutch) and Germany (n.r. Keno Verseck, the journalist in the movie is German). I think he’s so self-centered that he cannot look at himself or think about himself in any critical manner, whatsoever – he also has a terrible lack of humor. To me it looks like he’s living in a cocoon, nothing from the outside could penetrate him, until a film eats him. He really thinks he’s doing God’s work.

You know what’s his favorite movie? Excalibur, the legend of King Arthur. I think he portraits himself as a knight. When we talked with him about Excalibur, we were in the village where gypsies are stealing electricity, and he actually expanded the explanation why he likes the movie – bringing justice, protecting the culture and the purity of the people.

14223The Érpatak Model (movie poster)

But do you really think that your film could help him propagate his ideas? Like “any publicity is good publicity”?

Maybe if he shows it to his people and omits the parts that are critical towards him. When I finished the film and Keno saw it, he said “I think the mayor would like it, actually”. And my Hungarian editor also said that without the critical voices, his enemies, “the destroyers”, he might like it. Also the poster, don’t know if you saw it – my graphic designer, a Dutch Israeli, he did an Internet search for nationalistic posters and came close to a Nazi poster of the student union supporting the party and the ideology – there was this young soldier with a Nazi flag and I had a photo of the mayor in a same posture.

I think it’s too much in to your face to be any enigma. As I said, I don’t think he’s crazy, he’s only obsessed, maybe pathologically obsessed. He’s also obsessed with cleanliness – he said I think to one of his supporters, the exact quote “People tell me that when you look at Érpatak from Google Earth, it looks like Switzerland”. Clean, everything is in order (smiles).