Camille Ponsin is a documentary filmmaker. He seeks out radical immersions in countries where he doesn’t speak the language. He spent a year as a professor in China for The Ladies of Nanjing, creating a portrait of young, modern women attending the world’s oldest university. After this direct cinema experience (hand- held cameras, no voice-over or intervention of the director who acts as a “fly on the wall”), he decided to play a part in the life of his next character – a gypsy that he found on a Delhi sidewalk – for Bollywood Boulevard. The result is even better than Slumdog Millionaire. This year he started a documentary on the ethnologist Marie-José Tubiana and is finishing another on the photographer and artist Bernard Faucon.
Yves Jeuland is a documentary film director: 26 of them so far. He’s also tried print journalism (“I’m too slow”), singing (he does a pretty convincing Montand), and even politics. He ended up making a trilogy of documentaries about power: conquering it (with a film on the race to become mayor of Paris), exercising it (a film on President Hollande at the Elysée), and the end of a rule (of Montpellier’s bigwig, Georges Frêche). He likes to alternate between archives and “fly on the wall” filmmaking, television and cinema, politicians and artists.
is a documentary filmmaker. An expert at news investigations and science-based films, a New York Times article changed her life, sending her down a rabbit hole of historical research, leading her to work on a book, an exhibit and three films: Mina’s Recipe Book and Imaginary Feasts were shown on television and at festivals around the worlds. The Evasions exhibition was inaugurated this April 2018 at Sète’s Musée international des arts modestes. When Anne is not making movies, she fights for the creative rights of filmmakers at France and Belgium’s Civil Society of Multimedia authors, of which she was the president until last year.
Jasna Krajinovic is a documentary filmmaker. At age twenty-two, as the war between Croatia and Bosnia was growing, she decided to embrace cinema as a career, left Ljubljana for Brussels, and was admitted into Belgium’s performing art school, the INSAS. She has since directed films about: uprooted women in Bosnia (Saya and Mira, 2003); deminers in Kosovo (Two Sisters, 2006); a young criminal in Slovenia (Damian’s Room, 2008); a boy as he is turned into a soldier in Russia (A Summer with Anton, 2012); and a jihadist’s mother in Belgium (The Empty Room, 2016). All five of her films have been internationally acclaimed and her last one was produced by “the brothers” – Jean-Pierre et Luc Dardenne.