CPH: DOX and Normann Copenhagen launch a new competition for emerging talents

Take a walk on the wild side with the new film competition NEXT: WAVE Award!

In 2017 CPH:DOX and their main sponsor Normann Copenhagen launch the brand new competition entitled NEXT:WAVE Award. The competition is dedicated to emerging filmmakers, young up-and-coming talents who have the courage to take chances and stand out on the international film scene.

9 film are nominated in the competition, which consist of five world premieres and four international premieres. The competition includes, among others, films from Thailand, Iran, but also Denmark.

The full line-up for CPH:DOX 2017 will be announced March 1.

See all the competition nominees here

9 film are nominated in the competition, which consist of five world premieres and four international premieres. The competition includes, among others, films from Thailand, Iran, but also Denmark.

The winner of NEXT: WAVE Award 2017 will be selected by a jury and announced at CPH: DOX’s Awards Ceremony on Friday, March 24 at Kunsthal Charlottenborg. The winner will receive 2,000€.
The nominees are:

1996 Lucy and the Corpses in the Pool (Marcos Migliavacca & Nahuel Lahora, Argentina). World premiere.

The ideal way to experience ‘1996 Lucy’ is not to know anything about it in advance. But either way, this insane and playful Argentinian lo-fi hybrid about a young woman’s weekend trip to a small music festival is one of the most surprising, quirky and (behind the analogue Hi-8 video images) originally directed films you can get for the not very many pesos it must have cost to make. Young Lucy is tired of her job. Her boss is an idiot. She joins a friend for a music festival in someone or other’s house. Lucy has found most of her furniture on the street. And this could be the world’s best home movie found at a flea market. But the duo Marcos Migliavacca and Nahuel Lahora know what they are doing, and they have created a titillating film that plays its games according to its own rules. The fact that it is recorded on analogue Hi-8 video places Lucy’s adventure in a strange time warp, where the sight of a flock of swans that waddle through a garden could have been a happy snapshot from a time before the internet and mobile phones. But ‘Lucy’ is ultimately a film dedicated to (artistic) freedom, friendship – and to Lucy herself.

Janbal (Mina Bozorgmehr & Hadi Kamali Moghadam, Iran). World premiere.

Fables, folklore and Persian mythology meet in the adventurous Iranian docu-fiction ‘Janbal’, which takes place on the island of Hormuz in the Persian Gulf – and in the artist Mousa’s wild, inner fantasy world. A world where everything is possible, and where the boundaries between reality and dream are blurred. Mousa makes his art from old clothes found on the beach, where legend says that the islanders sacrificed the clothes of the deceased to the sea goddess, so that she could cleanse their souls. A story from which a new story about love soon grows. The romance between Mousa and the female djinn (spirit) which emanates before him ties together the many golden threads in the rich tapestry of mythical references, in a film that goes full out when it comes to the Persian culture’s rich symbolic world. And at the same time, the directing duo Mina Bozorgmehr and Hadi Kamali Moghadam unite the ancient myths with a cinematic expression that is both contemporary and deeply personal.

You Are Still Somebody’s Someone (Esther Wellejus, Denmark). World premiere.

In abstract 8mm images and through old cassette recordings, we are told the story about a strange and magical childhood universe, where the filmmaker Esther Wellejus today confronts her father’s religiosity and the growing darkness which descended upon him as a result of an undiagnosed mental illness, before he disappeared in a neo-religious awakening and withdrew entirely from her life while she was still a child. The family’s past weaves in and out of the present, as the now adult daughter tells her story. Images of nature and its wealth of detail are the porous substance that remembrance is made of in Wellejus’s sensual and deeply personal film. A film about memory and loss, but also a film about the love for the man behind the diagnosis.

I Promise You Never to Come Back (Pepe Gutiérrez, Mexico). International premiere.

‘The teachers at film school were right. I am a lousy filmmaker,’ is one of the many delightful one-liners in the Mexican filmmaker Pepe Guttiérez’s poetic and picturesque travel diary, which proves that they were wrong at his film school. Pepe has heartaches, is haunted by the travel bug and embarks on a several month long road trip, which is portrayed with sensual images and self-mocking thoughts. Will Pepe find love? Is there a happy ending at the end of the trip? And who is he, this young man behind the camera? ‘I Promise You Not To Come Back’ is filmed like a moving Polaroid snapshot, which together with Pepe’s notes and observations contains an entire world in its square aspect ratio. And if you are one of those people who appreciates seeing the cats sleeping in the sun under the lines of washing in a narrow and dusty street in a foreign city, or simply enjoy poetical life – well, then Pepe Guttiérez is a bit of a find.

A Variety of Shows for Various Events, Part I (Daniela Delgado Viteri. Ecuador, France). International premiere.

Tragedy becoming an spectacle is a fact. However, there are questions around this subject that should be revised: Is it pure media brain washing ? Or is it a way to scape reality ? Is it both ? The director worked with a radio show that starts at 3:00 am for all the people that cannot sleep after an earthquake destroyed a big part of our city. During one month, the filmmaker called, asked questions to the people, listened and tried to understand how people deal with tragedy.

Phantom of Illumination (Wattanapume Laisuwanchai, Thailand). World premiere.

A dream caught in the light of a film projector is literally an out-of-body experience that awaits you in this melancholy and hypnotically beautiful Thai film about a cinema’s last days. Rit has been a projectionist for 25 years, and when the cinema closes he stays on in the increasingly dilapidated premises. The heavy and humid Asian climate and the suggestions of something supernatural, together with its Buddhist philosophy about decay and transformation, makes ‘Phantom of Illumination’ an extraordinary film about film. And about a man whose wife and children are waiting for him on the other side of a veil of alcohol and scorched film reels. In spite of his obvious references to the great heroes of Asian cinema such as Tsai Ming-Liang and Apichatpong Weerasethakul, Wattanapume Laisuwanchai has nonetheless charted his own territory on the cinematic map, right from the very start. A must for anyone with a penchant for cinephilia.

Next Sommer (Alexander Lind, Denmark). World premiere.

Nebulas, self-hypnosis, Bornholm caves in red light Documentaries about painful relationships between parents and children are not rare, but Alexander Lind’s first feature film definitely is. A father and his son live in Bornholm. The father, who is trying to leave his tumultuous pas behind him, suffering from depression, which his son fears to inherit. Unless he reconciles with his father, who himself has never come to terms with his own father. Worn VHS tapes from the family’s past serve as a testimony that the melancholy is passed on unless the vicious cycle is broken in time. ‘Next Sommer’ combines the Nordic tradition of difficult family portraits with an expressive, cinematic originality, which instead of removing itself from the picture demonstrates that it is possible to relate both humanly and artistically to the people whose lives have been documented.

Spin (Ginan Seidl, Germany). International premiere.

Thumbs up to the young German filmmaker Ginan Seidl for having created a film that is as visually and philosophically original as ‘Spin’. A work where images and thoughts are linked in rich and unpredictable patterns, where rotation itself is the focal point. From a Sufi’s whirling dance to micro-studies in a high-tech physics laboratory, and from a salt desert to a mosque. Religion and science are not each other’s opposites, however, but rather two variations of truth on a cosmic scale, which has its third dimension in art itself. The images speak, and if you listen carefully, a thought journey of the rarest kind awaits you. With experimental science as his method, Seidl uses his film as an artistic test tube, which mixes together different elements (philosophy, fiction, research and Sufi mysticism) in order to study their unpredictable chemistry. And the experiment succeeds. ‘Spin’ reinvents the essay film in a contemporary form, which actually deserves to be called innovative.

Tarrafal (Pedro Neves. Portugal), International Premiere.

Decades of conflict, gang dominance and violent clashes with the police have taken their toll on bodies, faces and buildings in S. João de Deus – a neighbourhood on the wrong side of the train tracks in the part of Porto where tourists never go. But the residents of the dilapidated neighbourhood have defended their homes and special community for just as long. Pedro Neves continues and renews the Portuguese tradition of investigating the origins of melancholy in madness, and has created his very own variation of hard and dark social realism with an almost supernatural edge of something threatening and inexplicable. An atmosphere, which has a historical foundation in grainy VHS images of hot-tempered women who swear at the police from the windows of a dilapidated apartment block, but which in today’s moment meet us like a silent and bare-chested man on horseback. If ‘gentrification blues’ was a genre, ‘Tarrafal’ would be the sound of a hoarse voice singing at night. And as a film, it is an unmistakably Portuguese and strangely haunting experience.