The universal language of film can make a significant contribution to understanding the universality of human rights, as it has the power to shake up and sensitize, especially when it comes to understanding the challenges some of the most marginalized groups face, such as people with disabilities. This was stated today at the panel discussion ‘PWDs between abilities and barriers in Montenegro – breaking the stigma’.
The opening of the Berane edition at the Berane Cultural Center, with the continuation of screenings and accompanying programmes in Podgorica and Kotor, marks the third day of the FAST FORWARD Festival 2021.
The FAST FORWARD Human Rights Film Festival Montenegro 2021 today presents three new Montenegrin premieres at the Montenegrin Cinematheque in Podgorica, and in ’Boka’ Cinema the Kotor edition will be opened.
FAST FORWARD Human Rights Film Festival Montenegro opened tonight at the Montenegrin Music Centre with the Montenegrin premiere of the Cannes winner “Compartment No. 6”, by Finnish director Juho Kuosmanen.
On the International Human Rights Day – 10 December, the Centre for Civic Education (CCE) invites citizens to be part of the XII edition of the Montenegrin Film Festival on Human Rights FAST FORWARD, which is organized from 11 to 15 December in Podgorica, Kotor and Berane, in order to give impulse to the affirmation of the culture of human rights in Montenegro.
In the early 1990s, young Finnish archeology student, Laura, escapes an enigmatic love affair in Moscow, by boarding a train to Murmansk in Russia’s far north in order to look at some ancient rocks. Forced to share the long ride in a tiny sleeping cabin with a rough, vodka-swilling Russian miner.
Sasha is a seven-year-old girl, who always knew she was a girl even though she was born in the body of a boy. Although society has failed to treat her like other children of the same age, in her daily life – from training, dancing to children’s birthdays, her family is fighting a great battle to ensure that her diversity is accepted and understood by people around her.
The Good Grief community in New Jersey focuses on a holistic approach to mourning, where children can give in to rage in ‘the volcano room’ or say goodbye to a dying teddy bear patient in ‘the hospital room.’ Over the course of a year, we follow the weekly meetings and get close to Kimmy, Nicky, Peter, Nora, Nolan and Mikayla along with their constant companion: grief, as they attend their weekly group meetings at Good Grief, practice small rituals to remember their loved ones, and go about the daily work of living.
Poland, 1983. The country is shaken by the case of Grzegorz Przemyk – a high school student beaten to death by militia. Based on true events, the film follows the story of Jurek – the only witness of the beating, who overnight became the number one enemy of the state. The oppressive regime used its whole apparatus – the secret service, militia, the media and the courts – to squeeze Jurek and other people close to the case, including his parents and Przemyk’s mother, Barbara.
The documentary The Self Portrait is a portrait of an artist and a portrait of a deadly disease. Lene Marie Fossen was a gifted photographer who suffered from severe anorexia. For many years she was hiding from the Norwegian Health Care System and in this period, she taught herself the art of photography. The Self Portrait is a film about the power of art, but it also raises important questions about what treatment one who suffers from severe anorexia needs.
Leïla and Damien love each other deeply. Despite his bipolarity, he tries to continue life with her, knowing that he may never be able to give her what she desires.
This fantastic documentary introduces us to the world of autism in the most amazing and deeply emotional way. Based on Naoki Higashida’s bestseller, The Reason I Jump is … an immersive cinematic exploration of neuro-diversity through the experiences of non-speaking autistic people from around the world. The film blends Higashida’s revelatory insights into autism, written when he was just 13, with intimate portraits of five remarkable young people.
What would Jesus preach in the 21st century? Who would his apostles be? The filmmaker and his team return to the origins of the gospel and stage it as a passion play for an entire population. Together with Yvan Sagnet, a former farmworker and activist from Cameroon, Milo Rau creates a new gospel for the 21st century: A manifesto of solidarity for the poorest, a cinematic uprising for a fairer, more humane world.
