Documents have playedIn Swiss None has come to the end 12 - j festival of documentary cinema Visions du Reel (see from April, 28th). From 22 documentary films which were included into the international competitive program, the jury has preferred work of German cinematographer Andreas Vejlja “ Der Kick “. It is interesting that it not purely documentary film, and the history of real murder picturized with participation of professional actors. From Nona - the MAYA - STRAVINSKY.
Production pieces in documentary films not a rarity, and anything reprehensible in them is not present. Eventually, the documentary cinema is not the reporting from a place of events, and dramaturgicheski the connected narration. Therefore without “ realities under the director`s order “ seldom what work manages. Heroes can be planted on picturesquely decayed bench against graffiti or the failed shed and to suggest to communicate on the set theme or even more - it is possible to recreate already last event for the chamber. But with participation of real heroes of this event. In a case with “ Der Kick “ all differently.
In dark empty space of the former factory two actors Sjuzann Mari the Enemy and Markus Lerh play all characters: the inspectors, three juvenile murderers and the boy hammered by them, their parents. Actors pronounce practically without movement the remarks withdrawn from action of proceeding. That is all is conditional, though the problem before the director costs the same: research of a real situation. And it, in effect, the real documentary theatre. In that case Andreas Vejlja`s film - simply teleplay even more reminding last experiments Larsa a background of Triera, than documentary cinema. The only thing for what uses a film format the director, it for flashes of light which divide episodes - action of proceeding all - taki not the coherent film script. Then that one coincidence in definition “ documentary “ And a vital topic it has appeared enough that not only to get to the program, but also to receive gran - at.
In general, this year at festival have tried to expand concept of documentary cinema, having included in the program videoart and feature films. On purpose it is better to understand that such dokumentalistika. But instead of the accurate resolution there was a dim concept: the documentary have equated to the actual. Here and in the nomination second for the importance “ the New view “ where experimental and debut films are presented, the main prize have noted an ordinary picture “ City walls - My own private Tehran “ (“ City walls. My personal Teheran “) Director Afsar of Sleepyhead Shaafi.
Iranian Shaafi has emigrated some years ago to Switzerland. Having disaccustomed in Europe, she has decided to return for a while to Teheran to shoot a film about the family. It is qualitative documentary “ I - a film “ with photos and sentimental revelations about a fate of the woman in the Muslim world. As a whole boring enough selection of interview of members of one family is not deprived entertaining episodes. So, during interview the grandmother and the grandfather, having remembered the past, have seriously quarrelled and on all attempts of the grand daughter - their director to calm down answered: “ All the same foreigners farsi do not understand “. The hall has reacted to this naive remark adequately - laughter. Really, was over what to burst out laughing, because “ My personal Teheran “ is a next film - the story about the Islamic culture, created specially for Europeans. To search for a new view here as it is senseless, as a female breast under a yashmak. Similar films in a year acts in film on neskolku pieces, and even in the program 12 - go Visions du Reel there was not one family Muslim saga, and all are similar. However, to ignore a film about the mysterious Islamic world at festival is faster actual, than documentary cinema simply not could.
it is no wonder that display of a film of Canadian Armenian Atoma Agojana " became the brightest event Visions du Reel; the Citadel “ taken out in the parallel program “ Tendencies “. In a film “ the Citadel “ 28 years to native Beirut are told about returning of the wife of director Arsini, the Lebanese by origin, later. A cinema in which showed this film, colleagues - cinematographers and visitors of festival took storm. When it was possible to them, the overflowed stuffy hall really reminded Beirut. Childhood memories of Arsini in a film mix up with abstract comments of the director on east culture, on possibilities of modern media and with very private judgement on tragical events of the Lebanese civil war. It was possible to make a bright documentary film in which heroes live a reality of a dullish genre of a video diary of Atomu Agojanu, instead of prepare it.