At the 22nd installment of the Millennium Docs Against Gravity film festival held across Warsaw and six other Polish cities, the Canadian film “Yintah” was awarded the primary competition jury prize, worth 8,000 euros. The festival concluded on May 18th.
The documentary film “Yintah” narrates the struggle of an Indigenous Canadian nation for self-rule, as they oppose the building of numerous oil and gas pipelines that threaten their lands. Directed by Brenda Michell, Michael Toledano, and Jennifer Wickham, this film underscores the Wet’suwet’en nation’s claim to governance and stewardship over their territories.
The jury described it as a “painfully captivating spectacle, provoking thoughts about resisting – a task we must undertake promptly, lest it’s already past due.
In a remarkable turn of events, the debut film “Bedrock,” directed by newcomer Kinga Michalska, which explores modern Poles residing on Holocaust grounds, was honored with the prestigious Best Polish Film accolade.
The subjects of these films – history, genocide, resistance, and resilience – were heavily contemplated by numerous filmmakers who attended Warsaw with their productions. For instance, Iranian filmmaker Farahnaz Sharifi presented “My Stolen Planet,” a diary-style account of her daily life under the stringent Islamic law in her native country. Another film that sparked much discussion at the event was Andres Veiel’s “Riefenstahl,” which delved into German filmmaker Leni Riefenstahl’s associations with the Nazi regime using recently obtained interview footage.
Among the films vying for top honors this year, I found myself revisiting some gems that had previously graced the screens at other esteemed film festivals. For instance, “Come See Me in the Good Light” and “2000 Meters to Andriivka,” which were showcased at Sundance. The International Documentary Film Festival Amsterdam (IDFA) also contributed notable entries like “A Want in Her.” Even the Venice Film Festival, last summer’s event, offered a powerful contender with “Apocalypse in the Tropics.” Each of these films, in their unique ways, added depth and richness to this year’s competition.
‘My Stolen Planet,’ initially screened over a year ago at Berlinale, sets itself apart when compared to more recent works such as ‘Mr. Nobody Against Putin.’ This comparative analysis elevates Millennium Docs Against Gravity’s main competitors to an unique status within the realm of non-fiction festivals, making it a platform that truly highlights the cream of the crop.
The festival’s program featured films that continue to captivate audiences even years after their premiere. Among them was “5 Broken Cameras,” an Oscar-nominated film co-directed by Guy Davidi and Emad Burnat in 2011, which portrays the strength of a family living in a West Bank village. With the ongoing conflict in Gaza, the film’s themes have a striking relevance for many viewers today. Additionally, U.S. filmmaker Lauren Greenfield presented her biopic “Kingmaker” (2018), chronicling Imelda Marcos’ return to power through her son, who is now the current president of the Philippines. This storyline mirrors recent political events in America over the past year.
The festival enhances films with unique activities. Among this year’s lineup was an exhibition of Ernest Cole’s photography, paired with the screening of Raoul Peck’s film “Ernest Cole: Lost and Found.” Comedian Noam Shuster-Eliassi starred in the opening night pick “Coexistence, My Ass!,” directed by Amber Fares. Additionally, she attracted a significant audience, particularly the younger demographic, to a comedy show during the festival that raised funds for charities in Gaza.
Millennium Docs Against Gravity encourages a warm, personal setting for its attendees to interact, and they can’t help but speak highly of the event. Filmmaker Gunnar Hall Jensen, who was here in 2010 with the film ‘Gunnar Goes God,’ expressed his affection for the festival’s ambiance. “I adore the festival’s spirit – it’s not about the money, but the passion for films and filmmakers,” he said. His latest work, “Portrait of a Confused Father,” a raw exploration of his relationship with his son, was well-received by attendees. Returning to the festival 15 years later with a new film, Jensen marveled at the festival’s continued integrity. Despite its growth, he appreciated that it retained the intimate connection between the festival, filmmakers, and audience that he valued so much – an open, heartfelt bond.
Even first-time attendees can’t help but feel the electric atmosphere at the festival. Opal H. Bennett, a senior producer at POV and an expert in the festival’s industry section, shared her experience: “I was truly impressed by MDAG – the quality of curation, event production, and guest selection were all exceptional. As someone visiting Warsaw for the first time, I not only gained a valuable introduction to the city and its history, but also its unique non-fiction sensibilities.” Bennett continued, “I’m tempted to keep MDAG as my own secret gem, but I wholeheartedly encourage everyone to make it a priority to attend.” It appears that more and more people are already doing just that, given the festival’s growing industry section and increasing audience participation.
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2025-05-20 06:46