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IN KINO VERITAS

“Freed from the boundaries of time and space, I co-ordinate any and all points of the universe, wherever I want them to be. My way leads towards the creation of a fresh perception of the world. Thus I explain in a new way the world unknown to you.”
/Dziga Vertov/

For this year’s retrospective programme our artistic director Sonora Broka has delved into the blurry lines between documentary and fiction – the genres history remembers as cinéma vérité and direct cinema. This is a personal view on origins and a commentary on the influence these films and film-makers have had on the evolution of cinema in general. The fact is – the concepts these directions enlightened us of are still matters of discussion now that the genre of the contemporary film gets ever so elusive.

Claude is twenty-three; he reads and cycles a lot, is interested in politics, and tries to live aesthetically, but he is also lost in his own life. Barbara will soon turn twenty, she studies acting, believes she’s an optimist, wants to travel and live in Paris.

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Richard, an elderly businessman, suddenly leaves his wife and begins an affair with a younger woman. Meanwhile Maria, Richard’s wife, also meets and spends a night with a younger man. However, their attitudes towards what happened are radically different.

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The Soviet montage pioneer Dziga Vertov is best known as the author of “The Man with the Movie Camera” (1929) who captured the rhythm of modern life in the cities of the young Soviet State.

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The canon of the genre, the film ‘Chronicle of a Summer’, was a collaboration between the leftist intellectual Edgar Morin and the anthropologist Jean Rouch. Using an approach considered cutting-edge for its time, without shying away from revealing the camera and the filmmaking process itself, Rouch and Morin strived to create a reflection of reality as authentic as possible, bringing to life Morin’s concept of cinéma-vérité.

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The Canadian documentary filmmaker Gilles Groulx’s dexterous and dynamic camera follows three amateur boxers while they prepare for a tournament called “Golden Gloves”. A victory in the brutal contest is their hope to break out of poverty. In sincere conversations the boys tell about their love of boxing, dreams, and ambitions.

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