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Publication trimestrielle multilingue
Multilingual quarterly magazine
Revista trimestral multilingüe
Enfant
Child
Infancia
Capharnaüm de Nadine Labaki
Depuis le début du cinéma, l’enfant en relation avec le cinéma est une des préoccupations
principales de l’OCIC/SIGNIS et est même une des raisons de sa fondation en 1928. Des
catholiques organisaient des séances éducatives dans leurs écoles et paroisses. Cette
EDITO
expérience était reconnue par la Société des Nations. En 1950, le festival de Venise invite
l’OCIC à organiser des journées d’étude sur la production et la distribution de films pour
enfants. Deux ans plus tard, le responsable du Service des films pour enfants à l’OCIC, le P.
Léo Lunders O.P., a œuvré avec l’UNESCO pour fonder le CIFEJ (Centre international du
film pour l’enfance et la jeunesse). Il y est resté très actif durant de nombreuses années. Son
expérience est également partagée par d’autres organisations comme le BICE, partenaire
de SIGNIS. L’éducation au cinéma devient ainsi une des préoccupations de l’OCIC/SIGNIS.
Entre 1970 et 1987, un Jury OCIC a attribué un prix au festival pour cinéma pour enfants
à Gijon.
Depuis les années 1990, l’OCIC/SIGNIS en Amérique latine participe activement au plan
DENI lancé par l’UNICEF et liant le cinéma à l’éducation aux médias notamment avec Cine
Mundo Chico en Argentine. Elle organisait aussi avec ses membres critiques du cinéma,
des jurys dans des festivals internationaux spécialisés dans des films pour enfants comme
à Zlin, Schlingel-Chemnitz et Divercine (Montevideo). Dans les festivals généraux comme
Cannes, Berlin, Buenos Aires, Venise, etc., et ce depuis plus de soixante-dix ans, des jurys
établis par OCIC/SIGNIS ont toujours accordé une grande importance aux films évoquant
les conditions de vie des enfants.
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2 CineMag
Since the beginning of cinema, child in relation to cinema has been a concern of OCIC
/ SIGNIS and was even one of main reasons why OCIC was founded in 1928. Catholics
organized educational sessions for children in their schools and parishes. This experience
has been recognized by the League of Nations. After the war, the festivals of Cannes and
Venice had taken several initiatives on cinema for children. In 1950 the Venice Film Festival
invited OCIC to organize study days on the production and distribution of children’s films.
In the following years, OCIC’s director of the Children’s Films Service, P. Leo Lunders O.P.,
worked with UNESCO to lanch the International Film Center for Children and Youth
(CIFEJ) in 1957, in which he stayed active for years. His experiences were also shared
with other organisations, such as the International Catholic Child Bureau or Bureau
International Catholique de l’Enfance (BICE). Between 1970 and 1987 an OCIC Jury gave its
award at the children’s film festival in Gijon (Spain), known as the Certamen Internacional
de Cine para la Infancia y la Juventud. Film education became one of the priorities of OCIC
/ SIGNIS.
Since the 1990s, members of OCIC / SIGNIS in Latin America were involved in UNICEF’s
Plan DENI (Plan de niños) as the film festival Divercine in Montevideo and linked cinema
with media education such as Cine Mundo Chico in Argentina. It also organized with
its film critics, juries in international festivals specializing in children’s films such as Zlin,
Schlingel-Chemnitz and also Divercine. Since more than seventy years, jurys with OCIC /
SIGNIS members have always given great attention to films evoking the human condition of
childhood in general film festivals such as Cannes, Berlin, Buenos Aires,Venice, etc.
GC
N°2/2019
Publication éditée par l’Association Catholique Mondiale pour la Communication
Publication of the World Catholic Association for Communication
Publicación editada por la Asociación Católica Mundial para la Comunicación
SIGNIS – Rue Royale, 310 – 1210 Brussels – Belgium – Tel: 32 (0)2 734 97 08 – www.signis.net
Secretary General: Ricardo Yáñez
Chief Editor: dr Guido Convents – Lay-Out: Pascale Heyrbaut
Team/Correspondents: Magali Van Reeth, Peter Malone, Marianela Pinto, Marc Bourgois, Alejandro Hernández, Lukáš Jirsa,
Adrián Baccaro, Douglas Falheson, Joseph Lederle, Kleiner Felicitas, Ricardo Casas, Lidia Greco, Marion Cabaud, Charles
Ayetan, Marialva Monteiro.
Administration: Fabienne Deseau, Florentina Gonzalo, Nadia Tekal
E-mail: guido.convents@signis.net – @SIGNIS – facebook.com/signisworld – youtube.com/user/signisworld
Photo Cover: Still from the film Miriam Miente (Rep. Dominicana), Dulce Rodríguez (main actress)
?????????
ISSN 0771-0461 – Prix : 7 euros par numéro - 25 euros par an (frais de port inclus)
Les articles signés expriment les opinions personnelles des auteurs.
EDITO
La relación entre la infancia y el cine ha sido siempre una preocupación de OCIC / SIGNIS
y, de hecho, fue una de las razones por las que se fundó OCIC en 1928. Los laicos católicos
organizaban sesiones educativas para niños en sus escuelas y parroquias. Este es un hecho
reconocido por la Liga de las Naciones y la UNESCO. Los festivales de cine de Cannes y
Venecia tomaron varias iniciativas después de la Segunda Guerra Mundial sobre el cine
para niños. En 1950 Venecia pidió a OCIC organizar un estudio sobre la producción y
la distribución de películas infantiles. En los años siguientes, el director de Servicios de
Películas para Niños de la OCIC, P. Leo Lunders O.P., fundó el Centro Internacional de Cine
para Niños y Jóvenes (CIFEJ) en 1957. Su experiencia también ha sido ejemplo para otras
organizaciones como la Oficina Internacional Católica de la Infancia (BICE). La educación
cinematográfica también se convirtió en una preocupación para OCIC / SIGNIS. Entre 1970
y 1987, un jurado de la OCIC ha otorgado su premio en el festival de cine para niños en
Gijón.
A partir de 1990, los miembros de OCIC / SIGNIS en América Latina han venido
participando en el Plan DENI (Plan de niños) de UNICEF y han vinculado el cine con la
educación en los medios de comunicación (como el Cine Mundo Chico en Argentina).
Por más de setenta años, se han organizado jurados con miembros de OCIC / SIGNIS en
Cannes, Berlín, Buenos Aires, Venecia, etc. Desde 2000, estos jurados han participado en
festivales internacionales especializados en películas infantiles y adolescentes como Zlin,
Schlingel-Chemnitz y Divercine.
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CineMag
CHILD’s FESTS
Twenty years
presence in festivals for Children
59. mezinárodní
festival filmů
pro děti a mládež
From Zlin to Montevideo and Chemnitz 59th International
Film Festival for
Children and Youth
Festivals giving attention to specific film productions for children and youth are important.
They are not only an essential part for the development of film culture but also proposing an
artistic insight into the ever-changing world of children. For children, it is important to discover
quality cinema and stories which open their view of the world.
The oldest international film festival for children was founded in the Czech Republic, in the city
of Zlin, in 1961, following a long tradition in this town for children and films. From then on, Zlin
became the inescapable center of filmmaking focused on children and youth, today also home
of two film schools. “Our mission is to present international film productions for children and teenagers, to make them accessible to the
child audience,” said Zlín Film Festival, President Čestmír Vančura, adding: “We want to give young viewers an idea of the world in offering
a high-quality alternative to commonly available audio-visual content”. This means for him that an important aspect of the festival is “to
educate young audiences through the medium of film, expand their awareness of the outside world, and develop their aesthetic, social,
and moral feelings”. In the light of this mission, it is not so strange that the central theme at Zlin in 2019 is “Explore and Discover”, linked
to the 100th birthday of the famous Czech traveler, adventurer, and writer Miroslav Zikmund. “His trips and journeys are still considered
admirable today and we have decided to let them inspire us for the upcoming festival,” said Jarmila Záhorová, Executive Director of the
festival. The result is that “Film audiences can look forward to discovery and exploration in three areas: Nature, People and Country.”
explained Art Director Markéta Pášmová. For this section, she selected more than forty films and documentaries, those on ecology and
environmental issues will certainly correspond to the interest of all those children and young people who today are worried about climate
change. Dealing with people, Pášmová wants to give a face to the faceless to native inhabitants of various parts of the world, from Inuits
Aboriginals, Maori, Native Americans, and many others. Not one country will be put in front but a region, the Balkan one.The Art Director
stresses that the Zlin Film Festival is an event “where children or teens are in the mainline. It is this focus that offers us a unique film
collection whose themes are viewed from a child’s perspective”.
In Montevideo, Uruguay, an International Children’s Festival, called Divercine was established in the early 1990s. Today’s director Ricardo
Casas told in an interview that the festival emerged at a historical moment in Latin America and the world. Until 1991, “only Disney
films arrived in Uruguay in the Cinema and at TV, and always with the same story, dressed in different clothes. The consequences we see
today ... and we will not fall into the nonsense of blaming everything in the media. It is only a symptom of a society that does not regard
children as human beings with rights and duties”. As there were almost no quality children films available in the country, with the help of
the Cinemateca he launched the festival. Since then he offers to thousands of children a selection of recent quality films from around the
world made for children. Casas’project was so inspiring that it was taken over in numerous countries in Latin America.
What began in 1996, improvised as Chemnitzer Kinderfilmschau in the former “Haus Einheit” in Germany, became another important
Festival of its kind in Europe. Michael Harbauer, the managing director of this Saxon children’s and youth film service based in Chemnitz is
the creative head of the Festival. In an interview, he explained that this event grew out into an original children’s and youth festival which
occupies a niche in Germany. In other words, “we bring the international children film to Germany and we declared openly that we want
also popularizing German children’s films abroad”. These both aspects he is developing with his film festival. The film festival is a platform,
with three international competitions: child, junior and youth films. International participants can discover during the event German
children films. Before the fall of the Wall in 1989, children films were mainly from East-German Film production. The main criteria for this
festival, which is, in fact, the same for all international film festival: “A film should not be a film about children, but a film from the point of
view of children. For children’s films, it is usually about emulating a hero, expanding the horizon of the audience in the youth film”.
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4 CineMag
Prix œcuménique à Zlin (2000-2018)
2000 2011
Voiture à cheval de Reza Ramezani Gholam (Iran) Hold Me Tight de Munk Kaspar (Danemark)
2004 2012
Blindgänger de Sahling Bernd (Allemagne) Punch de Lee Han (Corée du Sud)
2005 2013
Fourteen Sucks de Frejd Filippa & Jern Martin (Suède) Schuld Sind Immer Die Anderen
de Gunnar Lotz Lars (Allemagne)
2006
Greenhouse Effect de Akhadov Valery (Russie) 2014
Jongens de Kamp Mischa (Pays-Bas)
2007
Antonia de Amaral Tata (Brésil) 2015
Conducta de Daranas Ernesto (Cuba)
2008
Vikaren de Bornedal Ole (Danemark) 2016
Abulele de Geva Jonathan (Israël)
2009
Max Pinlig de Svendsen Lotte (Danemark) 2017
Half Ticket de Kakkad Sami (Inde)
2010
De Indiaan de Houtman Ineke (Pays-Bas) 2018
Supa Modo de Likarion Wainaina (Kenya)
De Zlin à Montevideo et Chemnitz De Zlín a Montevideo y Chemnitz
Depuis vingt ans SIGNIS participe avec son propre jury à Divercine Durante veinte años, SIGNIS ha participado con su propio jurado
(Montevideo) et comme partenaire avec l’organisation protestante en Divercine (Montevideo) y con la organización protestante
Interfilm dans des Jurys œcuméniques à Zlin et à Chemnitz Interfilm en jurados ecuménicos en Zlin y Chemnitz (Schlingel).
(Schlingel). Ces festivals qui accordent une attention particulière à Estos festivales, que prestan especial atención a la producción
la production cinématographique destinée aux enfants et aux jeunes cinematográfica para niños y jóvenes, son importantes. No
sont importants. Ils constituent non seulement un élément essentiel solo son un elemento esencial para el desarrollo de la cultura
pour le développement de la culture cinématographique, mais ils cinematográfica, sino que también expresan ideas, emociones y, en
expriment également des idées, des émotions et, en général, une general, una visión de los niños de su mundo siempre cambiante.
vision des enfants dans leur monde en constante évolution. Pour Los niños tienen la posibilidad de descubrir películas e historias de
les enfants, ils ont à cœur de découvrir un cinéma de qualité et des calidad que abren su mundo y su visión del mundo.
histoires qui leur ouvrent leur monde et leur vision du monde.
El presidente del Festival de Zlin, el más antiguo del mundo, explica
Le président du festival du Zlin, le plus ancien festival, explique que que su misión es presentar producciones internacionales de cine
« sa mission est de présenter des productions cinématographiques para niños y adolescentes, a fin de hacerlas accesibles al público
internationales pour enfants et adolescents, afin de les rendre infantil. Añadió que el festival quiere dar a los jóvenes espectadores
accessibles au public enfantin ». Il a ajouté que le festival veut donner “una idea del mundo al ofrecer una alternativa de calidad al
aux jeunes téléspectateurs « une idée du monde en proposant contenido audiovisual actualmente disponible”. Esto significa para
une alternative de qualité aux contenus audiovisuels actuellement él que un aspecto importante del festival es “educar al público joven
disponibles ». Cela signifie pour lui qu’un aspect important du a través de la película, ampliar su conciencia del mundo exterior y
festival est « d’éduquer le jeune public par le biais du film, d’élargir desarrollar sus sentimientos estéticos, sociales y morales”.
sa conscience du monde extérieur et de développer ses sentiments
esthétiques, sociaux et moraux ». Una perspectiva que este festival comparte con la de Divercine
y de Chemnitz. Todos quieren destacar las películas que cuentan
Une perspective que ce festival partage avec celui de Divercine et de historias desde el punto de vista de los niños.
Chemnitz. Ils veulent tous mettre en avant des films qui racontent
des histoires du point de vue des enfants.
CineMag 5
Miraï, ma petite sœur
de Mamoru Hosoda (Japon)
Kun est un petit garçon qui vit avec ses parents dans une jolie maison, à la périphérie d’une très
grande ville japonaise. Il adore les trains et attend avec impatience sa maman qui doit revenir
de la maternité avec un nouveau bébé.
Pour Kun, c’est le début de l’enfer : il va Comme un film dans le film, où chaque détail
falloir partager l’attention et l’amour de ses révèle à la fois une peur et une réalité. C’est
parents avec cette petite sœur. Dans ce film, un enchantement visuel où le foisonnement
comme dans les précédents longs-métrages des escaliers mécaniques, le flot des
de Mamoru Hosoda, le véritable sujet n’est passagers, les annonces internationales et
pas une tranche d’enfance mais comment le crissement des trains devenant de plus
dépasser la violence de ses émotions pour en plus effrayants illustrent la complexité
grandir, pour devenir plus fort. L’animalité de ce que ressent Kun : l’envie d’être aimé,
et la différence avec Les Enfants loups la peur d’être abandonné et cette colère
(2012), l’abandon avec Le Garçon et la incontrôlable qui lui fait faire et dire des
bête (2016) et maintenant la jalousie d’un bêtises.
enfant de 4 ans envers sa petite sœur, qui
accapare ses parents et les transforme. Miraï ma petite sœur est aussi une plongée
Une jalousie dévastatrice qui le transporte dans le quotidien japonais. L’importance de
dans un imaginaire où passé, présent et la famille, le rôle très traditionnel du père et
avenir s’emmêlent et où le quotidien est un de la mère qu’il est difficile de changer, les
trampoline au chagrin. écolières en uniforme, les fêtes saisonnières
et ces trains qui scandent le paysage. Au traditionnelle japonaise. Dans chaque plan,
On peut regretter que le récit, ici, manque cœur de la maison où habitent Kun et ses de nombreux détails enrichissent l’image,
de force et soit plutôt une succession parents, il y a un arbre, symbole de la nature que ce soit dans la cuisine où chaque objet
d’épisodes au ressort répétitif : la colère de si importante dans l’imaginaire japonais, posé sur une étagère a été réellement
Kun le fait entrer dans un environnement métaphore de l’arbre généalogique et du pensé dans sa forme et sa place, ou dans
d’abord incompréhensible où peu à peu le feuillage sans cesse renouvelé. les paysages panoramiques d’une grande
sens lui devient accessible. Grâce à l’image ville en expansion au fil du temps. Alors
d’un grand-père, d’un chien, d’un objet Que ce soit dans la mise en scène, les malgré une faiblesse dans le scénario, on est
rituel ou d’une petite sœur devenue grande, cadrages ou le graphisme, qui est à la fois encore une fois conquis par la virtuosité de
il vit en démultiplié et collectionne « tous doux et inventif, pétillant comme ce petit Mamoru Hosoda.
ces petits instants mis bout à bout font ce garçon, Mamoru Hosoda réussit un film
que nous sommes aujourd’hui ». qui est visuellement très séduisant. Les Magali Van Reeth
personnages bougent avec beaucoup
L’épisode de la gare étant le plus réussi et d’aisance et sont très expressifs, bien loin
on retrouve tout le talent du réalisateur. des « gros yeux ronds » de l’animation
6 CineMag
Parvana, une enfance en Afghanistan
de Nora Twomey (Canada/Irlande/Luxembourg)
A travers un film d’animation, où le dessin permet de tenir
à distance le drame et la violence, le quotidien difficile d’une
fillette à l’ère des talibans en Afghanistan.
Parvana a 11 ans. Avec son petit frère et peur pour affronter des monstres. La fable
ses parents, elle habite une petite maison accompagne la fillette, donnant du sens à
confortable, en ville. Son père est un son geste et un soutien quand l’impuissance
professeur respecté de ses élèves car il leur la guette. son prix à Parvana/The Breadwinner,
apprend à raisonner par eux-mêmes. Ce avec l’attendu suivant : « un film convaincant
qui ne plaît pas du tout au nouveau régime C’est une histoire triste mais pas dés- aussi bien en termes de contenu que
politique théocratique des talibans. Le père espérée, avec une fin ouverte sur le visage d’esthétique. Le film se situe en 2001 dans
est emprisonné et comme les femmes ne de la fillette, où chacun conclura comme il l’Afghanistan contrôlé par les talibans et
peuvent ni sortir seules, ni travailler, la le souhaite. Par respect pour le jeune public décrit, du point de vue de Parvana, fillette
misère et la faim remplacent l’atmosphère auquel ce film s’adresse, la réalisatrice de 11 ans, la lutte de survie de leur famille.
joyeuse qui régnait jusqu’alors dans la n’a pas voulu donner une fin béate mais
famille de Parvana. Elle se déguise en garçon irréaliste : le quotidien pour les filles et les Ce film d’animation se distingue particu-
pour chercher un peu de travail sur les femmes était difficile en 2001 ; il l’est encore lièrement par la combinaison harmonieuse
marchés et rapporter de quoi manger. en Afghanistan et dans de nombreuses d’événements réels et d’un conte de fées
autres régions du monde. éternel. Il s’adresse ainsi à un public jeune
Nora Towney déroule le récit avec une et adulte. »
grande pudeur mais sans masquer la Au Festival du film pour le jeune public de
dureté et l’absurdité d’un gouvernement Chemnitz, le jury œcuménique a décerné Magali Van Reeth
qui impose ses lois par la peur et refuse le
moindre statut légal aux femmes. Il ne s’agit
pas d’expliquer une situation géopolitique
ou de juger mais simplement de montrer
la détresse d’une enfant, et de tout un
peuple. Le graphisme est simple, parfois un
peu austère mais l’atmosphère d’une ville
orientale est rendue avec soin, jusque dans
la bande son.
L’histoire de Parvana devant lutter pour la
survie de sa famille, est entrecoupée par
un conte d’apparence traditionnelle, plus
foisonnant, où un héros doit surmonter sa
CineMag 7
Le Secret de Chanda
d’Oliver Schmitz (Afrique du Sud/Allemagne)
Une juste évocation de l’enfer vécu par les enfants victimes
du sida, dans un univers où les traditions, la culture ancestrale
et certains groupes religieux sont un frein à l’éducation et aux
changements de comportements.
Chanda est une jeune adolescente. Sa mère villages, on a pris le fléau avec un tel défaitisme
est remariée à un homme un peu trop qu’on en est à plus de 800 000 orphelins de
coureur, un peu trop buveur, qui lui a donné parents morts du sida. Dans les campagnes, le
trois enfants et le virus du sida. Contaminé sida ne va pas là où il y a la misère, il va là où il faibles, et ici, envers la veuve et l’orpheline,
par sa mère, le plus jeune bébé vient de y a un manque d’ouverture ! C’est un problème ils lancent sur les victimes innocentes du
mourir. Ce décès précipite la rupture du de traditions, de mentalités, de superstitions ! » sida les premières pierres de la lapidation,
couple et la déchéance de la famille dans le oubliant le message fondamental des Evan-
village. Mais il permet à Chanda et à sa mère Le Secret de Chanda se déroule dans giles, envers les malades, les prostituées
Lilian de tisser une belle relation, faite de un village où le poids des traditions est et les plus faibles. Aggravant la situation
tendresse et d’entraide, de s’épauler contre encore très fort. Des charlatans et des des malades en invoquant le nom de Dieu,
l’agressivité du destin et du voisinage. sorciers profitent de la naïveté de leurs ils entretiennent chez les victimes un
compatriotes pour les désenvoûter et
sentiment de honte et d’exclusion, terreau
Si ce film est inspiré d’un roman où la relation leurs vendre des remèdes qui ne peuvent
de la propagation de l’épidémie.
mère/fille servait de trame narrative au fur rien contre le virus du sida. Cette maladie
et à mesure de l’évolution de la maladie, est tabou et personne n’ose en prononcer
Sans jouer sur l’émotion et la sensibilité
Le Secret de Chanda est clairement une le nom. Rien n’est fait pour la prévention,
dénonciation de la façon odieuse dont sont aucune éducation sanitaire n’existe. des spectateurs, Oliver Schmitz réussit
traitées les victimes du sida dans certains un film pudique et touchant, où la gravité
pays. Aujourd’hui, en Afrique du Sud, le La communauté chrétienne qui anime des situations vécues alterne avec la
gouvernement refuse de reconnaître l’état l’église du village est, elle aussi, clairement construction de cette belle relation mère/
d’urgence. Comme le souligne le réalisateur mise en cause. Issue des mouvements fille. Leur amour et leur grande humanité
Oliver Schmitz dans un entretien au journal évangélistes les plus fondamentalistes et deviennent espérance dans un monde
Le Monde : « On a entretenu le mythe de la les plus puritains, ce groupe véhicule l’idée, obscur où les plus innocentes victimes sont
conspiration de l’Ouest qui nous contaminait, très répandue en Afrique, qu’une personne forcément condamnées.
qui faisait payer les médicaments trop cher. séropositive est une personne qui a pêché.
On a tellement crié à la malédiction dans les Loin de toute compassion envers les plus Magali Van Reeth
8 CineMag
Films at Zlin 2019
Storm Boy
director Shawn Seet (Australia)
This is a contemporary retelling of Colin Thiele’s classic Australian tale with references
to the 1976 film version. Storm Boy has grown and is a grandfather. One day he is
forced to remember his long-forgotten childhood, growing up on an isolated coastline
with his father. He recounts to his grand-daughter the story of how, as a boy, he
rescued and raised an orphaned pelican. Their special bond had a profound effect on
his life. - International Competition for Children -
Measure of a Man
director Jim Loach (USA)
A coming of age story about Bobby an overweight fourteen-year-old boy who his
parents send him for his summer vacation to a holiday resort. Here Bobby discovers
the real world. He is bullied by a local gang of boys, as is also his friend Joanie, both
are newcomers in the resort. By chance he becomes befriended with a retired doctor
who helps him with his own experiences - he admitted that he was also bullied when
he was young- and he acts as a mentor for Bobby. That summer Bobby becomes a
man with self-confidence. - International competition of films for Youth -
A Good Heart (Dobroe serdtse)
director Evgeniya Jirkova (Russia)
In the Stone Age lives a family. The most important thing in its life is to find food. Even
the kids have to go out and to collect fruits and other eatable things. One day one of
the kids stumbles over a small white dog. Is it eatable? Is it dangerous? No. It wants
friendship. The boy first astonished, and then he becomes a friend of the little dog.
When he arrives at home with his new friend, He finds his mother who is strict and
grumpy. All she wants is that everyone eats well and is healthy, and the little dog seems
for her a fine dish. - International Competition of Short Animations for Children -
Cowboy Joe
director Jingjing Tian (USA)
People in the streets of New York are watching how a young Chinese boy, is dancing
elegantly dressed as a cowboy, on the sidewalk. He has something of the famous Roy
Rogers, the mythical film western hero of the 1930s and 1940s. Though this cowboy
is a son of a Chinese migrant, he feels like a real American with all the values and
freedom of this new country. The director wants to express that migrants in this new
country can be anyone and anything they want. That is the American Dream, also for
them and they are part of it. - International Competition of Student Films -
The Arctic Camels (Kamel)
director Karl Emil Rikardsen (Norway)
Torarin and Svalin live with their parents in the north of Norway. When they want a
horse for riding, their parents buy two Bactrian camels for them instead.These animals
need to be trained, and the family soon discovers that this is not for amateurs. They
travell to Mongolia, hoping to find a professional trainer for their camels in Arctic
Norway. Deep into the Goby desert, they actually find a candidate. But they are not
prepared for Mongolian training methods. - Competition of European Documentary
Films for Young Audience -
CineMag 9
CZECH REP.
A cinema inspired by fairy tales
Among Czech cultural treasures, there are Czech (and also
former Czechoslovak) films for children and youth. But what is
the state of film production for children today?
The Seven Ravens by Alice Nellis
A tradition of animated films A tradition of feature fairy tales directed one of the still most popular Czech
films, I Enjoy the World with You, a comedy
At least two Czech film masters are known Besides a strong tradition of animated films where three middle-aged men go for a
to anyone interested not only in films for there is also the golden tradition of feature vacation with their children and learn to
children and youth but in the history of fairy tales with its classics like The Proud cope with their needs without their wives.
the world cinema as such. Jiří Trnka was a Princess (Bořivoj Zeman, 1952) or The
puppet-maker, illustrator, motion-picture Princess with the Golden Star (Martin Much less successful times for children
animator and film director who had a Frič, 1959). cinema came after the fall of the communist
unique approach to classic fairy tales (with dictatorship in 1989. Since the beginning of
strong lyrical layer but without situations The highest quality of production for the 1990s until today, we can find some very
and visual gags so well known from Disney children was maintained also in the second good films for children and youth, but none
productions) and whose films enchanted half of the 20th century: we remember of them, so far at least, has had potential
viewers all around the world such as The Three Nuts for Cindarella (Václav Vorlíček, to attract wider European or worldwide
Good Soldier Schweik (1955.) Trnka´s 1973) which is still popular not only in the audiences such as Ruffiano and Sweeteeth,
work addressed and still addresses to Czech Republic but also in Russia, Germany, (Karel Smyczek, 1997,) An Angel of the
children and to adults, as every work of art. Norway and many other European countries Lord (Jiří Strach, 2005), The Seven Ravens
or, from the same Václav Vorlíček, beautiful (Alice Nellis, 2015).
Karel, Zeman, made renowned films such as TV fairy tale series (mixing the real and fairy
The Fabulous World of Jules Verne (1958) tale world) Arabela (13 episodes, 1980) I think that the trouble (but is it a trouble,
and The Fabulous Baron Munchausen or Three Veterans (Oldřich Lipský, 1983), really?) is that Czech films (not only for
(1961). He was called “the Czech Méliès”. a fairy tale interlaced with popular songs children and youth) are deeply immersed
He mixed real actors and sets with stop- of Zdeněk Svěrák and Jaroslav Uhlíř, two in typical Czech features and characteristics
motion animation, cut-outs, mechanical artists without whom the Czech childhood and their reach is often limited by Czech
props, and other visual effects. His would be radically different (and their songs songs which play an important role in many
masterpieces were digitally restored and are have enriched the lives of three generations films for children - together with a certain
part of the prestigious Criterion Collection already!). kind of humor which is often linguistically
(karelzemanmuzeum.org). The work of based and difficultly translatable. A good
Karel Zeman was admired by Pablo Picasso, Nevertheless, for children, there are not only example could be a witty fairy tale comedy
Charlie Chaplin and Salvádor Dalí and his fairy tales, but also stories mixing reality and The Magic Quill.
fantastic worlds influences director to the fantasy: Lucy, Terror of the Street (Jindřich
present Tim Burton and Wes Anderson Polák, 1983) or realistic family comedies - Lukáš Jirsa
among others. a trademark of Marie Poledňáková. She
10 CineMagMagic Quill by Marek Najbrt
The Farmkeeper (Správce statku)
In 2004 the ecumenical jury gave a special
Magic Quill
attention to The Farmkeeper of Martin To preserve order in the world, each county has its branch of hell with a magic quill
Duba at the Zlin film festival. It is apoetic recording human sins. The quill in the branch under Pytlov town malfunctions. Young
story which unfolds on a farm located in demon Bonifác is bringing a substitute, but he is robbed by a lazy tailor Klouzek who
the beautiful area of the Bohemian Paradise. decides he will simply abolish hell. It is up to Bonifác to liberate the town, the demons,
Summer vacation has started and the farm’s and Lucifer himself, and to win the heart of a young beautiful girl. Such is a plot of Magic
inhabitants (owner Mrs. Kubová, her two Quill, a well-done and witty fairy tale which does not aim only at children but also at
sons, pub keeper Marie, and horse groom their parents, thanks to its clear political satire and criticism of human indulgences.
Lucka) are embroiled in a never-ending Magic Quill has all the characteristics of Czech film which is often praised by the
merry-go-round of everyday cares. The local audience but can hardly reach a bigger success abroad. Partly it could be taken
adults take care of the farm and the kids are as too odd in its production design (at least for a children’s audience), partly it could
bored. But all this dramatically changes with be misunderstood. Nevertheless, the message of the film is surely correct: those who
the arrival of a mysterious stranger, a young want to cancel hell do not mean well and that we all must work hard to deserve our
man named František. Suddenly, there is joy, place in heaven.
contentment, and the illusion of happiness. The devil in Czech fairy tales is not actually a representative of pure evil (which would
But then Mrs. Kubová’s husband is forced to certainly be theologically correct), but the devil is rather a character who is very much
sell the farm for financial reasons. Somehow humanized: the devils in hell are, one would almost say, kind, as they have great sense
they’ve got to come up with a plan to for justice: they punish those who commit sins. They, themselves, are not evil. They
prevent the farm from being sold. are only strict obeying their rules. In the beginning of the story, Lucifer says: “Hell is
an office charged with punishing evil forever and ever…” And in the story, the young
Duba used a documentary related film- demon Bonifác, is half-human (because Lucifer fell in love with a woman and she had a
language and excellent camera work, this child - Bonifác) and in the end, Bonifác decides to become human and to live with his
film shows how a microcosm of human beloved girl (love wins over evil?).
relations can be changed by a person Hence, we are far from the Devil of The Rolling Stones, who “was round when Jesus
who has the magical ability to take care Christ had his moment of doubt and pain”. We are in a Czech world, where we are
of his fellow human beings seriously. In a safe, we are all the same (partly sinful but still human) and we are not threatened
suggestive way, the film reflects the fragile by any real horror - the horror which is somewhere over the mountains where the
social situations and developments in the danger world lies, fortunately far from us - so far. Lukáš Jirsa
post communist countries.
CineMag 11GERMANY
A New Interest for Children’s Films
In 2012, the film magazine Filmdienst draw a special attention to
children’s films in Germany. Despite the efforts to produce more
and the greater success of children’s films in the cinema, the films
didn’t reach enough the target audience. Is the situation changed
in the last years?
Zucker Sand (Sugar Sand) of Dirk Kummer - Ecumenical Commendation 2017
Thirty-five years ago, in 1977, a dedicated a development of new artistic ways of as he is met with the religious background of
group of filmmakers, writers, and educators expressions, noted the film journalist Hans his best friend Jonas. With an open curiosity
issued a manifesto demanding the production Messias early 2000. towards the world that he as a GDR citizen
of children’s films that are culturally is unable to experience, Fred explores the
In september 2018 the first conference
and socially meaningful to adolescent true meaning of solidarity and the properties
Future of Children’s film (Zukunft Kinderfilm)
development in West Germany.This initiative of the soul through his friendship with Jonas.
was held with succes in Weimar. More
had a positive impact. It not only developed Although not exclusively a children’s film
than 200 representatives of the children’s
a notable production of children’s films but film industry were present. One of the Sugar Sand still raises relevant and balanced
also created a wide-ranging infrastructure elements which was obvious for most of reflections on navigating life in a bureaucratic
ranging from festivals to distribution facilities the participants, was the stimulating work of system that we find appropriate for a
to lobby institutions and trying to serve the film festivals, not only those specialized younger audience.
better the young audience. In those years in films for children. Most festivals have a
East German children’s film production had At the 2018 the project of the Saxon
children program, the Generation program Children’s and Youth Film Service e.V.
more success. Such as in 1975 the OCIC Jury of the Berlin International filmfestival since
regretted the almost total absence of long- Young Urban Cinema was presented at
42 years. With “Generation”, it brings films
length films adapted to the world of children Schlingel. The platform is unique in Europe
that stay close to the daily lives and fields
at the Gijon Children Film festival, it decided and presents the latest European theatrical
of experience of children and young people,
to grant, as an exceptional measure, its prize releases in children’s and youth film, with
frequently in challenging situations,” said
to the short-length film presented by the children and young people discussing them
section head Maryanne Redpath end 2017.
German Democratic Republic: Wer Bist Du, “And we continue promoting a broader in front of the camera. In addition to the
by Rolf Hofman and Klaus Schollbach. This understanding of film for young viewers. A reviews, there are plenty of background
film did put within the reach of children the visit to Generation has to be a joyful one, and information to see: www.youci.info. The aim
idea that each human being is appreciated whet the appetite for more great cinema.” is to meet children and adolescents on an
in relation to what he really is and not in equal footing. In the classical media, youth
relation to what he would like to be. SIGNIS is present in the Ecumenical Jury at film reviews are hardly available anymore.
Schlingel/Chemnitz since 2016. A year later In online forums, adults are evaluating films
With the fall of the Wall, the broad the jury gave a commendation to Sugar Sand from an artistic-aesthetic point of view and
children’s film production of East Germany which tells the story of an extraordinary less, whether they represent added value
came to an abrupt end. In the next years friendship between two ten-year-old boys seen through child’s eyes. This should be
not a lot attention was given to Children faced with the threat of separation by the
taken into account.
films in United Germany. Films were made inner German border in 1979. Questions of
but without a lot of originality and without faith and values come to the surface for Fred Info: Filmdienst
12 CineMagDie Nasenbärbande (Fiddlesticks) by Veit Helmer - SIGNIS Prize at Divercine 2016
Children’s films on demand
In Germany it is not easy for children to
find valuable and cultural interesting films.
The Katholisches Filmwerk in Frankfurt,
offers since 2018 individual screenings of
such films, which can be booked via www.
filmwerk.de for children’s and youth events.
Among the recent films there is the
Norvegian film What will people say, of
Iram Haq a stirring drama about a fifteen-
Meerkat Maantuig
year-old girl with Pakistani roots in Oslo
forced by her father to live in Pakistan.
Another one is the German film How to Ecumencial Prizes & Commendations
be really Bad in which the daughter of
the devil has to get a peaceful person to at Schlingel/Chemitz 2016-2018
become really evil. Of course, she also uses
the social networks in a devilishly way. The 2018
German film Five Friends and the Valley
of Dinosaurs on the other hand, combines Prize: The Breadwinner by Nora Twomey (Ireland/Canada/Luxemburg)
witty-curious action with straightforward Commendation: Meerkat Maantuig by Hanneke Schutte (South Africa)
detective work.
2017
One of the most famous writers for children
books in Germany was Erich Kästner who Prize: Sobre rodas by Mauro D’Addio (Brazil)
lived in the 1930s and whose books were
Commendation: Zuckersand by Dirk Kummer (Germany)
forbidden by the Nazis. A film of that period,
focussed on the friendship between the 2016
writer and a young boy, a fan, is the theme of
Prize: Hunt for the Wilderpeople by Taika Waititi (New Zealand)
Kästner and Little Tuesday. It is a way to
let the young audience discover the horrors Commendation: Meester Kikker by Anna Van Den Heide (Belgium/The Netherlands)
and angst which reigned in these years.
CineMag 13URUGUAY
Promocionar películas infantiles
Divercine surgió en julio de 1992. Entonces no había en
Uruguay una programación de calidad, con películas recientes,
para niños y jóvenes. Y con Divercine empezaron a llegar y
ser exhibidos en las mejores condiciones posibles. Asi muchos
miles de niños pueden descubrir cada año las mejores obras
de corto y largometraje que se produce para ellos en todo el
mundo. La sede es en Montevideo pero tiene hoy en dia sub-
sedes en varias ciudades del continente.
Todo comenzó con la llegada de la directora promover su propio festival. La gente legitimar la mirada de los niños y niñas ante
del Instituto Interamericano del Niño, la comenzó a comprender cuán interesante los miedos, y ayudarnos a reflexionar sobre
Dra. Eugenia Zamora, a la Cinemateca era el proyecto. El primero fue el director nuestras reacciones como adultos frente a
Uruguaya en Montevideo y su solicitud para de UNESCO, creó el Premio UNESCO al las lógicas de los chicos, que muchas veces
organizar una muestra de películas para mejor director de film o video de América no encuadran en nuestros parámetros
niños. La cinemateca no poseía muchas Latina y el Caribe. Luego UNICEF también de adultos. Por contar una historia que
y por esto pidió a Ricardo Casas buscar entendió que el festival era un buen aliado suscita interés y suspenso en los pequeños
películas para la programación. para mejorar la situación de los niños. espectadores, que descubren a un
protagonista que no sólo no les teme, sino
Se descubrió entonces toda una producción Lógicamente el Plan DENI fue el socio que ayuda a esos monstruos, vulnerables
para niños mayoritariamente en Europa natural. Sin OCIC-Uruguay (Eloy y la como él”.
que la cinemateca podía pedir, traducir y familia Pígola en un comienzo, con Carla
proyectar. El primer Divercine tuvo tanto Lima ahora) resulta difícil imaginar un Por otro lado, el jurado atribuyó una
éxito que la sala para 600 personas quedó Divercine formando a chicos. Poco a poco mención a la docu-animación chilena, para
chica. Fue tanta la gente que el segundo se fueron incorporando los actuales socios público infantil, Pichintun, Camilo un
año el festival ocupaba dos semanas y últimamente cuenta con el apoyo del niño ciego de Karen Garib. El veredicto
de vacaciones. El catálogo creció y las ICAU (Instituto de Cine y Audiovisual del fue “porque sin golpes bajos, y con calidad
ambiciones también: invitados, actividades Uruguay). Con las subsedes de Divercine en narrativa, nos muestra una historia de
en el hall; siempre con la ayuda de Eloy Yerle otras ciudades como en Argentina (Rosario), superación y esperanza, confianza y alegría,
que había organizado en el cuadro del Plan Perú (Lima), México (Guadalajara), Chile encarnada en Camilo y su familia”. Una otra
de Niños (Plan DeNI/ Formación para la (Santiago de Chili), Bolivia (Santa Cruz de la mención fue otorgado a Los Sueños - Que
imagen) cursos de lenguaje cinematográfico Sierra) y Puerto Rico (San Juan), sin contar queremos tener de Juan Carve de Uruguay:
para docentes del Plan DeNi. las subsedes del interior de Uruguay mismo, “Porque a través de un relato sencillo y
más de 30.000 niños pueden ver cien obras contundente, nos invita a reflexionar sobre
El segundo Divercine fue en julio 1992, con que se programa en todo el Continente. lo que realmente vale: el ser, el disfrutar de
Horacio Ríos, de Rosario (Argentina) quien lo que se nos da gratuitamente, de nuestros
recién comenzaba con la organización Desde 2008 SIGNIS otorga su premio en el sueños, más allá de la carrera por el tener,
del Festival de Video Latinoamericano de festival. En 2018 su premio fue atribuido a carrera en la que se nos va la vida y nuestro
Rosario; veía en Divercine una oportunidad la película brasileña Médico de Monstros planeta…”
para compartir esfuerzos con el fin de de Gustavo Teixeiro. El veredicto fue: “Por Info: Ricardo Casas - Divercine
14 CineMagMédico de Monstro de Gustavo Teixeiro - Premio SIGNIS Divercine 2018
CINIÑO Cineducd
Desde 2004 Divercine es cofundadora de Cineduc was born as part of DENI PLAN (Plan de niños), created
una red de festivales de cine para niños in 1968 and considered the first systematic experiment in
de Iberoamérica (CINIÑO). En este año, audiovisual education in Latin America. The DENI PLAN prepared
el director de Divercine Ricardo Casas teachers from the traditional education network to analyze films
junto a Susana Velleggia, Marialva Monteiro, and to learn the cinematographic language elements. The project
y Pablo Ramos han tomado esta iniciativa was coordinated by its founder, the anthropologist Luis Campos Martinez. Professor
con la expectativa de que otros festivales Campos thought that this language should be taught from the first years in schools.
de la región se integren a la Red y While the student “learns how to read he should also learn how to see”. In 1969
propongan nuevas ideas y proyectos. OCIC-AL - Organização Católica Internacional de Cinema para América Latina
(Catholic International Movie Organization for Latin America) assumed the project
CINIÑO no cuenta con estrellas del “show and took it to Uruguay, Brazil, Paraguay, Bolivia and the Dominican Republic.In Brazil
business” y más bien ofrece atractivos de this project was called CINEDUC and was installed in 1970. Coordinated by Marialva
“alto impacto” en el ya mercantilizado y Monteiro, the project was developed mainly in Rio de Janeiro. Sponsorships made it
banalizado panorama mass-mediático. possible to extend the project to public schools and free courses were also created.
Ofrece obras cinematográficas de alta
CINEDUC´S entry into CIFEJ (Centre International du Film pour l’Enfance et la
calidad, acceso a la diversidad cultural y,
Jeunesse), a UNESCO entity, brought the organization international recognition. In
cuando tenga un presupuesto suficiente,
this way CINEDUC actively collaborated to form theoretical positions about image/
contará con la presencia de directores,
education and children and communication vehicles.During this phase, films, videos
especialistas y creadores sumamente
and several didactic materials aimed at teachers about the usage of audiovisual
importantes de diversos países del mundo.
language in school were also produced.Today CINEDUC offers courses for teachers
Todos ellos aportarán experiencias y in several Brazilian states and video production workshops with youth. In 2005, 70
conocimientos de singular valor a través courses were held (35 for teachers and 35 for youth). There were a total of 2.100
de talleres, conferencias, o exposiciones participants.Currently every weekend CINEDUC exhibit films for children; the
en seminarios, tanto para niños y jóvenes, sessions are on Saturday and Sundays at CCBB - Centro Cultural Banco do Brasil
como para los docentes, profesionales, (Cultural Center of Bank of Brazil), Rio de Janeiro, reaching more than 10.000 people
técnicos, investigadores, estudiantes y el a year. -Monteiro curated in the years 2011/14 the Mostrinha de Cinema Infantil de
público en general, interesado en estos Vitória da Conquista in Bahia : www.cineduc.org.br.
temas. M.M./Divercine
Info: Ricardo Casas
CineMag 15AUSTRALIA
NEW ZEALAND
Two neighbouring countries with a different sensibility for
children films.
Manganinnie of John Honey (1980) - the first Australian film receiving an OCIC Prize
At the time of the Renaissance of Australian and Ed Oxenbould have been successful, not On the theme of sexual abuse of minors,
cinema, during the 1970s, one of the features only in Australian films but in making films in the characters from the 1976 The Devil’s
was films about children and for children, the United States. Playground, which was set in the juniorate
films like Storm Boy, or Blue Fire Lady. At of the Marist Bros in 1953, appeared in the
Manganinnie, OCIC Prize at the children
present and in recent years, there have been miniseries, called Devil’s Playground, one
very few films made for a children’s audience. film festival in Gijon, tells the story of a
of the best dramatizations of the issues, set
There is something of an exception in the white child, lost in the bush in Tasmania and
in New South Wales in 1988. Again, one of
recent Storm Boy, a remake of the classic: found by the Aboriginal woman Manganinnie.
the key films of the 1970s was Picnic at
the boy living with his father, a fisherman, and It is 1830 and British colonial troops are
Hanging Rock, the story of schoolgirls
his befriending a pelican. With its updating to removing with violence aborigines from land
who disappeared mysteriously while out on
the 21st-century, it has the boy grown up to near white settlements. First the young child
a picnic. The story has also been remade as
be a businessman in the present, Geoffrey mistrusts Manganinnie until she overcomes
a miniseries.While the Australian industry
Rush, an environmental campaign theme and her stereotype views towards aborigines and
is not making films for children, there are
his remembering his childhood. sees her also as a caring mother. Together
many American imports mainly, which are
they leave on a journey to find Manganinnie’s
However, there are a number of films that available for children’s audiences during
relatives who fled the violence of the white
may be suitable for audiences over twelve. school holidays. These include some of the
colonialists. For the jury the film had a great
But, they have serious themes. One is Jasper Marvel and DC superhero films, extremely
human quality: “Through the story and the
Jones, the story of a fourteen-year-old boy popular, but also at least two animation films
viewpoint of a young girl, the film shows the
and his aboriginal friend in Western Australia, each holiday for the younger audiences.
audience a different civilization. It teaches
1969, with issues of migrants from Vietnam These are very popular with parents taking
us also to value, respect and even share in
and indigenous families. It’s about an aboriginal their children but, a common phenomenon
it, by discovering the fundamental values of
boy blamed for the death of a young girl and in these days, grandparents taking their
life, despite cultural differences.” The film
the two boys helping him.The star of the film grandchildren for outings to the cinema. One
became an Australian Film Classic.
is Levi Miller who also appeared in the very of the most popular films in recent times was
popular film, Red Dog: True Blue, the story Threats to children have been significant The Lego Movie, Part 2. It does have an
of a boy and his friendship with a dog. Levi especially in the climate of child sexual abuse. Australian connection because the animation
Miller also can be seen in a horror film, set in A very good example is Don’t Tell, based on for this film and the first part were all made
the US, but made in Australia with Australian a true story of a teacher’s abuse of young in Australia by the company, Animal Logic.
cast and crew, Better Watch Out. His co-star girls in a Queensland Anglican high school
So, plenty of cinema-going by young audiences
was Ed Oxenbould who appeared in one of and the subsequent trial. The central victim
but very little in terms of local production.
the principal films made for a children’s and was played by Sarah West who has also
family audience, Paper Planes. Levi Miller appeared in a number of dramas. Peter Malone
16 CineMagThe Hunt for the Wilderpeople by Taika David Waititi - Ecumenical Award Schlingel 2016
New Zealand’s Child film culture is more than landscapes
New Zealand and films for children connects his feeling of guilt with the illness to circumstances, he finds himself with
became almost synonymous with The of his mother. After her death, he turns his grumpy uncle who also has problems.
Hobbit and The Lord of the Rings. It to a young Maori girl of his own age. The Together they run off from the Police and
was Hollywood and an American way of film invites one to meditate about illness, the child services and hide themselves
bringing stories in which violence and love, guilt and death, but at the same time in the wilderness. It takes a while before
horror are the main ingredients. For a lot shows hope. In 1998 Possum received the they get along with each other but it is
of parents this -bloody- fantasy world was Ecumenical prize in Oberhausen. Director the only way to survive. Ths comedy
not directly suitable for their children, and Brad McGarn portrays a family drama was well received at the 2016 Sundance
in fact, nothing to do with this country in the remote forests of New Zealand Film Festival and at Schlingel. Here the
in the Pacific. New Zealand produces from the perspective of a nine-year-old Ecumenical jury members were not only
another kind of local films which are more boy. This short film convinces with its impressed with the unusual cast and the
suitable for children referring to another uncompromising style, finding memorable strong focus on awesome landscapes,
culture and history, that of New Zealand. sepia colored images for the sensitive but also with the essence of the film; it
portrayal of the boy’s relationship with highlighted the aim of education: to help
One of the first impressive films about his autistic sister.The classic New Zealand children find their autonomy. The attitude
childhood in New Zealand is Gregor films on children is Whale Rider. of the grown-up questions man’s relation
Nicholas short film Avondale Dogs towards animals and nature.
which received an OCIC commendation At Schlingel, film director Taika Waititi
at the Mannheim Film Festival in 1994. obtained in 2016 the Ecumenical award This film, made for a younger audience,
It is about a dramatic moment from for The Hunt for the Wilderpeople. with a gripping story and hilarious
the life of a New Zealand boy, a coming A few years earlier he had already made moments, puts the audience on an
of age film. The boy discovers empathy with Boy, a coming of age comedy-drama, unusual path where the young boy finds
which transcends his own love and his one of the most successful releases self-confidence and freedom. It is a rough
whiteness. The intense atmosphere of in his country. In this film a defiant story where human beings can only find
this film movingly describes how a small young urban boy’s misbehavior causes the right place with the help of others.
boy, who has shot a pigeon off the roof, problems and the police intervene. Due GC
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