I carve smiles into mountains' wounds

Stop for Bud(da)

Stop for Bud is Jørgen Leth's first film and the first in his long collaboration with Ole John. […] they wanted to "blow up cinematic conventions and invent cinematic language from scratch". The jazz pianist Bud Powell moves around Copenhagen -- through King's Garden, along the quay at Kalkbrænderihavnen, across a waste dump. […] Bud is alone, accompanied only by his music. […] Image and sound are two different things -- that's Leth's and John's principle. Dexter Gordon, the narrator, tells stories about Powell's famous left hand. In an obituary for Powell, dated 3 August 1966, Leth wrote: "He quite willingly, or better still, unresistingly, mechanically, let himself be directed. The film attempts to depict his strange duality about his surroundings. His touch on the keys was like he was burning his fingers -- that's what it looked like, and that's how it sounded. But outside his playing, and often right in the middle of it, too, he was simply gone, not there."

Sidik and the Panther(ku)

If Sidik manages to spot a leopard in his beloved mountains of Kurdistan, the area can be declared a protected nature reserve. Will that finally bring peace?

Tackling the World's Highest Peak(de)

27-year-old German alpinist Jost Kobusch wants to climb Everest, alone, without oxygen and in Winter, when the roof of the world is deserted.

Personal Drawing of a French Mercenary(fr)

Portrait of a French mercenary working in Libya, hired by the Phalange to train the militias. War leaves its traces; and for some, who see death as part of the job, it’s a vocation.

Andreas Gabalier – 10 Jahre Volks-Rock'n'Roller: Das Portrait(de)

True Chronicles of the Blida Joinville Psychiatric Hospital in the Last Century, when Dr Frantz Fanon Was Head of the Fifth Ward between 1953 and 1956(ar)

1953, colonized Algeria. Fanon, a young black psychiatrist is appointed head doctor at the Blida-Joinville Hospital. He was putting his theories of ‘Institutional Psychotherapy’ into practice in opposition to the racist theories of the Algies School of Psychiatry, while a war broke out in his own wards.

Cervin 1865, une première tragique(de)

The first ascent of the Matterhorn was made on July 14, 1865 by Edward Whymper, Francis Douglas, Charles Hudson, Douglas Hadow, Michel Croz and two guides from Zermatt, Peter Taugwalder father and son. Douglas, Hudson, Hadow and Croz are killed on the descent after Hadow slips and drags the other three men down the north face. Whymper and the two Taugwalders, who survive, are later accused of having cut the rope that connected them to the rest of the group so as not to be dragged into the fall, but the ensuing investigation finds no evidence of their guilt and they are acquitted. The Matterhorn is the last great peak in the Alps to be conquered and its ascent marks the end of the golden age of mountaineering. One hundred and fifty years later, a team undertakes the same expedition in order to unravel the mystery.

The Zerda or the Songs of Forgetting(fr)

“La Zerda and the songs of oblivion” (1982) is one of only two films made by the Algerian novelist Assia Djebar, with “La Nouba des femmes du mont Chenoua” (1977). Powerful poetic essay based on archives, in which Assia Djebar – in collaboration with the poet Malek Alloula and the composer Ahmed Essyad – deconstructs the French colonial propaganda of the Pathé-Gaumont newsreels from 1912 to 1942, to reveal the signs of revolt among the subjugated North African population. Through the reassembly of these propaganda images, Djebar recovers the history of the Zerda ceremonies, suggesting that the power and mysticism of this tradition were obliterated and erased by the predatory voyeurism of the colonial gaze. This very gaze is thus subverted and a hidden tradition of resistance and struggle is revealed, against any exoticizing and orientalist temptation.

Mountain(en)

An epic cinematic and musical collaboration between SHERPA filmmaker Jennifer Peedom and the Australian Chamber Orchestra, that explores humankind's fascination with high places.

Zinet, Algiers, Happiness(fr)

Who remembers Mohamed Zinet? In the eyes of French spectators who reserve his face and his frail silhouette, he is simply the “Arab actor” of French films of the 1970s, from Yves Boisset to Claude Lelouch. In Algeria, he's a completely different character... A child of the Casbah, he is the brilliant author of a film shot in the streets of Algiers in 1970, Tahya Ya Didou. Through this unique work, Zinet invents a new cinema, tells another story, shows the Algerians like never before. In the footsteps of his elder, in the alleys of the Casbah or on the port of Algiers, Mohammed Latrèche will retrace the story of Tahya Ya Didou and its director.

Warren Miller's Timeless(en)

Kick off the season with Warren Miller’s Timeless, presented by Volkswagen, as we celebrate 70 years of ski cinematography and travel with top athletes across the globe to renowned mountain locations. Featuring ski legends like Glen Plake, alongside newcomers Caite Zeliff, Jaelin Kauf, and Baker Boyd. Road-trip with rippers from Arlberg to the Matterhorn, be immersed in the hometown hill of Eldora and discover a different side of Jackson Hole, plus much more.

How Much I Love You(ar)

Beginning with a promotional reel encouraging farming investments in Algeria and ending with the secret 1950s nuclear tests that France conducted using Algerian prisoners, How Much I Love You appropriates archival footage produced by the French colonial powers in Algeria. Meddour’s approach is disarmingly simple and yet awe-inspiring—his caustic undoing of colonial discourse is underscored by a liberating release of humor.

Draw(en)

Cell phones P.s. Just a small add on(en)

A grandson shows his grandmother how to navigate an iPad 2 full of clues for solving a puzzle. Over a phone call, she recites an email she wrote seven years prior.

Dans les pas du Groupe(fr)

Rainier the Mountain(en)

In this retrospective tribute, acclaimed filmmaker Jean Walkinshaw hails the 100th anniversary of Mount Rainier National Park in Washington by talking to those who know it best: the scientists, naturalists, mountain climbers and artists whose lives have been touched by the peak's far-reaching shadow. The result is a harmonious blend of archival material and high-definition footage celebrating an icon of the Pacific Northwest.

Dirtbag: The Legend of Fred Beckey(en)

Fred Beckey is the legendary American "Dirtbag" mountaineer whose name is spoken in hushed tones around campfires. This rebel climber's pioneering ascents and lifestyle form an iconic legacy that continues to inspire generations.

Kluane(en)

Kluane National Park is situated in the Yukon area of northern Canada and is a research paradise for glaciologists, geologists and other scientists. Mountaineers come to scale the impressive heights. Animals are free to roam, protected by stringent legislation. This film reveals many facets of this beautiful park, which has been declared a protected zone by UNESCO.

Algeria in Flames(ar)

These are the first images shot in the ALN maquis, camera in hand, at the end of 1956 and in 1957. These war images taken in the Aurès-Nementchas are intended to be the basis of a dialogue between French and Algerians for peace in Algeria, by demonstrating the existence of an armed organization close to the people. Three versions of Algeria in Flames are produced: French, German and Arabic. From the end of the editing, the film circulates without any cuts throughout the world, except in France where the first screening takes place in the occupied Sorbonne in 1968. Certain images of the film have circulated and are found in films, in particular Algerian films. Because of the excitement caused by this film, he was forced to go into hiding for 25 months. After the declaration of independence, he founded the first Algerian Audiovisual Center.

I Was Only 14(nl)

Filmmaker Froukje van Wengerden’s 86-year-old grandmother shares a powerful memory from 1944, when she was just 14. As her story unfolds, we see a group of contemporary 14-year-old girls. Their procession of portraits permits the spectator to see simultaneously forward and back, into the future and towards the past. A miraculous testimonial that uses eye contact to focus the viewer inward and evoke unexpected emotions.