Bodies Unfold

The highlights of this year's CPH:DOX offered moving personal and cultural introspection.

This year's edition of CPH:DOX marked the beginning of the international documentary film festival’s third decade. Its prominence in the documentary world surged after it shifted from an autumn to spring event in 2017. This strategic move enabled CPH:DOX to establish itself as a prominent European venue, akin to the Netherlands’ IDFA held in November, and to become a hub for post-Sundance premieres early in the following year, shaping the festival circuit.

Of the 200 films screened at this year's festival, more than half were premieres. It's important to note that while the festival's focus on films marked as premieres draws significant attention, it's crucial not to overlook those entries that weren't given higher premiere status. This practice underscores a broader debate within the film community regarding the importance of premiere distinctions. Prioritising premiere status, especially for short films, can restrict distribution opportunities and accessibility, potentially stifling a film's wider cultural impact.

This year's CPH:DOX widened its lens with Conflicted, a programme that focused on wider contemporary geopolitical issues, encompassing not only Israel and Palestine but also the war in Ukraine, tensions between China and Taiwan, the fight over Kenya's Laikipia and the Nagorno-Karabakh dispute between Armenia and Azerbaijan. Despite efforts by festival participants to address their personal position in the conflict through speeches and discussions at events, and public calls for the festival to take a more explicit political stance in its official communications, by the end of the festival there was no substantial response from the organisers to take a stronger stance on the issue.

The festival has previously focused more actively on other international crises, such as the Syrian civil war, as it did in 2017 when Last Men in Aleppo by Feras Fayyad opened the festival. That year showed CPH:DOX's commitment to highlighting an urgent global story. Much like in 2022, when the festival created a dedicated programme, Stand with Ukraine. Given these more overt commitments, it is disconcerting when the lack of a clear stance this year contrasts with previous proactive engagement.

The festival's other thematic focuses were perhaps better defined and explored. This is particularly true of this year's exploration of perceptions of the body, which challenged notions of normality and explored the consequences of challenging these norms under the thematic umbrella of “body politics”. The festival offered an exploration of the body from artistic, scientific, and societal perspectives through a mix of films, debates, and other film-related events. 

Regarding this year's theme, personally I was drawn to films that explore ageing, an essential aspect of understanding how much society values or doesn't value growing old and the place of the elderly in society. Ageing raises important discussions about healthcare, personal autonomy and social support. Exploring historical and familial contexts deepens our understanding of ageing by showing how different perceptions of ageing can shape its social meaning. Taking into account the experiences of older generations is crucial for fostering a more inclusive society.

Echo of You by Zara Zerny presents a group of Danish men and women over the age of 80, who poignantly share their thoughts on their life partnerships and their lost loved ones. The film is a tender close-up of a period of life that is often easier to shy away from – when in fact coming face to face with it allows you to see it with more nuance, and the fear built up around losing someone is instead made easier by accompanying them on their reflections that are worth remembering. All in all, it's an enjoyable watch, apart from the choice of a pop song that comes towards the end of the film and doesn't quite feel like it belongs there.

Although told from a different perspective and in a different setting, As the Tide Comes In by Juan Palacios is a similarly moving reflection on the resilience and wisdom of the older generation. As the Tide Comes In portrays life from the perspective of 27 residents, most of them seniors, on the island of Mandø in the Danish Wadden Sea. Despite being threatened by severe weather and flooding, exacerbated by climate change, the community remains resilient, holding onto their identity as islanders passed down through generations. It's a beautiful film, filled with mostly long takes and shot with a steady camera that echoes the slow cinema tendencies of the likes of Michelangelo Frammartino, but with a sprinkling of subtle, witty humour. What is interesting here is how both the land – as an island – and its inhabitants – mostly senior citizens – are seemingly “under threat”. What could be perceived as stubbornness in many of the characters, I find impressive: their loyalty to what they love, coming from what they know so well, is remarkable.

Moving from Palacios' film to personal and cultural introspection in Death of a Saint, both films offer moving insights into the complexity of life's journeys. In Death of a Saint, director Patricia Bbaale Bandak returns to her native Uganda to confront the dark past of her mother's shooting and subsequent death in their family home, and embarks on a deeply personal quest for truth and inner peace. Although heavy, the film approaches the subject of ageing in a delicate and unique way. The protagonist, now a young mother, navigates the narrative in a compelling way, grappling with the notion of her body, which has undergone profound changes – not only in terms of life stage but also in terms of geographical and cultural context.

Bbaale Bandak's journey mirrors her own, from a young girl in Uganda to a resident of Copenhagen, now returning to her homeland in search of closure following the death of her mother. Along the way, she confronts the realisation that cultural differences impact the way matters are handled and encourages an acceptance of different perspectives. This theme underlines how personal experience shapes one's approach to different issues, particularly as the protagonist, now a mother herself, feels a heightened sense of responsibility and empathy for her mother. The film beautifully captures the complexities of ageing and offers a poignant exploration of the care, concern and wisdom that comes with the passage of time. It's a testament to the protagonist's journey, which begins as a search for answers about her mother's death, but ultimately evolves into a deeper personal odyssey.

On the whole, CPH:DOX showcased many admirable films, which become even more intriguing when one considers how such diverse films, focusing on different personal experiences and developed in different contexts, can be brought together under an overlapping thematic focus. There is a sensibility here to find similarities, relatability, and comparative differences under the theme of body politics. The strength of these films, both individually and collectively, highlights the festival's powerful role as a platform and hopefully encourages greater political engagement for future editions.