Full by Lexie Bean SEFF 2017

an incredibly innovate , engrossing film collage documenting dissociation, sexual assault, and other difficult-to-describe experiences of the protagonist. Directed by Lexie Bean and Zach Jamieson, the film will evole true uneasiness in any viewer. The authors have found a non- trivial way to document traumatic events that leave a mark on a person´s entire life.

Reklamy
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Ron`s Daily: We get along beautifully SEFF 2017

Kasia, a 19-year-old Ukrainan girl, lives with her two-year-older boyfriend Emil, a truck driver from Poland. One day he decide to quit his job and, together with Kasia, start earning money by selling their intimite life on the Internet. They both make money on a website wich offers the viewers live sex. Emil is having doubts when it comes to telling his father about this controversial line of work. Maciej Jankowski created a very bold documentary about young people who are looking for their place in life.

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Blueberry Spirits Ron´s Daily SEFF 2017

A poetic documentary about a Roma family that spends its summers in the Latvian woods, picking berries to make a living. While harvesting the fruit of the forest, they reflect on their identity as a group by sharing incredible ghost stories. Surrounded by existential questions on how to balance the future and the past, traditions and modern life, this metaphysical documentary points out their struggle for identity as a journey between night and day, and vice versa.

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Jestem by Grzegorz Paprzycki SEFF 2017

„A heap of stones, that’s all,” says the protagonist of this road movie, while looking at a beautiful mountain scenery. This quotes tells us several things about Jestem, the short film’s protagonist: he’s pragmatic, somewhat disenchanted and isn’t afraid to utter what’s on his mind. We see a lot of that in this film, which follows the adventurous journey of Jestem and his wife from Poland to France. During this journey the topics of religion, prejudice and disadvantages are discussed, often in blunt, controversial sentences uttered by its protagonist. The audience goes along for the ride and witnesses an interesting odyssey.

We were lucky enough to grab Grzegorz Paprzycki, the director of this road movie, and ask him about the film’s most thought-provoking topics.

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Welcome To The Second Day Of The Competition 2017

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Review Between Water by Jesús Mari Palacios and Inigo Jiménez SEFF 2017

In today’s pop culture lighthouses are strongly tied to ghost stories. They are isolate, often found in extreme weather conditions and have the ability to save sailors from harm, which makes them perfect to tell creepy stories featuring a group of explorers meeting the lighthouse operator, which tends to lead to a tragedy.

 

As such „Between Water“ fulfils all the criteria of a ghost story, without it being one. The short film tells the story of José Manuel Andoin and his mother, María Torralva, who were the last lighthouse operators of the lighthouse on the island of Santa Clara next to San Sebastian.

The movie starts with dozens of photographs and postcards of the lagoon of San Sebastian, all superimposed on each to showcase the island with the lighthouse. Even though all those pictures come from lots of different times, the changes made to the island are minute, which makes it seem frozen in time.

The short continues to a very bumpy trip onboard a boat that slowly steers toward the island and never loses track of its focus, the lighthouse. It is only after five minutes that the first human being is shown in the film: An acquaintance of Andoin’s who starts to reveal the interesting aspects of a man who, along with his mother, lived in complete solitude on the island for 24 years.

This is where another aspect of the ghost story comes into play. From the start both Andoin and his mother are referred to in the past, while their residence, the tiny and dirty house attached to the lighthouse is shown. We almost never see photographs of the two of them, however their presence is still felt in those rooms even after all those years. Through the audio we are able to get to know two of the protagonists better: Andoin, the former Olympic sharpshooter and his mother, an overbearing woman, who thought that her son didn’t need any other female in his life besides herself. Through the images, we get to explore the third protagonist: The lonely island that serves as a home to these two odd figures is shown in twisting ways and often showcases the clash between nature and civilisation.

 

The biggest change clocks in after 13 minutes. The island, which so far had been shown as the lonely hermits’ lone sanctuary is now shown as a tourist destination and is much more chaotic compared to the lonely, intimate start of the film. It is only fitting that this leads to a darker narrative. After 24 years living on the island, they are transferred to another lighthouse, where they aren’t as happy as they used to be, even though it is much closer to civilisation than the first one. The new home isn’t welcoming and when the audience is introduced to it, an angry dog is seen barking.

After the isolation of the first lighthouse, this change must have been quite a shock, which seems to have led to Andoin’s mother’s passing and then to the suicide of Andoin six months later. All this information is only passed to the audience through a voice-over narration, while the lighthouse light is shown. And so the movie ends. The two lights that have been responsible for the lighthouse, have been extinguished. However, their spirits are still felt and they will continue to be present as long as any lighthouse still shines.

 

As such, “Between Water” is a touching and gripping documentary about three very different and somewhat mysterious individuals. Although it might not answer each question that it asks, it is still a pleasure to watch and is able to pull us into the intriguing island of Santa Clara, just like Andoin and his mother almost 70 years ago.

 

 

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Thea by Halvor Nitteberg and Elisabeth Aspelin SEFF 2017

Thea is 12 years old. She likes to play football and to be with her friends. Bit why does she want to grow up to be an air ambulance pilot? Thea has a serious dramatic type of epilepsy, but in this film she shares her thaughts about the things that she enjoys in life. We fellow Thea and her parents through a hospital sta one winter, followed by her homecoming. At the hospital there is a school. During woodwork class she makes a gift for someone very special to her.

Halvon Nitteberg – Thea

A very emotional, touching film about Thea, an ordinary twelve year old girl who happens to have a chronic disease. Nitteberg found a bright protagonist in young Thea. She is a beautiful, warmhearted girl, who loves jokes and is full of positive energy. But as we learn about Thea’s life and disease we also get to know her fears and worries. Her condition can be life threatening and incidents occur without pattern. The movie uses voice-over in a brilliant way as the main story-telling instrument. Thea herself introduces us to her family, daily life and history of illness, just as she would explain things to a new friend. The young girl’s words are full of mature reflection, yet accompanied with her lighthearted spirit. Nitteberg mixes those extracts effortlessly with original-sound-recordings of Thea, her friends, family, doctors and other people interacting with the young protagonist. Though some rare moments come along with the feeling of a staged action (when Thea and her mum prepare the package at the post office, or Thea and her parents are talking about her illness on the couch), we only hear real-life people interact with each other and Nitteberg managed to build enough trust that they act open and honest in front of the camera. The main creative choice – making the movie a must-see- is in it’s visual style. Unlike most movies sound is the red string that leads us through the story. The visuals come along in a very unconventional creative way. Nitteberg chose black and white pictures, taken in uneven intervals to show us about Thea’s life. The movie almost comes along as a slideshow of pictures taken by a family member or a close friend who hit the release button very often (only a better composed way of that, and gone through a fine selection of the most important moments and enriched with close-ups of important things). But still every picture, for a few seconds, is there for us to watch and gives us time to think. Those black and white moments accompanied with seamless original audio are just like memories. In this paradox way Nitteberg engulfs us into the story, making it feel as if we were really there and were sharing his memory about Thea. That some important parts of the story are not shown but told (the moments when Thea is struck by her disease) shows a lot of empathy and respect for the young girl. It also has no negative effect on the story’s authenticity, since the leading character Thea doesn’t know those moments herself. Her illness makes her unable to remember anything about it – other then that she awoke in hospital once again. Therefore Thea knows her illness only from her parents and doctors talking about it. As Thea is educated about her disease, so are we. The main asset of Halvon Nittebergs „Thea” is it’s emotional way to look at an illness. Even in choosing the title he states a very clear point of view – behind every story of disease there are real people with hopes and fears and dreams. People like Thea.

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