As Jean-Marie Barbie says, “Our job here is to change people’s attitudes,” especially with a balance of French passion and stagnation. The mission she is describing is one of the simplest and most important in the world, both in the village of Lucas in southeastern France. A top light in Ardach Images he knows it’s harder than tuneing: he also knows that the survival of his favorite work of art depends on not having difficulty speaking before others. Returning to top documentary Claire Simon’s “The Grocer’s Son, The Mayor, The Village and the World…”, Lucas has an affectionate but clear eye for the impossible status of non-fiction filmmaking as a global capital and a costly investment of time, money and tough leadership. Which perpetuates this reputation.
Simon’s film premiere at the IDFA’s main competition brings together more scattered companies from his two-season documentary TV series “Le Village”, which offers both a hybrid cultural center and a rigorous workforce as a final exploratory summary of Lucas’ divided identity. The farming community, though it is clearly a more underlying work, retains it – as its title implies – with the series’ mild horse racing, disastrous outlook, and patient interest in the civic process that most impress Frederick Wisman. If the emphasis of its description – the slow, barrier-building of the Physical Institute as well as a streaming platform of Ardach images – is probably too niche for larger Arthus House exposure, it will be warmly welcomed at more stops on the dockfest circuit, with a specification of expert VOD involved.
It is, of course, a guaranteed, ambitious, all-documentary streaming service in Tonk’s Borough space that is working hard to encourage Barbie and his team to make hard money and gradually gain public support. For 40 years, Lucas has hosted an annual film festival that attracts thousands of enthusiasts from across the country. Tanak’s goal is to spread that consciousness to a global audience, but with a small subscription rate and an affectionate selection of titles, it’s a final fight to continue. Scrapping funds together for the organization’s high-tech new headquarters – aimed at providing educational and post-production facilities for aspiring and working documenters – is an additional headache, as employees disagree about their priorities and goals. No decision is made here without the debate of the extended, sentimental staff: in a fun scene, even Martin Scorsese’s documentary output inspires stubborn bias.
Unlike most of his colleagues, the local boy in Barbie – the local grocery boy of the title – still living in the house where he was born 0 years ago, makes him particularly interested in involving the local population in his cultural endeavors, but their interests are hard to find. Despite free tickets for residents, the festival was attended almost entirely by outsiders, but efforts to promote Tanak near the home were halted. After all, there is a tendency for vineyards and orchards to thrive, often in challenging situations such as insects and weather crops, and advanced technology leaves many behind: “In the economic world we are in, this model does not fit,” a farmer sighs as the vines ripen. Selecting clusters.
Simon Ardach spends almost as much time in the field as he does in image offices, initially seemingly gradually taking on two different perspectives and gradually adjusting. There may be little resemblance externally between the Lusar farming and the documentary community, but they are both heavily fighting for a commercial ecosystem: hand-picked fruits and handmade movies are equally contrasted in this environment, a parallel to this stimulus, the human film is transparent and unambiguous. Operates without self-importance.