tv Arts.21 Deutsche Welle March 9, 2019 8:30am-9:01am CET
it's the combo of tea from soup. to. add various causes into active exercises that are talking about it. on facebook and they are still. going for free w. . young filmmakers worldwide are grappling with their realities by researching questioning what they seek to expose social ills resistance using the power of film we meet up with five filmmakers whose themes include poverty social unrest.
alienation from nature and the legacy of war. uses his camera to fight suppression of the past he wants to wake up his home country mozambique i know he's crazy to think that images can change people but i believe so otherwise will be gleaned this american director said young confront systemic racism in the u.s. . our government should never be against its people or governments in our between its people as enemy combatants. are we becoming from the natural world this is a topic that occupies peruvian enemy. for good but we come from that sure on that when we die we go back to nature. lebanese cameraman christopher our own and german film editor constantine bach collaborated on a haunting film about child poverty in lebanon. seeing those things on set every
day that's what makes you want to make that movie because it's something that the world doesn't see or doesn't want to see. resistance young filmmakers aiming to change the world in arts twenty one special. we met up with five film activists at barely knowledge talents twenty nineteen the platform for young filmmaking talent at the berlin film festival the barely know i. you know does so cost is from mozambique he was born in the capital my puto a bitter civil war raged in mozambique for nearly sixteen years starting in the late one nine hundred seventy s. two opposing political groups the mozambique liberation front and the mozambique a national resistance fought for power hundreds of thousands of people were killed i. was a child at the time back of the days we used to spend the summer in my
grandmother's feel a change i remember being awake in the middle of the night. you know in the heat of bombings and gunshots all over again and i asked my grandmother why are these this noise and she said it's only fireworks a peace accord was signed in one thousand nine hundred two but the history of the bloody period has not been dealt with instead it has been repressed that's one of the demons kasih confronts in his films. western somebody comes from we can feel them. see if you have been. seized i mean that they get. more space to move. the fleet up in. just
a few things that are all. coming on of the dead tell no tales it's short film which is basically a story of. anti euro weise going back to ease home village to encounters himself with his memory or to listen to stories of the old jamba a storyteller but finds him deaf and. in newt i mean and then he realized he has no one else to tell him stories. with. a mission that spared this. young adult studies
a lot of fun. to get to. it's it's more of a metaphor and how people or how the storytellers are kind of missing or disappearing in in african societies would we have mostly the storytellers hosts the people who pass memories through asian racial so generations and it's also a way to revive it. distribution of telling stories around the campfire which is getting lost in mozambique. from mozambique to the brazilian jungle this is the setting of eloise to leo's animated film. this theme is respect for nature the rhythm of life everything is part of
a cycle he wants to stop the elder stories from disappearing from collective memory . who was born in peru uses his drawings to pose key questions the starting point of any mission it's imagination it's in your head and i think that triggers many things in the audience with you know how far rio subject in front of the comma. we have chance. of life and the perception of that. for you. the girl who must understand. the death of her grandfather. in an ancient ritual the grandfather will make his way
into the next world playing the flute he will die but can't accept this and steals the flute. most of the films that i do revolve around death and the reason is that we don't pay enough attention to nature i think to the earth itself i think of the earth character and everything in everything we do the nature of the place we leave the air we breathe and i am not a documentary filmmaker so i wanted to do it you know poetical passionate way. in the course of the short film learns to accept the cycle of life.
music plays a major role in way of giant. musician ttyl arose and agreed to work on the project. is improvised sounds give the film its atmospheric soundtrack. something. i explained in what what the film was about and he was very moved because he's sixty something years old and he had just had a child so he was very moved because he identified with the grandfather of the fuel and then he performed the trucks and kind of did very organically. other ways to use award winning film has been shown at some one hundred fifty
festivals worldwide. and we forget dead meat come from nature and when we die we go back to nature and i wanted to show the. way in a scenario where we are really close to nature and so i chose an indigenous stripe living amongst giant trees to reprise send and represent something growing in the place of the person who dies. with the death of your grandfather and his transformation into a tree of life and death merge into a harmonious circle of nature. some
buffalo yun finds her themes in the here and now the american filmmakers work is driven by rage and resistance. she grew up in los angeles and her childhood was characterized early on by a sense of differences of exclusion and insurmountable barrier. when i was about eight or nine and i started to see some of the problems that exist in american society and i was really confusing curious you know why were all the black people in one area and why people in a different area and why don't all the black people you know work at the grocery store or not at the bank and you know these kind of questions came into my mind at a really early write. down like.
when you write that are there twenty fourteen demonstrators and police faced off in the streets of ferguson missouri. oh my god. michael brown jr was killed. he was eighteen years old and he was gunned down by a police officer cars. i know you. really. like. and i get out there and it's just i mean total chaos the police had you know huge rifles that they were shooting rubber bullets and tear gas and pepper spray and people are running and protesting in their tanks tear gas and a few people who. said
she couldn't help but be affected by the growing tensions while filming. she aims to reveal systemic racism in the u.s. so her documentary is intentionally one sided yet it also shows the power of peaceful protest one of the scenes from whose streets that sticks in my mind the most is the night when it was announced that darren wilson would not be indicted for killing my pro jr our investigation has been completed the grand jury determined that no probable cause exists to file any charges. on each of the five night. no one had anything by that point in the system but how were people going to react were there going to be riots or was it going to be peaceful protesting. from the first day that we felt we realized that this was something that this was important and that we had to keep going. to fix it hoping
for starting. point. there are a lot of questions about why we were out there and. to educate her on how things have never been right for black folks in america. and this is what we have to do. the director got close to the activists showing us their daily lives and how unsettled they were by the situation in the u.s. the documentary received much attention after premiering at the sundance film festival in two thousand and seventeen. i want to thank for herself. and. democracy that is right. and they cannot be taken away. we have not as a country responded to the horrors of our history and as a result those ideologies have continued to live underground and now they're starting to come to the surface with
a president who is sympathetic to them and you know people who have been having to kind of claw their way up from the by. now at a point where it's still a struggle but we have enough of a voice that we can speak for ourselves. but what about those who can't yet speak for themselves who are too young and vulnerable the oscar nominated feature film comparing them focuses on children who are struggling just to survive living in poverty in the slums of beirut. german editor constantine bokken lebanese cameraman christopher only had a major influence on the film we caught up with him at barely knowledge talents. comparing them shows us children with no childhood it's the life story of twelve year old zane. all the fees all god. does love i mean can't just keep. it living i
mean. would you like with. drugs or should. i live with a heart for you the surgeon i sure don't know. but did you get a. leather jacket. on with enough money. to buy. a boy who wishes he'd never been born but he's not alone the filmmakers spent three years doing research for this film and children suffering was omnipresent it was the moment when you realize that the fiction that we're doing that the reality is surpassing the fiction that we're doing and that made everyone realize how important this fictionalized version that we're creating here is and that these topics do need to be talked about. you would see
those goods on the streets everywhere you would see families also between lanes and like on the highway you're just just. ignore them you just treat them like their moods or. like ghosts that don't exist but they're everywhere. in the film scenes only close relationships with his eleven year old sister then his parents sell her off to a grown man for a few chickens zain runs away the start of an odyssey into the unknown. she finds a home with right heel and ethiopian woman living illegally in lebanon with her baby eunice there's a life on the run without papers or rights. but it's not the story which makes comparing them so unusual it's how director nineteen labaki and her camera man christopher own tell it in a way that's raw direct and real much a shot from a child's perspective. had developed. which would have the come
or lower. so i would hold that. my ways but the camera would be even lower but still i had to need and a lot of times the camera had to be almost over like p.v. was on two meters over the floor. for director love a key it was important that the story be as authentic as possible the actors all amateurs cast on the street essentially play themselves in real life zane fled syria with his family the story was changed in the making that's why the dean wanted to have me editing on sat next to her to influence to see the film come to life in real time because it was shot chronologically and we could decide we had the freedom to decide on a day to day basis what are we going to shoot next. shoot took six months and produced more than five hundred hours of material in twenty eighteen comparing them
did viewed at khan where it won the jury prize this year it was nominated for an oscar as best foreign language film in the film same cares for heels baby you want to use their interaction is very moving. but for christopher alone and constantine book awards i'm so important they want to change things. it's easy to blame people but it's much harder to understand why they act the way that they act what is wrong with the system that makes them act this way how were they brought up to act in this way and that's something that was very important to us in the film to. to not easily point fingers and to blame his parents in the story for example but to make people understand that this is part of a bigger issue and it's first and foremost a structural problem. in a jail so costs are also shows why people act the way they do he hopes his films
will find an audience in his homeland that mozambique ans will be ready to remember their past. i'm not a political filmmaker because you know your first mission it's to tell a story that you're passionate about when of course i realize that my films are always related to come one team which which is memory and collective memory in. specific my country mozambique this was also the implied theme of his first feature length documentary a memory in three acts here eye witnesses recall history that doesn't appear in mozambique in schoolbooks.
we do see i don't. say she should i do with the. idea that. i used to go. sure i see. elements of our colonial east to read that people tend to be. and i was able to wake them in. and bring them into the story of film. school very much more by headed to be that have been that it is that they don't think it's going to work. and though i switched my size around them this is not. the mother the grandmother lives in. a memory in three acts has been screened at festivals worldwide and showered with prizes but carr says greatest wish has yet to come true. the audi has said i made
this film for its mozambique and they didn't see the film yet i don't have cinema to show the film to america marshall screening but i really really really want the people who was to make to see that film in the way i want to have the feedbacks because i believe it's very important film to show there and i'm working on that i will try even if i just need to show it like an hour door cinema and make some on the ground screening. elouise still doesn't face such distribution issues the peruvian lives and works in brazil unlike mozambique brazil has plenty of cinemas. way of giants is a short that runs just twelve minutes julio is now preparing to make his first animated feature but is struggling to find financing partly due to brazil's recent
change of government. the situation in brazil is a little bit tricky we have a new government who are. far right so we are not sure what is going on nobody really knows what's going on and it's kind of like a wild card and one of the first things the president did was close the ministry of culture or among other things. but lucky for us the film business is very strong so i don't think it's something that is just going to do and even if they tried to do that i'm sure we were reverted we will fight for it. so fully on plans to keep fighting to the success of whose street has only strengthened her conviction since donald trump took office she's spoken out against sexism as well i started to really notice the difference in the way that men and women are treated in the things that we have
access to in the culture and hearing all the stories from women about assault and how common it is and even realizing situations that i've been in that have been extremely uncomfortable that i didn't even know that i should be able to speak up for myself because no one had ever taught me you know how to set those boundaries or taught me that i was a right to feel uncomfortable. or next project will be a feature she worked on the idea while taking part in berlin talent it's about a young woman who gives motivational speeches during the apocalypse and the idea came to me because i feel like it's sort of my story in a way after doing who's streets and going around the country speaking about the film during this trump. i find myself having to dig deep to find what is hoped for and where the possibilities when people were feeling so frustrated and so afraid and so down about the political landscape and so that inspired me to think
you know what if we took this to the extreme. constantine book and christopher our own didn't win an oscar but comparing them has made a real impact and for them that's better than any war. refugees they know has a promising future u.n.h.c.r. resettlement program has found him and his family a new home in norway. since parents him and his three siblings are living in hammerfest in the north of norway now and he's going it's incredible he's going to school for the first time in his life he's learning norwegian he has a passport i mean he's registered for the first time in his life he has a birth certificate that he didn't have before. so our five filmmakers plan to keep on making films that could change the world. i don't propose to offer answers. i'm not trying to teach anyone anything i'm just trying
to be brave enough to let people see the questions that i'm asking and the things that i'm grappling with. we make films because we want them to resonate with people whatever that resonance is. always a good moment when a nation and nation he said it's a craft. i believe. one hour of peace stand in the field in the cinema and watch a film. i mean film that really matters sui opes or. you know a piece of truth that. that we will take home and we will reflect. on tomorrow.
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play. play. this is deja vu news wire from more people taking to the streets and algeria police arrest nearly two hundred people as clashes break out following huge demonstrations calling for the country's leaders to step down the building look at the latest. also coming up venezuela is struggling to recover from a huge power outage as a power struggle of a different kind of continues the country's opposition leader is demanding the elections but the president isn't backing down. and the women who document more of a new exhibition.