♦ 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 20 February 2012
By Mara Klein (Germany/France),
20 February 2012
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Berlinale 2012
|Translations:
[en]
It always intrigues me to see how people queue. For there are different ways to do so. Allow me to use generalisations, just this one time, to make it easier. The English have a culture of queuing. At bus stations in London, you come across lines of people that go for hundreds of metres. There is this unspoken rule, a societal code, that this is just what you do. In Germany, you have what they call “grapes of people” – stressful, tight formations that gather around the point of interest. (…)
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By Michaela Pňačeková (Slovakia),
20 February 2012
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Berlinale 2012
|Translations:
[en]
In the centre of the film, there is the stroy of Dennis alias ‘Panik’, one of the skateboarders, to whom the film is also devoted to. A group of friends meets at his funeral again, which also serves as a starting point of the film’s narrative. Marten Persiel uses footage of the main three characters and best friends at the same time and mixes it with the current footage as well as some historical excerpts from East German TV (to add the communist atmosphere - which is a bit of a cliché).
The (…)
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By Michaela Pňačeková (Slovakia),
20 February 2012
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Berlinale 2012
|Translations:
[en]
Keep the Lights On was on the list of hot candidates for the TEDDY Award, and on Friday, February 17, 2012 it also won the TEDDY Award for the Best Feature Film. The screening on the following day was thus accompanied by a hearty and joyful atmosphere for which the Berlinale audience is famous for, for that matter.
The film takes us to New York in the late 1990s. It is the age before on-line dating, the age of phone sex. Erik (Thure Lindhard) is on the phone looking for some action during (…)
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Saturday 18 February 2012
By Michaela Pňačeková (Slovakia),
18 February 2012
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Berlinale 2012
|Translations:
[en]
It is a summer morning and Marius (Șerban Pavlu) wakes up with a hangover and swear words on his lips. He is divorced and the swearing is aimed at his ex-wife Otilia (Mihaela Sîrbu), who allows him to see his 5-year-old daughter Sofia (Sofia Nicolaescu) only occasionally. Everybody in Our Family depicts one day in a broken-up home, which develops from a family drama into a black comedy with vivid dialogues and great performances (especially Sofia Nicolaescu).
Once Marius enters his (…)
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By Mara Klein (Germany/France),
18 February 2012
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Berlinale 2012
|Translations:
[en]
In the early stages of the production of the film, Messeeh’s producer asked the director, „so what is this film is about? The Virgin? The Copts? Or you?“ The title says it all – Messeeh’s debut film is a piece of everything. The idea for the documentary is born when, one Christmas, a relative brings a video tape allegedly capturing the apparition of the Virgin Mary. Messeeh, born in Egypt and raised in France in a family of Copts, does not see anything remarkable on the tape. His mother, (…)
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Friday 17 February 2012
By Michaela Pňačeková (Slovakia),
17 February 2012
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Berlinale 2012
|Translations:
[en]
Paolo and Vittorio Taviani’s documentary premiered in the Competition section of Berlinale 2012 with great style. ‘You are one of the best and heartiest festival audiences in the world’ said the Taviani brothers referring to the great applause they received after the film. Together with the directors, one of the inmates Salvatore Striano appeared on the stage, which produced even greater and very cordial applause.
Cesar Must Die shows the rehearsal process of Julius Cesar in the Italian (…)
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Tuesday 14 February 2012
By Mara Klein (Germany/France),
14 February 2012
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Berlinale 2012
|Translations:
[en]
Kamel and his family are Bedouins. They live in small shacks, somewhere in the Negev, on land that has belonged to the family for decades. One day, Kamel returns home to find a demolition order from the Israeli authorities. While his brother becomes more and more angry at the situation, Kamel silently continues his everyday life: he is a security guard at Be’er Sheva bus station. But he knows – the day of demolition will come. The little that is spoken in Sharqiya brings out the Bedouins’ (…)
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By Michaela Pňačeková (Slovakia),
14 February 2012
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Berlinale 2012
|Translations:
[en]
Genre Cinema and the Reality around Us
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By Michaela Pňačeková (Slovakia),
14 February 2012
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Berlinale 2012
|Translations:
[en]
The first feature of the Austrian director Umut Dağ Kuma opened 62nd edition of the Berlinale section Panorama. The opening was grandiose, with the whole film crew coming onto the stage; however, the reception of the film was rather ambiguous.
Umut Dağ creates an image of a Turkish family in Vienna in its microcosm through the story of two women, the wife Fatma and the second wife Ayşe (Kuma in Turkish). The film starts with a wedding in Turkey, where Ayşe supposedly marries the young and (…)
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By Michaela Pňačeková (Slovakia),
14 February 2012
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Berlinale 2012
|Translations:
[en]
Three friends and a woman. Morocco. Love. Betrayal. Crime. Death. Yes, all the strong noir motifs are represented in the newest film Death for Sale by Faouzi Bensaïdi, which, rather than a neo-noir movie, is an inter-genre film – a mixture of different narratives as well as images.
Malik, Allal and Soufiane spend most of their time earning their living by doing petty crimes and in their spare time just smoke weed and go to dance clubs. Everything changes when Malik meets Dounia, one of the (…)
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By Mara Klein (Germany/France),
14 February 2012
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Berlinale 2012
|Translations:
[en]
A man travels from Kathmandu to seek help from a healer in the Nepalese mountains, for he and his wife are unable to conceive a child. The healer hands him a brown mixture and orders him to return to his wife within 36 hours. So begins the journey of this man and his fellow bus travellers who all need to get to the capital as soon as possible. There is the young bride who will be married in two days; the mother who comes to help her son-in-law with his family problems; the gay man who is (…)
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By Mara Klein (Germany/France),
14 February 2012
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Berlinale 2012
|Translations:
[en]
13-year old Libby is sent from California to Israel to live with her father whom she hasn’t seen in years. Shaul could not be less prepared for the arrival of his only daughter – the eccentric is what he calls “in between apartments”. In other words, he is homeless. As the second Lebanon war breaks out, Shaul has what seems to him a genius idea: father and daughter pretend to be refugees from the war-struck north and are taken in by a wealthy family in Jerusalem. Under the newly found roof, (…)
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By Mara Klein (Germany/France),
14 February 2012
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Berlinale 2012
|Translations:
[en]
The title is pregnant of meaning – Soldier / Citizen (Bagrut Lochamim) opposes two notions of being in Israel. First you are a soldier. Then you become a citizen. It is a development that is different than the one we know, one that very much shapes the identity of young Israelis.
Shot in 2006 during the Lebanon War, the film is an intimate observation of a civic studies class for Israeli soldiers at the end of their service. Landsmann impregnates herself with a DV camera into the three-week (…)
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By Mara Klein (Germany/France),
14 February 2012
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Berlinale 2012
|Translations:
[en]
“This is not an anti-zoo film”, says director Denis Côté as he steps on stage after the European premiere of his film Bestiaire. In fact, it’s not an anti-film at all. Bestiaire is a film for the audience, a film about the audience. The full-length documentary is what some would call a challenge – with no dialogue, no commentary, no clear story line. One could even argue that is not a documentary, for, as Côté recently stated in an interview, the only true documentary is captured on surveillance (…)
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