Since 1978, the international documentary film festival Cinéma du réel has been an outstanding international meeting point, where the public and professionals discover the current state of art of documentary films. The festival programs some two hundred films for its various sections, screened at the Centre Pompidou and other venues. One of the international film competitions is the First Film Competition for the Joris Ivens Award. The selected films and filmmakers of this Joris Ivens Award 2013 are: 

31st Haul by Denis Klebleev (Russia)
Atalaku by Hamadi Dieudo (France, Démocratic Republic of Congo)
Fiebres by Adrien Lecouturier (France)
Mirror of the Bride by Yuki Kawamura (Japan, France)
Rain by Gerard-Jan Claes, Olivia Rochette (Belgium, France)
Tchoupitoulas by Bill & Turner Ross (USA)
Terra de Ninguém (No Man’s Land) by Salomé Lamas (Portugal)
La Tierra Quieta (Still Land) by Ruben Margallo (Spain)

The festival will take place from March 21st till the 31st. The winners will be announced on Saturday March 30. The Joris Ivens Award is supported by Marceline Loridan-Ivens, the European Foundation Joris Ivens and the Association of Friends of Cinéma du réel.

Maria Bonsanti, former co-director of the Festival dei Popoli in Florence succeeds Javier Packer-Comyn called, after 4 years at the artistic direction of the festival, to other responsibilities in Brussels.

At the 17th of March, the Austrian Filmmuseum will be showing a film program about commercial films of avant-garde artists like Hans Richter, Joris Ivens and Johann Lurf. 

A lot of avant-garde artists worked both for non-commercial customers, like labour unions and idealistic groups, and for commercial customers at the same time. Moreover, a lot of innovations of the avant-gardist design and distribution established after it was commissioned by companies. Philips Radio (1931) is a good example of that: It is the first film with sound and the storytelling and the visual style of the film were both avant-garde. Ivens did this in all his commercial films: He always created and achieved a lot of freedom in his commercial films and because of that, these films were rather experimental and personal than suitable for advertisement. Read the the program: http://www.filmmuseum.at/jart/prj3/filmmuseum/main.jart?rel=en&reserve-mode=active&content-id=1219068743267&seldate=2013-03-17&curdate=2013-03-17

The opening day of the conference MAV 2012, will be about Joris Ivens. Several experts will speak about the film ‘L’Italia non è un paese povero’ of Ivens (1959).

At the the 15th, 16th and 17th of November, the conference MAV “materiali di antropologia visiva” (materials concerning visual anthropology) will be held. This is organized by the National Museum of popular art and traditions and the University of Roma ‘Sapienza’. Among the many experts and filmmakers they expect Daniele Vicari, Paolo Taviani, Virgilio Tosi, StefanoMissio and a few former representatives of the ENI (Ente Nazionale Idrocarburi), the employer of the film at that time. 

The tripartite television-documentary about the winning of gas and oil in Italy ‘L’Italia non è un paese povero’ is still in the full interest of Italy.



During a retrospective of the Taviani Brothers in the Cineteca Nazionale in Rome, the film L’italia non e’un paese povero will be screened. The Taviani Brothers were the assistants of Ivens during the making of this film. They consider Joris Ivens as their ‘teacher’ en admired him very much.   

The Taviani brothers were approached by Ivens in 1960 and he asked them to be his assistants during the making of a film of three separate parts, about the extraction of gas and oil in Italy. They already had made some documentaries before, but they were still at the beginning of their film career. The third part of L’italia non e’un paese povero was eventually almost made by the Taviani brothers themselves because Ivens already started on the editing of the first two parts. Here they showed already a specific and personal style, that differs from the parts that Ivens made. Ivens saw the pictures of the Taviani brothers and afterwards he recommended them to make fiction films instead of documentaries. That is what they did and they became well known fiction filmmakers. The film L’italia non e’un paese povero was eventually censored by the Italian television (RAI) because there was too much poverty in it.

Klik hier voor meer informatie: http://www.fondazionecsc.it/news.jsp?ID_NEWS=1494&areaNews=8&GTemplate=default.jsp


Recently Fernão Pessoa Ramos wrote his book ‘A imagem-câmera’. This book is published by Papirus Editora from Brazil. It examines the relation between the experiences of a  filmmaker, the possibilities of the camera and the experiences of the spectator in the end. There are no illustrations in the book, except on the cover. For this cover the authors have chosen to use a still from the film ´rain´ of Joris Ivens. Ivens has invented and used new technologies for this film because he wanted to have more control over the ´eye of the camera´ and therefore automatically more control over the experiences of the spectators. The book is written in Portuguese. 

100 years ago, Joris Ivens filmed The wigwam.

Hundred years ago, in the spring of 1912, Joris Ivens filmed his first fictionmovie called The wigwam at an thirteen years old age. The filmshootings took place in the woods near the Heidevensweg and the uncultivated hills of the Kwakkenberg in Nijmegen. Ivens’ film career started with this film, which continued for 75 years and resulted in 80 films in the end. On Friday 29th of June, the festival Il Cinema Ritrovato in Bologna will focus on The wigwam and the film will be presented in their program ‘Centi anni fa’.

Read more: Joris Ivens’ film career started with the abduction of a child.

The Cinematek in Brussels is organizing a series about ‘documentary’. They show the most important documentary films from the beginning of cinema until now. In September they focus on Joris Ivens  and they will show many films. 

Schedule (click here for a detailed schedule): 

The 400 million:
Thu 13.09.12 / 16:00 / CINEMATEK - Plateauzaal

Onafhankelijkheid! (two films: Indonesia calling and Demain a Nanguila):
Wed 19.09.12 / 16:00 / CINEMATEK – Plateauzaal

Das lied der ströme:
Fri 14.09.12 / 20:00 / CINEMATEK – Plateauzaal

L’italia non e’un paese povero
Fri 21.09.12 / 18:00 / CINEMATEK – Plateauzaal
Thu 27.09.12 / 20:00 / CINEMATEK - Plateauzaal

Ivens: Reisdagboeken (two films: …a Valparaíso and Carnet de Viaje) 
Sat 22.09.12 / 20:00 / CINEMATEK - Plateauzaal 
Wed 26.09.12 / 16:00 / CINEMATEK - Plateauzaal          

Le 17e Parallèle 
Tue 25.09.12 / 20:00 / CINEMATEK - Plateauzaal                         
Sun 07.10.12 / 18:00 / CINEMATEK - Plateauzaal

Comment Yukong deplaça les Montagnes (part 1)
Wed 03.10.12 / 18:00 / CINEMATEK - Plateauzaal           
Tue 23.10.12 / 20:00 / CINEMATEK - Plateauzaal

Comment Yukong deplaça les Montagnes (part 2)
Fri 05.10.12 / 18:00 / CINEMATEK - Plateauzaal             
Wed 24.10.12 / 20:00 / CINEMATEK - Plateauzaal            

Comment Yukong deplaça les Montagnes (part 3)
Sat 13.10.12 / 18:00 / CINEMATEK - Plateauzaal
Thu 25.10.12 / 20:00 / CINEMATEK - Plateauzaal  

Comment Yukong deplaça les Montagnes (part 4)
Thu 18.10.12 / 18:00 / CINEMATEK - Plateauzaal        
Fri 26.10.12 / 20:00 / CINEMATEK – Plateauzaal

Comment Yukong deplaça les Montagnes (part 5)

Sat 20.10.12 / 18:00 / CINEMATEK - Plateauzaal 
Sat 27.10.12 / 20:00 / CINEMATEK - Plateauzaal

Monday 30th of July, the French writer, photographer and filmmaker Chris Marker (1921) has passed away. He died one day after his 91st birthday. Marker cooperated on three films with Joris Ivens: Rotterdam-Europoort, …à Valparaiso and Loin de Vietnam that arose from the concept of Pour le Mistral and he once said: ‘Le Mystere Ivens’ or ‘How I learned to like Joris Ivens and stop worrying’. In 1963 Joris Ivens ensured recognition for Markers’ work as a member of the selection jury at the Leipzig documentary festival, by forcing the first price for his controversial film Le joli mai.

In the fifties and sixties Ivens and Marker belonged to the circle of leftish friends and activists. Later, when they got older, Ivens and Marker took distance from this restricted label ‘political filmmaker’ because to them, most important of all was the relation between art and history: The small histories in everybody lives, with a subjective memory and the big history of the oppressed and oppression. “What I’m passionate about is History, and politics interest me only insofar as it is the cross-section of History in the present.”

About the cooperation between Marker and Ivens and about the start of Loin de Vietnam:

André Stufkens: ‘Joris Ivens, wereldcineast’, p. 337, 351, 403.
Ian Mundell: ‘Far from Vietnam, the genesis of the collecive film Loin de Vietnam’, Ivens magazine #9, November 2003, p.25-27.
Click here for an article about the work and life of Chris Marker: 
http://www.newyorker.com/online/blogs/movies/2012/07/in-memoriam-chris-marker.html#ixzz22INwgsut

A new book about the work of Chris marker will be presented on the closing ceremony of the International Documentary Film Festival. For more information click here.

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