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Yahoo
07-03-2025
- Entertainment
- Yahoo
NATO Behind-the-Scenes Doc ‘Facing War' Boarded by Cat&Docs: ‘It's Like a Big Family and Most Families Are Dysfunctional,' Director Says (EXCLUSIVE)
At a time when NATO faces an unprecedented crisis threatening its very existence, 'Facing War,' due to open Copenhagen's leading documentary festival CPH:DOX March 19, takes a behind-the-scenes glimpse of the military alliance's war room. The trailer debuts below. Norwegian docu director Tommy Gulliksen, working alone, was allowed exceptional access to the organization's inner sanctum through the current Norwegian finance minister and former NATO chief Jens Stoltenberg, viewed as 'one of the great diplomatic beacons,' as stated by CPH:DOX. More from Variety 'Coexistence, My Ass!' Shows an Israeli Comic's Hilarious, Heartrending Fight for Middle East Peace: 'There Is Really No Other Alternative' Neil Young's 'Coastal' Tour Documentary Pulls Back the Curtain in Official Trailer Global South, Women Directors Take Center Stage in Visions du Réel Industry Lineup Dubbed the 'Trump-whisperer' by his fellow NATO colleagues for his ability to engage with the U.S. President during the latter's first term in office, Stoltenberg was convinced by former U.S. President Joe Biden in 2023 to extend by a year his nine-year tenure as NATO secretary general to make sure the 32 member states would stay united, in the wake of Russia's war in Ukraine. That period of extreme tension was captured by Gulliksen in a pure vérité style. The 600 hours of raw footage gathered over 22 months was then mixed with archive material and assembled into this 100-minute film. As Stoltenberg tries to stick to his promise made to president Volodymyr Zelensky that NATO will stand by Ukraine 'for as long as it takes,' Gulliksen's camera immerses us in the power play between leaders of this world. Cat&Docs sales outfit which just acquired international rights to 'Facing War,' says 'the film is remarkably timely. It offers rare access to the diplomatic workings of a famous but little-known international institution. And, above all, the documentary highlights a compelling style of leadership, both humane and effective, which contrasts sharply with the recent wave of authoritarian and transactional leaders.' Going back to the genesis of his pic, Gulliksen says the long-time trusting relationship he and his producer Anne Marte Blindheim had with Stoltenberg was crucial in him giving them unprecedented access. A former political commentator, Blindheim had co-directed with Gulliksen the NRK 2017 doc series 'Da vi styrke landet' ('When We Ruled the Country') featuring six Norwegian former heads of state – including Stoltenberg. 'When war in Ukraine broke out, we told Stoltenberg we were interested in covering NATO,' Gulliksen tells Variety. 'We knew getting an independent camera in the war room would be unprecedented and tough to obtain, but we never gave up. Stoltenberg and his NATO staff perhaps felt it was a timely opportunity to document a critical time in the history of the Transatlantic Alliance. At a time of fake news and mistrust in traditional media, they probably saw it as a transparency project. But it was a definite leap of faith for them. We eventually signed an agreement, which was very open and transparent, with astonishingly few restrictions to filming and clearing of the material.' Once he got the go-ahead from NATO, Gulliksen had to face a new challenge: how to make himself as small a fly-on-the-wall as possible. 'The question for me was how can a two-meter fly be invisible!' 'I knew I would have to do everything by myself – sound and camera-work. It was a matter of space, as I would often be in a helicopter or Stoltenberg's private car, but also a matter of security.' BodyguardsIn fact, while the Norwegian politician displayed his art of diplomacy with global leaders, Gulliksen quickly mastered the art of diplomacy with bodyguards. Not only with Stoltenberg's own large security squad, but with other leaders' own close guard. 'These guys are the physical gatekeepers to the heads of states, and when you want to be 15 centimetres from Joe Biden, for instance, you have to know how to interact with them,' Gulliksen says. 'Sometimes they were fine, sometimes they would grab me by the elbow and say you're too close. A lot of times, I had the camera pointing in a direction, but my face would be looking elsewhere at the bodyguards to try get their okay.' About the difficulty of shaping the narrative to make political manoeuvring accessible to a wide audience, Gulliksen says his focus – as with all his cinematic works – was on delivering a 'timeless' document of history in the making. 'I wanted to stay in the moment with the politicians, to make people understand who they actually are, how they think and act.' Eager also to break away from the public display of 'politicians in popularity contests,' the helmer was happy to show another side of the coin: 'Politicians actually working together and negotiating, diplomacy in the making. Being able to capture that on camera has been a privilege that I hope the audience will enjoy as well,' he says. Quizzed about his personal views on Stoltenberg's versatile talent, Gulliksen points to his acute professionalism in preparing for meetings, conferences or public appearances, and his special relationship with words to deliver a speech in the least conflictual way. 'This is a million miles away from the aggressive exchange between Zelensky (who looked like he was ambushed), Trump and J.D. Vance in the Oval Office that shocked the world,' Gulliksen notes. There are no villainsBut the invaluable skill that Stoltenberg applied to NATO's cause, so clearly shown in the film, was his gentle, warm and subtle way of engaging with everyone, whatever their place on the political spectrum, an art of diplomacy he learned at a young age from watching his parents – the prominent diplomat and politician Thorvald Stoltenberg and his wife Karin, also a veteran Labour Party figure in Norway. 'Talking to people is essential, even to people you disagree with – there are no villains,' says an advisor to the former NATO chief in the film, whom we see bringing back to the table Turkish president Recep Tayyip Erdogan as he finally approves Sweden's bid to join the military alliance. 'In a consensus-based political organization such as NATO, you need someone with that acute sense of diplomacy to bring people together around a table, make them put their own agenda aside and find common ground, so that the lowest common denominator is not zero – which would be easy to reach – and you can move forward,' Gulliksen says. Asked to comment on NATO today and tomorrow, the helmer says: 'I want to stay positive. Having approached world leaders at very close range, I've seen the way they interact as human beings. I've tried to portray them as a big family – and let's be honest, most families are dysfunctional! But that's okay. You can have a different history, or a different agenda, you're still part of the family and you have to stick together, which is what NATO nations do. In our democracies, we are allowed to disagree, to fight, to almost break up, but in the end what we share is stronger that what separates us.' Gulliksen says he's now looking forward to the film's world premiere in Copenhagen, to be attended by Stoltenberg. 'It's a true honor, and I'm eager to let the audience see what they've never seen before, so that they can relate better to news coverage about NATO. For a documentary filmmaker, your duty is to reflect on our times. It's also to capture things that aren't normally accessible to people. Here, I was able to do pure cinema vérité, which is rare. We did a few sit-down interviews with Stoltenberg, but there were no directions in any shots, nothing was staged. I believe in letting the audience make up their mind on what they see. If you're pro- or against NATO, it doesn't matter, you will still get something from watching the film. I didn't want to give people any answers but trigger conversations.' Has Stoltenberg seen the film?'Yes! I was in Oslo in his house, sitting between him and his wife. It was a good experience. For any filmmaker, showing your film to your main character is always a bit nerve-racking, a moment of truth. But I believe Stoltenberg saw the value in it. He would perhaps have preferred to have more history in the doc as he's a history nerd, but he liked the film and so did his wife. There were no big issues either with NATO. They never tried to interfere with the storytelling and were only concerned with security issues. I went there to have a sign off to make sure there were no breaches in the material. It was a very straightforward process.' 'Facing War' was produced by Blindheim and Danielle Turkov Wilson for Gulliksen's outfit Dox Division (co-headed with director Tonje Hessen Schei), in co-production with NRK, SVT and Think-Film Impact Production. The film was supported by the Norwegian Film Institute, Oslo Film Fund, Viken Filmsenter, Fritt Ord, Nordisk Film & TV Fond, Impact Partners, the Bergesen Foundation, and the Fund for Sound and Image. The film will compete for CPH:DOX's main prize the €10,000 ($10,700) DOX:Award, to be handed out March 28. CPH:DOX runs March 19-30. Best of Variety New Movies Out Now in Theaters: What to See This Week Oscars 2026: First Blind Predictions Including Timothée Chalamet, Emma Stone, 'Wicked: For Good' and More What's Coming to Disney+ in March 2025
Yahoo
10-02-2025
- Entertainment
- Yahoo
‘Coexistence, My Ass!,' ‘Free Leonard Peltier,' ‘GEN_' Among Competition Lineup at Thessaloniki Documentary Festival (EXCLUSIVE)
Thessaloniki Intl. Documentary Festival has unveiled the International Competition lineup for its 27th edition, which runs March 6-16. The selection includes three films that had their world premieres at Sundance, 'Coexistence, My Ass!,' 'Free Leonard Peltier' and 'GEN_,' and one that debuts at Berlin, 'Under the Flags, the Sun.' The rest are world premieres. The top prize, the Golden Alexander, is accompanied by a cash prize of 12,000 euros, and the Silver Alexander is accompanied by a cash prize of 5,000 euros. The festival is an Oscar qualifying festival and the film that wins the Golden Alexander will automatically be eligible to submit for Academy Awards consideration in the Documentary Feature category. More from Variety 'Under the Flags, the Sun,' About Paraguay's 35-Year Dictatorship, Acquired by Cinephil Ahead of Berlinale Premiere (EXCLUSIVE) Alex Ross Perry Says Christopher Nolan's 'Miraculous' 'Dunkirk' Was Main Inspiration for 'Pavements,' Calls Out 'Unforgivable' Scripts Netflix Nearing $5 Million Deal for 'Perfect Neighbor,' Sundance Documentary About Florida's Stand Your Ground Law (EXCLUSIVE) Here's the lineup of the International Competition:'Bull's Heart,' Eva Stefani, Greece (world premiere)Why do we do what we do? This documentary offers an intimate portrait of renowned choreographer and visual artist Dimitris Papaioannou, exploring his creative process. It follows him behind the scenes and during the tour of his show, 'Transverse Orientation,' revealing an existential journey as he seeks meaning in a chaotic world. 'Sculpted Souls,' Stavros Psillakis, Greece (world premiere)Swiss dentist Julien Grivel for 26 years treating Hansenites (lepers) for free in Greece. An experience that helped him see the world and life differently. 'By adopting the language of the Greeks, I unconsciously adopted their thinking,' he says. His friendship with Manolis Fountoulakis (ex-Hansenite) was a catalyst. 'The Goals of August,' Dimitris Koutsiabasakos, Greece (world premiere)A kaleidoscope of events, incidents and moments from the everyday life of a village in southern Pindos mountains during an impromptu soccer tournament. The documentary's aim is to create, through observation, an 'impressionistic' portrait of a small community in summer. A portrait with light and shadows, charming and sometimes frightening, which despite its contradictions is, above all, unexpectedly alive and genuine. 'Child of Dust,' Weronika Mliczewska (world premiere)Sang is one of countless children left behind by American soldiers after the Vietnam War—unwanted, discriminated against, and scarred by a war that took more than just his father. When Sang unexpectedly finds his gravely ill father in the U.S., he becomes determined to meet him, even though it comes at a price. The only way to fulfil this need is to move to the U.S. permanently, leaving behind his beloved wife, daughter and grandson. In this foreign land, he struggles to find his place—not only in a society that sees him as an outsider but also within an American family that never knew of his existence. Cultural barriers collide as the past catches up with the present in the least expected ways. 'Coexistence, My Ass!,' Amber Fares, U.S.-France (international premiere)'Coexistence My Ass!' follows Israeli activist-comedian Noam Shuster Eliassi as she builds a comedy show by the same name. Shot over five tumultuous years, the film traces Noam's journey in tandem with the region's steady deterioration. Raised in a bilingual Israeli-Palestinian village — the only intentionally integrated community in the country — Noam grows disillusioned with traditional peace activism. She pivots to stand-up and quickly attracts attention across the Middle East. But as her star rises, everything around her falls apart. With biting, warm satire, Noam pushes her audiences to face difficult truths — and offers an inspiring model for the future. 'Free Leonard Peltier,' Jesse Short Bull and David France, U.S. (international premiere)Directed by Jesse Short Bull ('Lakota Nation vs. the United States') and David France ('How to Survive a Plague,' 'The Death and Life of Marsha P. Johnson,' and 'Welcome to Chechnya'), and produced by Bird Runningwater. Leonard Peltier, one of the surviving leaders of the American Indian Movement, has been in prison for 50 years following a contentious conviction. A new generation of Native American activists is committed to winning his freedom before he dies. 'GEN_,' Gianluca Matarrese, France-Italy-Switzerland (European premiere)At Milan's Niguarda Public Hospital, Dr. Maurizio Bini leads an inspiring and unconventional mission to transform lives through fertility and gender affirmation care. Balancing the dreams of aspiring parents with the journeys of individuals reconciling their gender identities, he creates a compassionate and empowering space where humor often lightens even the heaviest moments. In a politically charged environment that tests medical ethics, Dr. Bini defies societal constraints to offer hope, humanity, and healing, making a profound difference with both expertise and heart. 'Kick-Off,' Roser Corella and Stefano Obino, Germany (world premiere)In a small village in the mountains of Kyrgyzstan, where conservative traditions confine women to domestic duties, Gazi challenges the status quo by organizing a women's soccer tournament. As she strives to empower the women and break social taboos, Gazi must navigate through cultural resistance, unveiling a story of resilience, and social change in this unique setting. 'Supernatural,' Bonaventura Durall, Spain-Belgium-France (world premiere)Mathu, a medical doctor, grew into the complete opposite of his father, Malby, a spiritual healer. When Anna, who believes Malby cured her anorexia, invites Mathu to meet him, Mathu confronts his strained relationship with his father and the divide between their beliefs: science versus magic. In 'Supernatural,' two opposing worldviews explore coexistence; sometimes conflicting, sometimes seeking common ground. 'Under the Flags, the Sun,' Juanjo Pereira, Paraguay-Argentina-U.S.-France-Germany (international premiere)In 1989, the fall of Alfredo Stroessner's 35-year dictatorship in Paraguay marked the end of one of the world's longest authoritarian regimes, but also the abandonment of the audiovisual archives that had cemented its power. This footage, crafted to shape a national identity and celebrate the regime, was left to fade from memory. Decades later, a trove of unseen and long forgotten footage has been recovered from Paraguay and abroad, revealing the hidden mechanisms of power behind Stroessner's rule. 'Under the Flags, the Sun' is a visual experience through the history of the media, an archeology of the present in a country where the descendants of the regime's leaders still rule. Best of Variety New Movies Out Now in Theaters: What to See This Week Grammy Predictions, From Beyoncé to Kendrick Lamar: Who Will Win? Who Should Win? What's Coming to Netflix in February 2025
