Amsterdam — Helena Třeštíková’s speciality is what she likes to call “time-lapse” documentary, and it’s a phrase she doesn’t bandy about lightly. Having made her non-fiction debut in 1974 with short film “The Miracle”, she has worked consistently ever since, balancing so many years-in-the-making projects that sometimes she has up to 15 on the go at any given time. Třeštíková arrived at Idfa to introduce a short, selective retrospective of her decades-spanning filmography and also to curate a Top Ten, which includes works by Krzysztof Kieslowski, Sergei Miroshnichenko and the Czech Republic’s Vera Chytilova, whose 1963 film “Something Different” inspired the teenage Třeštíková to become a film director in the first place.
For Idfa Artistic Director Orwa Nyrabia, honoring Třeštíková is a chance to put right some of the gender inequality he sees in the documentary world. “To me,” he says, “Helen – undoubtedly – is one of the greatest living documentary filmmakers.
For Idfa Artistic Director Orwa Nyrabia, honoring Třeštíková is a chance to put right some of the gender inequality he sees in the documentary world. “To me,” he says, “Helen – undoubtedly – is one of the greatest living documentary filmmakers.
- 11/18/2018
- by Damon Wise
- Variety Film + TV
As an actor, curating a feast of factual film-making showed me the beauty of the subjective truth, says Diana Quick
Aldeburgh cinema in Suffolk is not all it seems. From the outside, it looks like a half-timbered shop at the end of the high street. Within, it's an independent picture house that's been screening films for nearly a century. It's a proper community staple: to save it from shutting in the 1960s, a group of locals, including Benjamin Britten, clubbed together to buy it and then run it themselves. Year after year I've gone there to see mainstream releases, international arthouse films and special treats – I still remember introducing a bunch of teenagers to White Christmas at the cinema, one wintry day. I think it's ambitiously programmed every day of the year, but especially so for the three days its annual documentary festival comes around.
Molly Dineen had the brainwave...
Aldeburgh cinema in Suffolk is not all it seems. From the outside, it looks like a half-timbered shop at the end of the high street. Within, it's an independent picture house that's been screening films for nearly a century. It's a proper community staple: to save it from shutting in the 1960s, a group of locals, including Benjamin Britten, clubbed together to buy it and then run it themselves. Year after year I've gone there to see mainstream releases, international arthouse films and special treats – I still remember introducing a bunch of teenagers to White Christmas at the cinema, one wintry day. I think it's ambitiously programmed every day of the year, but especially so for the three days its annual documentary festival comes around.
Molly Dineen had the brainwave...
- 11/23/2010
- by Diana Quick
- The Guardian - Film News
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