Nominated films for Tempo Documentary Award

Ten Swedish documentaries have been nominated to the competition Tempo Documentary Award. The opening film is Rikard, a documentary about Rikard Wolff who recently passed away. He was one of Sweden’s biggest and most liked artists and also an icon within the LGBTQ-movement. Rikard is one of the documentaries that reflect the theme of the festival: Persona. It is also the Swedish premiere for Cinema Pameer that tells the story about a Cinema in Kabul and also gives us a peek into everyday life for the Afghani population.

Tempo Documentary Award Nominations
Cinema Pameer by Martin von Krogh
A Good Week for Democracy (En bra vecka för demokratin) by Cecilia Björk
Living. Loving (Leva. Älska) by Mette Aakerholm Gardell
Lida by Anna Eborn
Lyubov – Love in Russia (Lyubov – kärlek på ryska) by Staffan Julén
Rikard by Julia Stanislawska
Silvana (Silvana – Väck mig när ni vaknat) by Mika Gustafson/Olivia Kastebring/Christina Tsiobanelis Stronger than a Bullet by Maryam Ebrahimi
That Summer (Den sommaren) by Göran Hugo Olsson
The Deminer by Hogir Hirori (co-director Shinwar Kamal)

Amongst the nominated documentaries is the documentary That Summer, which title refers to the summer of 1972. Through unique material it tells the story about the eccentric mother daughter duo little Edie and big Edie in their decayed home in the East Hamptons. The material was recorded in the years prior to the premiere of Grey Gardens (1975) by Peter Beard and Jackie Onassis’ younger sister Lee Radziwill, supposedly the start of a film that never was completed.

Love is a theme that runs through many of the nominated documentaries. The movie Live. Love (Leva. Älska) lets us meet some of the seniors at ”Regnbågens seniorboende”, Sweden’s first elderly home for people who identifies as LGBTQ. Many of seniors are forced back into the closet when they move to a facility for seniors, but at the Regnbågen (The Rainbow) new friendships, romances and lives form! In Lida we follow the life of an older woman from the Swedish speaking minority in Ukraine who starts a relationship with a Russian man. Lyubov – or love in Russia (Lyubov – kärlek på ryska) is built on a selection of the interviews Nobel prize winner Aleksijevitj has done for her upcoming book about love. Silvana (Silvana – Väck mig när ni vaknat) is an intimate love story and journey through the artist, feminist and anti-racist Silvana’s life in private and in the public eye.

As an opposite to love, there are also films about war. Stronger than a Bullet lets us meet Saed Sadeghi, a photographer who took pictures of the war between Iraq and Iran during the 80s and who’s photos have been used as war propaganda. Fakhir, an Iraqi father of eight is portrayed in The Deminer. He is a man who tries to save innocent lives by putting himself at risk when he disarms land-mines in war-torn Mosul.

In the documentary A Good Week for Democracy (En bra vecka för demokratin), we go to Sweden’s biggest political event: Almedalsveckan. The film directs our attention towards what happens behind the scene rather than what happens on stage. It shows us the nerves of the speakers during their preparations right before they enter the stage and narrates the huge media spectacle and how political events are depicted.

Tempo Documentary Award is arranged in cooperation with The Swedish Film Institute and Influence Film Club. The award is 75 000 SEK and goes to the director of the winning film. The full program and tickets are released February 7th at

Nominated films for New Doc announced

New Doc is Tempo Documentary Festival’s award to an emerging talent on the Swedish New Doc is Tempo Documentary Festival’s award to an emerging talent on the Swedish documentary film scene. Eight films are nominated and several have their premiere during the festival: All Things Disappear if you Close your Eyes, Image of a Traitor, Mothercity and On the Edge of Life. The award is for SEK 40 000 and goes to a promising director for a future film project. New Doc is arranged in collaboration with regional film centres Filmbasen/Film Stockholm, FilmCloud/Kultur i Väst, Film i Dalarna, Film i Öst, Filmpool Jämtland, Filmpool Nord and Kultur i Halland – Film.

All Things Disappear if you Close your Eyes by Ina Porselius
Image of a Traitor by Felice Hapetzeder
Maj Doris by Jon Blåhed Mothercity by Patricia Lorenzoni
My New Home is a Trailer by Jasmijn Kooijman
On the Edge of Life by Yaser Kassab
One Day in Aleppo by Ali Alibrahim
Zanryu by Towa Shimizu

Nominated films for Tempo Short Award announced

Nine films compete for the Tempo Short Award that goes to the best short, Swedish Nine films compete for the Tempo Short Award that goes to the best short, Swedish documentary. Two of the nominated films, The Second Shore and Bedford Brothers will have their premiere at Tempo. Tempo Short Award is arranged in collaboration with The Swedish Film Institute and Filmregion StockholmMälardalen. The award is SEK 25 000 and goes to the director of the film.

3 Stolen Cameras by Equipe Media/Filmkollektivet RåFILM
The Second Shore by Åsa Sandzén Bedford Brothers by Mattias Olsson
Cops are Actors by Tova Mozard
Juck by Olivia Kastebring, Julia Gumpert and Ulrika Bandeira
The Traffic Separation Device by Johan Palmgren
The Ambassador’s Wife by Theresa Traore Dahlberg
We others by Manolo Diaz Rämö and Sharmarke Binyusuf
As We’re Told by Erik Holmström and Fredrik Wenzel

Rikard opens Tempo Documentary Festival

The opening film 2018 is Rikard by Julia Stanislawska, a documentary about Swedish cultural icon Rikard Wolff  who recently passed away. He was one of Sweden’s biggest and most liked artists and also an fornt person within the LGBTQ-movement. Rikard is one of the documentaries that reflect the theme of the festival: Persona and will be competing in Tempo Documentary Award.

Submission closed

The submission to Tempo Documentary Festival is closed. The program for 2018 will be released on February 7. For submissions to upcoming editions please get back to us during the fall 2018.

Lisa Taube new festival director of Tempo Documentary Festival

The board of Tempo Documentary Festival is happy to announce the appointment of Lisa Taube as the new festival director. The board is very enthusiastic to welcome the new director to the organisation with whom they will work to continue the positive development and growth of the festival.

Chairman Yvonne Rock, says: “It is with great excitement that the board of Tempo announces the hiring of Lisa Taube. We were fortunate to have quite a number of very qualified applicants and we think Lisa is extremely competent of working with us to bring the organisation forward and move into new terrains.”

Lisa Taube has the last 10 years worked as a freelance consultant for international financing and project managing for film and media. Lisa has rich experience from the film industry since many years and has previously been the coordinator for Mediadesk Sweden, vice president of production company Atmo and compound secretary of Filmproducenternas rättighetsförening.

Lisa Taube states: ”Documentary storytelling is more important then ever in these times of alternative facts and false truths. It is with great excitement that I’m starting my assignment as festival director and I’m looking forward to continue to develop the festival.

Lisa will start her assignment on September 1 2017, taking over from Agneta Mogren who left the festival earlier this year after 20 years in the organisation. Melissa Lindgren will remain as artistic director.

Thank you!

The 18th edition of Tempo Documentary Festival is over and we would like to thank all of our wonderful guests, audience and volunteers for a spectacular festival! It’s been an eventful week full of reality both on and of the big screen. Thanks you for this year and see you soon again!

Photos: Ronja Jönis, Magnus Norden, Katriina Mäkinen, Herman Der Nederlanden

Tempo meets Marina Abramović

Current Projects
Moderna Museet will host a major retrospective “The Cleaner” between February 18 and May 21, more at Tempo will screen the film “Marina Abramović in Brazil – The Space In Between” in collaboration with the Moderna Museet. On March 7, the film is shown at Moderna Museet. Marina Abramović is participating. Her newly-written memoirs already exist in English, but “Go through walls” (Bromberg) will be published in Swedish in March. Read more on page 37.

Marina Abramović
The premier performance artist of the world today, born in 1946 in Belgrade and currently based in New York. Her performance “The artist is present” in 2010 at the MOMA in New York – which lasted 716 hours – received 750,000 visitors. She has founded her own institute for young artists and the development of performance, MAI (

Marina Abramović is the queen of performance art. Where the human exchange becomes art. Where art finds a common denominator, like bees in a hive. Performance art not unlike many human rituals. Is it because Marina is so interested in them? One of her uncompromising journeys into the realms of ritual has now been documented. “Marina Abramović in Brazil – The Space In Between” will be screened at Tempo with Abramović present and her major retrospective will open at the Moderna Museet.
Further and further into the Brazilian jungle, via crystal therapies, shamans, an excess of drugs, religious invocations, rituals and other therapies that you didn’t have a clue existed are all used by Marina to further her journey. The documentary of Abramovic’s journey will explore meeting new friends, remarkable experiences, food, and the power of nature, contemplation and reflection. As a spectator you are struck by how much our universe contains. An outer journey becomes an internal one. Everything fits.

You’ve always been a nomad, traveling to India, Tibet, and Brazil in search of human rituals. Do you meet all these new people and ideas with a holistic approach?
-No, I do not, Marina answers when I reach her the day after a month long stay at the retreat in India. – I never take any other approach than that of a child. For a child is curious, takes everything seriously and is fully and completely open to what the world has to offer.

The film is very much about seeking a kind of inner truth. And maybe an outer… is there such a thing?
-There is a universal truth. Then, you can interpret it in different ways. But the overall transparency will help … In that way we can seek access to truths, religions, culture, science …
When you give all of your energy the forces can reach into all the locks we carry on. And I’m always looking for the unknown rather than the comfortable.

You are certainly not comfortable in ”Marina Abramović in Brazil – The Space In Between”. When you create your performances you say you enter another “you”, not the private Marina. So what are you in front of the camera in the film? You know that the camera is there … and it is so close, close … you are always in the center … doesn’t it affect your actions?
– I am not aware of the camera at all. Because we decided that, I have a microphone on me 24 hours a day, the photographer has the key to my apartment and to my bedroom. There is no such thing as privacy.

We have over 700 hours of material. All of this was very important, so that I do not disguise myself. We were able to open up the process completely, giving out the same energy as if the camera was not there. The same simplicity.

Marina’s questions are about our existences on this earth, about the individual’s place, about power and relationships, about the need for culture, understanding and ultimately perhaps also … beauty. For there are no limits. No time. Most of it will have to take some time. Slowness is increasingly important. Marina has always been completely uncompromising, even against herself, such as her 70’s performance “Rhythm 0” where she stood silent and still for an entire day with 72 small items in front of her. In the beginning, the audience gave her the rose that was in front of her, and the longer the day went on the audience began to test her more and more.
They took the scissors and cut apart her clothes, pulled them off, cut her with a knife and even sucked the blood out of her.
-It was uncomfortable, but that is what art can be.

Even as a young artist you must have decided that it is everything. But it must never be speculative. It must be honest. Even in the film screened at Tempo she challenges boundaries. For instance when she takes hallucinogenic drugs. Such things gives her attention, but she clarifies:
– Fame is nothing. The challenges have been with me from my childhood.

Marina Abramović’s audience does not care about age. She has, moreover, an unusually young audience for a 70-year-old artist with nearly six decades of work behind her. While the journey is always more important than the goal, Marina Abramović still makes reflective statements. The film is here, the memoirs “Walk Through Walls” is here, and the large retrospective at the Moderna Museet “The Cleaner” is here. One of her first recaps.
-It will be one of the biggest shows I do. There is so much material, so I have to put a lot of effort to sort all these 55 years I worked more than ten years of collaboration with Ulay and everything after that. And I’m very grateful to get to do it, to be at the Moderna Museet.

Your biography, your entire life from childhood in Yugoslavia today, has quickly become one of the best-selling art books around the world.
– I would have been disappointed if it is not sold, after all the places I worked and created on. So far it has been translated into 16 languages ​​and is almost as universal as I am. Fame is completely uninteresting to me, in the book I get a chance to tell you about all the 50 years I have not been part of it.

And the film, what is the reason that it is coming out right now?
– I have never seriously documented what I do, so it is really time to do that now. It’s been so inspiring to show the underlying processes to others. And show Brazil that has become so important to me. Also in my work. Here I can find new expressions for me, but also for all of our common.

Writer: Henric Tiselius

Fur Hats, car crashes and cartridge cases in Tempo 2017!

Many of the films in this year’s program will have their premiere screening in Sweden, including Dream Empire by David Borenstein, The Man Who Saw Too Much by Trisha Ziff and The Land of the Enlightened by Pieter-Jan De Puec. These directors are some of the international guests. Hot radio documentaries in Sound Sauna at the Finland Institute, photo exhibition, conversations and a record number of seminars and much more are also part of the festival between 6 to 12 March. You can find the entire program here.

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