Autor Tópico: Silverdocs 2007  (Lido 2824 vezes)

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FragaCampos

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Silverdocs 2007
« em: Sexta, 30 de Novembro, 2007 - 17h44 »




Sterling Feature Award



Please Vote For Me

de Weijun Chen

What does democracy look like in the world’s largest Communist country? Start small, very small. This impossibly charming film features a third grade class in Wahun province and the intense politicking in the race to become Class Monitor.

PLEASE VOTE FOR ME captures many elements of life in China today missed by all the magazine cover stories and astounding growth statistics. This story unfolds far from the giant factories, crowded markets, or even picturesque villages. These classrooms are state-of-the-art and the children’s homes look remarkably like middle class urban homes in the West. The film provides a private view of a microcosm of contemporary Chinese culture.

It is also a classic election drama, albeit with 7-year-olds. The three candidates, two boys and a girl, are chosen by the teachers, but they conduct real campaigns and are chosen in a free election. Ironically their goal is to become the student charged with maintaining order and reporting rule violations to the teachers. Director Weijun Chen travels home with the candidates, each a product of the one-child policy, where over-eager parents coach and cajole their child. They even participate in a little preelection gift-giving in an effort to manipulate the race so their kid will win! Systems of government may differ broadly, but human nature not so much.

Director Weijun Chen’s award-winning film TO LIVE IS BETTER THAN TO DIE was seen by millions around the globe. PLEASE VOTE FOR ME will reach over 100 million viewers as part of the international documentary project “Why Democracy?” scheduled to air globally in October 2007.




Sterling Short Film Award



Lot 63, Grave C

de Sam Green

In the aftermath of the snarling wave of punk that washed across Britain in the 1970s, four young and lanky boys formed their own band in 1976. They started with small, hot-tempered songs in pure Sex Pistols style, but after adopting the name Joy Division, they developed a more restrained, melancholy and distinctive sound. The band managed to release two groundbreaking albums, which went straight to the core of a whole generation of young, post punk romantics, before their lead singer, the merely 23-year-old Ian Curtis, hanged himself in 1980, the day before the band was set to go on a large tour through the United States. Today, 27 years later, Joy Division is seen as a milestone in British music, which is reflected in this year's supply of films: in another series of the festival programme we will present Anton Corbinj's 'Control' - and Grant Gee's Joy Division complements Corbjin's film perfectly. Using conversations with the band's surviving members and a row of associated people, among others the legendary founder of Factory Records, Tony Wilson, the director Grant Gee takes us on a fascinating trip through the grey and dismal suburbs of Manchester, where Joy Division originated and which, according to the film's clearly drawn conclusion, they elevated into modernity. Filled with ultra-rare sound and image clips and a graphic approach that elegantly corresponds with the Factory style, 'Joy Division' has become an enjoyable portrayal of a brilliant band. Grant Gee has previously made award-winning films about Radiohead and Gorillaz.



Music Documentary Award



NömadkTX

de Raúl De la Fuente

Henry Wadsworth Longfellow once famously remarked, “Music is the universal language of mankind,” and perhaps nowhere is this sentiment felt more strongly than in this jubilant film about two musicians who journey to some of the most remote regions of the world, using the traditional Basque musical instrument, the txalaparta, as a medium for cross-cultural exchange and understanding. The txalaparta is a traditional Basque instrument (similar to a xylophone) that was originally a communication device between Basque tribes. In this spirit of communication, Igor Otxoa and Harkaitz Martínez have a dream to turn the txalaparta into a meetingplace—not only for people, but for different cultures as well. This wish leads them to make a trip in search of the world’s last remaining nomadic tribes. From the north of India to the Mongolian Steppes, from the Sahara desert to Lapland, the film captures an extraordinarily fluent and dynamic conversation across borders and languages, articulated through music. Through encounters with other musicians—a Mongol musician and a Hindu taxi driver, a Sami singer and an aging Saharan lady—the txalaparta becomes more than a musical instrument; it is a tool for communication in which everyone expresses their desires. Stunning photography and superb music fill nearly every frame of the film, culminating in an amazing performance piece involving the music of all tribes in unison with the txalaparta. With little dialogue, the film speaks volumes on the significance of music in our lives, and its power to connect people all over the world.



Audience Awards (longa)



Souvenirs

de Shahar Cohen & Halil Efrat
Halil Efrat & Shahar Cohen


A souvenir is usually a reminder we take with us of a particular place or moment in our lives. Sometimes, a souvenir is left behind. This is a story about searching for what was left behind.

Unemployed Israeli filmmaker Shahar Cohen attends a reunion with his father, a World War II veteran from an all-Jewish brigade, who casually reveals a secret: while stationed in the Netherlands after the war many Jewish soldiers paired up with young Dutch women. These fleeting unions often left behind “souvenirs”—in the form of war babies.

Shahar and his father retrace his war experiences, starting in the Italian countryside where the brigade helped break the German line. When they reach the Netherlands, Shahar wonders—does he have a Dutch half-sibling?

Father and son’s somewhat arduous, often humorous road trip uncovers unexpected connections between the two men. They argue and engage, laugh, and even cry. As the old war stories become more real, the son realizes the hero of his childhood has become frail. The father comes to accept his son’s career choice, and acknowledges that he is not a failure but has simply chosen a different path.

This very personal film portrays the challenge that fathers and sons must overcome to communicate with each other. The road trip frees them of the usual context of their relationship, forcing them to redefine it. SOUVENIRS tells a story of retrieving the past, but mostly it captures the drama of the universal desire to simply connect with each other.




Audience Awards (curta)



A Son's Sacrifice

de Yoni Brook

Imran quit being a Manhattan ad man to run the family Halal slaughterhouse in Queens. His faith and patience are tested during Eid al-Adha, the Feast of Sacrifice.



ACE Documentary Grant



The Concrete Jungle

de Rachel Buchanan and Don Bernier

"The Concrete Jungle" is a feature-length documentary that explores the complex relationships that exist between humans and wildlife in urban settings. Today, with 8 out of 10 people living in cities and suburbs and with wild habitat receding at an alarming rate, a crisis looms: Two population explosions, one shrinking terrain. Broken up into three acts, the film will introduce viewers to the past, present and future of our long-standing tug of war with the nature. Stretching from New York to New Delhi, "The Concrete Jungle" presents the successes and failures of city dwellers facing this growing global concern.



Witness Award



The Devil Came On Horseback

de Ricki Stern e Annie Sundberg

Can one man make a difference? Former US Marine Captain Brian Steidle hopes so. When he first signs on as an unarmed military observer for the African Union, he is largely motivated by money. Yet, his intentions change dramatically when he makes a life-altering decision to transfer to the strife-ridden Western Sudanese region of Darfur. Armed with nothing more than a still camera, he becomes a singular outside witness to what many call a genocide—a conflict that has displaced 2.5 million people and claimed 400,000 lives. At first, Steidle can hardly register the horror that surrounds him, but he perseveres with his mission nonetheless, using his camera to document the atrocities. He recognizes the need for the world to see, and boldly smuggles his photographs out, inciting media frenzy when they appear in the Op-Ed section of The New York Times. But is this enough to make a difference? Unlike the Rwandan tragedy of 1994, the genocide in Darfur drags on, turning the beautiful mountainous Sudanese terrain into a landscape of murder and neglect. From Annie Sundberg and Ricki Stern comes this astonishingly devastating film that journeys from Darfur to the United States, following the transformation of a soldier into an activist.



Cinematic Vision Award (longa)



Kurt Cobain About A Son

de AJ Schnack

“We’re cartoon characters,” Kurt Cobain lamented to music writer Michael Azerrad during an interview for the book, Come as You Are: The Story of Nirvana. Through unprecedented access to over 24 hours of conversation Azerrad audio-recorded during the year just before Cobain’s suicide, filmmaker Schnack liberates Cobain from his rigid celebrity persona, and reveals—through Cobain’s own words—the complex man behind the myth. Rather than recycle the well-known archival images, the standard performances, the conventional stock footage that has become all too familiar to the MTV generation of which Cobain took a reluctant part, Schnack takes a daring and entirely illuminating approach. The film instead presents images shot in gorgeous 35mm of Cobain’s various homes in the Pacific Northwest, from his childhood in Aberdeen, Washington to his early youth in grunge-laden Seattle, from the lumber yards where his father worked to the cafes and clubs where he partied, reconstructing the environment that informed his aesthetics. All while Cobain’s voice tells his life story in his own words. The result is an exceptionally candid, deeply intimate, and emotionally moving portrait of Cobain, one that in the end feels like a discovery of the remarkable man held captive behind the icon.



Cinematic Vision Award (curta)



My Eyes aka Inden For Mine Øjne

de Erlend Mo

Music is integral in Katja's life, evoking experiences and emotion. Young Catherine is also grappling with enhanced senses in her blind world, and with her mother discovers the joy in sound and touch.



Beyond Belief Award



Audience of One

de Michael Jacobs

Many filmmakers claim to have been “called” to their work, but few suggest that they received a “prophetic whisper” directly from God. Richard Gazowsky, longstanding pastor of the Voice of the Pentecost Church in San Francisco, believes just that. He convinces his faithful congregation that despite his never having made a film before—in fact, despite his never having even seen a film before the age of forty—they should invest in his 50-milliondollar venture to make GRAVITY: THE SHADOW OF JOSEPH, a religious sci-fi epic which he describes as “Star Wars meets The Ten Commandments.” With ambitions of, well, biblical proportions, Gazowsky sets up Christian WYSIWYG Productions (an acronym for “what you see is what you get”) and sets off to a production site in Italy with his family and the closest members of his congregation, who take shifts as spiritual supporters and lead actors. Equipped with all the accoutrements of a major epic—70mm camera, state-of-theart equipment, even the requisite German cinematographer—but none of the experience, Gazowsky and his film crew/congregation soon learn that even divine inspiration is not enough to overcome an increasingly mounting budget, overbearing extras, and technical snafus. Filmmaker Michael Jacobs presents a rollicking journey through the unlikely union of two religions—Christianity and filmmaking—and presents a subject who is not merely inspired, but inspiring in his refusal to give up. The film raises the question of how different Gazowsky’s passion is to that of any other passionate artist. And doesn’t all filmmaking require some leap of faith?
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FragaCampos

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Re: Silverdocs 2007
« Resposta #1 em: Sexta, 30 de Novembro, 2007 - 17h47 »
Please vote for me aqui.
The Devil Came One Horseback aqui.
« Última modificação: Quinta, 17 de Janeiro, 2008 - 00h37 por FragaCampos »
Saiba como pesquisar corretamente aqui.
Como transferir do 1fichier sem problemas de ligação? Veja aqui.
Converta os links antigos e aparentemente offline do 1fichier em links válidos. Veja aqui como fazer.
Classifique os documentários que vê. Sugestão de como o fazer.