EN - Viva Paradis captures a moment in a land, Tunisia, in the midst of transformation; from an abandoned luxury hotel and the ruins of Carthage to the traces of the recent revolution. The fight has been fought, but how to proceed further now? Viva Paradis focuses on the moment after the journalists have left and the overflow of media images has stopped. Everything seems to stand still. At the same time, the first tourists return, in search for the sun, as in the Tunisia of yesterday.
FR - Viva Paradis capture un instant dans un pays, la Tunisie, en voie de transformation. D’un hôtel luxueux abandonné et des ruines de Carthage aux traces de la révolution récente. Le combat a eu lieu, mais comment aller plus loin désormais ? Viva Paradis se concentre sur l’instant qui suit le départ des journalistes et la fin de l’afflux des images dans les médias. Tout semble redevenu normal. Par la même occasion, les touristes à la recherche de soleil reviennent en Tunisie, comme ils le faisaient auparavant.
|Original title||Viva Paradis|
|Editing||Isabelle Tollenaere, Tom Denoyette|
|Running time film||17'|
|Sound format||Kwinten Van Laethem|
Flanders Audiovisual Fund (VAF), Courtisane Festival, SCAM
Manon de Boer’s new film one, two, many has been selected for official competition at the International Documentary Festival of Marseille (FIDMarseille, 4-9 July). Both Isabelle Tollenaere’s Viva Paradis and Fanny Zaman's DplusOne are also screening at the fest in the ‘Threads of Power’ sidebar.
Auguste Orts, the production and distribution company behind one, two, many, can officially celebrate its third film in competition at FIDMarseille. Herman Asselbergh’s Dear Steve was the first to be invited in 2010, while Sven Augustijnen’s Spectres followed suit the next year and even captured three awards (GNCR Award, the Media Libraries Award and a Special Mention). This year its Manon de Boer’s turn with one, two, many, which is also set for its world premiere in Marseille.
This week, the Open Doek Festival (20 – 29 April) kicked off in Turnhout, while Leuven is getting ready for the 8th edition of the International Documentary Festival DOCVILLE (27 April – 5 May). Both programs house a large selection of Flemish titles, ranging from Daniel Lambo’s Dry Branches of Iran to Berlinale attendees Anton Corbijn Inside Out andAsparragos.
For the eighth consecutive year, DOCVILLE highlights the best documentaries and awards prizes in various sections. This year, Flanders is well represented in its national competition with more than ten short and feature-length film titles.
Isabelle Tollenaere's latest documentary Viva Paradis and Printed Matter, directed by Sirah Foighel Brutmann and Eitan Efrat, are screening at this year's Courtisane Festival (21-25 March). Showcasing film, video and media art, the Ghent-based festival Courtisane presents a kaleidoscopic mosaic of styles, media, gestures and emotions. With Still Life (2008) and Trickland (2010) Tollenaere already landed two awards at previous editions of the festival.
Tollenaere's latest project Viva Paradis captures a moment in a land in the midst of transformation. Focusing on the moment after the journalists have left and the overflow of media images has stopped, the documentary portrays the emptiness after last year's Tunisian revolution.
A record-breaking haul of eleven documentaries and four docu projects from Flanders have been selected for this year’s IDFA, the international Documentary Film Festival of Amsterdam (16-27 November). Works from Jeremy De Ryckere and Kristof Bilsen, who recently graduated from RITS and NFTS (UK) respectively, are shown in the Student Documentary competition. The other entries feature in the Reflecting Images: Panorama, Paradocs section and IDFA pitching Forum.
Both Jeremy De Ryckere’s The Heir and Kristof Bilsen’s White Elephant compete for the IDFA Award for Best Student Documentary, worth €2,500. The Heir tells the story of a father, Raf, and a son, Dominique, and their relationship to their passion: horse racing, a long family tradition. White Elephant is a documentary about the Central Post Office and its employees in Kinshasa, DR Congo. This grandiose relic of a colonial past has trapped its employees in a frozen timewarp from which they are planning their escape. Last year the Award for Best Student Documentary went to the Flemish doc What’s in a Name by Eva Küpper.
Last edited on 10 October 2013