Yes we can! — Obamas Amerika (4): 40 Jahre nach Woodstock — Flower Power ist wieder da! — Zurück zum Garten der Blumenkinder

Film-Nr.: 232
Vorführungstermin: Donnerstag, 13. August 2009, 16.45 Uhr (Hauptfilm) [VN23]
Themenschwerpunkt: Yes we can! — Obamas Amerika (4)

Englischer Titel: Back to the Garden, flower power comes full circle
Originaltitel: Back to the Garden, flower power comes full circle
Deutscher Titel: Zurück zum Garten: Flower Power ist wieder da
Herkunft: USA 2009
Laufzeit: 69 min.
Sprachfassung: Englische Originalfassung

Regie: Kevin Tomlinson
Produzent: Kevin Tomlinson
Schnitt: Tim Cash
Kamera: Kevin Tomlinson
Musik: Band of Annuals, Harvey Swanson and more...
Produktion: Heaven Scent Films, Seattle

URL Film-Homepage: http://backtothegardenfilm.com/
Premierenstatus: Internationale Premiere
Bisherige Aufführungen: Maui Film Festival, Hawaii, USA; Seattle International Film Festival, Washington, USA

Kurzinhalt: Die Ende der 1960er-Jahre pionierhaften Lebensstil-Reformen der Blumenkinder erscheinen bei derzeit immer näher kommenden Einschlägen des globalen Ökonomieversagens heute weiser als je zuvor: Fragen von Nachhaltigkeit, Überschaubarkeit von Lebenszusammenhängen, Kleinraum-Bewirtschaftung, Selbstverantwortung und Verantwortung des Einzelnen für Lebensgemeinschaften drängen als politische Forderungen wieder an die Oberfläche. Die von Kevin Tomlinson in den 1980er-Jahren filmisch eingefangenen „Überbleibsel“ dieser Lebensstil-Reformen in den USA waren damals, in den 80ern, doch recht randständig und rudimentär. Wie sich die Zeiten doch ändern...




Trailervideo: http://globians.blip.tv/file/2269227/ + http://www.youtube.com/watch?v=n3qq-hJs5FM

Englische Synopsis: Where have all the flowers gone? In 1988—twenty years after Woodstock—Seattle filmmaker Kevin Tomlinson asked himself that question. What he discovered back then, through in-depth interviews at a 4 day 'healing gathering' which drew 500 back to the land hippies, was that small counterculture communities of sixties dropouts were intact and surviving in the back country. In fact, they were thriving in the eighties, living off the rich, rural land of Washington state and refining sixties “hippie” concepts—completely independent of a culture that had all but forgotten and marginalized them. His footage sat untouched for 20 years. In 2008, in the tradition of 'Seven Up,' Tomlinson revived these old tapes and was deeply moved. What these outsiders were talking about in the eighties: sustainability, simplicity, family, love for the earth, self-reliance, and community responsibility—seemed to be blossoming with incredible force, 20 years later, into the mainstream. He decided to seek out his subjects again. The intimate and personal journey that followed offers profound, moving insights into one of the most iconic social movements of our time—and speaks to all of us. The pioneering lifestyles of these aging hippies and their now-thriving families, firmly insulated from global economic shocks, today looks wiser than ever.

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Englische Werkbeschreibung: In the 60's, they were satirized and vilified for rejecting materialism and corporate culture, in the 70's, they stopped the war, started communes, urged back to the land and environmental sustainability, but by the 80's they had virtually disappeared from everyday life…. Then, the millenium turned, the economy fell apart and our presidential candidates began making global sustainability and climate change their life's work. When nothing in our 'standard operating proceedure' is working, it's those counterculture adherents that have something to tell us. So where have all the flower children gone? In 1988—nearly twenty years after Woodstock-Seattle filmmaker Kevin Tomlinson asked himself that question while interviewing a large group of back to the land hippies at a backcountry healing gathering in Washington State. He found that small embers of the greater counterculture communities of sixties dropouts were still intact and thriving contrary to popular belief and were raising families and refining their hippie idealism—independent of a mass culture that had marginalized and all but forgotten them. Doubtful about how seriously this would be received in ’88, His footage sat untouched for almost 20 years. In 2006, Tomlinson took another look. What these off-grid, Hippies were talking about in ‘88—sustainability, living a simpler life, love for the earth, questioning authority, self-reliance, and community responsibility—seemed to be blossoming with incredible force and coming full circle 20 years later as the impact of climate change, an unpopular war, shopping as patriotism and the green movement have come into the mainstream discussion. He set out to find his original subjects again. Had their radical ideals survived, had anyone gone mainstream? What about their children…how did they rebel against the rebel generation? The adventure that followed offers profound, moving insights into one of the most iconic social movements of our time—and speaks to all of us who grew up then or were affected by the sixties counterculture. The non-conformist lifestyles of these aging back to the landers and their now-thriving families, firmly insulated from global economic shocks, today looks ahead of its time and wiser than ever. But the film also seeks to find out…what price the dream?



Director's Bio: Kevin Tomlinson has been an independent Seattle-based producer, director and cinematographer for over 25 years. He has earned numerous Emmys & Tellys for his network news camerawork with NBC (Winter Olympics, Dateline, Today show, Nightly News) ABC (20/20) CBS, (48 hours, 60 minutes) PBS (McNeil/Lehrer, Bill Nye the Science Guy) as well as Discovery, Nickelodeon, Japanese TV (NHK, TV Ashahi) German TV (ZDF, Pro Sieben), Italy (RAI), and more. As a cinematographer, Tomlinson has shot documentaries and travel programs throughout Europe, Turkey, Morocco, Haiti, Peru, Sri Lanka, Siberia and India. Many shows have been broadcast nationally on the PBS series Rick Steves’ Europe, winning a golden Cine Eagle award (2001). He currently shoots documentary and corporate programs for Microsoft, The Bill and Melinda Gates Foundation and non-profit organizations Bridges to Understanding and Interplast. Kevin has taught filmmaking at the Seattle Film Institute and 911 Media Arts teaching Digital Video and Documentary Production since 2004.

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GLOBIANS DOC FEST BERLIN
August 12 - 17, 2009
Kino Toni, Antonplatz

Und wer ist Ihr Landwirt? Local Food Movement (1) | Essayfilme (1): Die Alchemie des Brotbackens

Film-Nr.: 241
Vorführungstermin: Donnerstag, 13. August 2008, 18.30 Uhr (Vorfilm) [VN24]
Themenschwerpunkt: Und wer ist Ihr Landwirt? — Local Food Movement (1) | Essayfilme (1)

Englischer Titel: Alchemy
Originaltitel: Alchemy
Deutscher Titel: Alchemie
Herkunft: Norwegen 2007
Laufzeit: 20 min
Sprachfassung: Der Film enthält keine Dialoge.

Regie: Eva Bakkeslett
Produzent: Eva Bakkeslett, Clive Ardagh
Schnitt: Clive Ardagh
Kamera: Clive Ardagh
Musik:
Produktion:

URL Film-Homepage: http://poeticsofbread.blogspot.com/
Premierenstatus: Deutsche Erstaufführung
Bisherige Aufführungen: Planet in Focus Environmental Film Festival, Toronto, Kanada; Documentary Fortnight 2009, Museum of Modern Art (MoMA), New York City, USA; North Norwegian Contemporary Art Festival, (Preis der Jury), Bodø, Norwegen; Companion Festival of Bread, Dartington, UK; Desire Lines - Arts and Ecology symposium, Dartington, UK.

Kurzinhalt: Die Alchemie des Brotbackens — Kunst und Ökologie

Trailervideo:

Englische Synopsis: A poetic evocation on the alchemy of bread brings the act of baking the most basic of staples, into a high art form. Here nature and human culture collude. Hands pounding, mixing, kneading and stretching, reveal the choreographed rhythms and movements of bread making. Alchemy is a beautifully executed and lyrical film about an activity once ubiquitous in almost every household.



Englische Werkbeschreibung: The baker and protagonist of Alchemy was brought up in Arctic Norway where baking bread is still common in many homes. Her rhythmical movements and confident touch is rooted to generations of woman baking their bread. The timeless beauty of the process brings baking into the realm of poetry and the art that goes beyond the walls of the gallery and onto our kitchen tables. Alchemy gives us the impetus to rediscover and reconnect to the ancient art of bread-baking. It reminds us of the connections between nature and culture and of traditional knowledge and skills we have forgotten. This film is one of a series of short films by the director and producer that reveals the beauty, the sacred and the significant in our everyday world.



Kurzbio Regie: Eva Bakkeslett is a cultivator in the field of arts & ecology. She plants seeds to encourage social growth and environmental change and cultivates her art with a desire to reenergize our engagement with and awareness of the earth. Her passion lies in the interface between nature and culture. Using any suitable medium and interdisciplinary collaboration she spends time in playful exploration revealing the subtle and invisible wonders of life. Her work is often contextualised through interactive community events to inspire and engage people to sense, feel, think and act.

GLOBIANS DOC FEST BERLIN
August 12 - 17, 2009
Kino Toni, Antonplatz

Und wer ist Ihr Landwirt? Local Food Movement (2) | Yes we can! — Obamas Amerika (5): Was Nahrung zum Lebensmittel macht: Ingredienten

SONDERVERANSTALTUNG | WELTPREMIERE
in Zusammenarbeit mit der Berliner Community des SLOW FOOD Movements: http://slowfood-berlin.de/
Bitte beachten Sie auch die Website von FOODWATCH in Berlin: http://foodwatch.de/

Film-Nr.: 242
Vorführungstermin: Donnerstag, 13. August 2009, 18.30 Uhr (Hauptfilm) [VN24]
Themenschwerpunkt: Yes we can! — Obamas Amerika (5) | Und wer ist Ihr Landwirt? — Local Food Movement (2)

Englischer Titel: Ingredients
Originaltitel: Ingredients
Deutscher Titel: Zutaten: Was Nahrung zum Lebensmittel macht
Herkunft: USA 2009
Laufzeit: 67 min.
Sprachfassung: Englische Originalfassung

Regie: Robert Bates
Produzent: Brian Kimmel, Debra Sohm Lawson
Schnitt: Robert Bates
Kamera: Brian Kimmel
Musik:
Sprecher: Bebe Neuwirth
Produktion: Optic Nerve Production, Portland (Oregon)

URL Film-Homepage:
Premierenstatus: Weltpremiere



Kurzinhalt: Das Verlangen nach „nahrhaften und gesunden Lebensmittel“ geht über die Qualität des „organic“ (bei uns „BIO“) hinaus; denn die schiere Größe des landwirtschaftlichen Ökonomie-Sektors auf dem nord-amerikanischen Kontinent verlängert nicht nur die Dauer von Transportwegen. Die politisch gewollte Industrialisierung mit ihren Riesen-Strukturen hat zudem die Qualität und Sicherheit von Lebensmitteln in den USA drastisch gesenkt. Bakterienverseuchungen von Spinat, Tomaten und Fleisch sind an der Tagesordnung. Das „Local Food Movement“ rückt damit immer stärker ins Bewusstsein, verbunden mit der Frage: "Und wer ist Ihr Landwirt?" — Die Erzeugung von Lebensmitteln darf keine Angelegenheit von Anonymität sein; sie wird zunehmend eine Frage des persönlichen Vertrauens.

Trailervideo: http://blip.tv/file/2247653 + http://www.youtube.com/watch?v=A_s8o4T-5ZM&feature=channel_page

Englische Synopsis: INGREDIENTS explores a thriving local food movement as our world becomes a more flavorless, disconnected and dangerous place to eat.

Englische Werkbeschreibung: American food is in a state of crisis. Questions of food safety are in the news with alarming frequency. Obesity and diabetes are on the rise, food costs are skyrocketing, family farms are in decline and our agricultural environment is in jeopardy. Over the past generation, consumers have become increasingly disconnected from the source of their meals as nearby farms offering fresh seasonal foods have given way to processed foods shipped from distant places. People living in or near cities are literally losing sight of where their food comes from as the average meal now travels over 1500 miles to reach our plates. Within the past few decades, however, a growing number of people around the country have been engaged in a movement to put good food back on the table. Across the country, people are reclaiming their right to know who grows their food and where it comes from. The pleasure of eating fresh, seasonal foods has given life to farmers markets from New York to the Pacific Northwest. By selling directly to local customers, farmers earn more money and are able to stay on their land while consumers are now realizing they have a safe, healthy and desirable option of what to eat. A feature-length documentary film narrated by Bebe Neuwirth, INGREDIENTS documents both the challenges and opportunities presented by a locally based food economy. At the vanguard of this story are the chefs and farmers whose collaborative relationships have greatly elevated the quality and flavor of food now available to us. They are joined throughout the film by nutritionists, authors and economists who describe the community-wide benefits of this alternative food model. INGREDIENTS takes its inspiration and structure from the four seasons, each season offering an in-depth exploration of the challenges faced by the local food movement. The film opens with the cold blue light and barren trees of a winter farm in Oregon. Anthony and Carol Boutard are harvesting an unexpected abundance and diversity of vegetables. Beets, brussel sprouts and braising greens are fresh and at their sweetest. Inside their warm farmhouse, they join restaurant owner and chef Greg Higgins in a meal of wood-fired pizzas and cassoulet. They discuss their concern over the state of food in America. Our narrator then expands on the idea that this concern over the health, safety and cost of food is nation-wide; and that across the country, communities of farmers and chefs are responding with small, diversified and successful food systems. These communities are allowing consumers to regain knowledge of the origins of their food and the lost art of eating seasonally. Spring, with its warming weather, illustrates the importance of community.



Chef Alice Waters of Chez Panisse in Berkeley, California describes how she was inspired by the simplicity and pleasure of European food culture where direct relationships between chefs, farmers and consumers are commonplace. We learn from sheep rancher John Neumeister how a phone call from Alice Waters transformed his business. By selling directly to chefs and bypassing commodity markets he was able to take control over his own livelihood. As his sheep graze on verdant spring grasses, John goes on to describe a healthy ecological system where grass, ducks, sheep and his family live in a mutually beneficial environment. The long daylight hours and quickly ripening foods of summer underscore the theme of growth. The skyscraper canyons of Manhattan are home to thriving farmers’ markets, where farmers and chefs collaborate in the most urban of environments. In Harlem, farmer Jean Paul Courtens is dropping off fresh, seasonal produce to low-income families through his community supported agriculture (CSA) program. In Ohio, the Jones are a third-generation farming family. Twenty years ago, they were growing conventional crops and found themselves facing bankruptcy. With nothing left to lose, they started to grow exotic vegetables, heirloom tomatoes and micro greens. They quickly recognized an emerging market for specialty foods and now, restaurants chefs wanting to buy food from the Jones’s farm are put on a waiting list. The Jones’ success starkly contrasts with the reality that unprecedented urban growth has put many less established farmers in peril. As the days of cheap land and cheap fuel are behind us, the film explores the daunting, nation-wide economic need for owning and preserving farmland close to where people live. It also reveals the challenges posed by the fact that prime agricultural land is increasingly being used to either build houses or to grow fuel crops such as corn for ethanol. The turning leaves of fall represent an opportunity for change. We see urban school kids on a farm tour, discovering where their food comes from as we hear them crunching on freshly dug beets and carrots. Considered by many to be the godmother of the local food movement, Joan Dye Gussow describes the obstacles that this movement must overcome in the near future. An author, nutritionist and professor at Columbia University, her work illustrates how the food we eat is inextricably linked to our health and the health of the broader community. The film concludes with a brief reprise of winter where our farmers and chef from the beginning of the film create and share a meal together. Reflecting on the challenges and opportunities that lie ahead, their conversation underscores the role that the consumer can play in creating viable local food systems. It is in stark contrast to our bleak economic, health and environmental news that this film offers a solution. It shows how food can become a substantive and enjoyable way to address a host of complex issues. INGREDIENTS empowers and sparks the joy of discovery in creating a healthier, more sustainable model for living and eating well in a world in need of balance.

GLOBIANS DOC FEST BERLIN
August 12 - 17, 2009
Kino Toni, Antonplatz

Yes we can! — Obamas Amerika (6) | Essayfilme (2): Sidney, Ohio (USA) — der Strom der Ereignisse in einer amerikanischen Kleinstadt

Film-Nr.: 251
Vorführungstermin: Donnerstag, 13. August 2009, 20.30 Uhr [VN25]
Themenschwerpunkt: Yes we can! — Obamas Amerika (6) | Essayfilme (2)

Englischer Titel: 45365
Originaltitel: 45365
Deutscher Titel: Postleitzahl 45365, USA
Herkunft: USA 2009
Laufzeit: 90 min.
Sprachfassung: Englische Originalfassung

Regie: Bill Ross, Turner Ross
Produzent: Bill Ross, Turner Ross
Schnitt: Bill Ross
Kamera: Bill Ross, Turner Ross
Musik:
Produktion: Ross Bros. Productions, Los Angeles
Kinoverleih: 7th Art Releasing (USA)
Weltvertrieb: 7th Art Releasing (USA)

URL Film-Homepage: http://www.45365movie.com
Premierenstatus: Europäische Erstaufführung
Bisherige Aufführungen: SXSW Film Festival, Austin (Texas), USA (Grand Jury Award Winner); Full Frame Documentary Film Festival, Durham (North Carolina), USA (HBO Emerging Filmmaker Award); Athens International Film and Video Festival, Athens (Ohio), USA (Third Prize Documentary Feature & Best Sound Design); Filmdayton Film Festival, Dayton (Ohio), USA; Newport Internation Film Festival, Newport (Rhode Island), USA; Rooftop Films, New York City (NY), USA; Wexner Center, Columbus (Ohio), USA; Cleveland Museum of Art, Cleveland (Ohio), USA.



Kurzinhalt: Der Strom an Ereignissen in der US-amerikanischen Kleinstadt Sidney (Ohio) wird zu einem collagierten Mosaik des Alltagslebens. Dieses Filmessay liefert dadurch einen assoziativen Einblick als Beantwortung der Frage: "Wie funktioniert Amerika?" '45365" steht in bester Tradition von Städteporträt-Filmen wie "Menschen am Sonntag" oder "Die Sinfonie einer Großstadt" und aktualisiert dabei den filmischen Formenkanon für unsere Gegenwart: die Perspektive entfernt sich von Metropolen als Maß aller Dinge urbanen Lebens und zielt bewußt auf die Provinz als Lebensraum der Zukunft.

Trailervideo: http://blip.tv/file/2249133 + http://www.youtube.com/watch?v=s_ozhxv8IwQ&feature=channel_page

Englische Synopsis: ‘45365’ (pronounced: four, five, three, six, five) follows the lives and stories of a small town as they coalesce into a mosaic of faces, places, and events. The County Fair, a Barber Shop, the retirement home, a football team, a Judge’s race for re-election, a father and son, young love lost, arrest and sentencing are all explored in this sweeping survey of life in Sidney, Ohio.



Englische Werkbeschreibung: 45365’ (pronounced: four, five, three, six, five) explores the congruities of daily life in an American town – Sidney, Ohio. Through a patient and inquisitive look at the lives and landscapes that make up this community of 20,000 people, it captures the complexities and ambiguities of their shared experience. Conclusions are left to the audience as the component characters speak and act for themselves, as themselves. These storylines eventually coalesce into a mosaic of faces, places, and events. It is an inquiring look at everyday life in middle America. Set against the quaint and familiar backdrop of a small town in western Ohio, this is a film about the inner workings of a community and the ways in which its people interact and socialize. From the patrol car to the courtroom, the playground to the nursing home, the parade to the prayer service, it explores their relationships and interactions – with eachother and their environment. Father and son, boyfriends and girlfriend, cop and criminal, officials and the electorate, patrons and providers - it is a portrait of the city and its people. - people somehow not unfamiliar in a landscape that becomes increasingly understood. Void of direct interviews or staging, this film presents the residents of the town as they are in their daily lives. Using a series of long kinetic shots, the viewer is enabled to exist in real time with those being documented. The camera closes in on the mechanics of the moment with spontaneity and sincerity, acting as a clairvoyant conduit to a time now past. Focus is on the full and fluid scene - adrift in the situation as curious and patient observers. Through the people we see the town. Sidney is the small town experience. It is a community - of schools and sports and factories and neighborhoods and familiarity. Sidney is not devoid of social hierarchy or crime or any of the other concerns that are more often associated with more populated urban areas. They are just played out on a smaller stage. It is a microcosm of American life. Filmed over the course of nine months by two men raised in that town – natives with an intrinsic knowledge of their community and a feel for the tides of the town – ‘45365’ encapsulates the magnitude of small town America. Sidney and it’s people offer themes that we can all relate to – no matter how geographically different our experiences.



Dieser Film aus dem Programm des Globians Doc Fest wird wiederholt und zwar am 28. Oktober 2009 um 18.30 Uhr im Eiffelturm-Kino Berlin (im Centre Français de Berlin), Müllerstr. 74, U-Bahnhof Rehberge/Afrikanische Straße.



GLOBIANS DOC FEST BERLIN
August 12 - 17, 2009
Kino Toni, Antonplatz

Yes we can! — Obamas Amerika (7): Vom Wunderkind-Physiker zum Ökoterroristen — die Geschichte des Billy Cottrell

Film-Nr.: 261
Vorführungstermin: Donnerstag, 13. August 2009, 22.15 Uhr [VN26]
Themenschwerpunkt: Yes we can! — Obamas Amerika (7)

Englischer Titel: Standard Deviation
Originaltitel: Standard Deviation
Deutscher Titel: Norm-Abweichung
Herkunft: USA 2008
Laufzeit: 40 min
Sprachfassung: Englische Originalfassung

Regie: Christopher Brannan, David Randag
Produzent: Christopher Brannan, David Randag
Schnitt: David Randag
Kamera: Christopher Brannan, David Randag, Joshua Woltermann, Steven Puglia
Musik: Thad Anderson
Produktion:

URL Film-Homepage:
Premierenstatus: Internationale Premiere
Bisherige Aufführungen: Buffalo Niagara Film Festival, Buffalo (New York) USA; Student Emmy Awards Gala/Screening, Student Emmy in Documentary Film, Culver City (Kalifornien) USA; Fort Lauderdale International Film Festival, Fort Lauderdale (Forida) USA (First Place, Student Films); San Francisco Documentary Festival, San Francisco (Kalifornien) USA; Daytona Beach Film Festival, Daytona Beach, USA (Audience Award); Academy of Television Arts and Sciences, North Hollywood (Kalifornien) USA; Jacksonville Film Festival, Jacksonville (Florida), USA.

Kurzinhalt: Die Lebensgeschichte des Billy Cottrell, der als hochbegabter und talentierter Nachwuchsforscher der Astrophysik durch die Verübung von Brandanschlägen auf Autohäuser (mit Totalschäden an über 130 Geländewagen) zu einem Öko-Terroristen wurde und nach seiner Verhaftung nun im Gefängnis sitzt.

Trailervideos:
Trailer: http://blip.tv/file/2237266 + http://www.youtube.com/watch?v=CROtB7FDJ0w&feature=channel_page
Directors' Statement: http://blip.tv/file/2237288

Englische Synopsis: Standard Deviation is a documentary film about Billy Cottrell, the brilliant young physicist turned ecoterrorist.



Englische Werkbeschreibung: Standard Deviation is the story of Billy Cottrell, the brilliant young physicist turned eco-terrorist. From an early age it was clear that Billy Cottrell was different from the other children. His passion for math and physics was only intensified by his inability to connect with other children. Despite the struggles of his childhood and adolescence, at age 23 Billy was living his dream as a physicist. Billy had won a coveted spot as a PhD candidate in string theory at the prestigious California Institute of Technology. To the shock of everyone the FBI arrested Billy in March 2004. Billy had been caught sending e-mails to the Los Angeles Times claiming responsibility for a series of arsons and the vandalism for over 130 SUVs. In order to understand how Billy could become involved in such activity his loved ones look for clues in his past to understand the young genius who is looking to spend the rest of his life in prison. Standard Deviation is the pursuit of the truth and motivations of Billy Cottrell from his childhood to the events leading to his incarceration.

GLOBIANS DOC FEST BERLIN
August 12 - 17, 2009
Kino Toni, Antonplatz

Yes we can! — Obamas Amerika (8): Das "Alte Geld Amerikas" und die zwei nachkommenden Generationen als Erben — Reichtum und ethische Werte

Film-Nr.: 271
Vorführungstermin: Donnerstag, 13. August 2009, 23.00 Uhr [VN27]
Themenschwerpunkt: Yes we can! — Obamas Amerika (8)

Englischer Titel: Beyond Greenaway: The Legacy
Originaltitel: Beyond Greenaway: The Legacy
Deutscher Titel: Das Erbe von Greenaway — Reichtum und Werte einer amerikanischen Familie über drei Generationen
Herkunft: USA 2009
Laufzeit: 67 min.
Sprachfassung: Englische Originalfassung

Regie: Sue Gilbert
Produzent: Sue Gilbert
Schnitt: Amy Enser, Leigh Kimball, Gary Mula (sound)
Kamera: Gabriel Miller, Joe Jacobs, Kevin Tomlinson
Musik: Eric Goetz
Produktion: Oombaria LLC Media Arts, Bellevue (Washington)

Website URL http://oombaria.com/
Premierenstatus: Internationale Premiere
Bisherige Aufführungen: Rhode Island International Film Festival; Providence, Rhode Island (USA) [WP]

Trailer: http://globians.blip.tv/file/2268261 + http://www.youtube.com/watch?v=o9wghSzochs

Kurzinhalt: Wie gehen die Erbengenerationen des "Alten Geldes" von Amerika mit ihrem Reichtum um? — Welche ethischen Einstellungen bilden sich heraus?

Englische Synopsis: What is the legacy of inherited wealth? Do we deserve it? Did we inherit our parents’ values along with the money? Sue Gilbert returns to explore the wealth and lifestyle issues first portrayed through the eyes of her elderly parents in her documentary “Greenaway” (1982), set on her family’s private island in Connecticut. In “Greenaway,” her parents were starkly frank about the meaning of wealth, the relevance of a servant class, and other topics such as the immanent decline of the American democracy into socialism “and slavery.” This time out, Gilbert compares her parents’ viewpoints to those of their children and grandchildren, lending each topic an almost holographic effect as it is viewed through this multigenerational lens. Whereas the elder Gilberts observed their lives and surroundings from a fixed perspective typical of their era (both were born in 1907), we see the next two generations wrestling with both sides of the coin of wealth, including seldom-discussed issues of deserving, class, envy and hiding. We also glimpse the stewardship that wealth necessitates, including circulating it among those less fortunate. “Beyond Greenaway” explores a range of diverse topics such as marriage and divorce, belief in God, drug therapy, and politics. In exploring common themes, this film transcends the uniquely personal to become universally relevant. We come to care for the family as ordinary people sharing their struggles, regardless of their advantages. Told from an insider’s perspective, “Beyond Greenaway” offers a unique snapshot of a largely hidden segment of the American population.

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Englische Werkbeschreibung: Almost 30 years ago, filmmaker Sue Gilbert returned to her childhood home in Connecticut to capture her parents and their vanishing way of life. Set on Greenaway Island, the family’s private enclave, her award-winning documentary “Greenaway” (1982) encapsulated the privileged world of old money as it was then. Her parents were starkly frank about the meaning of wealth, the relevance of a servant class, and other topics such as the travesty of having children who never marry and the immanent decline of the American democracy into socialism where “we will all be slaves.” In “Beyond Greenaway,” Gilbert compares and contrasts her parents’ viewpoints to those of their six children, now almost the age of her parents in the first film. She asks some new questions: what is the legacy of inherited wealth? Do they deserve it? Did they inherit their parents’ values along with the money? She also features their adult grandchildren, lending each topic an almost holographic effect as it is viewed through this multigenerational lens. Whereas the elder Gilberts observed their lives and surroundings from a fixed perspective typical of their era (both were born in 1907), we see the next two generations wrestling with both sides of the coin of wealth. The advantages of wealth are easy to imagine. It may be convenient to have your own plane and “a car and driver when you want it,” but what about the downsides of money - those seldom discussed issues of deserving, hiding, jealousy and fear? These aspects would never have occurred to the elder Gilberts, yet they comprise a darker side of the legacy of wealth. Heading off opportunists is, in John Gilbert’s words, “an occupational hazard.” Granddaughter Angela asks to be seen for who she is, “hopefully.” Brought up to work for their own living, it is riveting to hear how the Gilbert children were caught completely off-guard when their inheritance was triggered by the death of their mother in 1981. “We were all scrambling,” says Dan Gilbert. We see the stewardship that wealth necessitates, from managing it to passing it along to benefit others, whether through philanthropy or by sending disadvantaged children to college. No exploration of the wealthy would be complete without mentioning recreation, and here “Beyond Greenaway” literally soars. “My father is the keeper of the Eddystone light…” Sue Gilbert and her brother John sing a sea shanty at the wheel of a sailboat. Whether we’re watching the Gilberts sailing, acting, drumming in a band, sword fighting in period costume or performing aerobatic maneuvers in the sky, this family entertains with humor, skill and derring-do. “Beyond Greenaway” follows in the footprints of the earlier film by exploring a diverse range of topics such as marriage and divorce, belief in God, drug therapy, and politics. For example, the younger Gilberts are divided about the value of marriage as opposed to living together. “Neither of my parents has been married in my lifetime,” confides young Skye Gilbert, “so I viewed marriage as an oddity.” Yet the grandchildren are generally the ones who weigh in for marriage. The Gilbert children are frank about their upbringing on Greenaway Island. “I dreaded going home,” says Lee Gilbert, who felt he was always walking on eggshells. “I loved the parties,” enthuses Mary Gilbert, an actress. Are they upper class? Yes - “technically I’m a member of the upper class,” says John Gilbert. “No,” Mary disagrees, “I don’t think I know anyone who is.” Ultimately, class is defined as a feeling as well as a financial statistic. Director Sue Gilbert reveals that her mother had once hatched a plot “to kidnap Nixon.” Apparently even the U.S. President leaned too far to the left. The Gilbert children are united in their views about their parents’ political paranoia. They had to avoid talking about politics if at all possible. Sometimes generational differences escalate into open conflict, as when Racey Gilbert is expelled from Greenaway Island for joining the 1969 March on Washington. “They called me a traitor….” In the end, the love this family shares for one another is the glue that binds them beyond their differences. “I always knew she loved me,” says Racey, who sneaked back to the island to visit his mother when he knew she was dying. The best thing one can do, he advises, “is to pick the right parents.” We come to care for this family as ordinary people sharing their struggles, regardless of their advantages. They are warm, likeable, and honest. In exploring common themes, “Beyond Greenaway” transcends the uniquely personal to become engaging and universally relevant. Filmed with an insider’s perspective, this documentary offers a unique snapshot of a segment of the American population largely hidden from the media.



Director's Bio: Sue Gilbert is a writer/producer/director based in Seattle, USA. Gilbert studied film at Art Center College of Design in the 1970s, remaining in Los Angeles to work on commercials, corporate films and ABC After School Specials. In the early 1980s she produced and directed several short films as well as Greenaway, an award-winning feature documentary. Her shorts include A Dance Fantasy (1984), selected for exhibition at the International Children’s Film Festival in Gijon, Spain, and The Perfect Cup (1984), aired on HBO and on airplanes. She retired in 1985. Last year Gilbert returned to filmmaking to make Beyond Greenaway: The Legacy, her second feature film. She is passionate about films that tell compelling, unusual stories that are uplifting.

GLOBIANS DOC FEST BERLIN
August 12 - 17, 2009
Kino Toni, Antonplatz

Die Frische der kanadischen Provinz (1): 40 Jahre lang "One Night Stands" — die ersten 40 Jahre der Royal Winnipeg Ballet Company

Film-Nr.: 311
Vorführungstermin: Freitag, 14. August 2009, 14 Uhr [VN31]
Themenschwerpunkt: Die Frische der kanadischen Provinz (1) Manitoba

Englischer Titel: 40 Years of One Night Stands
Originaltitel: 40 Years of One Night Stands
Deutscher Titel: 40 Jahre lang "One Night Stands" — Die Gründungsgeschichte des Royal Winnipeg Ballet.
Herkunft: Kanada 2008
Laufzeit: 72 Min.
Sprachfassung: Englische Originalfassung

Regie: Jeff McKay
Produzent: Merit Jensen Carr (Executive Producer), Patti Ross Milne (Executive Producer/Producer)
Drehbuch: Robert Lower
Schnitt: Jeff McKay, Robert Lower
Kamera: Jeff McKay
Musik: Shawn Pierce
Sprecher: Brent Carver
Produktion: Merit Motion Pictures, Winnipeg, Manitoba; Inside Out Productions, Mississauga, Ontario.

URL Film-Homepage: http://www.meritmotionpictures.com
Premierenstatus: Europäische Erstaufführung
Bisherige Aufführungen: Sudbury Film Festival, Sudbury (Ontario), Kanada; Yorkton Film Festival, Yorkton (Saskatchewan), Kanada.

Kurzinhalt in Deutsch: 1938 ist Winnipeg ein einsamer Fleck inmitten von landwirtschaftlich genutzten Flächen, ein Umsteigeort, um schnellstmöglich irgend wohin weiter zu kommen. Das Städtchen erholt sich gerade von der Großen Drepssion. In diesen Nichtort der unmittelbaren Vorkriegszeit verschlägt es zwei Britinnen: die damals 36-jährige Gweneth Lloyd und die 23-jährige Bettty Hey. Was die beiden damals noch nicht wissen, ist, dass die Tanzgruppe die die beiden begründen sich innerhalb von 40 Jahren als erste professionelles Ballett unter dem Namen "The Royal Winnipeg Ballet Company" an die Weltspitze tanzen wird. Die Geschichte dieser ersten 40 Jahre der Winnipeg Ballett-Truppe ist der Gegenstand dieses Tanz-Dokumentarfilms für Ballett-Freunde und solche, die es werden wollen.

Trailervideo: http://blip.tv/file/2247758 + http://www.youtube.com/watch?v=oLsKzSrqOFY&feature=channel_page

Englische Synopsis: 40 Years of One Night Stands: The Story of the Royal Winnipeg Ballet. Daring, passionate, and with an indomitable belief in possibility, one small ballet company from the middle of nowhere leaves its imprint on the international dance scene.



Englische Werkbeschreibung: The year is 1938. Winnipeg is a lonely place set in the middle of the Manitoba farmlands, a stop-off to somewhere else, a city recovering from the devastation of The Great Depression. It is into this remote centre of the Canadian prairies that two English Women arrive - 36 year old Gweneth Lloyd and 23-year-old Betty Hey. What they don't know is that here, in this unlikely setting, they will start a dance group that will one day be known internationally as The Royal Winnipeg Ballet Company - the first professional ballet company in Canada. Born out of nothing in the middle of nowhwere, The Royal Winnipeg Ballet set the ballet world on prairie fire. From Flin Flon to Moscow, it wowed audiences and critics alike with its youth, vitality and innocent excitement.

Through the diverse voices of Royal Winnipeg Ballet company members -- past and present -- 40 Years of One Night Stands recounts the saga of the obsessive commitment and vision of those who transformed the lofty art of ballet into dance for the people. Gweneth Lloyd and Betty(Hey) Farrally founded the company. But it was a mercurial and charismatic character named Arnold Spohr, basketball player turned ballet dancer turned artistic director, who over three decades propelled this feisty Canadian ballet company to its place amongst the world's best. The Royal Winnipeg Ballet -- a Canadian treasure which has survived for almost seventy years, and still reflects the spirit of its prairie beginnings: guts, grit and a belief in possibility.



Director's Bio: Jeff McKay brings a well-developed musical and theatrical aesthetic to his film work. Born in Saskatoon, Saskatchewan, Jeff grew up in Winnipeg Manitoba. He spent his childhood and early adult life in the milieu of professional theatre and spent five years as a drummer in several touring and recording acts. For the last seventeen years Jeff has worked as a director and editor. His work has won awards for both directing and editing including the celebrated Peabody award for his feature documentary Fat Chance. Other films include And So to Bed, a one hour on the contemporary culture of the bed: Crapshoot, a multi-award winning one-hour documentary shot in Italy, India, Sweden, the USA and Canada on the world wide rape of our waters by man made chemical stews of sewage: and Haunts of the Black Masseur- the swimmer as Hero, one hour on the cult of open water swimmers based on the landmark book on the history of swimming by British author Charles Sprawson’s book of the same title. Jeff continues to work in documentary and experimental short film formats. He is fascinated with the unusual in the commonplace and the everyday.

Dieser Film aus dem Programm des Globians Doc Fest wird wiederholt und zwar am 21. Oktober 2009 um 22.15 Uhr im Berliner Kino "Eva Lichtspiele", Blissestraße 18, Berlin-Wilmersdorf, U-Bahnhof Blissestraße.

GLOBIANS DOC FEST BERLIN
August 12 - 17, 2009
Kino Toni, Antonplatz

Essayfilme (3) | Gay Stories (1): Fernbeziehungen über Kontinente hinweg und das Fehlen tragender Grundrechte in einer ökonomisch globalisierten Welt

Film-Nr.: 321
Vorführungstermin: Freitag, 14. August 2009, 15.15 Uhr (Vorfilm) [VN32]
Themenschwerpunkt: Essayfilme (3) | Gay Stories (1) | Yes we can! — Obamas Amerika (9)

Englischer Titel: home
Originaltitel: home
Deutscher Titel: Daheim
Herkunft: USA 2009
Laufzeit: 11 min.
Sprachfassung: Englisch-deutsche Originalfassung

Regie: Broderick Fox
Produzent: Broderick Fox
Schnitt: Broderick Fox
Kamera: Broderick Fox
Musik: Michael Cohen
Produktion:

Premierenstatus: Weltpremiere

Kurzinhalt: Eine Fernbeziehung zwischen den USA und Berlin: ihr Scheitern durch das Fehlen tragender Grundrechte für gleichgeschlechtliche Lebenspartnerschaften in einer ökonomisch globalisierten Welt.

Englische Synopsis: A transnational gay couple searches for home in a world that is commercially globalized but still fragmented when it comes to basic human rights issues.



Englische Werkbeschreibung: “Das hier ist ein “Home Video”, ein “Daheim Film”. Oder eigentlich eher… ein Film auf der Suche nach Heimat.” 'This is a home movie... Or rather... a search-for-home movie.' Armed with an ancient Hi-8 video camera (with broken microphone) and a decrepit Super-8 film camera, filmmaker Broderick Fox travels between Berlin and Los Angeles with his German partner, on an autobiographical search for home and for himself. Years later, Fox pulls these tapes and reels of footage out of a drawer and crafts this documentary—an ode to Berlin, a coming of age story, and a tribute to first love in equal parts. This work is part of Fox's present exploration of 'alternative home movies', telling the stories often silenced or forgotten behind the smiling faces of family albums and home videos. Home was written, shot, produced, and edited by Fox, all for under 200€, underscoring that complex, emotional work can be made without access to specialized technologies or professional budgets.

GLOBIANS DOC FEST BERLIN
August 12 - 17, 2009
Kino Toni, Antonplatz

Die Frische der kanadischen Provinz (2) | Gay Stories (2):Die Lebensgeschiche des Doug Wilson aus Saskatchewan der 1970er-Jahre

Film-Nr.: 322
Vorführungstermin: Freitag, 14. August 2009, 15.15 Uhr (Hauptfilm) [VN32]
Themenschwerpunkt: Die Frische der kanadischen Provinz (2) Saskatchewan | Gay Stories (2)

Englischer Titel: Stubblejumper
Originaltitel: Stubblejumper
Deutscher Titel: Stoppelspringer
Herkunft: Kanada 2008
Laufzeit: 48 min.
Sprachfassung: Englische Originalfassung

Regie: David Geiss
Produzent: David Geiss, Jarrett Rusnak
Drehbuch: David Geiss
Schnitt: David Geiss
Kamera: April Hall
Musik: Andrea Carlson
Produktion: da vid films inc., Regina, Saskatchewan
Vertrieb: Canadian Filmmakers Distribution Centre, Toronto, Ontario



URL Film-Homepage: http://www.stubblejumper.ca
Premierenstatus: Europäische Erstaufführung
Bisherige Aufführungen: Honolulu International Film Festival, Hawaii, USA (Aloha Accolade Award); Rhode Island International Film Festival, Rhode Island, USA; Philadelphia GLBT Arts Festival, Philadelphia, USA; Inside Out — Toronto Lesbian & Gay Film & Video Festival, Toronto, Kanada; Fairy Tales — Calgary Gay & Lesbian Film Festival, Calgary, Kanada; Yorkton Film & Video Festival, Yorkton, Kanada (Emerging Filmmaker Award); Pride London Festival, London Ontario, Kanada.

Kurzinhalt: Die Lebensgeschichte des Doug Wilson aus dem Saskatchewan der 1970er-Jahre. Doug Wilson war damals im Umkreis von 1.000 Meilen die wohl sichtbarste Schwule Ikone in der kanadischen Provinz und damit zugleich Begründer einer Politisierung der Schwulenbewegung Kanadas, und zwar von der Peripherie der Provinz her.

Trailervideo: http://blip.tv/file/2247761 + http://www.youtube.com/watch?v=BbQOXz93_LM&feature=channel_page

Englische Synopsis: Stubblejumper is an intimate and inspiring docu-drama biography on the life and work of 1970s Canadian gay activist Doug Wilson.



Englische Werkbeschreibung: In the fall of 1975, while attending the University of Saskatchewan in Canada, Doug Wilson placed the following ad in the students’ newspaper: “Anyone interested in participating in a campus gay organization, contact Doug Wilson, Box 203, College of Education.” — Four days later, Doug was suspended from his job supervising student teachers. A committee was formed to defend Doug, and an investigation was launched through the Saskatchewan Human Rights Commission. Doug was propelled into a kind of stardom, serving as the poster boy for the gay rights movement not only in Saskatchewan, but all over the country. Though he did not win his case, the event would serve as the catalyst for a fascinating life that would follow, filled with activism, art, performance, politics, and a touching yet tragic love story. Never letting go of his prairie roots, Doug remained a farm boy at heart, and spent much of his time and energy advancing the basic human rights of people in Canada and abroad. Inside this man existed many constant struggles - between fitting in and tanding out; between fame and humility; between acceptance and rejection. tubblejumper is a 48 minute docu-drama based on the life and work of Doug Wilson. Producer / Writer / Director David Geiss blends archival photographs, audio, text, and film with contemporary interviews and dramatic portrayals. The unique storytelling style reflects the varying work and personality of the film’s subject. This inspiring tale will educate and entertain its audience, continuing the legacy of Wilson’s work.

Kurzbio Regie: After growing up on a family farm, David Geiss received a BFA in Film & Video Production from the University of Regina in 2004 and has since been a freelance independent filmmaker and artist living in Saskatchewan, Canada. His 2006 documentary Queen City won the Best Documentary award at the Canadian National Youth Film Festival in Ottawa, and has been broadcast on SCN. His current film Stubblejumper has received an Aloha Accolade Award at the Honolulu International Film Festival, and will broadcast on SCN in 2009. David has also spent time working in the local industry on larger scale projects such as Corner Gas, and Little Mosque on the Prairie. He is currently the Editor of the independent film magazine Splice, and has dedicated much time to volunteering and working with organizations including the Saskatchewan Filmpool Cooperative, the Regal Social Association of Regina, and Queer City Cinema film festival.



Filmographie Regie:
Stubblejumper: based on the life of Doug Wilson; Director, Producer, Writer, Editor; 48:00 / Docu-Drama / 2008
Queen City; Director, Producer, Director of Photography, Editor; 43:00 / Documentary / 2006
Texas Tea Thirty; Animator; 1:00 / Animation / 2007
Texas Tea Two; Animator; 3:00 / Animation / University of Regina / 2004
Texas Tea; Animator; 1:00 / Animation / University of Regina / 2003
Long Live The Queen; Director, Director of Photography, Editor; 12:00 / Documentary / 2004
Preferred Stock; co-Director, co-Editor; 8:00 / Dark Comedy / 2005

GLOBIANS DOC FEST BERLIN
August 12 - 17, 2009
Kino Toni, Antonplatz