Vertical Conquests Film

Plot

Vertical Conquests: An exciting journey to discover the third generation of the most important Street Artists on the world scene, after the pioneers such as Jeff Aerosol and the best known Bansky.

The documentary clearly illustrates the works of the many young talents around the world and analyzes the different forms of street art to present it to the public as a great global, sociological, cultural and organizational movement.

In this regard, young artists are not presented as simple graffiti artists who dirty walls but as real communicators who use this form of art to send precise messages.

The viewer will be put in contact not only with the reality of the artists but also with all the people who are part of it, such as festival organizers, bloggers, gallery owners and museum directors, testifying to the great versatility of Street Art, contemporary art at all. tondo, protagonist of the largest museums in the world.

Synopsis

An exciting trip to discover the most important street artists on the World scene. Telling about the new generation after Banksy, made up of very young talents, very versatile in their art, true researchers, who use the walls to experiment and grow in their artistic journey. This leads them to have not only millions of “followers” on the internet, but to end up in the largest museums in the world, proving that Street Art is nothing but contemporary art in all respects.

Genre: Documentary
Directed By: Rosa Chiara Scaglione
Cast: Borondo, Gaia, Sten & Lex, Mentalgassi, Jef Aerosol, Rero, Sbagliato, Hyuro, DALEast, Faith47, Sam3

Interview with Omar Sharif

1. Why did you become an actor?

From the age of thirteen I was in an English school. So there was a theater and they made me play the main character. I loved the applause from the boys in my class. So I said to myself: “I want to be an actor”. And from this moment. My mother and father didn’t want anything because they wanted me to do something more serious. And I say either I die or I’m an actor. You have to choose between dying and being an actor. Then my mother, who loved me so much, said: “There is nothing we can do”. I have been very lucky because at the age of 21 I was given a leading role in an Egyptian film with the greatest actress in the Arab world.

And I went to the Cannes festival with this film. And they all saw me. I have always been very lucky.

2. The film we are talking about is the one by Youssef Chahine…

Youssef Chahine was the one who discovered me in a cafe. I was having coffee with a friend of mine. And that man said: “I have heard that you want to be an actor”, and I answered: “Yes”. “I have a part for you, a role, that of the protagonist of a film with a great actress”, who would later be my wife; I married her after her. And I lived with her 15 years. And I didn’t get married again.

3. He has said on one occasion that with Chahine his marital status has changed…

Yes, because I had a not very Arabic name, I was a bit Christian, let’s say. So in order to marry my wife, I had to be a Muslim, to change. My mother and father died because they were very religious all their lives. I was with her when she died at the age of 98 in a hospital in Madrid. She was suffering horribly for 15 days and the doctors did not want to give her morphine because they said that morphine is euthanasia. Thus, she suffered horribly and spoke with the Virgin, with everyone, with Saint Anthony of Padova.

4. Today is the day of San Antonio de Padova.

She was crazy about him, she talked to him all day.

5. And she asked him for movies?

Yes, a good movie, a good son, a great success.

6. I have also heard that before making a film with Chahine I had never seen a shake film. Why?

No, I have never seen an Arab film.

Because before doing it, no. I always watched American movies, French movies in Cairo. The Arabs don’t.

7. His first Hollywood production, Lawrence of Arabia.

Lawrence of Arabia we did it in Jordan and then right here in Seville we shot a lot and then in… Almería. Now it has grown a lot. We were the first to make a film in Almería. We spent three, four months in Almería, in Carboneras, and we made the entire film.

8. How did you manage to adapt to the great fame you achieved?

I didn’t change anything in my life. I was always the same person. From boy until now. I haven’t changed anything in my life. I’m normal.

9. Yes, but let’s say…

I don’t care about “Celebrity”.

10. Has it never limited you?

Nothing. Never. I’m normal. With all the people. I have had a good education from my mother. She hit me with a slipper on her ass.

10. Apart from Lawrence of Arabia, she also shot a part of Doctor Zhivago in Spain.

Doctor Zhivago was shot entirely in Spain. In Madrid they built the entire city of Moscow. I had an apartment, a flat on Generalísimo Street, Generalísimo Avenue, and my seven-year-old son came to play the role of little Zhivago. It was with him that I spent the first time alone with a child in a flat. I didn’t know what to do with my son. I was very scared. My wife was in Egypt. The responsibility is incredible.

11. And Pepita wasn’t there?

No, Pepita wasn’t there yet. Because Doctor Zhivago was in 1966. And Pepita worked with me in ’68. And Doctor Zhivago was in ’66 in Madrid.

12. And what do you remember about that experience here in Spain?

Well, I was very happy in Spain. I had my parents. Because I left Egypt when Nasr arrived, because he always worked with many Jews in American cinema and I was afraid for my family, because they were Christians. I didn’t think about taking them to the United States or France, because there is a very big difference between East and West. I chose to go to Madrid because it was less American or French. It was a bit more Eastern. They lived very happily in Madrid. My sister married a man from Madrid, she has had two children and I have two nephews.

13. And why haven’t you stayed to live in Spain?

Because I lived in Hollywood for five years because of my job and I made movies all over the world. So it had to be in a very central place.

14. Reviewing a little the films he made just during the Six Day War, when Fatigel was shooting, he made some very harsh criticism.

Yes, very hard in both countries. In Egypt, horrifying and in the United States, also because they said: “Don’t give Sharif money because he could send it to Nasr to kill Jews. But the director, who was Jewish, said that he would not make the film if Sharif was there.

15. And then was there any other film that suffered this kind of criticism?

No.

16. And then in the 90s, after making a number of movies, he decided to stay away from film until he got a good script…

No, I always worked. I didn’t stop.

17. But, let’s say, from the late 1990s to… there’s a bit of a hiatus.

I always worked. TV stuff. I did “dit with Mad amon”. I became the father of Moses’ wife. And there are many movies. I made a movie with Banderas. In the year two thousand and something… No, in 1997.

I did a lot of movies. You have to see it online. There are all the movies I made.

I’ve done a lot. Have you seen them, yes? -Yes-

I did a lot for television at this time. It does not matter.

18. They even told me that in France he made programs on horse racing.

I have racehorses. And I go to the races to see my horses.

19. And right now that there are many tensions between East and West due to US policy, do you think that with the change of government in the US there will be any change?

We Egyptians are very neutral. We are very friendly to the Americans. Our president is a friend of Obama and before Bush. We do not enter the Islamic-Christian war. In Egypt we live from tourism. Can’t do anything wrong.

20. And right now, what kind of movies would you like to do?

I do not know. They send me the script and I see if I like it. But I’m always an old man, right?

Original article:

1. ¿Por qué te hiciste actor?

Desde los trece años estuve en una escuela inglesa. Entonces había un teatro y me hicieron representar el personaje principal. Me encantaban los aplausos de los chicos de mi clase. Entonces me dije: “Yo quiero ser actor”. Y desde este momento. Mi madre y mi padre no querían nada porque querían que hiciera algo más serio. Y yo digo o muero o soy actor. Hay que elegir entre morir y ser actor. Entonces mi madre, que tanto me quería, dijo: “No podemos hacer nada”. He tenido mucha suerte porque a la edad de 21 años me dieron un papel principal en un film egipcio con la actriz más grande del mundo árabe.

Y fui al festival de Cannes con este film. Y me vieron todos. Siempre he tenido mucha suerte.

2. La película de la que estamos hablando es la de Youssef Chahine …

Youssef Chahine fue quien me descubrió en un café. Yo estaba tomando un café con un amigo mío. Y ese señor dijo: “Yo he escuchado que quieres ser actor”, y yo le respondí: “Sí”. “Yo tengo una parte para usted, un papel, el de protagonista de un film con una gran actriz”, que después sería mi esposa; me casé con ella después. Y viví con ella 15 años. Y no me volví a casar.

3. Ha dicho en una ocasión que con Chahine ha cambiado su estado civil…

Sí, porque yo tenía un nombre no muy árabe, era un poco cristiano, digamos. Entonces para casarme con mi mujer estaba obligado a ser musulmán, a cambiar. Mi madre y mi padre murieron porque eran muy religiosos en toda la vida . Yo estaba con ella cuando murió a la edad de 98 años en un hospital en Madrid. Estuvo 15 días sufriendo horriblemente y los doctores no querían darle morfina porque decían que la morfina es la eutanasia. Así pues, sufrió horriblemente y hablaba con la virgen, con todos, con San Antonio de Padova.

4. Hoy es el día de San Antonio de Padova.

Estaba loca por él, hablaba con él todo el día.

5. ¿Y le pedía películas?

Sí, una buena película, un buen hijo, un gran éxito.

6. También he oído que antes de hacer un film con Chahine nunca había visto un film agito. ¿Por qué?

No, no vi jamás un film árabe.

Porque antes de hacerlo, no. Siempre veía películas americanas, pelis francesas en El Cairo. Las árabes no.

7. Su primera producción en Hollywood, la de Lawrence de Arabia.

Lawrence de Arabia la hicimos en Jordania y luego aquí mismo en Sevilla rodamos mucho y luego en… Almería. Ahora ha crecido mucho. Fuimos los primeros en hacer una película en Almería. En Almería estuvimos tres, cuatro meses, en Carboneras, e hicimos to da la película.

8. ¿Cómo consiguió adaptarse a la fama tan grande que consiguió?

No cambié nada de mi vida. Yo fui siempre la misma persona. Desde chico hasta ahora. No he cambiado nada en mi vida. Soy normal.

9. Si, pero digamos que…

No me importa la “Celebrity”.

10. ¿No te ha limitado nunca?

Nada. Nunca. Soy normal. Con toda la gente. He tenido una buena educación de mi madre. Me pegaba con una pantufla en el culo.

10. Aparte de Lawrence de Arabia también rodó una parte de Doctor Zhivago en España.

Doctor Zhivago se rodó enteramente en España. En Madrid construyeron toda la ciudad de Moscú. Yo tenía un apartamento, un piso en la calle Generalísimo, la Avenida Generalísimo, y mi hijo que tenía siete años vino a hacer el papel del pequeño Zhivago. Fue con él con quien pasé la primera vez sólo con un niño en un piso. No sabía qué hacer con mi hijo. Tenía mucho miedo. Mi mujer estaba en Egipto. La responsabilidad es increíble.

11. ¿Y no estaba Pepita?

No, no estaba Pepita todavía. Porque el Doctor Zhivago fue en 1966. Y Pepita trabajó conmigo en el 68. Y Doctor Zhivago fue en el 66 en Madrid.

12. ¿Y qué recuerdas de aquella experiencia aquí en España?

Bueno, estaba muy feliz en España. Tenía mis padres. Porque yo dejé Egipto cuando llegó Nasr, porque siempre trabajaba con muchos judíos en el cine americano y tenía miedo por mi familia, porque eran cristianos. No pensé en llevarles a Estados Unidos o a Francia, porque hay una diferencia muy grande entre Oriente y Occidente. Elegí ir a Madrid porque era menos americana o francesa. Era un poco más oriental. Ellos vivieron muy felices en Madrid. Mi hermana se casó con un madrileño, ha tenido dos hijos y tengo dos sobrinos.

13. ¿Y por qué usted no se ha quedado a vivir en España?

Porque viví en Hollywood cinco años a causa de mi trabajo e hice películas en todo el mundo. Entonces tenía que estar en un sitio muy céntrico.

14. Repasando un poco las películas que hizo justo durante la Guerra de los seis días, cuando estaba rodando Fatigel, hizo unas críticas muy duras.

Sí, muy duras en los dos países. En Egipto, horroroso y en Estados Unidos, también porque dijeron: “No le deis dinero a Sharif porque podría mandárselo a Nasr para matar a judíos. Pero el director, que era judío, dijo que no haría la película si estaba Sharif.

15. ¿Y después hubo alguna otra película que sufriera este tipo de crítica?

No.

16. Y luego, en la década de los noventa, después de hacer una serie de películas, decidió apartarse del cine hasta que le dieron un buen guión…

No, yo trabajé siempre. No me paré.

17. Pero, digamos, desde el final de los noventa hasta… hay un pequeño parón.

Yo trabajé siempre. Cosas de televisión. Hice “le dit con Mad amon”. Hice el padre de la mujer de Moisés. Y son muchas películas. Hice una película con Banderas. En el año dos mil y algo… No, en 19 97.

Hice muchas películas. Hay que verlo en Internet. Están todas la películas que hice.

He hecho un montón. ¿Las ha visto, sí? -Sí-

Hice muchas para la televisión en esta época. No importa.

18. Incluso me dijeron que en Francia hizo programas sob re carreras de caballos.

Yo tengo caballos de carreras. Y voy a las carreras para ver mis caballos.

19. Y ahora mismo que hay muchas tensiones entre Oriente y Occidente por la política de Estados Unidos, ¿usted cree que con el cambio de gobierno en EEUU va a haber algún cambio?

Nosotros los egipcios somos muy neutros. Somos muy amigos de los americanos. Nuestro presidente es amigo de Obama y antes de Bush. Nosotros no entramos en la guerra islámica-cristiana. En Egipto vivimos del turismo. No se puede hacer nada malo.

20. Y ahora mismo, ¿que tipo de películas le apetecería hacer?

No sé. Me mandan el guión y veo si me gusta. Pero soy siempre un hombre viejo, ¿no?

The third edition of the Granada Cines del Sur Festival

The third edition of the Granada Cines del Sur Festival, seen by film critic Aruna Vasudev

Originally published in The Asian Age newspaper, New Delhi, on August 2, 2009

Cines del Sur is the name that the magical city of Granada, in the south of Spain, decided to give to its film festival three years ago. The organization has been of such caliber that the festival has become consolidated and has taken its own place among the large number of well-established festivals in the world.

Why ‘Cines del Sur’? In part, because of its own history: Granada lived for six hundred years under the rule of the Muslims and the Alhambra, its magnificent palace, of indescribable beauty, is very close to the center of the city, so the links are still evident. On the other hand, we have Morocco, just a few kilometers across the sea. However, it was fundamentally an idea of ​​the creators of the festival. They chose the Cines del Sur, as they argue, “because of the beauty of each of the regions, the secrets of the history of each country, the musicality of distant places, the dramas of other worlds…”

Not satisfied with only showing cinema, the Festival tries to vividly recreate these three regions of the South with different events that complement it.

For the second consecutive time, this year a specific program was held for schools in order to encourage students to develop a critical eye and foster not only critical thinking about the images they see, but also the values ​​and cultures that they reflect; think interculturally as well as cinematographically.

AulaSur, as this program is called, tries to “offer young people a vision of other realities that are part of our contemporary world…”.

They, like the large number of visitors to the Festival, whether from Granada or elsewhere, were able to enjoy a Chinese photographic exhibition, which was divided into four sections and made by Zhang Yuan, as well as a video clip by Cui Jian, perhaps the first video clip made in China, in 1991. The photographs taken from Zhang Yuan’s short film range from the images of Tiananmen Square to the sex change operation of one of its actors, between which there are seven years of difference. Yuan wrote that with this exhibition he hoped to “put the moving images of my films into snapshots, one by one, and document the days we will never forget.”

We can point out two more exhibitions: Abandoned Spaces, by Dalia Khamissy, about places in Lebanon -houses, buildings, mosques-, all of them invaded by the war and later abandoned; Finally, cinematographic images were present in art galleries and museums thanks to the works of the Argentine David Lamelas, considered one of the first post-national artists.

It is impressive what the mind can absorb, the time there is for all this in addition to the movies and, of course, the large number of museums, churches, squares, cafes, restaurants, the beautiful streets to get lost in, the Alhambra, where one never get tired of coming back…

There is a huge range of activities at Cines del Sur!

The Festival also featured four audiovisual workshops: animation, by the Andalusian filmmaker Rocío Huertas; another for interpretation and another for video creation, the latter in charge of the Egyptian Amal Ramsis, filmmaker, journalist, editor and Arabic-Spanish translator.

As if that were not enough, the third meeting of the Southern Film Festivals also took place, another initiative of the Granada Film Festival, which aims to bring together all the festivals of the South (the Trivandrum Film Festival -Kerala- is a member founder of SFF), as well as a co-production meeting for Andalusian and international producers and directors.

Shivajee Chandrabhushan, whose film Frozen won the Best Director Award and the Audience Award at the last edition of Cines del Sur, returned this year to attend this meeting with his new project, which is already well advanced. He collected this year’s Audience Award, which went to the animated film $9.99, by Tatia Rosenthal, who was unable to attend the delivery. In a beautiful speech, Chandrabhushan said that filmmakers have to accept their responsibility in this fractured world. The top prize went to The Other Bank, a powerful and emotional film directed by Georgian George Ovashvili.

Another notable aspect of this festival is the publication of at least two major books in a bilingual Spanish-English edition. This year, one of them was dedicated to Souleymane Cissé, the Malian director who managed to put African cinema on the international scene for the first time thanks to the Jury Prize won at Cannes in 1987 with Brightness. Cissé was also in Bombay, at the International Film Festival of India, in the nineties, although unfortunately he has not visited us again. Under the

Original article:

Publicada originalmente en el diario  The Asian Age, de Nueva Delhi, el 2 de agosto de 2009

Cines del Sur es el nombre que la ciudad mágica de Granada, en el sur de España, decidió  dar a su festival de cine hace tres años. La organización ha sido de tal calibre que el festival se ha consolidado y se ha hecho con un lugar propio entre el gran número de festivales bien establecidos que hay en el mundo.

¿Por qué ‘Cines del Sur’? En parte, por su propia historia: Granada vivió durante seiscientos años bajo el gobierno de los musulmanes y la Alhambra, su magnífico palacio, de una belleza indescriptible, está muy cerca del centro de la ciudad, de modo que los vínculos siguen patentes. Por otro lado, tenemos Marruecos, a tan sólo algunos kilómetros al otro lado del mar. Sin embargo, fue fundamentalmente una idea de los creadores del festival. Eligieron los Cines del Sur, como argumentan, “por la belleza de cada una de las regiones, los secretos de la historia de cada país, la musicalidad de lugares lejanos, los dramas de otros mundos…”

No satisfechos con mostrar únicamente cine, el Festival trata de recrear vivamente estas tres regiones del Sur con diferentes eventos que lo complementan.

Por segunda vez consecutiva, este año tuvo lugar un programa específico para los colegios con el fin de animar a los estudiantes a desarrollar un ojo crítico y potenciar no sólo un pensamiento crítico en torno a las imágenes que ven, sino también los valores y culturas que éstas reflejan; pensar de manera intercultural tanto como cinematográfica.

AulaSur, como se denomina este programa, trata de “ofrecer a los jóvenes una visión de otras realidades que forman parte de nuestro mundo contemporáneo…”.

Ellos, al igual que el gran número de visitantes del Festival, ya fueran de Granada u otros lugares, pudieron disfrutar de una exposición fotográfica china, que estaba dividida en cuatro secciones y realizada por Zhang Yuan, así como un videoclip de Cui Jian, quizás el primer videoclip realizado en China, en 1991. Las fotografías extraídas del cortometraje de Zhang Yuan van desde las imágenes de la Plaza de Tiananmen hasta la operación de cambio de sexo de uno de sus actores, entre las cuales hay siete años de diferencia. Yuan escribió que con esta exposición esperaba “poner las imágenes en movimiento de mis películas en instantáneas, una a una, y documentar los días que jamás olvidaremos”.

Podemos señalar dos exposiciones más: Espacios abandonados, de Dalia Khamissy, sobre lugares de Líbano -casas, edificios, mezquitas-, todos ellos invadidos por la guerra y posteriormente abandonados; finalmente, las imágenes cinematográficas estuvieron presentes en salas de arte y museos gracias a las obras del argentino David Lamelas, considerado como uno de los primeros artistas post-nacionales.

Es impresionante lo que la mente puede absorber, el tiempo que hay para todo esto además de las películas y, por supuesto, la gran cantidad de museos, iglesias, plazas, cafés, restaurantes, las hermosas calles para perderse, la Alhambra, adonde uno no se cansa de volver…

¡Hay un abanico de actividades enorme en Cines del Sur!.

El Festival también contó con cuatro talleres audiovisuales: de animación, a cargo de la realizadora andaluza Rocío Huertas; otro de interpretación y otro de video creación, este último a cargo de la egipcia Amal Ramsis, realizadora, periodista, editora y traductora de árabe-español .

Por si ello no fuera suficiente, también tuvo lugar el tercer encuentro de Southern Film Festivals, otra iniciativa del Festival de Cine de Granada, que tiene como fin reunir a todos los festivales del Sur (el Festival de Cine de Trivandrum -Kerala- es miembro fundador de SFF), así como un encuentro de coproducción para productores y realizadores andaluces e internacionales.

Shivajee Chandrabhushan, cuya película Frozen obtuvo el Premio al Mejor Director y el Premio del Público en la pasada edición de Cines del Sur, volvió este año para asistir a este encuentro con su nuevo proyecto, que ya está muy avanzado. Él recogió el Premio del Público de este año, que fue para el film de animación $9.99, de Tatia Rosenthal, quien no pudo asistir a la entrega. En un discurso precioso, Chandrabhushan dijo que los realizadores han de aceptar su responsabilidad en este mundo fracturado. El premio mayor fue para The Other Bank, una película potente y llena de emociones, a cargo del georgiano George Ovashvili.

Otro aspecto destacable de este festival son las publicaciones de al menos dos libros de envergadura en edición bilingüe español-inglés. Este año, una de ellas estuvo dedicada a Souleymane Cissé, el director mali ense que consiguió poner el cine africano en la escena internacional por primera vez gracias al Premio del Jurado obtenido en Cannes en 1987 con Brightness. Cissé estuvo también en Bombay, en el Festival Internacional de Cine de India, en los años noventa, aunque desgraciadamente no nos ha vuelto a visitar. Bajo el título ‘Souleymane Cissé: con los ojos de la eternidad’, este libro es el primer monográfico publicado sobre un hombre extraordinario, a quien el Festival rendía homenaje en esta ocasión. La otra publicación versa sobre un tema que contó con una sección paralela en el festival, los cineastas extranjeros en el cine cubano de los sesenta, bajo el título Intrusos en el paraíso. El libro se centra en la Revolución Cubana vista desde los ojos de realizadores extranjeros.

Había películas por todas partes, con una variedad difícil de lograr.

Las proyecciones eran muy especiales, ya que a medida que llegaba la noche pasaban de las salas al aire libre. Había dos proyecciones cada noche: una en el gran pórtico de la Catedral, en el centro de Granada, y la otra frente a los muros de la Alhambra, donde también tuvieron lugar las ceremonias de apertura y de clausura. El éxito de taquilla taiwanés, Cape No. 7 inauguró el Festival, mientras que la cinta mexicana de tinte político Arráncame la vida, fue la que lo clausuró.

Aparte de la sección oficial a concurso -que contaba con tres miembros del jurado provenientes de los tres continentes del Sur y uno de Italia-, y el Premio Netpac (otorgado por primera vez en el marco de este Festival como reconocimiento a esta organización, que tan diligentemente ha promovido el cine asiático, tanto en Asia como en el resto del mundo), la edición de este año incluyó secciones de películas sobre andaluces y el Sur, una sección mediterránea (Mediterráneos ) y una sección fascinante sobre Nollywood, el fenómeno en formato vídeo de Nigeria, que se ha convertido en una excelente muestra de la cultura popular africana y que ha dado un nuevo ímpetu a los realizadores africanos. Es un poco como el fenómeno que se está dando en India, en Malegaon, pero a un nivel panafricano.

Hubo una mesa redonda sobre Nollywood, en la que participó Peace Anyiam-Fiberesima, fundadora y presidenta de la Academia del Cine Africano. Peace fue también miembro del Jurado del Festival junto con la actriz jordana Rana Sultan, Aruna Vasudev de India, el italiano Leonardo de Franceschi, que imparte clases de cine en la Universidad Roma Tres, y Arturo Ripstein como presidente del Jurado, el realizador más conocido y respetado en este momento.

El hecho de conformar un jurado tan ecléctico provocó que los debates fueran largos, arduos, densos en los argumentos y  fascinantes al mismo tiempo, ya que cada uno de los miembros del Jurado aportó sus conocimientos y experiencia de sus respectivos países y regiones, no necesariamente de su conocimiento de las cinematografías de otras regiones. Es un riesgo profesional el configurar un jurado para valorar películas no tan conocidas entre el público como las europeas o estadounidenses.

Esto es precisamente lo que el Festival de Cine de Granada trata de cambiar, reuniendo a gente del cine de las tres regiones para que se familiaricen con sus respectivas cinematografías.

Este intento por sí solo nos da una mayor conciencia de la obsesión que aún tenemos por Occidente en estos tres continentes, así como de la necesidad de realizar un esfuerzo coordinado por superarla.

Aruna Vasudev es una ilustre crítica de cine que ha formado parte de jurados de los principales festivales de cine de todo el mundo.

“The face of Africa”. Interview with Peace Anyiam-Fiberesima, president of the African Movie Academy Awards

Writer and producer Peace Anyiam-Fiberesima stands out as creator and president of the African Movie Academy Awards (AMAA), an association based in its Nollywood origins that has expanded its influence to all of Africa.

1.    How do you manage as a woman in an environment in which the masculine sector is the majority?

For me, it has been something quite natural, as I have grown up surrounded by men. The important thing is that in order to have success in this environment, you must have patience. I always aim to create something better than what is expected, given that I work in the face of the masculine ego. Perhaps my success comes from the support that I receive from my immediate environment: my father, for example, who has never considered me to be different as a woman. However, it is difficult, since the majority always tries to degrade you in some manner.

2.    As a producer, how have you lived in the audiovisual sector through the evolution of political figures with respect to Nollywood: first complete opposites and now proclaiming that to be a joint economic motor?

At the beginning, we did not receive much support from the Government, but now they are becoming more and more involved because of both the social and economic importance of the film industry. Out of all of Nigeria’s assets, the film industry is one of its most positive, and the Government wants to employ this positive image to achieve a change in orientation to this vision of Nollywood. Although the country’s economy is widespread, the Government has an approximation of figures that they would like to publicize so that the money that the industry moves can be seen.

3.    Do you think that film helps to introduce cultural and political progress?

Already, film works in this sense in that it reaches the bottom of a culture and integrates cultural aspects. In the same manner, it can show positive aspects of politics. In Africa, the political world is unsettled, but films allow us to show our true culture. Many times it is a culture that has been westernized by colonialism, therefore we must learn what our true heritage is and how to regenerate it. When we are conscience of its existence, we can say what is there and what should not be hidden.

In Nigeria, films that are made are quite critiqued by the Government and by society. But that there is an independent film industry capable of self-financing creates a unique space in which a realistic image of the country can be shown. Recently, the Government has asked that we help to renovate the image of the country by presenting positive stories. It is evident that in order to achieve this, you must believe in what you want to show, and our intent is to center ourselves in the good and leave the negative aside.

4.    The fact that African film must resort to European financing has created a certain type of  colonization in film, but since the creation of a private industry like Nollywood, it has experienced a period of independence.  How has African film lived through this change?

Nigeria is not a country colonized by the French, therefore there has been no financing of that kind. It is clear that when you receive economic support, there are certain things that you are not able to say, that you simply are not going to express. In this sense, what has occurred in Nollywood changes everything. When there is an outside budget, films (like those from great directors Souleymane Cissé, Ousmane Sembene, Haile Gerima, Jean-Marie Teno, Abderrahmane Sissako…) end up destined for a certain audience (this occurs in France, for example, and in other embassies in the world), but they do not reach the people that they are truly meant for. The great change that Nollywood has introduced is that the target audience finally has access to the films, and this has caused other African countries to adopt the same system.

When there are financial problems, there are content problems. With AMAA, we are working to receive finances from Africa in order to produce for the continent and to tell our own story. Perhaps this is one of the reasons that Nollywood film has been criticized. There exists a handicap of quality, but also the fact that when you have an independent economy, you have the freedom to be criticized, which can become somewhat problematic.

5.    Have you had to negotiate with censorship over the treatment of certain productions? How do you deal with matters that might become controversial?

With respect to censorship, there are a series of matters that cannot be touched, like problems related to religion or questions linked to sex. There is also a very elevated sensibility in relation to language, as there are certain forms of speaking that cannot be used. So, when you employ films in order to express something that you want to say, you end up saying it in an indirect form, in a certain sense. It is difficult but it is possible, in that it is necessary to choose carefully the scripts and images that are shown in order to present the message from a tangential form. In this manner, one film will be censored, while another will not.

6.    Toward where do you think the industry should direct itself within the independence permitted by Nollywood?

I think that it could insist more on quality and less on quantity. On the one hand, there is a need to think in distribution, given that for the producers, profits do not always come. Many films are pirated because of the great demand from the African diaspora that is spread throughout the world and that can be reached only with piracy. On the other hand, it is necessary to work on the stories, on the accounts that interest the African public as much as other types of spectators. African film needs to be pertinent, and this is prevented by festivals in which only a handful of previously-circulated films are shown. In fact, on many occasions, they are films that are not made by real Africans, rather by people that speak of the continent instead of by Africans telling their own stories. This is what the Academy tries to do: create film that we, personally, make. At this level, there is not always the same quality, but there are still good films. I would like to find people that dedicate more time to encountering good African films and that understand the art that is in these films, and who want to make it a necessity to achieve this African content.

7.    What politicians are adopting producers and distributors in the face of piracy? What would have to change so that the diaspora would be able to gain access to these different films?

Piracy is not only a problem in Africa, therefore there would need to be a collective support to stop it. Likewise, there should be a fight against the traffic of films of other countries in our circuits and vice versa. The key is in structured distribution: that our films will be available in normal stores, in the appropriate wrapping, localized as commercial works.

8.    Have initiatives like that of the Africa Magic television channel become priorities so as to expand the industry in the African continent?

There are two sides to every story, and this matter is similar to what occurs with piracy, that on the one hand, we have become very popular and we have been given a great visibility, but that on the other hand, it does not yield a profit for us. With Africa Magic, it has been the same: we have become very popular, but the rights have not been paid. I have a great deal of respect for the channel, as well as for Hamida Suliman, but I think that there is work to be done for it to better distribute African film. Once this change is achieved, it would establish the first step in order to begin to show African film.

June 2007. Interview with Iranian director Jafar Panahi

June 2007. Interview with Iranian director Jafar Panahi: “My films are not shown in Iran and I have not had the opportunity to be in a theater to see how they react, but I know that copies circulate illegally and that they support them.”

“A deep look, with thought, is not something free and easy to sustain”

Jafar Panahi (Iran, 1960), father of award-winning titles such as The White Balloon, The Mirror, The Circle and Off Side, has received awards such as the Palme d’Or at the Cannes Film Festival, the Silver Bear in Berlin or the Lion of Gold in Venice. He talks with Cines del Sur about his way of working, about the difficulties of creation in his country and about his visit to Granada.

What are the margins in which a filmmaker moves in a country with strict censorship?

Although in Iran we have limits, when I make films I don’t think about them. Moreover, many times I challenge them. My source is social problems and those same limits. I have known how to live with the conditions that surround me and I have learned to fight saying what I really want to say through cinema. There are people who give in to difficulties and pressure, but this is not my case. I do not accept manipulation or blackmail.

Do you feel brave? Do you feel like you have to go to great lengths or “cheat” to tell the truth?

I don’t know whether to call it daring or bravery. It’s my way of working. The important thing is that when you are alone with yourself you do not feel ashamed of what you have done. And the truth is that every time I feel like I have something to say, I say it through a movie.

If the problem in Iran is that the border between what is permitted and what is prohibited is not always clearly defined, how do the creators position themselves?

In Iran, 70 films are produced per year, most of them with general, family themes, and 5% of a social nature

or poetic. The conditions are difficult and complicated but I am convinced that if we take the situation as it is now in Iran and take it to Hollywood, it would be impossible for them to produce 70 films. We have managed to live with this difficulty, overcome it and be able to do artistic and creative things. It is also true that when I spend a long time in Iran, I am very aware of the weight of censorship and I realize that I need to travel to see that it is not like that all over the world.

The images that reach us from Iran reflect an active and dynamic society. Do you think there are real opening possibilities?

They want to bring us to a uniform society and have everything under control; The political class takes advantage of people’s religious and ideological beliefs to impose a single ideology, but no society remains stagnant. There are good moments and others worse, and something always changes over time. That is why it is nonsense to think that with a war or with an intervention things can change. You have to give people time to change their way of thinking and understand that censorship is not going anywhere, that you have to be tolerant and respectful of the beliefs of others.

Some of your films are metaphors about the situation of women in Iran. What response do you have from women and men as an audience?

My films are not shown in Iran and I have not had the opportunity to be in a theater to see how they react but I know that copies are circulating illegally and that they support them.

Do you identify with any type of cinematography in particular? What kind of cinema do you see?

I see everything and I enjoy the product beyond the director and the country of origin. I don’t know if, unfortunately or fortunately, in Iran there is no copyright control, so the films are copied a lot and circulate quietly among the people. It is easy to find all kinds of cinema thanks to this clandestine circulation. Before, it was impossible.

As a jury of a festival, with what look do you assume your role?

Judging and being fair is very difficult because there is always a component of subjectivity. In cinema you cannot put a parameter or a measure. Maybe I don’t like a movie but I can think that this director in the future can make good movies.

What do you think about an initiative like “Cines del Sur”?

If those responsible for this city decide to protect this festival, there is no doubt that the benefit will be for everyone, culturally and economically. After all, the first thing a film festival does is promote the city and its culture and put it on the map.

How do you expect the day when a film of yours will be distributed in Iran?

Every time I make a film I say, ‘I’m sure this one is cool, they’ll let me release it…’ (laughs) I make all kinds of efforts to make it that way. What happens is that in addition to having a project to film I always think, will they let me live with this idea, will I be able to make this film or not? Therefore, what matters most is, at least, being faithful to the angle through which you look, count things and decide on them. A deep look, with thought, is not something free and easy to sustain.

 

Original Article:

“Una mirada profunda, con pensamiento, no es algo gratuito y fácil de sostener”

 

 

Jafar Panahi (Irán, 1960), padre de premiados títulos como El globo blanco, El espejo, El Círculo y Off Side, ha recibido galardones como la Palma de Oro en el Festival de Cannes, el Oso de Plata en Berlín o el León de Oro en Venecia. De su manera de trabajar, de las dificultades de la creación en su país y de su visita a Granada habla con Cines del Sur.

 

¿Cuáles son los márgenes en los que se mueve un cineasta en un país con censura estricta?

Si bien en Irán tenemos límites, cuando hago cine no pienso en ellos. Es más, muchas veces los reto. Mi fuente son los problemas sociales y esos mismos límites. He sabido vivir con las condiciones que me rodean y he aprendido a pelear diciendo lo que realmente quiero decir a través del cine. Hay gente que ante las dificultades y las presiones cede pero no es mi caso. No acepto la manipulación ni el chantaje.

 

¿Se siente valiente? ¿Siente que tiene que hacer muchos esfuerzos o “trampas” para contar la verdad?

No sé si llamarlo atrevimiento o valentía. Es mi manera de trabajar. Lo importante es que cuando estés sólo contigo mismo no sientas vergüenza de lo que has hecho. Y la verdad es que cada vez que siento que tengo algo que decir lo digo a través de una película.

 

Si el problema en Irán es que la frontera entre lo permitido y lo prohibido no siempre está definida claramente, ¿cómo se ubican los creadores? 

En Irán se producen 70 películas por año, la mayor parte de temas generales, familiares, y un 5% de carácter social

o poético. Las condiciones son difíciles y complicadas pero estoy convencido de que si cogemos la situación tal como está ahora en Irán y la llevamos a Hollywood, sería imposible para ellos producir 70 películas. Hemos conseguido convivir con esa dificultad, sobrellevarla y ser capaces de hacer cosas artísticas y creativas. También es verdad que cuando paso un tiempo largo en Irán, soy muy consciente del peso de la censura y me doy cuenta de que necesito viajar para ver que no es así en todo el mundo.

 

Las imágenes que nos llegan de Irán reflejan una sociedad activa y dinámica. ¿Cree que hay reales posibilidades de apertura? 

Quieren llevarnos a una sociedad uniforme y tener todo bajo control; la clase política se aprovecha de las creencias religiosas e ideológicas de la gente para imponer una única ideología pero ninguna sociedad se queda estancada. Hay momentos buenos y otros peores y siempre algo se va modificando con el tiempo. Por eso es una tontería pensar que con una guerra o con una intervención pueden cambiar las cosas. Hay que dar tiempo a que la gente cambie su manera de pensar y entender que con la censura no se va a ninguna parte, que hay que ser tolerantes y respetuosos con las creencias de lo demás.

 

Algunas de sus películas son metáforas sobre la situación de la mujer en Irán ¿Qué respuesta tiene de las mujeres y de los hombres como público?

Mis películas no se proyectan en Irán y no he tenido la oportunidad de estar en una sala para ver cómo reaccionan pero sé que circulan copias de manera ilegal y que las apoyan.

 

¿Se identifica con algún tipo de cinematografía en especial? ¿Qué tipo de cine ve? 

Veo de todo y disfruto del producto más allá del director y del país de origen. No sé si desgraciada o afortunadamente en Irán no hay control del derecho de autor con lo que las películas se copian mucho y circulan tranquilamente entre la gente. Es fácil encontrar todo tipo de cine gracias a esa circulación clandestina. Antes, era imposible.

 

¿Cómo jurado de un festival, ¿con qué mirada asume su papel? 

Juzgar y ser justo es muy difícil porque siempre hay un componente de subjetividad. En cine no se puede poner un parámetro o una medida. Tal vez no me guste una película pero puedo pensar que ese director en el futuro puede hacer buen cine.

 

¿Qué opina sobre una iniciativa como “Cines del Sur”?

Si los responsables de esta ciudad deciden proteger este festival, no cabe duda de que el beneficio será para todos, a nivel cultural y económico. Al fin y al cabo, lo primero que hace un festival de cine es promocionar la ciudad y su cultura y ponerla en el mapa.

 

¿Cómo espera el día en que una película suya sea distribuida en Irán? 

Cada vez que hago una película digo, ‘seguro que ésta cuela, que ésta me dejan estrenarla…’ (risas) Hago todo tipo de esfuerzos para que sea así. Lo que pasa es que además de tener un proyecto para filmar siempre pienso, ¿me dejarán convivir con esta idea, podré hacer esta película o no? Por eso, lo que más importa es, al menos, ser fiel al ángulo a través del cual miras, cuentas las cosas y decides sobre ellas. Una mirada profunda, con pensamiento, no es algo gratuito y fácil de sostener.

Prizes of the Fifth Edition of the Granada International Film Festival Cines del Sur

The Official Jury of the 5th edition of the Granada Film Festival Cines del Sur, Ivan Giroud, Xialou Guo, Raj Kumar Gupta, Isaki Lacuesta and Basel Ramsis, following careful deliberation has unanimously decided to award the Festival Prizes as follows:

· Golden Alhambra:
Jeon Kyu-Hwan, for Dance Town
For its precise and forceful telling of the story of a female character who is trapped in a divided country.

·Silver Alhambra:
Masahiro Kobayashi, for Haru’s Journey
For being able to tell and give expression to universal conflicts, such as those linked to family values and generational differences, in a simple and human way.

·Bronze Alhambra:
Aktan Arym Kubat, for The Light Thief
The Jury Values the work of the director for his ability to convey a very simple, local issue that represent a metaphor of the reality of a whole country.

Special Mention:
Ahmed Abdalla, for Microphone
For its profund social commitment that, in a fresh and natural way, puts foward a series elements that allows us to better understand the country’s political reality.

The Jury of the 5th edition of the Granada Film Festival Cines del Sur would like to highlight the work of latin american filmmakers Rodrigo Guerrero and Yulene Olaizola, who have chosen to use a new approach to look at the world around them.

In Granada, 10th June, 2011.

Don’t miss our round tables, talks, colloquia and presentations. Want more information?

1) *TEATRO ISABEL LA CATÓLICA: from Sunday 5th toThursday 9th, at 7:30 p.m. and 10 p.m.

There will be presentations accompanying the two sessions in which the films competing for the Alhambra Prizes are screened.
After the screenings there will be a colloqium with the audience.
At these sessions you can cast your vote for the Audience Prize.

 2) *FILMOTECA: Tuesday 7th, at 5:45 p.m.Presentation of the book about the Argentine documentary maker Andrés di Tella.
Participants: Andrés di Tella, Mirito Torreiro, Programming Director of the Festival, and Isaki Lacuesta, member of the Official Jury of this year’s Festival.
After the presentation of the book, Andrés di Tella will present the film Fotografías.

3)* UNIVERSIDAD: FACULTAD DE COMUNICACIÓN: Wednesday 8th, at 12:00 noon
‘Between the individual memory and the collective memory. A dialogue with Andrés di Tella’.
The Programming Director, Mirito Torreiro, will interview the Argentine filmmaker Andrés di Tella. Afterwards there will be a dialogue with the audience.
Free admission while seating is available.

4) *FUNDACIÓN INSTITUTO EUROÁRABE (address: Calle Cárcel Baja, 3)  on Wednesday 8th, at 7 p.m.

Presentation of the Round Table entitled ‘The Arab uprisings as seen by their filmmakers.”
Participants:
-the Egyptian filmmaker Ahmed Abdallah, director of the film Microphone, which is part of the Festival’s Official Section.
-the Egyptian filmmaker Basel Ramsis, member of the Official Jury of this year’s Festival.
-the Moroccan producer Fouad Challa, whose film Pegasus is competing in this year’s Festival.
-the Director of the Al Jazeera International Documentary Film Festival, Abbas Arnaout.
-José Sánchez Montes, filmmaker and director of Cines del Sur.
-Moderated by the Director of the Euro-Arab Institute Foundation, Manuel Piñeiro Souto.


5) *TEATRO CAJAGRANADA, Wednesday 8th at 9:30 p.m.

Presentation of the film No One Killed Jessica, part of the series ‘Bollywood in black’, by its director Raj Kumar Gupta and by Gloria Fernández, one of the Festival’s Programmers.

6) *PALACIO CONDES DE GABIA: Thursday 9th at 8 p.m.

Presentation of the series ‘More Human Factor’, dedicated to the figure of Juan Bialet Massé, a Catalan who emigrated to Argentina in the mid 19th century and became an early advocate of the regulation of working conditions in Latin America.
The documentary film Bialet Massé. A century later will also be presented.
Participants:
-Jaume Llacuna Morera from the Spanish Ministry of Labour and Immigration.
-Alfredo Menéndez, professor of the History of Science at the University of Granada.

We are waiting for you there.

The Festival’s closing ceremony

The Festival’s closing ceremony will take place on Friday and we will find out which films the Official Jury has chosen as the winners. But on Saturday there will still be screenings at the various venues. Enter to find out more.

ISABEL LA CATÓLICA THEATER

  • 17:00 Closing Ceremony. Late Autumn. South Korea / Hong Kong / EEUU. 2010. 115’
  • 19:30 “Silver Alhambra” award-winner film screening. Sección Oficial.
  • 22:00 “Golden Alhambra” award-winner film screening. Sección Oficial.

FILMOTECA DE ANDALUCÍA

  • 16:30 Section Retrospective FESPACO. Teza. Etiopía / Alemania / Francia. 2008. 140’
  • 19:00 Section Memory of the south. Redes. México. 1936. 65’
  • 20:10 Section Itineraries. The Lightning Tree. Japón. 2010. 133’
  • 22:30 Section Itineraries. Mama Africa. Sudáfrica / Alemania / Finlandia. 2011. 90’

CAJAGRANADA THEATER

  • 17:00 Section Retrospective FESPACO. Drum. Sudáfrica. 2004. 94’
  • 19:00 Section Retrospective Bollywood in black. No One killed Jessica. India. 2011. 136’
  • 21:30 Section Retrospective Bollywood in black. Raajneeti. India. 2010. 163’

“Flower in the Pocket”: a film about motherless children

“Flower in the pocket” is the film by the young Malaysian director Liew Seng Tat (1979) that has been awarded at the Pusan ​​and Rotterdam film festivals and will be presented this month at the “Cines del Sur” contest in Granada.

And what is this movie about? In Japan there is a curious custom: Mother’s Day is commemorated with flowers. According to tradition, flowers of two colors are offered, the white symbolizing death and the red one for life.

With this starting point the director wanted to make a movie about two children on the trail of that maternal figure, but with the passage of time he changed his mind, and finally it is about children who were not even aware of her existence. That is why the mother became the background of the story: the tale of two motherless children and their complicated life with a father who is addicted to work and neglects them.

A hard subject where they exist and it will be necessary to see the movie to discover how he has dealt with it and what conclusions he has drawn from the unstructured families. A priori, the film seems optimistic.

Regarding filming with children, the filmmaker stated in an interview that although for others it is problematic because they have to be disciplined at work, for him it has been positive because he learned to be more flexible and this completely changed his concept of filming. a film. Well, for these sensible statements and for the daring choice of the subject, I bet on this boy and I wish him the best of luck in his work.

How to help your child overcome nighttime fears

Young children, especially between the ages of three and six, often wake up at night and come to us in shock for our protection. Nighttime fears lurk when the light goes out and they go to sleep, and nightmares and night terrors are normal.

Fear is an emotion that children should experience, but it is important that they know that we are by their side so that they go through it. We give you some tips to help your child overcome his nighttime fears.

Nightmares and night terrors

Before continuing we must differentiate between nightmares and night terrors. Nightmares are a very scary dream, followed by a full awakening.

On the other hand, after night terrors the child may appear to be awake, but in reality it is a partial awakening from a very deep sleep phase. He may even scream and move while he’s having her, but then he doesn’t remember what happened.

These episodes are very common in children, in fact feeling fear is not bad, since it is also part of the learning that helps them evolve and better cope with the situations that arise.

Through dreams we channel everyday experiences and the emotions that they produce in us. In children in the middle of the stage where monsters and terrifying characters occupy a lot of their thoughts, it is normal for them to revive them in their dreams. On some occasions, fears are motivated by situations that distress them such as a move, separation from parents, change of school, etc.

How to help them overcome nighttime fears?

What can parents do to help them overcome these fears? It is clear that we cannot control their dreams, so it is inevitable that they will suffer from them. But we can take into account certain routines to try that the child has the most pleasant sleep possible.

We can, for example:

● Designate a protective stuffed animal to take care of at night.

● Create some made up character like a good fairy who comes at night and takes the monsters away or this monster scare spray idea which is great.

● Do not scare them with the man with the bag, or the black hand, or the bad witch, or that kind of nonsense. Help him differentiate fiction from reality.

● Demystify how terrifying monsters can be, by telling them stories about good monsters or good witches, or for example through films like Monster’s, which I think is a good idea to address the issue of fears in children.

● Bedtime routine also plays a role: Create a cozy, relaxing environment with soft music and soft lighting.

● You can leave a night light on in case your child wakes up at night.

● Prevent him from watching movies with violent scenes before going to bed. Instead, read a nice bedtime story to him.

● Talk about the bad dream the next morning and explain that there is nothing to fear, that monsters do not exist and that Mom and Dad are there to take care of it.

Despite all precautions, one night the child will wake up in fear. Do not minimize the feeling of him by saying things like “it is not true” or “do not be scared”, for them feeling fear is important and they need the parents to be there to take care of them and reassure them.

They don’t get braver by not comforting them. The bad things in life will always be there, and even if we wanted to, we cannot prevent our children from suffering. But the important thing is to show them that we are there to accompany them until they pass.