So here I am, crying my heart out in this editorial which will be my last article of the IDFA. Here I am, writing an epitaph on this cinematic celebration. How can I make a report on the festival, when all of the previous editorials have already done so and I have nothing left to say?
This may be the biggest illness of our times, an intense, post-modern feeling that words can say nothing new, that images are not powerful anymore, and that every feeling has already been experienced.
Is (…)
♦ Introduction
This blog is a place for all contributors of Nisimazine to continue to write, photograph, make video and discuss cinema together after the workshops. An extension of the magazine, this is a free space to keep sharing new insights and experiences through reviews, essays, quotes, interviews and festival reports. You can join any conversation by posting comments. So…, let’s go !
Monday 29 November 2010Editorial Nisimazine IDFA 2010 #7
By Viviane Saglier (France), 29 November 2010 | Editorials |Translations: [en]
Editorial Nisimazine IDFA 2010 #6
By Nino Klingler (Germany), 29 November 2010 | Editorials |Translations: [en]
Let’s try to look at a film festival as a kind of practical exercise in philosophical thinking. There are days at a festival where one spends more time in the cinema than out of it, or, including the sleeping time, in darkness than in light. More time dreaming than being awake. During those days, one might get utterly confused as to which world is the one that can be called “real”.
Being at a documentary film festival this confusion becomes massive, as documentaries tend to define themselves (…)
Being at a documentary film festival this confusion becomes massive, as documentaries tend to define themselves (…)
Wednesday 24 November 2010Editorial Nisimazine IDFA 2010 #5
By Ruben Jacobs (The Netherlands), 24 November 2010 | Editorials |Translations: [en]
Winter Wonderland
Cities exist by the grace of antipoles. They are big melting pots in which different cultural expressions exist side by side. In some circumstances they touch each other, just for tiny moment. But most of the time, they reside in closed cocoons. In those places the contrast can’t be bigger, and this produces the most funny and surreal experiences.
The IDFA box office in Rembrandt Square is such a place. Located in an imitation Austrian ski lodge, it has claimed for (…)
Cities exist by the grace of antipoles. They are big melting pots in which different cultural expressions exist side by side. In some circumstances they touch each other, just for tiny moment. But most of the time, they reside in closed cocoons. In those places the contrast can’t be bigger, and this produces the most funny and surreal experiences.
The IDFA box office in Rembrandt Square is such a place. Located in an imitation Austrian ski lodge, it has claimed for (…)
Tuesday 23 November 2010Editorial Nisimazine IDFA 2010 #4
By Marta Musso (Italy), 23 November 2010 | Editorials |Translations: [en]
There are films (usually directed by David Lynch) in which absolutely nothing happens. Nothing. There is no story, no characters, no development. Still, the power of the vision is so strong and has such an artistic imprint that they become masterpieces nonetheless.
Documentaries, as anyone who got a chance to stay for a Q&A here at the IDFA knows, don’t work like that. Apart from a few filmmakers and hi-tech nerds who ask which type of camera was used to shoot a movie, questions are never (…)
Documentaries, as anyone who got a chance to stay for a Q&A here at the IDFA knows, don’t work like that. Apart from a few filmmakers and hi-tech nerds who ask which type of camera was used to shoot a movie, questions are never (…)
Monday 22 November 2010Editorial Nisimazine IDFA 2010 #2
By Bas Voorwinde (The Netherlands), 22 November 2010 | Editorials |Translations: [en]
http://www.nisimazine.eu/Editorial-…
On saturday 20th of November 2010, Dutch culture lovers screamed against the severe cutbacks in cultural state funding proposed by the newly appointment government. In this first video editorial in Nisimazines’s history, Bas Voorwinde reflects on IDFA in this context.
On saturday 20th of November 2010, Dutch culture lovers screamed against the severe cutbacks in cultural state funding proposed by the newly appointment government. In this first video editorial in Nisimazines’s history, Bas Voorwinde reflects on IDFA in this context.
Live Transmission
By Maartje Alders (The Netherlands), 22 November 2010 | IDFA 2010 |Translations: [en]
Saturday 20 November 2010“Truth? You can’t handle the truth!”
By Maria Dicieanu (Romania), 20 November 2010 | IDFA 2010 |Translations: [en]
With around 220 documentaries (of which 90 are premieres) and an estimated 165 000 visitors, this year’s IDFA will quite likely improve on the success of previous editions. But with the increasing media exposure experienced by the general public and the escalating attraction documentaries are manifesting towards other media, we’re left wondering whether the truth is, unconsciously, becoming too difficult for spectators to digest.
Take for instance Janus Metz’s Armadillo, winner of this year’s (…)
Take for instance Janus Metz’s Armadillo, winner of this year’s (…)
Friday 19 November 2010Editorial Nisimazine IDFA 2010 #1
By Bruno Carmelo (Brazil), 19 November 2010 | Editorials |Translations: [en]
When a visitor checks the catalogue for this year’s IDFA, it’s not only the huge amount of films that call the attention, but also the titles themselves: Albino United, My Avatar and Me, Village Without Women, How to Start Your Own Country… So many films about places we may have heard about, but not exactly for these reasons; or even themes we are familiar with, but not from this particular point of view. Believe me – there is much more to ecology than global warming, more to the Balkans than (…)
We’re off... to private lessons?
By Bas Voorwinde (The Netherlands), 19 November 2010 | IDFA 2010 |Translations: [en]
And we’re offff.
IDFA started today and it’s already at full speed with about a zillion films being shown every day.
We will submerge ourselves in the flow of images, sounds and impressions (cinematic/hallucinogenic or otherwise) during the next week to bring you all the best and worst from the festival in my lovely hometown.
Today Ruben and I went to see the opening film Position of the Stars (Stand van de sterren) and were already blown away by its wit, emotion, intensity and honesty. Not (…)
IDFA started today and it’s already at full speed with about a zillion films being shown every day.
We will submerge ourselves in the flow of images, sounds and impressions (cinematic/hallucinogenic or otherwise) during the next week to bring you all the best and worst from the festival in my lovely hometown.
Today Ruben and I went to see the opening film Position of the Stars (Stand van de sterren) and were already blown away by its wit, emotion, intensity and honesty. Not (…)
Tuesday 9 November 2010Computer Graphics Animation? "Like a dead-born child". A conversation with Jan Švankmajer
By Sebastiano Pucciarelli (Italy), 9 November 2010 | Bratislava 2010 |Translations: [en]
How can you double-check the real interest of somebody talking? Just follow these steps carefully: work 12 hours a day Monday-Friday; on Friday night don’t get any sleep and prepare your luggage; at 4am catch a bus to the closest airport and take a plane to Bratislava, Slovakia; once landed, leave your luggage at the ho(s)tel and go to listen to an old man talking. If you succeed in standing for 90 minutes in front of a bald gentleman with glasses and a white beard, and not falling asleep, then that gentleman is probably Jan Švankmajer.
The 76-year-old Czech director, animator and screenwriter is capable of influencing people like Terry Gilliam and Tim Burton, and yet still remains relatively unknown to the general public. Just a few of the reasons why the Bratislava Film Festival is dedicating a retrospective to Mr. Švankmajer this year. Let’s see what this man said to keep me awake in such problematic physical conditions.
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