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That the short film seemed feature-length in the end is due neither to the suggestiveness of the interview nor to any of the exquisite details or the cleverly dosed score. The fun of it is their connection, the sophisticated space that allows for approximation and mutual respect. And the way David Lynch acts within this space: the "what's-happening" dramaturgy created via the back view was not arranged but was what he brought as a "present" (A. Jurek). His mystic appeal is broken by a privacy that makes you laugh in disbelieve. (spex - magazine for pop-culture/ September 2003 / Text: Doris Achelwilm)
An "exceptional but convincing and experimentally slightly estranged form of interview" (Hannoversche Allgemeine Zeitung - daily newspaper/ 26. June 2003 / Text: Ernst Corinth)
Subtly "Does that hurt you?" develops from a sometimes linguistically confused and slightly ludicrous dialogue to a lynchian commitment to film-making and arts, which is exceptional in its minimalism and captivative clarity. (“UnderDOK” Leipzig - festival / October 2003 / Text: Sylvia Glauche)
The director is honest and brave enough to not cut out trivial bits or misunderstandings (…) As Jurek abstains from critical questions, Lynch seems to open up. We never saw Lynch as friendly and likable as here. It's a pity that "Does that hurt you?" only takes 30 minutes – an informative and imaginative as well as surprisingly intimate film. (“Splatting Image” - independent film-magazine/ December 2003 / Text: Jörg Stodolka)
To create an impregnable Maginot Line on Germany's eastern front, Adolf Hitler built the "Oder-Warthe Crescent", a gigantic underground system of bunkers connected by miles of labyrinthine passages. But by 1945 only twenty miles of it had been built. Now this system is a haven for spelunkers. Equipped with caplamps, ropes and self-made maps, three men from the town of Loebau in Saxony clamber through the monstrous fortifications to explore their every nook and cranny.
Inta Ruka is a photographer well - known in Latvia. She was one of two Latvian photographers invited to take part at the international Stockholm project for photography Under/Exposed on the eve of 1999. The biennial in Venice, the recent exhibition at Riga Gallery… But on weekends and summer holidays Inta, as usual, will travel to farmsteads at the remote parts of Latvia or walk through the suburbs of Riga taking pictures of her country people.
"I started to make my photo series, "My Country People", in 1983. The theme of my photographic researches is the region my parents lived - Balvi district. I am interested mainly in portraying country people in their natural environment with their familiar things around, feeling safe and comfortable," says Inta Ruka.
As to the photographer herself, in spite of the international success of the recent years she has been working as an office-cleaner at the Embassy of Sweden for nine years and the ambassador allows her to devote one day a week for photo.
Inta is not a Bohemian type. Her family has always been quite poor. Her mother could not find a job for a long time after returning from the deportation in Siberia - she worked as a janitor, later as an office-cleaner. The father died in his young years leaving Inta living with her mother in their small, one-room janitor’s flat. After finishing a vocational school Inta worked as a tailor at later - as a laboratory assistant at the institution of a hospital where she had the possibility to develop her pictures once a week.
This will not be a portrait in film of the photographer Inta Ruka. Inta will rather be the co-author of a film about people taken in her pictures, their life and destinies after the years of the Communist rule, about the attempts of these marginal folks to try to find (or not) their place in the newly-formed post-totalitarian society requiring the freedom of personality and defending one’s individuality.
Inta is doing a lot of talking to the people she is taking in her the pictures, as Latgalians are talkative. To find a common language she has to give them a hand at work as well as drink some of their strong homemade beer.
In the course of conversation a person is asked for a permission to have his or her picture taken. In order to do that one should sit still but talking to Inta is so interesting and everyone feels so free that it succeeds. Inta says she can make a photo only of a person sitting, standing or laying still. Besides only the natural circumstances and lighting (!) makes one feel free.
Inta takes photos with an old camera on a stand, looking in her camera from the top. Her first camera, the Soviet Zorkij, was a present from the mother in the 70s when Inta finished school. The second one, 1936’s Rolleiflex, was bought in 80s for the money mother saved for her funeral. In 1999 Inta buys her a new one - this time it is Rolleiflex, made in 1950s.
It is important to add that Inta is taking only black-and-white pictures.
Inta Ruka’s portraits are an attempt to reveal people in the world and to reveal the world in people. It is also an attempt to approach the most important and eternal questions.
The Structure of the Film.
The material shot by us will be arranged in eight stories, each from five to seven minutes long, each following some unusual destiny of one family or a person from birth till death… Inta’s portraits in photos as well as their own comments will unite these life stories.
There could appear interesting compatibility or, just vice versa, incompatibility among the possible manner of event reports, color film shots, editing of the black-and-white still photos, as well as all the possible kinds of the original sound in the filmic parts and the contrasting sound score in the episodes with still photos. This possibility of contrasts not only in the contents but also in form will help to keep up the constant interest of the audience. Optimism, humor, irony and self-irony, blending of paradoxes characteristic to Inta herself will provide for the prevailing atmosphere and style of the film.
Inta, her life story and her commentaries upon the fates of people, revealed gradually, will be the leading story line of the film pulling the plot together and bringing it from the beginning to the end.
In „Small Fish“ beobachtet die ethnografische Filmemacherin Katharina Kurz die eigene Welt von Bapi Ray. Bapi ist ein kleiner Fisch im großen Meer des Konsumhandels. Er scheint nicht gerade glücklich über seinen Laden am National Highway in Orissa (Indien). Korruption und Geldnöte lassen ihn zweifeln. Die weiße Freundin hinter der Kamera scheint ihn aus seiner lethargischen Haltung zu befreien.
Trickfilm ist sein Traumberuf, hunderte von witzigen Figuren und Filmen hat er geschaffen: Gerhard Fieber ist einer der ganz Großen des deutschen Zeichentrickfilms. Er war künstlerischer Leiter der deutschen Zeichenfilm GmbH, die den deutschen Trickfilm auf Disney-Niveau bringen sollte. Er hat u.a. die Mainzelmännchen ans Laufen gebracht, den ersten gezeichnet. Ein unterhaltsamer Rückblick auf 50 Jahre Trickfilmgeschichte mit vielen amüsanten Ausschnitten.
After 4 years of renovation in the Grassi Building in Leipzig the collection of the ethnographic museum is moving back. The long term observation follows the daily work in the museum during the move and the rebuilding of a new exhibition. During this process we get to know some of the staff and are confronted with some principal questions as the origin of the objects, the gathering of collections, exhibition concepts, the raison d'etre of an ethnographic museum and the GDR past. The spectator gets a glimpse behind the sceneries which usually is hidden from a museum's visitor.
Alexander Taxildaris is 25 years old. He was left a quadriplegic after a diving accident four years ago. Since then, he has been swimming competitively. In order to transform his handicap into an opportunity he is participating in the Athens 2004 Paralympic Games. In the swimming-pool, Maria, his coach, is training him harder and harder. She is anxious, and all this pressure makes her very emotional when unexpected situations occur, but she wants to believe in a medal. Alex, on the other hand, is more self-controlled and pragmatic. His family and friends are strongly united around him.Will he win the medal that everyone is hoping for?
"Resurface follows a young man who became a quadriplegic in one accidental, devastating dive. He wins a medal and gets a girlfriend at the 2004 Paralympics in Athens. The scenario can be too uplifting, but the filmmakers do show us the first two races in which Alex does not place before he earns the silver, as well as his girlfriend's describing the enjoyment of and obstacles to their lovemaking. Resurface stays grounded in the details of its hero's life, from its comparison of a dog paddling through the water to shots of Alex lowered in and lifted out of a swimming pool." (Gabriel M. Paletz, IDA)
[In Greek, with English subtitles]
"A brave, unflinching and willingly unpopular and unsavory film showing the most brutal face, and the muscle, of Putin-era Russia, cavorting on a summer beach. " Leas-OCP Giúiré Joris Ivens, IFDA 2006.
Chuile mhaidin le 25 bliain anuas bíonn an grianghrafadóir oidhreachtúil trá Eugeniy agus camall s'aige ar a mbealach dá ngnáthláthair oibre - trá ar chladach na Mara Duibhe, domhan daoine lomnochta. Daoine NOCHTA, le bheith cruinn faoi, san uile bhrí atá ag an fhocal - ainmniúil agus fáthchiallach. Léiríonn an scannán raidhse carachtar a thugann cruth do phortráid shainiúil den domhan daonna a maireann muid ann. Tugtar cur síos ar idir íoróin agus dúbhrón, ghlantacht agus ghanntanas, scéalta grá agus fill, bheatha agus bhás, le linn a bhforbartha. Le ceithre bliain anuas bhí Vitaly Mansky i mbun taifeadta ar "Broadway. Black Sea" ar an trá chéanna. Anois casfar roinnt laochra ón scannán seo roimhe sin "Wild, Wild Beach" arís.
1911 kommt Eva Sandberg als Tochter eines jüdischen Arztes in Breslau zur Welt und wächst in Bad Landeck, einem schlesischen Ort im heutigen Polen, auf. Als Kind hat sie einen Traum: Einmal wird der Kaiser von China um ihre Hand bitten. Nach einem Fotografiestudium in München und einem Aufenthalt in Stockholm reist sie 1934 in die geheimnisvolle, unbekannte Sowjetunion, wo sie ihrer großen Liebe, dem chinesischen Schriftsteller Emi Siao, begegnet. Nicht ohne Angst folgt Eva ihrem Mann nach China. Verwirrende Lebensstationen für ein Mädchen aus bürgerlichem Haus folgen: Die Höhlen von Yan‘an Mao Zedongs Hauptquartier Anfang der 40er Jahre. Ein erbärmliches Leben in Kasachstan von 1944-49 ohne Emi. Dann das Wiedersehen in Moskau. Es folgen glückliche Jahre in Peking. Eva arbeitet als Fotografin, macht Filme und hat Erfolg. Eines Tages steht in Peking ein Gärtner vor ihr, bescheiden und demütig. Es ist Pu Yi, der letzte Kaiser von China. Während der Kulturrevolution werden Eva und Emi Siao im Beisein ihrer Kinder unter Spionageverdacht verhaftet und verbringen sieben Jahre in Einzelhaft. Emi erholt sich nach der Entlassung nicht mehr und stirbt 1983 nach langer Krankheit. Eva Siao lebt heute in Peking.