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Selected for the 2021 Emerging Producers, French producer
Quentin Laurent, of Les Films de lâÅil sauvage, explains what drives him to making documentaries, and how he is dealing with it through the current situation.
Why do you produce documentaries? Do you understand documentary film as an instrument of social and political change?
Quentin Laurent: Since childhood, I have nourished the vain and naive desire to discover the vast world. I studied human geography at university for five years and made a few research documentaries in sub-Saharan Africa. Geography literally means describe the earth , which also seems to be an acceptable definition of documentary cinema to me. This natural filiation in which my curiosity can blossom explains probably a bit why I do this job.
Screening of documentary on Hong Kong pro-democracy protests canceled 1 minute read
Beijing, Mar 16 (efe-epa).- A controversial documentary on Hong Kong pro-democracy protests was pulled out hours before the film was scheduled to be screened in the city.
“Inside the Red Brick Wall” covers 2019 clashes between protesters and security forces at the Hong Kong Polytechnic University was to premiere in the city on Monday evening.
The Hong Kong Film Critics Society said on its Facebook page that the screening had attracted “too much attention” and therefore they canceled it to prevent “possible misunderstanding.”
The society awarded the film and had scheduled to screen it at the Golden Scenes cinema hall on Mar.15 and 21.
Selected as one of the 2021 Emerging Producers, Slovakian producer
Zora Jaurová, of MPhilms, chats about why she works on documentaries and what are her main concerns about the current industry.
Cineuropa: Why do you produce documentaries? Do you understand documentary film as an instrument of social and political change?
Zora Jaurová: I produce films I find important and inspiring from the creative point of view, evolving from collaboration with people who inspire me on various levels. And with this approach I donât really see any clear dividing line between documentaries and features, so I produce both. What I find interesting is how the hyperreality and continuous theatricalisation of public life creates the need for âsimple realityâ seen on screen instead of magic and intricate film reality. This is a shift one could see also in other artistic forms (e.g. documentary theatre) and is further fueled by postfactual erosion of the concept of truth. If we don