The International Documentary Film Festival Amsterdam (IDFA) on Tuesday added tit5 titles to its lineup, unveiling the competition’s non-competitive program categories Best Fest, Masters and Paradox. The 34th edition of the IDFA was held November 17-28 in Amsterdam.
Best of Fest award winner, critics’ choice and audience’s choice from the festival of the year. The 46 strongest choices include an India-set story about estranged lovers by Payal Kapadia’s “A Night of Nothing Nothing”, a documentary award-winning Cannes film, the wildlife film “The Velvet Queen”, a search for “users” by debut director Mary Amiguate by Natalia Almada The future of humanity, and “Taming the Garden”, features Saloma Jasir’s slow-motion movies.
These have been paired with Allison Kleman’s Alanis Morriset biopic “Jagged” and Bing Liu and Joshua Altman’s “All the Sons”, among others. The department pays tribute to the wonderful gems from the festival circuit, including Andas Dog Award-winner Anayes Tarasena’s “The Silence of the Mole” and Stefan Pavlov’s “Horse Search”.
The Masters selects 16 titles from among the world’s top filmmakers. There has been talk of a growing crossover between filmmakers working in the fiction and documentary worlds, as seen in Andrea Arnold’s Bovine Experience “Cow” and Karim Anouz’s “Mariner of the Mountains”, the director portrays his father’s first trip home. Other titles.
Selection presents new work by documentary writers. The world premiere includes Helena Teistokov’s “Ren–The Prisoner of Freedom”, a follow-up to her 2008 masterpiece of the main character; My Mastery’s “Beirut: The Eye of the Storm”, where four young women document the recent uprising and lockdown in Beirut that led to the destruction of the destructive port; And Laila Pakalnina’s “home”, an analogy for people and their home.
Sergei Lajnitsa is back with “Bobby Year”. Context, about the genocide of World War II, when “Futura” brings Italian masters Pietro Marcelo, Francesco Munzi and Alice Rohrwacher to a feat of filmmaking together.
The Paradox program showcases some of the best experimental documentary art of the year. The eight films include the famous artist Vincent Misen’s “Just a Movement”, a portrait of Omar Blondin Diop, a Senegalese artist, a freedom fighter and Jean-Luc Goddard actor; “In the Belly of the Mountain,” abstract essay film by cross-disciplinary artist Stephen Loy; And Shenzhen Zur is beautifully shot “A River Runs, Turns, Erases, Replacements”, which explores the epidemic situation in Uhan, giving an atmospheric impression of the city.
Last week, IDFA unveiled two focus programs for its upcoming version: The Future Tense and Unconscious Bias. The festival also announced the 15th edition of the IDFA Docklab and the corresponding theme program, Limal Reality. Nineteen headlines were added to the election.
The Future Tense presents “Movie Reflection and Mosaic of Future Thoughts” with both old and new titles.
Highlights include the international premiere of Zhao Liang’s “I’m So Sorry”, a slow, meditative reflection of the nuclear disaster. Exploring the effectiveness of Yale Bartana’s “Two Minutes to Midnight” nuclear threat, real-life experts stage it in a fictional environment, while Nicholas Gerhalter’s acclaimed 2016 film “Homo sapiens” lives in the shadow of abandoned ruins, imagining a time when humans no longer exist. .
Other films such as Kidlat Tahimik’s “Fragrant Two Night Dreams” already look to the imaginary future of the past, a post-1970 classical colonial classic that ideologically distorts the West’s notion of “progress” as space. Other films like Peter Broscens and Darjakhandin Turmunk’s 1998 gem “Kingdom of Dogs” appear small in scale, a mysterious documentary of the rebirth of the underworld.
Consisting of 11 new and previously published titles, Unconscious Beas explores today’s discourse on the meaning of today’s colonial past and the many ways in which this past continues to leave its mark on the present.
At the heart of the program is the 25th anniversary of the iconic “Amsterdam Global Village” by Johann van der Cuquen, a journey through the city and its many interconnected cultures and inhabitants.
Other films have shifted their focus to other European cities, investigating how the colonial past is hidden in their social fabric: Hito Steerle’s early essay film “The Empty Center” considers the new walls that arose after the German reunion; Senegalese-French filmmaker Alice Diop’s new film “We” travels the RER B train in Paris and encounters various townspeople who are made up of a collective.
Several new films show the systematic nature of colonialism and its enduring steadfastness in the economic and social spheres. Jean-Gabriel Perriet’s “Returning to Rhymes (Fragments)” enters the archives to tell a more inclusive story of the French working class where marginalized people also speak a word.
Other titles take a personal approach, looking at the generational change in filmmakers ’own families: how the colonial propaganda goes by considering“ what is now past ”by Shin-ichi Aise; And Erica Itangsali’s “In the Belowing Night” brings together myths and memories from the reunion to tell a deep personal story of slavery, uprooting, and inter-birth pain.
In celebration of IDFA DocLab’s 15th anniversary, the festival presents a special themed program Limenal Reality: Celebrating Ambiguity in Life, Technology and Industry. Referring to the state between both known and unknown, the limited reality reflects the collective ambiguity that we now find.
In the 15th edition, the IDFA Docklab will return to the physical location of Amsterdam, which includes Tolhuestuin, I, Vlams Culturhuis de Brack Grand and ARTIS Planetarium, events and performances, as well as the interior of the online and virtual world. The interactive conference will span five days, filled with discussions and live performances, and will be presented in collaboration with leading immersion artist and thinker Rahima Gumbo, Lauren Lee McCarthy, Polymorph, Anagram and many other special guests.