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AFI DOCS 2021 Award Winners

Posted by Larry Gleeson

Audience Award for Best Feature Goes to

STORM LAKE

Audience Award for Best Short Goes to SHELTER

Short Film Grand Jury Prize Goes to RED TAXI

Among the Participants in 19th Annual Festival of Documentary Film:

Senator Amy Klobuchar, Morgan Neville, Garrett Bradley, Dawn Porter

FOR IMMEDIATE RELEASE

JUNE 28, 2021, WASHINGTON, DC — The American Film Institute (AFI) has announced the AFI DOCS 2021 Award Winners, concluding the six-day festival, with screenings presented online and in-person at the AFI Silver Theatre and Cultural Center. The festival’s Audience Award for Best Feature went to STORM LAKE, directed by Jerry Risius and Beth Levison. The Audience Award for Best Short went toSHELTER, directed by Smriti Mundhra.

This year’s voting jury for the competitive Short Films slate was comprised of Mike Attie, award-winning filmmaker and professor of film at the University of the Arts in Philadelphia; Greta Hagen-Richardson, Director of Programming at the Hot Springs Documentary Film Festival and Lead Features Programmer at the New Orleans Film Festival; and Yvonne Ashley Kouadjo, Associate Producer for The New York Times’ award-winning short documentary series Op-Docs.

The Grand Jury Prize for Short Films went to RED TAXI, directed byAnonymous. The jury said of RED TAXI: “For its creative and accessible approach to telling a story from the perspective of those living and working in a moment of political upheaval, we award the Shorts Grand Jury Prize to RED TAXI. The courage of the anonymous filmmaker struck us for their commitment to depicting the nuances of reality on the ground.” The Shorts Grand Jury Prize at AFI DOCS is a qualifying award for Academy Award® eligibility.

The jury also awarded the Special Jury Prize to two films: THE COMMUNION OF MY COUSIN ANDREA, directed by BrandánCerviño Abeledo, saying,

“For its ability to tell a reflexive story with levity and tenderness, we award a Special Jury Prize to THE COMMUNION OF MY COUSIN ANDREA”; and S P A C E S (M E Z E R Y), directed by Nora Štrbová, saying, “For its intelligent use of multi-dimensional media in telling a fraught, emotional story, we award a Special Jury Prize to S P A C E S (M E Z E R Y).”

The 19th edition of AFI DOCS presented a diverse slate of 78 films from 23 countries, shedding light on overlooked stories from the past, honoring champions of change and giving us glimpses into the everyday lives of subjects close to home and around the world. This year, 52% of AFI DOCS films were directed by women, 40% by BIPOC directors and 18% by LGBTQ directors.

Among the festival participants were filmmakers and notables including Minnesota Senator Amy Klobuchar; Academy Award®winners Morgan Neville, Sean Fine, Andrea Nix Fine and Mark Ronson; Academy Award®-nominated filmmakers Julie Cohen, Betsy West and Steve James; Pulitzer Prize-winning journalist Art Cullen; award-winning filmmaker Dawn Porter; Emmy® Award winner Chris Nee; CNN political contributor and host Van Jones; author and The New Yorker contributor Jelani Cobb; filmmaker and actor Sonja Sohn; musician and filmmaker Ahmir “Questlove” Thompson; Smithsonian National Museum of African American History and Culture Curator Dwandalyn Reece; President of the African American Film Critics Association Gil Robertson; Georgetown University Professor Dr. Janet Mann; rapper KYLE; and son of late comedian and activist Dick Gregory Christian Gregory.

The festival’s panels and discussions provided filmmakers, film subjects and audiences the opportunity to delve deeper into the films with conversations led by some of the nation’s top journalists, including: NBC News Correspondent Morgan Radford; NBC News’ Meet the Press Moderator and NBC News Political Director Chuck Todd; NBC News Correspondent Anne Thompson; MSNBC Correspondent Trymaine Lee; Variety’s Film Awards Editor Clayton Davis; Axios Justice and Race Reporter Russell Contreras; Senior Segment Producer of WGN Morning News and WGN’s Entertainment Producer Tyra Martin; entertainment journalist & TV producer KJ Matthews; CQ Roll Call Deputy Editor Jason Dick andHealth Care Editor Rebecca Adams; and The Washington Post’s Managing Editor for Diversity and Inclusion Krissah Thompson, Chief Film Critic Ann Hornaday, Global Opinions writer Jason Rezaian, National Security Editor Peter Finn, Religion Reporter Michelle Boorstein, and Host and Editor of Food Video Mary Beth Albright.

This year’s inaugural DOCS Talks programming included the World Premiere of Netflix’s and Higher Ground’s WE THE PEOPLE, as well as “History Is Out of the Closet: Excavating Queer Stories for the Screen,” a live stream conversation celebrating LGBTQ+ pride. The AFI DOCS Industry Forum explored building accessibility practices into all steps of the production process, demystifying investigative documentaries, the making of the hit series PHILLY D.A., how documentaries shape conversations on racial violence, a behind-the-scenes look at the Hindsight Project films and new collaborations between public media and indie filmmakers. This year’s Industry Forum programming also included closed captioning and American Sign Language (ASL) interpretation. The AFI DOCS Industry Forum is supported by the Corporation for Public Broadcasting and the National Endowment for the Arts.

RED TAXI

DIR: Anonymous. As protests in Hong Kong escalate, taxi drivers experience a city in upheaval driving the streets day and night. Anonymously filmed by locals.

SHORT FILM SPECIAL JURY PRIZE

THE COMMUNION OF MY COUSIN ANDREA

DIR: Brandán Cerviño Abeledo. Andrea’s First Communion ceremony lacks glamour. For Andrea, things without sparkles are meaningless.

SHORT FILM SPECIAL JURY PRIZE

S P A C E S (M E Z E R Y)

DIR: Nora Štrbová. A multi-textured animated exploration of memory as a container of identity, based on the personal story of the filmmaker and her brother who was diagnosed with a brain tumor.

This year’s Premium Sponsor is Apple Original Films. The Corporation for Public Broadcasting (CPB) returns as Official Sponsor of the festival. NBC News’ Meet the Press with Chuck Todd and The Washington Post return this year as Primary Media Partners. Variety and The Hollywood Reporter are this year’s Official Media Partners. The Wrap is an Affiliate Media Partner.Screen Sponsors include SHOWTIME® Documentary Films, Netflix, WarnerMedia and HBO Documentary Films. Participant, National Geographic, and Eventive serve as Major Sponsors. This year’s Contributing Sponsors are ESPN, the National Endowment for the Arts and the DC Office of Cable Television, Film, Music, and Entertainment (OCTFME). Supporting Sponsors include the Maryland Film Office, Greater Silver Spring Chamber of Commerce and Rev. The Embassy of Denmark in Washington, DC, and the Farhang Foundation are this year’s Cultural Sponsors. Generous individual support comes from Stephanie and Hunter Hunt.

 

About AFI DOCS

AFI DOCS is the American Film Institute’s annual documentary festival historically held in Washington, DC.  Presenting the year’s best documentaries, AFI DOCS is the only festival in the U.S. dedicated to screenings and events that connect audiences, filmmakers and policy leaders in the heart of our nation’s government. The AFI DOCS advisory board includes Ken Burns, Davis Guggenheim, Chris Hegedus, Werner Herzog, Rory Kennedy, Barbara Kopple, Spike Lee, Errol Morris, Stanley Nelson and Frederick Wiseman. Now in its 19th year, the festival will be held June 22-27, 2021. Visit DOCS.AFI.com and connect onTwitter.com/AFIDOCSFacebook.com/AFIDOCSYouTube.com/AFIand Instagram.com/AmericanFilmInstitute.

 

About the American Film Institute (AFI)
Established in 1967, the American Film Institute is the nation’s nonprofit organization dedicated to educating and inspiring artists and audiences through initiatives that champion the past, present and future of the moving image. AFI’s pioneering programs include filmmaker training at the AFI Conservatory; year-round exhibition at the AFI Silver Theatre and Cultural Center and at AFI Festivals across the nation; workshops aimed at increasing diversity in the storytelling community; honoring today’s masters through the AFI Life Achievement Award and AFI AWARDS; and scholarly efforts such as the AFI Catalog of Feature Films that uphold film history for future generations. Read about all of these programs and more at AFI.com and follow us on social media at Facebook.com/AmericanFilmInstituteYouTube.com/AFITwitter.com/AmericanFilmand Instagram.com/AmericanFilmInstitute.

 

About the Corporation for Public Broadcasting

The Corporation for Public Broadcasting (CPB), a private, nonprofit corporation created by Congress in 1967, is the steward of the federal government’s investment in public broadcasting. It helps support the operations of more than 1,500 locally managed and operated public television and radio stations nationwide. CPB is also the largest single source of funding for research, technology and program development for public radio, television and related online services. For more information, visit www.cpb.org and follow us on Twitter @CPBmedia, Facebook and LinkedIn, and subscribefor email updates.

About The Washington Post and Washington Post Press Freedom Partnership

The Washington Post is an award-winning news leader whose mission is to connect, inform and enlighten local, national and global readers with trustworthy reporting, in-depth analysis and engaging opinions. It combines world-class journalism with the latest technology and tools so readers can interact with The Post anytime, anywhere.

 

The Press Freedom Partnership is a public service initiative from The Washington Post to promote press freedom and raise awareness of the rights of journalists who are in pursuit of the truth. Learn more at www.wapo.st/pressfreedom

About Meet the Press with Chuck Todd

Meet the Press with Chuck Todd is where newsmakers come to make news — setting the political agenda and spotlighting the impact Washington decision-making has on Americans across the country. It is the #1 most-watched Sunday public affairs show for the 2019-2020 season, reaching more than three million viewers every Sunday and millions more through social, digital and on-demand platforms. Meet the Press brings its authority and influencer interviews to MSNBC with MTP Daily weekdays at 1 p.m. ET, to the ongoing weekly podcast, The Chuck ToddCast, and to Meet the Press Reports, a 30-minute program on NBC News NOW and Peacock, focusing on a single topic explored through the Meet the Press lens. It’s the longest-running show in television history, recently expanding its brand to also include a political short-documentary film festival in collaboration with the American Film Institute. Chuck Todd is the political director of NBC News and the moderator of Meet the Press; John Reiss is the executive producer.

CONTACT:

Elizabeth Ward, AFI DOCS PR, elizabeth@prcollaborative.com

American Film Institute: Stacy Adamski, 323.856.7759,SAdamski@AFI.com

THE AMERICAN FILM INSTITUTE ANNOUNCES SPONSORS FOR AFI DOCS 2021

THE AMERICAN FILM INSTITUTE ANNOUNCES
SPONSORS FOR AFI DOCS 2021

Support Comes From Wide Range of Art and Cultural Institutions, Media Partners and Corporations

Apple Original Films Joins AFI DOCS as a Premium Sponsor

FOR IMMEDIATE RELEASE, June 18, 2021, WASHINGTON, DC — The American Film Institute (AFI) has announced the sponsors for AFI DOCS 2021. Support for the festival comes from both local organizations based in the DC-metro area and major corporations across the nation. The 19th edition of AFI DOCS will run June 22–27, with films available to view on DOCS.AFI.com as well as in-person screenings at the AFI Silver Theatre and Cultural Center in Silver Spring, MD.

“AFI DOCS reaches a nationwide audience with the support of our sponsors,” said Sarah Harris, AFI Festivals Director of Programming. “It is their generosity that amplifies the voices of today’s most vital storytellers, and we thank them on behalf of all who find inspiration in the arts.” 

In addition to supporting AFI DOCS film programming and events, sponsors provide services and exclusive experiences to filmmakers and audiences throughout the festival. Sponsor participation includes sponsoring specific film screenings, panels and events as well as national and local promotion of the festival.  

This year, AFI is proud to have Apple Original Films support AFI DOCS for the first time as a Premium Sponsor. Top festival sponsors will give audiences sneak peeks at exclusive upcoming trailers and content on the festival’s streaming platform and in the AFI DOCS Festival Hub. Media partners will also provide DOCS audiences with access to their digital issues during the week of the festival via a virtual newsstand.

The Corporation for Public Broadcasting (CPB) returns as Official Sponsor of the festival. CPB is Official Sponsor of the AFI DOCS Industry Forum and the Spotlight on the Hindsight Project, a special selection of short filmsthat chronicle the experiences of BIPOC communities in the American South and U.S. Territories during the unprecedented events of 2020.  

NBC News’ Meet the Press with Chuck Todd and The Washington Post return this year as Primary Media Partners. Meet the Press and The Washington Post, in conjunction with the Washington Post Press Freedom Partnership, will provide moderators for a number of films in this year’s festival. Highlights include Meet the Press Moderator and NBC Political Director Chuck Todd moderating LFG and NBC News Correspondent Morgan Radford moderating the discussion following the Opening Night World Premiere of NAOMI OSAKA. In addition to supporting post-screening discussions, Washington Post Live, The Post’s live journalism platform, will host a conversation with ROADRUNNER: A FILM ABOUT ANTHONY BOURDAIN filmmaker Morgan Neville. Post Managing Editor for Diversity and Inclusion Krissah Thompson will also moderate the World Premiere of WE THE PEOPLE in the inaugural DOCS Talks program.

Variety and The Hollywood Reporter are this year’s Official Media Partners. This year, Variety sponsors the Charles Guggenheim Symposium, which will feature a conversation between the 2021 Guggenheim honoree Dawn Porter and Variety’s Clayton Davis, and The Hollywood Reporter will be a media partner for the screening of SUMMER OF SOUL (…OR WHEN THE REVOLUTION COULD NOT BE TELEVISED). 

The Wrap joins AFI DOCS as an Affiliate Media Partner this year and is a media partner for the screening of TOM PETTY: SOMEWHERE YOU FEEL FREE.

Screen Sponsors are SHOWTIME® Documentary Films, Netflix, WarnerMedia and HBO Documentary Films. SHOWTIME® Documentary Films will once again host a networking event for filmmakers and industry, adjusted to be virtual instead of the in-person event they have hosted in the past. SHOWTIME® willalso send a special, customized gift to the festival filmmakers as they celebrate AFI DOCS from home.

Participant returns as a Major Sponsor, along with new sponsors National Geographic and Eventive. 

This year’s Contributing Sponsors are ESPN, the National Endowment for the Arts and the DC Office of Cable Television, Film, Music, and Entertainment (OCTFME). 

Supporting Sponsors include the Maryland Film Office, Greater Silver Spring Chamber of Commerce and Rev. 

The Embassy of Denmark in Washington, DC, and the Farhang Foundation are this year’s Cultural Sponsors. 

Generous individual support comes from Stephanie and Hunter Hunt.

About AFI DOCS 

AFI DOCS is the American Film Institute’s annual documentary festival historically held in Washington, DC.  Presenting the year’s best documentaries, AFI DOCS is the only festival in the U.S. dedicated to screenings and events that connect audiences, filmmakers and policy leaders in the heart of our nation’s government. The AFI DOCS advisory board includes Ken Burns, Davis Guggenheim, Chris Hegedus, Werner Herzog, Rory Kennedy, Barbara Kopple, Spike Lee, Errol Morris, Stanley Nelson and Frederick Wiseman. Now in its 19th year, the festival will be held June 22-27, 2021. Visit DOCS.AFI.comand connect on Twitter.com/AFIDOCS,Facebook.com/AFIDOCSYouTube.com/AFI andInstagram.com/AmericanFilmInstitute

About the American Film Institute (AFI)
Established in 1967, the American Film Institute is the nation’s nonprofit organization dedicated to educating and inspiring artists and audiences through initiatives that champion the past, present and future of the moving image. AFI’s pioneering programs include filmmaker training at the AFI Conservatory; year-round exhibition at the AFI Silver Theatre and Cultural Center and at AFI Festivals across the nation; workshops aimed at increasing diversity in the storytelling community; honoring today’s masters through the AFI Life Achievement Award and AFI AWARDS; and scholarly efforts such as the AFI Catalog of Feature Films that uphold film history for future generations. Read about all of these programs and more at AFI.com and follow us on social media atFacebook.com/AmericanFilmInstitute,YouTube.com/AFI, Twitter.com/AmericanFilm andInstagram.com/AmericanFilmInstitute.

About the Corporation for Public Broadcasting  

The Corporation for Public Broadcasting (CPB), a private, nonprofit corporation created by Congress in 1967, is the steward of the federal government’s investment in public broadcasting. It helps support the operations of more than 1,500 locally managed and operated public television and radio stations nationwide. CPB is also the largest single source of funding for research, technology and program development for public radio, television and related online services. For more information, visit www.cpb.org and follow us on Twitter @CPBmedia,Facebook and LinkedIn, and subscribe for email updates. 

About The Washington Post and Washington Post Press Freedom Partnership  

The Washington Post is an award-winning news leader whose mission is to connect, inform and enlighten local, national and global readers with trustworthy reporting, in-depth analysis and engaging opinions. It combines world-class journalism with the latest technology and tools so readers can interact with The Post anytime, anywhere.  

The Press Freedom Partnership is a public service initiative from The Washington Post to promote press freedom and raise awareness of the rights of journalists who are in pursuit of the truth. Learn more at www.wapo.st/pressfreedom

About Meet the Press with Chuck Todd 

Meet the Press with Chuck Todd is where newsmakers come to make news — setting the political agenda and spotlighting the impact Washington decision-making has on Americans across the country. It is the #1 most-watched Sunday public affairs show for the 2019-2020 season, reaching more than three million viewers every Sunday and millions more through social, digital and on-demand platforms. Meet the Press brings its authority and influencer interviews to MSNBC with MTP Daily weekdays at 1 p.m. ET, to the ongoing weekly podcast, The Chuck ToddCast, and to Meet the Press Reports, a 30-minute program on NBC News NOW and Peacock, focusing on a single topic explored through the Meet the Press lens. It’s the longest-running show in television history, recently expanding its brand to also include a political short-documentary film festival in collaboration with the American Film Institute. Chuck Todd is the political director of NBC News and the moderator of Meet the Press; John Reiss is the executive producer. 

CONTACT: 

Elizabeth Ward, AFI DOCS PR,elizabeth@prcollaborative.com 

American Film Institute: Stacy Adamski, 323.856.7759,SAdamski@AFI.com

AFI DOCS Film Review: Hesburgh (Creadon, 2018): USA

Posted by Larry Gleeson

Viewed by Larry Gleeson as part of the 2018 American Film Institute’s AFI DOCS.

Hesburgh is a biographical account of Father Theodore Martin Hesburgh, an ordained priest of the Congregation of Holy Cross. Hesburgh is widely known for his tenure, from 1952-1987, as President of the University of Notre Dame, located in South Bend, Indiana. Others knew Fr. Hesburgh as a confidante and as an advisor to American Presidents including, Dwight D. Eisenhower, John F. Kennedy, Lyndon B. Johnson and Richard “Dick” Nixon. But, Director Patrick Creadon and Producer Christine O’Malley get behind the public persona and weave a story of mythic proportions.

Beginning with his ambitious plan to transform Notre Dame from an average academic institution with a great football team into a leading university for personal examination, exploration and learning, Hesburgh began wooing captains of industry for financial support and invited Fr. John Courtney Murray to lecture on the highly controversial tome The Catholic Church in World Affairs, at the University of Notre Dame. The voice-over narration and black and white still photos add a sense of historical significance and deification of what Hesburgh was engaging in. The Roman Catholic Church responded with an order to cease and desist from teaching such books ending with a formal “Roma locuta; causa finita est” (Rome has spoken; the cause is finished). Hesburgh defied the order arguing that it was the institution saying no and not him personally (as he had taken a vow of obedience to the Pope). According to Creadon, this sets a precedent for how Hesburgh navigated the world of power politics including the International Atomic Energy Agency, the Cold War, the Civil Rights Movement, and the student protests of the Vietnam and Cambodian Wars as well as his graceful transition from the University of Notre Dame.

Beginning with the International Atomic Energy Agency, Father Hesburgh emerged in Vienna, Austria, as a free-thinking clergyman who was respected by both sides of the Cold War without stirring up controversy. Hesburgh had a penchant for schmoozing with bourbon and cigars resulting in a detante allowing both sides to sit in a room at the same table.

Afterwards, Hesburgh was named to President Eisenhower’s federal Commission on Civil Rights. As the University of Notre Dame was struggling to find a commencement speaker, Hesburgh called in a mark – President Dwight D. Eisenhower delivered the 1960 Commencement Address with Cardinal Giovanni Montini (later to be named Pope Paul VI and leader of Vatican II) in tow! Cardinal Batista and Hesburgh would become close friends in the ensuing years sharing a love for space travel during the Apollo era of the United States Government’s accelerated Space Program in the 1960’s.

Sensing formidable opposing positions on the Civil Rights Commission, consisting of three democrats, two republicans, and Hesburgh, an independent priest. Hesburgh utilized his human touch, and the resources of a well-heeled Notre Dame philanthropist, to smooth out differences and gain a consensus resulting in a twelve point report recommendation to Congress. Hesburgh continued to serve on the Civil Rights Commission and was appointed chairman by his old friend, Richard “Dick” Nixon.

Uncharacteristically, however, Hesburgh dealt a stunning blow to Notre Dame student body curtailing student protests during the Vietnam and Cambodian Wars as he felt the protesting interfered with student learning. Later, Hesburgh would lament his decision to limit protesting feeling he had made an unfortunate decision that actually inhibited a student’s experience but at the time felt it was necessary and proper to institute it in an effort to curtail violence and also to guarantee the rights of other students who wanted to partake in their own education. Meanwhile, Dick Nixon praised the move and used it as propaganda.

Nixon would later pressure Hesburgh to resign from the Civil Right Commission as part of Nixon’s Southern Strategy. So, Hesburgh turned his focus full force into the campus life of Notre Dame declaring it a co-educational institution in 1972 with overwhelming approval from the male students. On May 17th, 1987, Father Theodore M. Hesburgh received the University of Notre Dame’s highest honor, the Laetare Medal, an annual award given to honor and recognize an individual who has given outstanding service to the Catholic Church and society.

While I did find the historical moments of the film enlightening, what really caught me by surprise were the human elements; the relationships cultivated, the emotional warmth expressed, and the joy and love expressed by those who knew Hesburgh. What I was left with was a powerful human interest story that served as both a testimonial to a life well lived for the noble causes of justice and freedom and a welcome addition to the national historical archives.

Employing present-day narratives from family members, fellow clergy members and a highly effective first person voice-over narration, interspersed with an up-tempo musical score and flashing images, and coupled with historical black and white photos, archival film footage and newsreels, Creadon sets the tone, mood and pacing for nothing-short of a miraculous life with Hesburgh. Highly recommended.

Berlinale FILM REVIEW: Andres Veiel’s ‘Beuys’ is One for the Ages

Posted by Larry Gleeson

Andres Veiel brought the documentary Beuys, an in-depth look into the profound psyche of German performance artist and 1960’s era philosophe, Joseph Beuys, and a co-production from Terz Filmproduktion, Köln, SWR, Baden-Baden, WDR, Köln in cooperation with Arte, to the 2017 Berlin International Film Festival. Veiel studied directing and dramaturgy at the Künstlerhaus Bethanien in Berlin under Krzysztof Kieślowski. Some of his other documentary works include Balagan (Berlinale 1994) and Black Box BRD (Black Box Germany, Berlinale 2002). His feature film debut Wer wenn nicht wir (If Not Us, Who) premiered in the Berlinale Competition in 2011 and won the Alfred Bauer Prize.

screen-shot-2017-02-24-at-5-34-23-amUtilizing previously unpublished archival video and audio footage, In Beuys Veiel brings light to a man of profound intellectual capacity in the vein of Goethe, Voltaire and Machiavelli. Often derided in his home country of Germany, Joseph Beuys, holds the distinction of being the first German artist to be granted a solo exhibition at the Guggenheim Museum in New York. While most contemporaries compare Beuys to another 1960’s era personality, Andy Warhol, Veiel’s Beuys, emerges from a much deeper metaphysical, philosophical framework.

The film is a linear piece. Veiel uses a cookie cutter approach in introducing the viewer to the central character. A Beuys voice-over-narration philosophises on the properties of art while still photos are shown in 3-5 second intervals set to non-diagetic music and sounds.A first real, humanistic impression is of Beuys performing on the street in clown-like fashion drawing attention to himself. Eccentric. Yet quite popular.

From here Veiel moves right into one of the most critical tenants of Beuys’ social outlook with an archival video clip of Beuys on money. Beuys acquiesces he wants to get by and thus money is important. Then, Beuys goes nuclear with “but it’s not part of the revolution.”

Quickly an interesting distinction is made by Veiel as Beuys is commonly referred to as the “Andy Warhol of Germany.”  Warhol, an American pop cultural icon, loved and adored for his flamboyant use of everyday, commonplace items like a Campbell’s soup can to create art, is shown via archival footage stating “every moral situation has the potential to become art.” Beuys, on the other hand is often shown being mocked and derided by the formal press in this documentary, takes Warhol’s statement further into the humanist/social philosophical lineage that “every social situation has the potential to be art.”

screen-shot-2017-02-24-at-5-32-56-am

A well-liked teacher, philosopher and Green Party candidate for Prime Minister, Beuys was questioned deeply, just short of being interrogated, over his art and his ideas. One particularly obtuse questioner, posed the query, “Do you consider yourself an artist?” Followed by “Will you use baby buggies in your next art project?” Loud guffaws from the present journalists set the tone for Beuys’ response. With a quiet, reflective voice, Beuys answered that he felt “everyone is an artist.” Facing further derision, Beuys quickly moved his response into a less provocative line of thought with “I mean social art when I say everyone is an artist.” Herein lies the essence of Beuys truth. Beuys profoundly believed in everyone’s unique capacity to move society and culture forward to a more perfect state of being through “the existence of an objective, intellectually comprehensible spiritual world that is accessible by direct experience through inner development,” known as anthroposophy. (https://en.wikipedia.org/wiki/Anthroposophy)

screen-shot-2017-02-24-at-5-29-22-amThroughout the film, Beuys defied and acted against much of what he saw as injustice through his art work seeking a better way and ultimately a better society. With this mindset, Beuys endlessly worked toward a more perfect state. His art and his world views reflected this aim. In one particularly bold art project Beuys promised a planting of 7000 new trees. Using 7000 rock boulders placed in a free space the project began. As a tree was planted a boulder was removed. Veiel uses time lapse via still photos to mark the passage of time as the boulders slowly disappear and new trees are seen being planted. As the project neared completion, however, Beuys’ light began to fade as he called for an end to currency’s dominant role in democracy. Despite his art work being called “the most expensive piece of trash,” Beuys, disciplined and tempered from war wounds, held his ground responding, “Yes, I want to expand people’s consciousness.”

In Beuys, Director Veiel lets the artist speak for himself without outsiders commenting creating an expansive space for the exploration of Beuys’ ideas. Joseph Beuys passed away in 1986. Interestingly, Beuys sweeping concepts of art are still alive and relevant today in Germany’s ongoing social, moral and political debates. The film was presented in black and white with traditional documentary filmmaking techniques including narrative voice-overs, still photography, archival film clips, and present day interviews from primary and secondary sources.

As the film closes, Joseph Beuys emerges as a man of the ages, a thinker beyond his time. Often seen as a revolutionary, Joseph Beuys was seemingly always a mind in touch with the absolute principle behind Thomas Hobbes’ “Leviathan.” Highly recommended and hands down, my favorite film of the festival.

*All photos courtesy of berlinale.de

*

BERLINALE 2017 COMES TO A SPLENDID CLOSE

Posted by Larry Gleeson

The 67th Berlin International Film Festival culminated with the presentation of the awards on Saturday, February 18. (See list of prize winner)

Over eleven days, the Berlinale drew movie fans and the international film industry to cinemas and a large variety of events. Its reputation as the world’s biggest public festival was reconfirmed: a total of 334,471 tickets were sold. And with more than 7,000 visitors, the program of the Berlinale Open House in the Audi Berlinale Lounge – with its Berlinale Lounge Nights and a variety of other events – was a crowd-puller.

Not only the Berlinale but also the European Film Market (EFM) can look back at a successful edition. With 9,550 trade professionals from 108 countries at 192 stands, the EFM once again recorded a significant increase in participants this year. It was gratifying to observe the huge crowds at many different new EFM initiatives. The “Berlinale Africa Hub”, which debuted this year, achieved its goal of providing African film-making with an exceptionally attractive platform. Events within the framework of the “EFM Horizon presented by Audi” initiative, which focussed on the film industry of the future, were very popular as well.

In its third round, the expanded “Drama Series Days” again registered a rise in attendance. And with Mexico, the very first “Country in Focus” at the EFM also proved a resounding success.

Once more, the Berlinale’s activities for refugees were received with great enthusiasm: the Berlin International Film Festival had urged visitors to make donations for the traumatized children and adolescents at Zentrum ÜBERLEBEN. With the 17,574 euro (on Feb 20, 2017) collected, the center will be able to provide its young patients with additional social and psychological support, as well as recreational activities.

About 1,400 people participated in a “movie mentoring” project in which volunteers from Berlin’s non-profit refugee aid organizations accompanied refugees to Berlinale screenings.

The 68th Berlin International Film Festival will be held from February 15 to 25, 2018.

Logo-Berlinale-Facebook

(Source: Berlinale Press office)

 

 

Golden Bear and Prizes of the Berlin International Jury

Posted by Larry Gleeson

Quite an eventful 67th Berlinale. Some fantastic films. I had the good fortune to view all but one of the award-winning films, Silver Bear for Best Screenplay, Sebastián Lelio and Gonzalo Maza’s  Una mujer fantástica (A Fantastic Woman).  Pokot Spoor winner of the Silver Bear Alfred Bauer Prize for a feature film that opens new perspectives from Agnieszka Holland did not receive my recommendation. Thank you to the jury for all their hard work and diligent efforts!

*Members of the Jury: Paul Verhoeven (Jury President), Dora Bouchoucha Fourati, Olafur Eliasson, Maggie Gyllenhaal, Julia Jentsch, Diego Luna and Wang Quan’an

PRIZES OF THE INTERNATIONAL JURY

 

GOLDEN BEAR FOR BEST FILM (awarded to the film’s producer) Testről és lélekről On Body and Soul by Ildikó Enyedi

SILVER BEAR GRAND JURY PRIZE Félicité by Alain Gomis

SILVER BEAR ALFRED BAUER PRIZE for a feature film that opens new perspectives Pokot Spoor by Agnieszka Holland

SILVER BEAR FOR BEST DIRECTOR Aki Kaurismäki for Toivon tuolla puolen (The Other Side of Hope/Die andere Seite der Hoffnung)

SILVER BEAR FOR BEST ACTRESS Kim Minhee in Bamui haebyun-eoseo honja (On the Beach at Night Alone) by Hong Sangsoo

SILVER BEAR FOR BEST ACTOR Georg Friedrich in Helle Nächte (Bright Nights) by Thomas Arslan

SILVER BEAR FOR BEST SCREENPLAY Sebastián Lelio and Gonzalo Maza for Una mujer fantástica (A Fantastic Woman) by Sebastián Lelio

SILVER BEAR FOR OUTSTANDING ARTISTIC CONTRIBUTION in the categories camera, editing, music score, costume or set design

*Dana Bunescu for the editing in Ana, mon amour by Călin Peter Netzer

The complete award list of the 67th Berlinale: 67_berlinale_awards-1

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(Source: Berlinale Press Office)

Academy Announced Oscar Presenters 2017

Posted by Larry Gleeson

FOR IMMEDIATE RELEASE

HALLE BERRY, JAMIE DORNAN, CHRIS EVANS, GAEL GARCÍA BERNAL, SAMUEL L. JACKSON, SCARLETT JOHANSSON, DAKOTA JOHNSON,
KATE MCKINNON, SHIRLEY MACLAINE, HAILEE STEINFELD WILL BE PRESENTERS ONSTAGE

LOS ANGELES, CA – Producers Michael De Luca and Jennifer Todd today announced the second slate of presenters for the 89th Oscars® telecast.  Hosted by Jimmy Kimmel, the Oscars will air live on Sunday, February 26, on the ABC Television Network.

“These actors are why we love to go to the movies,” said De Luca and Todd.  “From blockbusters to art house films, these artists deliver every time and we’re thrilled to welcome them to the 89th Oscars stage.”

The presenters, including past Oscar® winners and nominees, are Halle Berry, Jamie Dornan, Chris Evans, Gael García Bernal, Samuel L. Jackson, Scarlett Johansson, Dakota Johnson, Shirley MacLaine, Kate McKinnon and Hailee Steinfeld.

Berry won an Oscar for Actress in a Leading Role for “Monster’s Ball” (2001).  Her feature credits also include “X-Men: Days of Future Past” (2014), “Cloud Atlas” (2012), “Frankie & Alice” (2010), “X-Men The Last Stand” (2006), “X2” (2003), “Die Another Day” (2002) and “X-Men” (2000).  She will next appear in “Kingsman: The Golden Circle” and “Kings.”

Dornan’s film credits include “Fifty Shades Darker” (2017), “Fifty Shades of Grey” (2015) and the Oscar-winning film “Marie Antoinette” (2006).  Additionally, he has appeared in “Anthropoid” (2016) and “The Siege of Jadotville” (2016).  His upcoming films include “Fifty Shades Freed,” “Robin Hood” and “Untogether.”

Evans is known for “Captain America: Civil War” (2016) and the Oscar-nominated features “Captain America: The Winter Solider” (2014) and “Marvel’s The Avengers” (2012).  His film credits also include “The Iceman” (2013), “Puncture” (2011), “Scott Pilgrim vs. the World” (2010) and “Fantastic Four” (2005).  Evans will next appear in “Gifted,” “Avengers: Infinity War” and “Jekyll.”

García Bernal’s credits include the Oscar-winning films “Babel” (2006) and “The Motorcycle Diaries” (2004) as well as the Oscar-nominated films “Y Tu Mamá También” (2001) and “Amores Perros” (2000).  Additionally, he has appeared in “Neruda” (2016), “Desierto” (2016) and “Bad Education” (2004).  His upcoming films include “Z” and the animated feature “Coco.”

Jackson earned an Oscar nomination for Actor in a Supporting Role for “Pulp Fiction” (1994).  Notably, he also appeared in the Oscar-winning films “The Hateful Eight” (2015), “Django Unchained” (2012) and “Inglourious Basterds” (2009).  Jackson will next appear in “Kong: Skull Island,” “The Hitman’s Bodyguard,” “Avengers: Infinity War,” “The Incredibles 2” and “Inversion.”

Johansson appeared in the Oscar-winning features “Her” (2013), “Vicky Cristina Barcelona” (2008) and “Lost in Translation” (2003) as well as the Oscar-nominated films “Iron Man 2” (2010), “Match Point” (2005) and “Girl with a Pearl Earring” (2003).  Her credits also include “Captain America: Civil War” (2016) and “Lucy” (2014).  Johansson will next be seen in “Ghost in the Shell,” “Rock That Body” and “Avengers: Infinity War.”

Johnson’s credits include “Fifty Shades Darker” (2017), “Fifty Shades of Gray” (2015) and the Oscar-winning feature “The Social Network” (2010).  Her other credits include “How to Be Single” (2016), “A Bigger Splash” (2015) and “Black Mass” (2015).  Johnson will next appear in “Fifty Shades Freed” and “Suspiria.”

MacLaine won an Oscar for Actress in a Leading Role for “Terms of Endearment” (1983).  Additionally, she garnered nominations for her leading roles in “The Turning Point” (1977), “Irma La Douce” (1963), “The Apartment” (1960) and “Some Came Running” (1958).  She also received a Documentary Feature nomination for “The Other Half of the Sky: A China Memoir” (1975).  Her notable credits also include “The Secret Life of Walter Mitty” (2013), “Bernie” (2012), “The Evening Star” (1996), “Postcards from the Edge” (1990) and “Steel Magnolias” (1989).  MacLaine will next appear in “The Last Word.”

McKinnon’s feature credits include “Ghostbusters” (2016), “Masterminds” (2016), “Office Christmas Party” (2016) and the animated features “The Angry Birds Movie” (2016) and “Finding Dory” (2016).  In addition, she has appeared in “Sisters” (2015) and “Ted 2” (2015).  McKinnon will appear next in “Rock That Body.”

Steinfeld received an Oscar nomination for Actress in a Supporting Role for “True Grit” (2010).  Her recent credits include “The Edge of Seventeen” (2016), “Ten Thousand Saints” (2015), “Barely Lethal” (2015), “Pitch Perfect 2” (2015), “Begin Again” (2014), “The Homesman” (2014) and “Ender’s Game” (2013).  Steinfeld will next appear in “Pitch Perfect 3.”

The 89th Oscars will be held on Sunday, February 26, 2017, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be broadcast live on the ABC Television Network at 7 p.m.
ET/4 p.m. PT.  The Oscars, produced by De Luca and Todd and hosted by Jimmy Kimmel, also will be televised in more than 225 countries and territories worldwide.

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ABOUT THE ACADEMY
The Academy of Motion Picture Arts and Sciences is a global community of more than 7,000 of the most accomplished artists, filmmakers and executives working in film. In addition to celebrating and recognizing excellence in filmmaking through the Oscars, the Academy supports a wide range of initiatives to promote the art and science of the movies, including public programming, educational outreach and the upcoming Academy Museum of Motion Pictures, which is under construction in Los Angeles.

FOLLOW THE ACADEMY
www.oscars.org
www.facebook.com/TheAcademy
www.youtube.com/Oscars
www.twitter.com/TheAcademy

MEDIA CONTACT
Steve Rohr
Steve.Rohr@oscars.org

(Source: oscars.org)

Behind ‘La La Land,’ A Long Relationship Between A Director And A Composer

Posted by Larry Gleeson

La La Land has already won seven Golden Globe Awards and is nominated for fourteen Oscars, including Best Original Score and two Best Original Songs. The music and the film’s story, about two struggling artists in Los Angeles who can’t launch their careers, are inseparable — it’s a musical, after all. But the collaboration between La La Land‘s composer and its director goes all the way back to college.

Composer Justin Hurwitz and director Damien Chazelle already had a successful track record with their previous film, Whiplash, but Hurwitz says selling a traditional musical in 21st century Hollywood was not easy.

“If he would have said no, our roads would have been very different and there certainly wouldn’t have been a La La Land,” the director says. “The smartest decision I ever made was to latch on to him and not let go.”

When Chazelle and Hurwitz finally got the green light to make La La Land, they wrote and composed hand-in-hand. The first task Chazelle put to the composer was to come up with a main theme.

“I spent so much time at the piano working on demo after demo, idea after idea,” Hurwitz says of what became “Mia & Sebastian’s Theme.” “As soon as I came up with that melody, it was like an “A-ha!” moment for me and Damien: ‘OK, wow, that’s the theme of the movie.'”

He and Chazelle also asked their stars, Emma Stone and Ryan Gosling, to help create the sound of the film by singing some of the songs live on camera while Hurwitz played the keyboard backstage.

“We did that because we wanted those really intimate moments to feel live and to have that live vulnerability,” Chazelle says, “and to let Emma and Ryan really act those moments and those songs in a way that probably wouldn’t have happened if they had to pre-record those songs in a studio months earlier.”

That sometimes unorthodox approach that Hurwitz and Chazelle took to collaborating has paid off. But the director says their sentimental musical was never a sure bet.

“The idea of embracing that, not apologizing for it, not trying to coat it in any kind of irony, and also embracing the kind of emotions that can come with that, that I feel like we downplay in movies these days,” Chazelle says. “The sort of full-fledged romanticism that movies of an earlier era were able to embrace without hesitation, and now it feels like we’re a little scared to embrace those sometimes.”

Chazelle has another movie in the pipeline, although it’s not a musical. As soon as it gets a green light, Hurwitz says, he will sit back down at his piano to compose once again.

(Source: npr.org)

BERLIN AWARDS ANNOUNCED IN GENERATION KPLUS

Posted by Larry Gleeson

CRYSTAL BEARS AND DEUTSCHES KINDERHILFSWERK (THE CHILDREN’S CHARITY OF GERMANY) AWARDS IN GENERATION KPLUS

Piata loď, Amelie rennt, Promise, Hedgehog’s Home

The members of the Children’s Jury in Generation Kplus give the following awards:

Crystal Bear for the Best Film: Piata loď (Little Harbour)
By Iveta Grófová, Slovak Republic / Czech Republic 2017
We selected a film that is creative and authentic. It’s about two children who create a little world of their own, rules. We found the story very moving and the actors are very believable too.

Special Mention: Amelie rennt (Mountain Miracle – An Unexpected Friendship)
By Tobias Wiemann, Germany / Italy 2017
With great wit and fast-paced dialogue, this film describes the development of an unlikely friendship between two fascinating characters.

Crystal Bear for the Best Short Film: Promise
By Xie Tian, USA 2016
Set in a breath-taking landscape, this film tells the moving story of a Chinese boy. The convincing performances and masterful cinematography lend the film great authenticity.

Special Mention Short Film: Hedgehog’s Home
By Eva Cvijanovic, Canada / Croatia 2016
The message of this tale, that a home of one’s own is very important, is beautifully conveyed by the creative use of felt animation. We were also impressed by the unusual verse form of the narrative in this stop-motion film.

 

Becoming Who I Was, Estiu 1993, Aaba, Sabaku

The members of the International Jury Generation Kplus – Fabian Gasmia, Aneta Ozorek, Yoon Ga-eun – give the following awards:

The Grand Prix of the Generation Kplus International Jury for the Best Film, endowed with € 7,500 each by the Deutsches Kinderhilfswerk (The Children’s Charity of Germany):

ex aequo

Becoming Who I Was
By Chang-Yong Moon, Jin Jeon, Republic Korea 2017
In this beautifully shot tale we learn in a wonderful bittersweet way how much a parent and a child can learn from each other. The filmmaker achieved the most difficult: making the audience laugh and cry many times. The film gave the jury confidence in humanity and if the values of the young hero of this story would be only reflected a little bit by its audience the world will become a better place.

Estiu 1993 (Summer 1993)
By Carla Simón, Spain 2017
In this remarkable film we learn through the eyes of a little girl how to cope with loss. The lesson that this incredible heroine learns and that moved us to tears is that no matter how much it hurts, it is the unconditional love of the people around you that will ease your pain. Besides the outstanding performance of the young main actress the jury was also very impressed by the beautiful cinematography and sensual mise-en-scène!

The Special Prize of the Generation Kplus International Jury for the Best Short Film, endowed with € 2,500 by the Deutsches Kinderhilfswerk (The Children’s Charity of Germany): Aaba (Grandfather)
By Amar Kaushik, India 2016
It tells a story of the circle of life in an elegiac and slow pace with a beautiful cinematography.

Special Mention: Sabaku
By Marlies van der Wel, The Netherlands 2016
This very short film tells with simple but very efficient use of extremely skilled artistic animation technique the story of a bird that goes around the world to find a new friend. The jury was blown away by its pace and incredible joy of the filmmaker to entertain her audience.

Award ceremony and screening of the winning film of the Crystal Bear take place today at 3.30 pm at Haus der Kulturen der Welt.

(Source: Berlinale Press Office)

THE PANORAMA AUDIENCE AWARDS GO TO INSYRIATED AND I AM NOT YOUR NEGRO

Posted by Larry Gleeson

The public has cast its votes: the 19th Panorama Audience Awards – presented by the Berlinale Panorama section in collaboration with radioeins and for the first time in co-operation with rbb television (Berlin-Brandenburg Broadcasting) – go to Insyriated by Philipp Van Leeuw for best fiction film and I Am Not Your Negro by Raoul Peck for best documentary.

Insyriated is a tautly-constructed chamber drama about trying to live a normal life in a war zone. It is the second film starring Hiam Abbass that has won the Panorama Audience Award (she also played the lead in Eran Riklis’s Lemon Tree in 2008).

Raoul Peck’s filmic essay I Am Not Your Negro about James Baldwin and his three assassinated friends – civil rights activists Medgar Evers, Martin Luther King, and Malcolm X – has also been nominated for an Academy Award as Best Documentary Feature.

The official award ceremony will be held at 5 pm on Sunday, February 19 in CinemaxX 7 at Potsdamer Platz. The prizes will be awarded by rbb director Patricia Schlesinger. Knut Elstermann, radioeins film expert, and Panorama curator Wieland Speck will host the event. Directly after the ceremony, the winning fiction film will be shown. The Panorama Dokumente winner will be screened at 8 pm, also in CinemaxX 7.

The Panorama Audience Award has been given since 1999. Since 2011, not only the best fiction film but also the best documentary film have received awards. During the festival, moviegoers are asked to rate the films shown in Panorama on voting cards after the screenings. In 2017 a total of 29,000 votes were cast and counted.

This year Panorama presented 50 feature-length films from 43 countries, of which 21 screened in the Panorama Dokumente series.

Panorama Audience Award Winner Fiction Film 2017
Insyriated
Belgium / France / Lebanon 2017
By Philippe Van Leeuw

2nd place Panorama Audience Award Fiction Film 2017
Karera ga Honki de Amu toki wa (Close-Knit)
Japan 2017
By Naoko Ogigami

3rd place Panorama Audience Award Fiction Film 2017
1945
Hungary 2017
By Ferenc Török

Panorama Audience Award Winner Panorama Dokumente 2017
I Am Not Your Negro
France / USA / Belgium / Switzerland 2016
By Raoul Peck

2nd place Panorama Audience Award Panorama Dokumente 2017
Chavela
USA 2017
By Catherine Gund, Daresha Kyi

3rd place Panorama Audience Award Panorama Dokumente 2017
Istiyad Ashbah (Ghost Hunting)
France / Palestine / Switzerland / Qatar 2017
By Raed Andoni

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(Source: Berlinale Press Office)