Joris Ivens

Through the files of Cuban cinema news program Noticieros ICAIC Latinoamericanos, the documentary shows the most relevant events of the second half of the 20th century as seen by the documentary filmmakers of the island. During three decades and under the general direction of Santiago Álvarez, these moviemakers witnessed almost everything: from the shivers of the Cold War to Bola de Nieve's piano solos; from the discovery of the killing fields in Cambodia to the Carnation Revolution in Portugal. In 2009, the original negatives of Noticieros ICAIC Latinoamericanos were declared part of the "world memory" by UNESCO.

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The Dutch documentary filmmaker Joris Ivens (1898-1989) received the honorary title 'Old friend of the Chinese people' from the Chinese communist regime. One of the reasons was the fact that in 1938 he gave the communists the camera that captured the first footage of Mao Zedong. Ivens made several films about China, notably the twelve-hour picture Hoe Yukong de bergen verzette (How Yukong Moved the Mountains), a tribute to Mao's Cultural Revolution, which China itself called a 'catastrophe' shortly after. Actor Jeroen Willems follows in Ivens' footsteps, in an attempt to understand why Ivens never reconsidered his positive coverage.

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It is an autobiographical fiction starring Ivens as an old man who has spent his life trying to "tame the wind and harness the sea" by capturing them on film.

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Lili lives near the port of Le Havre. She is mourning her lover Pablo, who died leaving unfinished a video game he was developing for a Japanese trust. A young boy decides to take over the project, while Lili, guided by a mysterious figure called Doctor Digitalis, struggles with her grief and searches for meaning in his absence. The film blends reality and dreamlike visions against the backdrop of the docks and port landscapes.

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Three pioneers of documentary filmmaking – Joris Ivens, Henri Storck, and the man behind the camera, Jean Rouch – recall the early days of the documentary genre and speak about their creative methods and sources of inspiration. This lively discussion between the directors is shot in cinéma vérité style and spliced with footage from their older films.

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Midi Première is a French variety show presented by Danièle Gilbert, directed by Jacques Pierre and broadcast from January 6, 1975 until January 1, 1982 on TF1. The program was generally broadcast between 12:15 p.m. and 12:55 p.m., then giving way to the 1:00 p.m. TV news. However, the broadcast schedule could change, depending on the guests, and the setting where the recording of the program was shot. Certain performances by artists who have become cult like the one where Ringo jostles with a demonstrator in interpretation (1977), that of Dalida with the title There is always a song with the soundtrack that does not start, twice, at the right speed (1978), Claude François and his Clodettes, who, in the provinces, are unable to join "the set" in order to interpret his song, the latter being taken by the crowd of delirious fans (summer 1977) . The group Supertramp performed there with the title "Dreamer" on March 8, 1975.

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A portrait of John Grierson, the first Canadian Government Film Commissioner and founder of the National Film Board in 1939. Interweaving archival footage, interviews with people who knew him and footage of Grierson himself, this film is a sensitive and informative portrait of a dynamic man of vision. Grierson believed that the filmmaker had a social responsibility, and that film could help a society realize democratic ideals. His absolute faith in the value of capturing the drama of everyday life was to influence generations of filmmakers all over the world. In fact, he coined the term 'documentary film'.

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Filmed in Laos in 1968, this four-part documentary examines the armed struggle against foreign intervention during the Indochina conflicts. The film focuses on the relationship between the population and guerrilla forces engaged in the war.

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This documentary presents the Vietnam War as seen from within Vietnam, focusing on civilian life, industrial and agricultural labor, and organized resistance under sustained aerial bombardment. Introduced by Bertrand Russell, the film situates the conflict within a broader history of anti-occupation struggles, drawing parallels to World War II resistance movements. Footage includes interviews with Vietnamese leaders, scenes of air defense, and mass political mobilization.

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Documentary portrait of Dziga Vertov, father of documentary cinema.

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A student is working part-time on a canal boat in Amsterdam and a young director wants to make a film about her.

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Portrait from 1964 of the editors of the film magazine Skoop, founded in 1963. Portrait from 1964 of the editors of the film magazine Skoop, founded in 1963. Pim de la Parra, Wim Verstappen, Rob du Mée, Nicolai van der Heyde, Rein Bloem, and Gied Jaspars give their opinion on Dutch film and how Skoop aims to improve the Dutch film climate. Joris Ivens also speaks, applauding the initiative of the young filmmakers/editors.

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The film is a documentary portraying a struggle as man tries to subdue nature. To prevent flooding and for purposes of land reclamation, the people of the Netherlands struggle and succeed in building a breaker, thereby eliminating the wild inland body of water once known as the Zuider Zee (now called Ijsselmeer).

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At the age of 14 Joris Ivens was fond of Cowboys and Indians stories, so he decided to invent one himself. He made a script and used a camera from his father's shop. This became his first film, Wigwam, with his own family as cast. Black Eagle, a bad Indian, kidnaps the daughter of a farmer's family. Flaming Arrow, played by the young director, saves the child from the kidnapper and brings her back to her family. No better conclusion than smoking a peace pipe. Although filmed in the spring of 1912, the film had a theatrical release in December 1915.

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Film never finished. The raw footage consists of 4,370 meters of 16mm film and sound. The negatives, deposited at the time in various labs, are now nowhere to be found. Improvisations, encounters, fragments of life of actress and director Juliet Berto filmed in the late 1970s.

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It is an autobiographical fiction starring Ivens as an old man who has spent his life trying to "tame the wind and harness the sea" by capturing them on film.

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This documentary examines the lives of the Kazakh ethnic minority in western China at the end of the Cultural Revolution. Directed by Joris Ivens and Marceline Loridan-Ivens, the film observes everyday life, work, and cultural traditions within a region shaped by political and social transition.

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Filmed in western China in the late 1970s, this documentary portrays the Uyghur people, a Turkic-speaking Muslim minority living in the Xinjiang region. Directed by Joris Ivens and Marceline Loridan-Ivens, the film documents daily life and cultural practices during the closing years of the Cultural Revolution, situating Uyghur identity within the broader political and social framework of the People’s Republic of China.

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Filmed in Laos in 1968, this four-part documentary examines the armed struggle against foreign intervention during the Indochina conflicts. The film focuses on the relationship between the population and guerrilla forces engaged in the war.

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This brief interview film, released in 1970, is one of the last given by Ho Chi Minh, and one of the rare ones in colour.

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On the border of North and South Vietnam, civilians live underground and cultivate their land in the dead of night, farmers take up arms, and bombs fall like clockwork. Joris Ivens and Marceline Loridan’s record of daily life in one of the most volatile regions of a war-torn, divided country is both a hazardous piece of first-hand journalism and a shattering work in its own right, simmering with barely repressed anger.

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Instructional film about the (former) biggest harbour in the world, with a hybrid format. Well known Ivens themes are revisited, like The Flying Dutchman in the fiction part of the film, who returns to the modern day Rotterdam, that has recovered very well after the devastating bombardments in the second world war.

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Shot in Cuba in 1961, this documentary follows a volunteer militia brigade organized in defense of the Cuban Revolution. Joris Ivens and his crew observe military training, daily life, and collective discipline among civilian volunteers. The film emphasizes popular mobilization as a defining feature of the revolutionary state.

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Joris Ivens documentary.

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About the way of life in the East, in China, during the months before spring. An early spring.

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A poetic ode to the River Seine, Ivens' distinguished camera eye surveys its lively banks and step-stone canals with a vérité candor, a beguiling elan.

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An international anthology about the struggles of female workers around the world.

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An allegorical documentary about the workers of the world, whose common destinies and hopes for peace are symbolically united by the rivers that run through their respective lands. The film was shot on the Volga, the Mississippi, the Nile, the Yangtze, the Amazon and the Ganges and combines these images of five continents with the music of Dmitri Shostakovich and the poetry of both Bertolt Brecht and Paul Robeson.

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"Peace Will Win" documents the Second World Congress of Peace Defenders, held in Warsaw in November 1950 after the event was relocated from Sheffield. The film records speeches, demonstrations, and international opposition to war during the early Cold War period.

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Filmed secretly in Sydney by Dutch documentarian Joris Ivens, this short records the solidarity of Indonesian seamen, Australian trade unionists, and local activists who refused to support Dutch efforts to restore colonial rule after World War II. More than a chronicle, it was an act of protest that aligned cinema with the Indonesian independence movement.

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A documentary showing the struggle to bring electricity to rural areas of the United States.

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Joris Ivens’s wartime documentary of China’s resistance to the Japanese invasion, cross-cutting civilian exodus and bombing with the Nationalist state’s mobilization—schools, industry, dispersed war production, foreign relief—and guerrilla fighting. Framing an ancient nation of “400 million,” it contrasts tradition with modernization and closes on the unresolved question of victory.

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Joris Ivens’s advocacy documentary for the Republican cause intercuts a besieged Madrid with a nearby village digging an irrigation canal, linking the war to bread, land, and survival. Produced by the writers’ collective Contemporary Historians, edited by Helen van Dongen, scored by Marc Blitzstein, and narrated in its U.S. version by Ernest Hemingway (after an initial Orson Welles track), it blends frontline reportage with persuasion against Franco’s forces and their German–Italian backers.

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1933 year, Germany. The mother of worker kill nazis organizes pure resistance against political tyranny reigning in a country.

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Henri Storck and Joris Ivens’ landmark of social documentary, blending staged scenes with locals and on-the-spot reportage to depict the 1932 miners’ strike in Belgium’s Borinage—evictions, hunger, and police repression—transforming outrage into a call for solidarity.

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The film is a documentary portraying a struggle as man tries to subdue nature. To prevent flooding and for purposes of land reclamation, the people of the Netherlands struggle and succeed in building a breaker, thereby eliminating the wild inland body of water once known as the Zuider Zee (now called Ijsselmeer).

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A poetic industrial short that follows a radio from molten glass to finished set: glassblowers shape valves, conveyors and assembly lines build chassis, cabinets, and speakers, engineers test and prototype—ending on a playful stop-motion “dance” of loudspeakers.

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This documentary documents the construction of the Afsluitdijk, the massive hydraulic engineering project that sealed off the Zuiderzee from the North Sea. Filmed over several years, it focuses on the labor required to build the dike and the final closing of the last gap in 1929.

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A lyrical portrait of Amsterdam and its changing appearance during a rain-shower.

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