Depeche Mode 101
The film follows British Electropop band Depeche Mode and a bus full of fans on tour across the U.S. to their 101st concert at the Rose Bowl.
A number of Doc Talks and Filmmaker Talks that were held during IDFA 2017, were recorded. You can listen to them here.
Film journalist Nicolas Rapold speaks with Pirjo Honkasalo, who in addition to directing is also responsible for the impressive camerawork of Atman. For the documentary, her last 35mm work, she lugged heavy equipment around India for thousands of kilometers. She could only see what she had filmed after the fact. A conversation about filming documentaries in the pre-digital age.
Director Raed Andoni enlists Palestinian former prisoners to first reconstruct the infamous Israeli prison that once held them, and then re-enact their own suppressed memories. After the screening, filmmaker Eyal Sivan interviews director Raed Andoni about his award-winning, poignant and confrontational film.
In the late 1980s, Depeche Mode invited D.A. Pennebaker and his wife Chris Hegedus to make a film about the band, using Bob Dylan: Dont Look Back as an example. Like that film, Depeche Mode: 101 is largely in the Direct Cinema style that characterizes Pennebaker’s work, and it’s much more than a concert recording. Eric Hynes talks with the legendary documentary duo about the film and shooting music documentaries in general.
Wolfgang Thaler only filmed 30 days for the three-part Whores’ Glory by Michael Glawogger. He captured the lives of prostitutes in Thailand, Bangladesh and Mexico, and not without putting his own life in danger. Eric Hynes talks with Thaler, Ulrich Seidl’s go-to cameraman, about his cinematic choices and his experiences during the shoot. They also discuss his long-lasting collaboration with Glawogger, who died in 2014 and with whom he also filmed Megacities and Workingman’s Death.
Joumana El Zein Khoury (Director at the Prins Claus Fund) discusses the opening film of IDFA with director Mohamed Siam.
Nicolas Rapold talks with cameraman Ed Lachman about Tokyo-Ga by Wim Wenders. Lachman, who has also worked with Werner Herzog, the Maysles brothers and Ulrich Seidl, discusses the specific cinematography of Tokyo-Ga and his collaboration with Wenders.
Everardo González is one of the strongest voices in the documentary genre in Latin America today. In this Filmmaker Talk, he discusses his work, methods and views in a conversation moderated by David Wilson.
After the screening of Chris Marker’s classic Le joli mai at IDFA 2017, Nicolas Rapold talks with cinematographer and co-director Pierre Lhomme. Lhomme, who worked as cameraman on several of Marker’s films, discusses their collaboration and the cinematography of this film.