Joost Daamen Programmer of Paradocs

Could you present Paradocs for the people who are not familiar with it?

Paradocs is the programme for experimental documentaries, where we get all forms and experiments. We don’t really draw a line, so we’re on the edges, basically. Most of the time, the videos are made by video artists, with performance, animation, theatre… The range is a bit extended. They use their own tools, and reality is just a starting point. What is Paradocs? Basically, what are documentaries? Some films that are playing in Paradocs could have maybe also played in the main section… that’s paradox!

In general, how many films do you see in order to make the selection?

Between 250 and 300. The final selection is 25 films, but this year, it was only around 21 films. I receive six lots of films, and I try to have at least one feature in it, and then it depends on the length of the others… I don’t want to have more than five films in one programme, because it becomes too long and we lose people’s attention. It’s difficult to switch between all the styles.

Can’t reality be the starting point of fiction films as well?

Of course, that can be the case, but it’s more than just an idea, there has to be something visible in reality. In The Death of an Insect, for example, the insects are the insects, they’re not playing the insects, and that’s a real craft animation! Some people say that since it’s animation, it has nothing to do with documentary, but I think it does. I don’t really look for themes, you know, I just want to show the best I’ve got. There is no degree of “paradoxability”, you just have to think it fits.

How has Paradocs evolved during these five years that you’ve been the programmer? Are there any new trends in experimental films?

Trends? That’s hard to answer. We get all kind of experimental films. I think the diversity is the strong fundament of Paradocs. Anything is possible; it’s a big playground where artists have the freedom to do whatever they want.

Also, there has been more public, a younger audience, and most screenings are sold out. We have different criteria; even theatre shows are possible now, I don’t think we could have done that two years ago. I hope this is the future of documentaries.

Do you often get feedback from the public?

Well, it’s funny; yesterday we had the first screening on a Friday night. That’s a different crowd, I think people buy blind tickets… and it’s different from everything else in the competition, it’s quite non-conventional, there’s no narrative, no explanation of what’s happening. That’s hard. Some people walk away, but it’s good to see their hesitation. Audiences normally get surprised, they look away… and they should do. Most of all, they should try to experience it.

To finish, can you tell us about some films you personally recommend in Paradocs?

They are all fantastic, but three films stand out: The Death of an Insect, which is an overwhelming eight-minute animation with dead insects in the city of Helsinki. It has a lot of humour and is very well made. Second, I’d suggest our future film The Arbor, which is cinema mixed with interview and lip-synch, acting, everything… all layers go together. You have just got to see it, it’s still documentary! Also, there is Marbre from Jérôme Schlomoff, this French photographer living in Amsterdam, who built his own pinhole camera. It’s basically photography, but that’s also cinema, you film frame by frame… It’s different, it looks like stop-motion, but it’s very fluent. That’s some dark, great cinema.

Thank you! We know it’s probably not easy to describe your job…

You’re right, it’s always hard to say what you are doing. Well, I just like films and I want to see a good film! If it has a link with documentary… better! It’s more intuitive than anything. Paradocs can be everything. Films just have to be good, you know? Quality speaks for itself!

By Bruno Carmelo

SEE THE VIDEO OF THE INTERVIEW HERE