Marczak would shoot the young hedonists on the streets and rooftops or at their parties but he would then re-record their dialogue. Kris and Michal are art students who are performing as themselves for the filmmakers. There was never the attempt to hide the camera. All These Sleepless Nights blurs lines between what would normally be considered documentary and what is drama. There’s a something bizarre about the idea of a film crew following the two young men from party to party, filming them at raves and at their most intimate moments. Those younger people who are out on the streets all night, they somehow all know each other.” “For the first time in Poland, we have this completely free generation,” Marczak, in his mid-thirties himself, says of his twenty-something protagonists. The Warsaw of All These Sleepless Nights is certainly a much more alluring place than the grey, oppressive city shown in so many episodes of Krzysztof Kieslowski’s Dekalog or in Andrzej Wajda films of the 1970s and 1980s. There’d be curfews, secret police and too much political weight to carry, and no one would have had the money or the time to devote themselves to such narcissistic enjoyment. When Poland was under martial law, he says, you wouldn’t find youngsters roaming from party to party, “taking over the streets and the clubs”. The film is also intended as a little slice of social history. These were key formative moments in their protagonists’ lives. Marczak and his crew followed the friends on their night-time for over a year, for “two summers and a winter”, as he puts it. “This has been happening in cinema for a long time,” he says. She feels very lucky to be in this work.He adds that other directors such as Abbas Kiarostami, Michael Winterbottom and Robert Flaherty have also combined documentary and dramatic techniques in the same way. ![]() She leads on training in our Impact Labs and developing resources for the field including the Impact Field Guide. ![]() Supporting practitioner led networks like the Global Impact Producer group, programmes like Good Pitch and Doc Society’s new Climate Unit focused on supporting transformative storytelling to advance a climate just and biodiverse future. Imagining new models that will strengthen and resource independent filmmaking.Īt Doc Society, Beadie works across many of our global initiatives. In addition to grant making for artists and journalists and supporting their creative process, we help them develop impact strategies and connect them with allies in civil society. Having worked in documentary over 25 years, Beadie is in heaven in her role at Doc Society. For 17 years we have been fiercely championing and working to resource and protect the community of global, independent filmmakers. Vinay’s highly-anticipated second feature film, ‘While We Watched’ - a non-fiction newsroom drama - is premiering at the 2022 Toronto International Film Festival.īeadie Finzi is one of the founding directors of Doc Society, a non profit film foundation with team based in Europe, East Africa, the Americas and Australia. Vinay has also produced the globally renowned political strategy board games ‘SHASN’, and its sequel, ‘SHASN: AZADI’. His work has been previously celebrated at Warsaw Film Festival, Busan International Film Festival, BFI London, Sheffield Doc/Fest, among other leading festivals in the world. His work has attracted distinguished partnerships with Sundance, DocSociety, NFDC India, Asian Network of Documentaries, IDFA, and IDFA Bertha. His short film ‘Bureaucracy Sonata’ (2011), won the HBO Best Short Film Award at the South Asian International Film Festival in 2012. ![]() The non-fiction political thriller, ‘An Insignificant Man’ (co-directed with Khushboo Ranka) was internationally acclaimed, set a new anti-censorship precedent, and went on to become the most theatrically successful documentary film in India. Vinay Shukla is a filmmaker, producer, and a leading figure in the Indian documentary landscape.
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