Documentary festival rolling in Thessaloniki
Dancer-turned-filmmaker Bess Kargman’s award-winning “First Position,” a documentary about the toughness of mind and body demanded of young classical ballet dancers, will open this year’s 10-day Thessaloniki Documentary Festival (TDF), which gets under way on March 15.
The film follows a handful of boys and girls from various parts of the world as they train for the Youth America Grand Prix in New York City, a competition that could determine their future in the ballet world. The documentary has picked up numerous accolades, including a Jury Prize at the San Francisco DocFest and audience awards at DOC NYC and the Portland International Film Festival.
Now in its 15th year, the TDF has drawn a big following of movie buffs and filmmakers who make the annual trip to the northern port city for the rich crop of hard-hitting productions and interesting side events.
“Its success is not just measured by the high numbers of people who flock to its theaters every year,” said Konstantinos Aivaliotis, a visual anthropology expert who is currently doing research on the festival.
“The festival is really talked about abroad, ranking in the top five – if not top three – on the European doc fest circuit,” he said.
Despite the financial difficulties, organizers have managed to bring together about 200 films from 45 countries, as well as 58 local productions.
Alongside “First Position,” festival highlights include Kirby Dick’s Oscar-nominated film “The Invisible War,” a shocking account of rape and sexual assault in the US military. Based on more than 100 interviews, the Arizona-born director exposes the systemic cover-up of sexual crimes and the everyday struggle of victims – mostly women but also men – to rebuild their lives and find justice.
In his Sundance winner “Blood Brother,” Pittsburg director Steve Hoover travels to southern India to document his longtime friend’s mission to help children living with HIV and AIDS. The film won the Grand Jury Prize and the Audience award for American documentaries at what is the largest independent film festival in the US.
Dutch John Appel’s “Wrong Time, Wrong Place,” billed as a film about “how small, seemingly trivial events can upset the fine balance between life and death,” features discussions with five people who were caught up in the 2011 bomb attack in Oslo and the ensuing shooting spree on the island of Utoya where Norwegian far-right activist Anders Behring Breivik killed 77 people and wounded 242.
In “Forbidden Voices,” Swiss director Barbara Miller documents the lives of dissident bloggers in Cuba, China and Iran who use their laptops to fight for free speech and press freedom.
The organizers have also prepared a tribute to Chilean filmmaker Patricio Guzman, maker of the classic 260-minute trilogy “The Battle of Chile,” which chronicles the atrocities of the Pinochet regime. The 71-year-old director, who won five-star reviews for his 2010 philosophical cine-essay on history and memory, “Nostalgia for the Light,” has been booked for a workshop in Thessaloniki.
Uncomfortably relevant
Stuck in recession for a sixth year, debt-wracked Greece is struggling with severe austerity measures and sky-high unemployment. It’s a lethal mix that has fueled social turmoil and political polarization as reflected in the meteoric ascent of the country’s neo-Nazi Golden Dawn party. It all makes the doc fest uncomfortably topical.
“Documentaries can serve as an alternative news source and highlight issues that do not come up in mainstream media,” Aivaliotis said.
He says the crisis has not produced a major shift in subject matter, but at least a few of this year’s 58 movies seem to be influenced by the zeitgeist in one way or another.
“Neo-Nazi, the Holocaust of Memory,” shot by established TV journalist and documentarist Stelios Kouloglou, revisits the country’s path from the German occupation during World War II to the rise of Golden Dawn, which currently controls 18 seats in the Greek Parliament.
“To the Wolf,” a documentary-narrative hybrid shot in the mountains of western Greece by first-time directing duo Christina Koutsospyrou and Britain’s Aran Hughes, follows two shepherd families as they try to survive the Greek crisis. The production earned flattering reviews when it premiered at the Berlin International Film Festival in February.
Nikos Dayandas, who last year left Thessaloniki with the Film Critics’ Award for his film “Sayome,” returns with “Little Land” to tell the story of a disaffected young urban couple who decide to try their luck on the remote Aegean island of Icaria.
The Greek economic crisis, which has touched all levels of society, also means that local documentarists – never a spoiled lot – will continue to struggle for funding. But on the other hand, they have technology on their side as digital video is making films cheaper to produce.
“The means [to make a documentary] are more accessible now and the need to cooperate has started to be more obvious, so I think we will continue to see fresh things from Greek creators,” Aivaliotis said.
Approximately 520 films will be available in this year’s Doc Market, including all those screened as part of the official program. Around 60 buyers will be attending from Europe, the USA and Canada.
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The 15th Thessaloniki Documentary Festival takes place from March 15 through March 24.
ThessFest, the festival’s free app, is available for iPhones and Android devices.
The festival’s official Twitter account is @filmfestivalgr, while this year’s hashtag is #tdf15.
