The 16th CPH:DOX
The celebrated Danish nonfiction event offers more than 170 doc and hybrid features, with the addition of a sidebar of fiction in this year’s edition.
The festival features several competitions, include its premier international Dox:Award, which this year offers work like: Mikel Cee Karlsson’s A STRANGER
, a personal true-crime story about the filmmaker’s late friend; Karen Stokkendal Poulsen’s ON THE INSIDE OF A MILITARY DICTATORSHIP
, on Myanmar’s struggles to realize a true democracy; Ai Weiwei’s THE REST
, a humanistic portrait of the refugee crisis in Europe; Sarah J Christman’s SWARM SEASON
, which explores honeybees, indigenous cosmology, and NASA; Phie Ambo’s REDISCOVERY
, which follows a group of children as they attempt to rethink society; and Marie Skovgaard’s THE REFORMIST
, a profile of a controversial feminist female imam in Denmark.
Work from the Nordic countries vies for recognition in the Nordic:Dox competition, among them: Sidse Torstholm Larsen and Sturla Pilskog’s WINTER’S YEARNING
, which explores the possibility of independence for Greenland; Petter Sommer and Jo Vemund Svendsen’s THE MEN’S ROOM
, about a Norwegian men’s choir as they prepare to open for Black Sabbath; Emil Langballe’s Q’S BARBERSHOP
, focused on a popular hangout for Somali Danes in Odense; Kaspar Astrup Schröder’s DON’T GIVE A FOX
, following an all-female skateboarding crew on a road trip through Denmark; Egil Håskjold Larsen’s WHERE MAN RETURNS
, a portrait of a hermit in the northernmost part of Norway; Arthur Franck’s THE HYPNOTIST
, about a legendary Finnish entertainer and the Cold War scandal that ended his career; and Sun Hee Engelstoft’s FORGET ME NOT
, about three pregnant women on a South Korean island for unwed mothers.
ON THE PRESIDENT’S ORDERS
The F:ACT Award focuses on investigative docs, like: Robert Oey’s THE GOOD TERRORIST
, which explores radicalization via the perspective of a former Jihadist; Fredrik Gertten’s PUSH
, on the crisis of urban housing; Renato Martins’ FAVELA FRONTLINES
, on Rio’s dangerous drug war; Marjolaine Grappe’s THE COLOR OF JUSTICE
, on a mock trial in the case against the NYPD officer that choked Eric Garner to death; James Jones and Olivier Sarbil’s ON THE PRESIDENT’S ORDERS
, on Filipino President Duterte’s deadly war on drugs; and Tommy Gulliksen’s WAR OF ART
, which follows international artists to North Korea in a cultural exchange.
THE LAST MALE ON EARTH
The Next:Wave competition celebrates emerging filmmakers, including work such as: Isa Willinger’s HI, AI
, an exploration of our relationship with humanoid robots; Keith Walsh’s WHEN ALL IS RUIN ONCE AGAIN
, a portrait of a small Irish town hard hit by the financial crisis; Emil Langballe’s A MARRIED COUPLE
, on a pair with Down syndrome as they prepare to get married; Matthias Lintner’s PROPERTY
, about the eccentric Berlin community formed by the filmmaker and his neighbors; and Floor van der Meulen’s THE LAST MALE ON EARTH
, on the last male northern white rhino and the desperate attempts to continue his line. The boundary-pushing New:Vision award includes Mania Akbari and Douglas White’s A MOON FOR MY FATHER
, a personal meditation on breast cancer and pregnancy; and Jeremy Deller’s EVERYBODY IN THE PLACE
, an exploration of 1990s acid house and its relation to politics and culture of the time.
A CHERRY TALE
New national cinema is featured in the noncompetitive Danish:Dox section, including: Carl Olsson’s PATRIMONIUM
, a series of tableaux about an upper-crust Danish family and their Downton Abbey-like estate; Katrine W Kjær’s GIRL IN RETURN
, about a Danish Ethiopian adoptee who seeks to return to her homeland; Eva Mulvad’s A CHERRY TALE
, on three friends who attempt to open a successful vineyard; and Mette Korsgaard’s THE IRRESISTIBLE MAN
, an exploration of male chauvinism via the experiences of the filmmaker and her family.
Special Screenings include John Walker’s ASSHOLES: A THEORY
, an exploration of why some people are just awful; Clayton Vomero’s ZONA
, which looks at the transformation of the Soviet Union through Western consumerism; Alina Rudnitskaya’s SCHOOL OF SEDUCTION: THREE STORIES FROM RUSSIA
, following three women as they learn how to find wealthy men; and Steve Brown and Timothy Wheeler’s CHASING EINSTEIN
, on efforts to prove Einstein’s elusive theory of relativity.
The natural world is in focus in thematic strand CPH:Science, which includes: Pernille Rose Grønkjær’s HUNTING FOR HEDONIA
, which explores the possibility of deep brain stimulation to cure conditions like depression; Pierre-Emmanuel Le Goff’s 16 SUNRISES
, an immersive experience of six months on the International Space Station; Anna de Manincor’s ALMOST NOTHING
, an inside look at physics research facility CERN; Michael Wech’s RESISTANCE FIGHTERS
, an exploration of antibiotic resistant bacteria and the potential catastrophe they signal; and Jeppe Rønde’s ALMOST HUMAN
, an essay on our relationship with technology.
MY NUDITY MEANS NOTHING
Other thematic sidebars include Europe, with work like Frank Geiger and Mohammad Farokhmanesh’s LITTLE GERMANS
, a child’s eye look at where political opinions arise; and Justice, with films like Caroline Troedsson’s PATRIOTIC HIGHWAY
, which follows a Swedish judge in Kosovo; and Jonas Bruun’s HUMANITY ON TRIAL
, about a Danish activist facing human trafficking charges for his work helping refugees; and the hybrid fictionalized autobiographies of Autofiction, including: Marina de Van’s MY NUDITY MEANS NOTHING
, a transgressive diary film from the underground filmmaker; Mia Engberg’s LUCKY ONE
, in which the filmmaker relates an idea for a noirish love story to her ex; Romina Paula’s AGAIN ONCE AGAIN
, about motherhood and a disintegrating marriage; and Jessica Bardsley’s GOODBYE THELMA
, which draws from THELMA & LOUISE to tell an enigmatic story.