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festivals & events by holly martins | October 2000 | contact: events@netribution.co.uk

Sheffield International Documentary Festival Closes

After a week that comprised documentary film and discussion from industry professionals and enthusiasts from all over the world, the 7th Sheffield International Documentary Festival ended on Sunday evening with the sated exhaustion of many. Despite the common frustration of those who were quite simply spoilt for choice of films and Masterclasses listed, there was a constant feeling of passion and unity throughout. There was also a refreshing lack of a professional hierarchy that mirrors the representative nature of the medium. Those present were at once fatigued by exhilaration and inspired by the wealth of talent before them, this was an emotional and politically charged season.

Whilst the levels of excellence and innovation of the films screened are too numerous to remark upon, it was the Masterclasses that showed how diverse documentary filmmaking can be. The Sorius Samura Masterclass was hosted by Sheena McDonald with the topical Sierra Leonean's producer Ron McCullagh present. Samura gave a humbling and brave account of his solo mission to film the human atrocities of the war in his home country and went on to win him the Rory Peck Award. His documentary, Cry Freetown was screened on Channel 4 in January of this year, the footage of which shook us out of our ignorance with scenes of appalling mutilation and murder. The three also discussed his next project that had him and his Channel 4 crew imprisoned for espionage under the orders of the Liberian despot Charles Taylor. Samura spoke of his need to tell the West and those in his own continent of the war in an effort to prompt foreign intervention. His stressed with vigour and exasperation that fingers must be pointed to both the West and at one's self to resolve these conflicts but that it is ultimately the responsibility of news agencies and broadcasters to get the message out.

The William Klein Masterclass was a celebration of the sardonic expression of a modest man that managed place himself on every level of art with a certain level of reluctance. The event was hosted by Klein's friend and one time agent Sandy Lieberson who, together, entertained the audience with the belief that success is a fatalistic caprice. Klein's New York/French/Jewishness was often more than the audience could cope with. Toward the end he managed to put down a comment of such verbosity with his laissez faire approach that the audience found themselves in a fit of embarrassed hysterics.

The festival also paid a tribute to Stanley Forman and Martin Smith, the creative force behind the 50 year old documentary production company, Plato Films that has stockpiled the largest collection of left wing footage in the UK. This was a touching and emotional time for Forman who watched excerpts from the interview with martyred Chilean musician Victor Jara's wife Joan. The film Companero, was directed by Smith and produced by Forman after the latter befriended Joan shortly after her return from coup ridden Chile. After a moving sentiment from a Chilean from the audience, this turned into a political forum against fascism and a platform for the demonstrative Smith who launched an attack on Television's lack of subversive expression. Forman ended the session with an honest and gracious expression of thanks to all who had supported the company through the years and especially, the law suit brought against them by a certain Nazi general.

This year's special guest was Frederick Wiseman who was presented by his friend of 30 years and one of the foremost UK film critics, Derek Malcolm. Wiseman's extensive volume of complex, institutional films have established him as one of the very few documentarists who obstinately refuses to be compromised. At a time when the cinema rarely shows any documentary that isn't obviously controversial and television often insists on editorialising or insisting on fake balance, Wiseman's films convey inconvenient things about the society within which he works. Wiseman was frank in discussing his approach to a subject matter and the average of a year that he spends editing his films, he does next to no research, shoots 75-130 hours of footage and will use perhaps 3% of it for the final piece. His films are invariably entertaining but he prefers his audience to think for themselves while he provides the evidence upon which they can base their own opinions. Wiseman was reticent to answer some of the audience members' questions regarding his motivation, simply stating, 'It's the film itself - all the films have a very distinct point of view and it's just something I don't care to summarise….it's fun and it beats working for a living.'

The festival was imbued with a spirit of extreme enthusiasm, the quality of the films screened and the analytical fervour with which viewers discussed them between sessions was deeply impressionable. Also, the guest speakers were very approachable and were ready to share their views on the nature of the industry without restraint. For a festival that is in only its seventh year, Sheffield has thrived to become a benchmark for seamless organisation and quality global representation.


See also Netribution's Global Festival
Database 2001

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