20. IFF Watch Docs: About Dignity in Old Age
For Soda, the prism of the camera is a tool for learning about the world from the level of carte blanche, from the level of a child looking at it with senses and emotions, not experience.
For Soda, the prism of the camera is a tool for learning about the world from the level of carte blanche, from the level of a child looking at it with senses and emotions, not experience.
Rosi builds his documentary with a great visual reverence, devoting most of his time to search for beauty in real-life drama. But it was precisely this contrast…
“Beautiful Things” by Giorgio Ferrero and Federico Biasina cannot be watched like a regular movie. One participates in it – as in a ritual, devout contemplation, or trance with art.
“Planet of the Humans” exceeded the threshold of 6 million views and grew a thick layer of controversy around itself. Although Moore has accustomed viewers…
Woman is only seemingly democratic when it comes to presenting femininity. The languages (with an emphasis on French) of developed countries dominate the movie – the countries of Eastern Europe, the Balkans, Central America, the Arabian Peninsula and a large part of Africa have been almost completely omitted
The eponymous hungry ghosts are the souls of those who years ago came to Christmas Island and were left without burial. The local Chinese community believes…
The film by the Belgian artist makes us aware of the scale and opens our eyes to what we all perfectly know and effectively learned to ignore – to disregard of human rights in the name of the artificial capital-driven needs.
Bahman Kiarostami, son of the prominent Iranian director Abbas Kiarostami, who died a few years ago, fulfills the principles of cinema-as-eye in his “Exodus”. Here he grabs the camera and simply – observes people. From this unusually simple and natural, as it seems, act of observation results very much.
In “The Border Fence” one can see better than anywhere else, how strongly the natural, as it seems, desire to help people who lost home clashes with subcutaneous fear of the Other fueled by the media and regulated by law…
Pozdorovkin’s film cleanses human consciences, blaming technological progress for all evil that employees whose rights are limited, must endure.