• Israeli filmmaker Eyal Sivan

    Eyal Sivan talks about his films on Israel.

  • Albert Maysles interviewed

    Albert Maysles talks about his films and life as director.

  • The Significance of Freedom

    Synopsis: A philosopher from Norway – the country of equal rights – travels to the Middle East to enquire into the women’s situation after the Arab Spring. He discusses what Arab women mean by freedom and what they expect from the ongoing changing climate. Women in revolutionary Cairo is met with two years between, going from the Arab spring to the Muslim wither. Distinguished voices of some female Middle East activists and intellectuals are in a poetic way set in […]

  • Jørgen Leth – The Seduced Human

    a moral enquiry about the modern aesthetical position

  • Dear Haiti, What Now?

    Dear Haiti – what now ? (2010) A tv-documentary by Truls Lie. The Eartquake  haunted Haiti in 2010. A trip with Norwegian Red Cross and Norwegian Church Aid, where we followed what was done by the money from the support concert in Oslo, January 2010. Together with filmmaker Alexander Eik, Gramart head Elin Aamodt and musician Ole Paus, we followed the organisations rescuing work in Haiti. Only available in Norwegian.  The film was screened at Norwegian Television spring 2010. Share […]

  • Michael Moore in Venice: Charging for interviews?

    This is an excerpt of a confrontation with Michael Moore on paid interviews with him — connected to his film premiere in Venice Capitalism: A Love Story. The Norwegian journalist Nils Gjerstad asks why he had to pay to get an interview with the reclaimed filmmaker, who in this film criticise capitalism.. Share PostTwitterFacebookGoogle +1Email

  • Jean Baudrillard: The art of disappearing

    Jean Baudrillard is probably the most significant media philosopher we have seen in recent years.



    Can a refugee in a film become too aesthetic, losing his ethical relevance?

  • Oluf Palme – The Intelligent Smile

    Oluf Palme – The Intelligent Smile

    Selected from 350 hours of film archives, the film on Swedish politician Olof Palme shows him in several interesting political situations. I do miss some deeper insights into a few of those situations, but the multiplicity of the film should definitely satisfy a large audience, or new generations. By Truls Lie

  • A Tendency and Some Expectations

    A Tendency and Some Expectations

    After visiting nearly 30 festivals during this period I see one tendency and some expectations..

  • DOCAVIV: Reconciliations?

    DOCAVIV: Reconciliations?

    DOCAVIV: What can a film festival in Tel Aviv teach us about the conflict between the Israelis and the Palestinians?

  • DOKUFEST: 11 Years Strong

    DOKUFEST: 11 Years Strong

    MODEL PRIzREN: The horror of war motivated Docufest’s Veton Nurkollari to do whatever he could to never witness war again. His festival is one bright spot that has almost single-handedly succeeded in dispelling some of the pessimism that shadows the country. By Özge Calafato and Truls Lie (photos)

  • SHEFFIELD DOC/FEST: Self-Shooters

    SHEFFIELD DOC/FEST: Self-Shooters

    SHEFFIELD: What impressions of the documentary industry can 100 seminars in one week at the festival DOC/FEST give?

  • Eyal Sivan – A Common State Solution

    Eyal Sivan – A Common State Solution

    “we’re talking about a nation that has almost 200 nuclear bombs. If you think about
    Iran and Israel today, it’s about suicide”

  • Jay Rosenblatt – The Human Condition

    Jay Rosenblatt – The Human Condition

    Why is the Jewish filmmaker Jay Rosenblatt from San Francisco so obsessed with loss and death in his films? His many films are like collage essays, usually comprising archive material. As a filmmaker, has he been ahead of his time? And as programming director of a Jewish festival, how does he cope with Jewish history? By Truls Lie      We met the renowned filmmaker Jay Rosenblatt to speak about traits in his films – like loss, death, Jewish identity and […]

  • Why short docs is best…

    Why short docs is best…

    Why did we choose a 7-min short at ZagrebDox?

  • Cinematographer, director, producer

    Cinematographer, director, producer

    The legendary cinematographer RICHARD LEACOCK died this year, nearly 90 years old.

  • What Matters in Berlin – Sean Penn, Geldof…

    What Matters in Berlin – Sean Penn, Geldof…

    The photographers went cracy in front of Sean Penn and Bob Geldoff during the press conference on Cinema for Peace in Berlin

  • Death in Venice – Vincent Gallo

    Death in Venice – Vincent Gallo

    In Venice essay films show a resistance to the mainstream film industry

  • PASOLINI: The War of the Spirit

    PASOLINI: The War of the Spirit

    Pier Paolo Pasolini was an ardent critic of his age.

  • How we see North Korea

    How we see North Korea

    Tension escalates between North and South Korea after the torpedoing of a South Korean military ship in May. In North Korea, prison camps, murder, rape, gnawing starvation and freezing temperatures are all par for the course. How can the global community let such extreme oppression go on? TEXT TRULS LIE

  • Shirin Neshat – Once a democratic country

    Shirin Neshat – Once a democratic country

    We met the Iranian artist and now filmmaker, Shirin Neshat, who won the prize for best director at the Venice Film Festival. Her feature film Women Without Men combines both the oppression of women in Iran and the historical moment when Iran turned away from being a democracy in 1953. These insights are still alarmingly relevant. TEXT TRULS LIE

  • Gender apartheid

    Gender apartheid

    At the Berlinale the documentary Black Bus is one Israeli powerful testimony on the repressive nature of Israel. TEXT TRULS LIE

  • The legacy of the auteurs – Bergman, Antonioni..

    The legacy of the auteurs – Bergman, Antonioni..

    Filmmakers like Bergman and Antonioni have taught us to think in pictures.

  • Norway: What makes a “film pledge” visionary?

    Norway: What makes a “film pledge” visionary?

    Unimpeded by Norwegian language, culture, or social conditions, Norway should be capable of creating and expanding a visionary arena for critically independent, international documentary film. The Ministry of Culture’s Trond Giske launched the so-called “Norwegian Film Pledge”[1] this spring with the White Paper on Film. The Government presented proposals to Parliament advocating an increased commitment to Norwegian feature-length films, organizational mergers, and a relocation of the film archive. But how promising is all this and what does “bolstering” really mean here? […]