DFI offers online labs to filmmakers, screenwriters
14 May 2021 - 11:09
Raynald C.Rivera | The Peninsula
The Doha Film Institute (DFI) is calling participants to take part in a series of film labs to be conducted online. On its official social media accounts, the Institute has said it will be organising First Cut Lab, Hezayah Online Screenwriting Lab, and Series Lab.
The special online First Cut Lab is “designed to assist two feature films (fiction/documentary) from Qatar or the MENA region and two short films from Qatar in the editing phase to achieve the artistic potential of the selected rough cuts and increase the sales, festival, and circulation potential of the completed films,” said DFI.
Selected as one of the 2021 Emerging Producers, Slovakian producer
Zora Jaurová, of MPhilms, chats about why she works on documentaries and what are her main concerns about the current industry.
Cineuropa: Why do you produce documentaries? Do you understand documentary film as an instrument of social and political change?
Zora Jaurová: I produce films I find important and inspiring from the creative point of view, evolving from collaboration with people who inspire me on various levels. And with this approach I donât really see any clear dividing line between documentaries and features, so I produce both. What I find interesting is how the hyperreality and continuous theatricalisation of public life creates the need for âsimple realityâ seen on screen instead of magic and intricate film reality. This is a shift one could see also in other artistic forms (e.g. documentary theatre) and is further fueled by postfactual erosion of the concept of truth. If we don�
Selected as one of the 2021 Emerging Producers, Slovakian producer
Zora Jaurová, of MPhilms, chats about why she works on documentaries and what are her main concerns about the current industry.
Cineuropa: Why do you produce documentaries? Do you understand documentary film as an instrument of social and political change?
Zora Jaurová: I produce films I find important and inspiring from the creative point of view, evolving from collaboration with people who inspire me on various levels. And with this approach I donât really see any clear dividing line between documentaries and features, so I produce both. What I find interesting is how the hyperreality and continuous theatricalisation of public life creates the need for âsimple realityâ seen on screen instead of magic and intricate film reality. This is a shift one could see also in other artistic forms (e.g. documentary theatre) and is further fueled by postfactual erosion of the concept of truth. If we don�