Jump to content

Draft:Aliona van der Horst

From Wikipedia, the free encyclopedia
  • Comment: See WP:BLP. Statements, starting with the date of birth, need to be sourced or removed. Greenman (talk) 15:00, 31 May 2025 (UTC)

Aliona van der Horst (born 1970) is a Dutch documentary film director, best known for her feature films Gerlach (2023), Turn your body to the Sun (2021) Love is Potatoes (2017), Water children (2011), Boris Ryzhy (2008) and Voices of Bam (2006).

Her latest film Gerlach, codirected with Luuk Bouwman, was described by Dutch film critic and philosopher Dana Linssen (2024) in an essay about her work like this:

"Gerlach's farm is like a raindrop that reflects the world"(...). Her works contain many such raindrops. Small mirrors for big stories. Multifaceted reflections on the complexities of the universes around us. Van der Horsts artistic politics are always dispersed in a world of endless possibilities. And no matter how dark and traumatic the subject matters of her films, there are always moments of lightheartedness, of absurdity of humor. Without the absurdity of humor, it is difficult to find emotion. The alternation of humor and gravity makes it bearable".[1]

Filmcritic Nicole Sante wrote in 2024 about her work:

"Aliona van der Horst is a master of cinematography. She can, like no other, tell a story in which image, sound, music and – often sparse – conversations complement and reinforce each other. She finds beauty in places where you wouldn't expect it"[2].

Her previous film Turn your body to the Sun is about the forgotten narrative of the second world war: the murder of almost 3 million Soviet prisoners of War. But the treatment of archival footage is what makes the film special. Guardian film critic Peter Bradshaw (2024) says:

"Van der Horst uses digitally enhanced silent archival footage with a dramatised voiceover of Sayar's writings; Sana tells us of her agony in trying to glimpse her father's face in this old historical film"[3]

Her work has screened internationally in festivals and won awards at IDFA Amsterdam, The Netherlands, Tribeca Filmfestival New York, USA, True/False Festival Columbia, USA, Hot Docs Toronto,[4] Canada, CPH Doc, Brasil, Edinburgh Film Festival Scotland, Artdocfest Moscow[5] Russia, Dok Leipzig and is distributed theatrically and broadcasted.

She had retrospectives of her films at Crossing Europe Linz, Austria[6] (2024), Docudays Kiev,[7] Oekraine 2015), Beldocs international filmfestival[8] Belgrado, Serbia (2017) and Filmacoteka de Catalunya,[9] Spain (2013).[10]

She is a member of the AMPAS documentary branch.[11] She is a guest tutor at the IDFA Project Space International,[12] Docnomads,[13] Master of Film at the Dutch film academy[14] and gives masterclasses at universities and filmfestivals.

She is cofounder of the, collectively owned, all-women, documentary production company DOCMAKERS.[15]

Early life

[edit]

Aliona van der Horst is the daughter of a Dutch father and a Russian mother and grew up in the Netherlands. Her father studied chemistry in Moscow in the 1960's and met her Russian mother, an engineer, in 1967. For almost five years, her mother was denied the right to emigrate to the Netherlands to join her husband.

About this troublesome period, where their private life got mixed up with big politics, Aliona made the documentary After the spring of '68, a story about love' (Dutch title: Na de lente van '68, een kleine liefdesgeschiedenis/ moet dit er in?).' It received the Dutch Academy Award (2002) for Best Dutch TV documentary

Early career

[edit]

Aliona holds a Master degree in Russian Literature at the University of Amsterdam. During her studies, she worked as an interpreter of Russian, which eventually brought her to study at the Dutch Film and TV Academy in 1993 to direct documentaries, where she graduated in 1997 with the much acclaimed The lady with the white hat, about an Ukrainian language teacher from Odesa who got involved in the dissident underground movement and was punished for this by being locked up in a mental institution. In this film there are contributions from the famous Ukrainian psychiatrist and human right fighter Semen Gluzman. The film deals with the abuse of psychiatry in the Soviet Union for political purposes and was awarded David L. Wolper Student Documentary Award[16] at the International Documentary Association (IDA[17]1998, Los Angelos, USA, got the Tuschinski Award 1997 and the Silver Spire Award at the San Francisco Film Festival 1998.

Overview of Aliona van der Horsts' themes and films

[edit]

Dutch film critic and philosopher Dana Linsen (2024) writes in her essay about Aliona van de Horsts' body of work:

"Aliona van der Horsts' films are essayistic and classically documentary at the same time. They arise from thorough research and an observational way of working, often in close collaboration with others. (...) Absence always conjures presence in her films by employing (...) artistic interventions. Often but not exclusively under repressive regimes, for the excavation of the past and liberating perspectives on what it means to be a human. Through these artistic crossovers meditative spaces are created in which the speculative gives voice to the unspeakable".[18]

A PASSION FOR THE HERMITAGE

A passion for the Hermitage (2003)/The hermitage dwellers (2006) is both a 6 part series and a feature doc behind the scenes of the famous Hermitage museum of St Petersburg. The theme of the series is how the employees saved art during war and repression, and also how they themselves were saved by art. The series was successfully broadcasted by Dutch public broadcaster AVRO[19]'. A passion for the Hermitage was awarded the Dutch Academy Award/Art and culture in 2003 and the feature documentary 'The Hermitage Dwellers' got the Grand Prize at the Montréal International Festival of Films on Art 2006.

VOICES OF BAM

Van der Horsts' second theatrical feature documentary Voices of Bam (89', 2006) that she co-directed with Maasja Ooms, is been hailed for its innovative style, using 'inner voices' of the inhabitants of the Iranian city of Bam, that was destroyed by an earthquake in 2003. Shot on 16mm on a Arri-mini with a rig, made it possible for the camera to wander like a ghost through the destroyed city. Jay Weissberg (2006) writes in Variety[20] about this doc:

"Using scratched and dust-covered photos to evoke happier times, Dutch directors Aliona van der Horst and Maasja Ooms give an impressionistic rendering of life in a destroyed city in Voices of Bam'....Despite docu's amorphous structure, pic remains a poetic essay on loss and the difficulties of rebirth, making it ideal fest fare".[21].

It recieved the Special Jury award at Trebeca International film festival, the Interreligious award at Vision de Reél, the Grand Documentary Prize at Docfest Prizren, among other awards.

BORIS RYZHY

Her next documentary Boris Ryzhy (59', 2008) about the Russian poet of the perestroika, was made in close collaboration with Maasja Ooms and deals with the search for the reasons of the poets' suicide in 2001. It premiered at IDFA where Geoffrey Macnab in Screendaily[22] wrote that it was 'one of the best liked films in the festival' and got the IDFA Midlength doc award in 2008.

Film critic Marina Akhmetzhanova (2022) wrote:

"Starting off as an exploration of the poet's life and death, the film becomes as much a portrait of his home of Yekaterinburg and Russia as a whole, as a portrait of Ryzhy himself. In particular, the director explores Russia as both the place that gave birth to Ryzhy and shaped his poetic sensibility, and the place that, as she suggests, eventually killed him".[23]

Dana Linssen (2024) writes in her essay:

"After the death of her father, she recently found a student film in which she interviews people about their first memories. It was perhaps the missing link to realize how important the themes of time, memory and recollection are in her works. In her first major film, a portrait of the Russian poet Boris Ryzhy (2008), who died young, she had nothing but vague black-and-white images and memories of his family and friends to build her film on. That and his words, that describe a time of transition".[1]

Festivals and Awards Boris Ryzhy:
[edit]
  • Edinburgh Filmfestival, Great Britain 2009, Best Feature Documentary Award
  • Montréal, International festival of films on Art, Canada 2009 Jury Prize
  • Netherlands Film Festival, Dutch Film Critics award, nominee golden calf Best Editing (Maasja Ooms)
  • International Film Festival, Rotterdam, The Netherlands, worldpremiere
  • IDFA, Amsterdam, The Netherlands 2009, Silver Wolf award

WATER CHILDREN

Water Children (73' 2011) premiered in the International competition of Dok Leipzig and got a special mention there and was awarded the Feature Documentary award at DOXA. It was the opening film of International Women Documentary festival in Cairo and of EDOC festival in Quito, Ecuador, which is a brave festival choice as it deals with taboo topics like menstruation and childlessness. It is a portrait of multidisciplinary artist Tomoko Mukaiyama, the installation of 12,000 white dresses in a rural Japanese town, the biological cycles of life and death, and a mature and forgiving meditation on the great unanswerable questions.

The film was praised by Dutch film critic Gawie Keyser (2011):

"An unforgettable, claustrophobic film (...) as sensuous as Werner Herzog's early work, or everything by Terrence Malick, especially his latest film Tree of Life. All these films explore the meaning of universal themes around life and death, birth and degeneration in a visual, poetic way. Watching it represents in itself a ritual, almost a kind of mourning, or an extended moment of the sublime".[24]

Dutch filmcritic Floortje Smit (2011) described the filmmakers' place in this film:

"A wonderful paradox: By giving herself a prominent place, she actually cancels herself out in this bittersweet documentary".[25]

Dutch filmcritic Dana Linssen (2024) wrote about the taboo of menstruation in this film:

"Van der Horst is a documentary filmmaker of the observing school. It is not about the I of the maker, but about the other. When she then does film her own hands, it already feels like a violation of her fragile private domain. You catch your breath from so much intimacy. Just as reluctantly, she films the testimonies of the women who collaborated on the project and donated their menstrual blood for what became a grand epic about motherhood, miscarriages and menopause. Through that way of discovery and observation that is as searching as it is confident, she penetrates what is probably still one of the biggest taboos, menstruation, and with it Van der Horst's own movingly sincere thoughts about what femininity and womanhood actually mean".[18]

Festivals and Awards Water Children
[edit]
  • International Women Documentary festival in Cairo, Egypt 2011, Opening film
  • Sarasota Film Festival,[26] Florida USA 2012
  • EDOC[27] festival in Quito, Ecuador 2012,[27] , Opening film
  • Vancouver DOXA Documentary Film Festival,[27] Canada 2012 |
  • International Documentary Film Festival Amsterdam (IDFA), The Netherlands 2011
  • Yamagata Film Festival, Japan 2011[28]
  • Dok Leipzig[29] 2011 I Reykjavik Shorts & Docs Festivaland, Iceland 2012
  • Salem Film Festival,[30] Massachusetts, USA[31]

LOVE IS POTATOES

Love is potatoes (90', 2017) is Aliona van der Horsts' most personal work. It premiered in the International Competition of Dok Leipzig, receiving a Honorable Mention and the Interreligious Jury Award.

It was awarded the Golden Calf for Best Feature Documentary at the Netherlands Film festival and the Chrystal film award for a succesfull cinema release in the Netherlands. In the academic paper Filial Care and Familial Postmemory (2023) Melinda Blos-Jáni writes about the concept of Postmemory in the film:

"Despite severing the head of the hydra of indexicality – i.e. avoiding the evidential use of photography and other media, the metaleptic jump into the world of animation preserves the markers of materiality, by using highly abstract, yet haptic images. Through these conjunctions the film mediates the traumatic experiences of Russian women under socialism, but also positions the filmmaker as a woman who takes care of this past as postmemory, through collecting and archiving not just images but also producing haptic postmemory objects, such as her film".[32].

The film deals with intergenerational trauma, as Dutch filmcritic Coen van Zwol (2017) writes in the newspaper NRC, were it also got a five star rating:

"The central question of Love is Potatoes is formulated by Aliona's cousin Tania:"What has life done to our mothers?" It is a personal document that painfully exposes the emotional gap between Russia and the West, between needy mothers and prosperous daughters, within the 36 square meters of the wooden shack near Moscow where her mother and aunts grew up".[33].

Festivals and Awards Love is Potatoes
[edit]
  • DOK Leipzig for Documentary and Animated Film, Germany 2017, won the International Competiton, the Interreligious Jury Award, Honorary Mention in the International Competition
  • Artdocfest-Russian Open Documentary Film Festival,[5] Russia 2018 Won: Grand Prix
  • Ambulante Film Festival, Mexico 2018
  • It's All True International Documentary Film Festival,[34] Brazil 2018, International Competition
  • 
Crossing Europe-European Panorama Doc fest,[35] Austria 2018
  • International Documentary Film Festival München,[36] Germany 2018
  • Beldocs International Documentary Film Festival,[37] Serbia 2018
  • EDOC-International Documentary Film Festival,[38] Ecuador 2018, Official Selection
  • Millennium Docs Against Gravity Film Festival,[39] Poland 2018, Official Selection
  • Biografilm Festival-International Celebration of Lives,[40] Bologna, Italy 2018, Life Tales Award
  • Documentarist Istanbul Documentary Days,[41] Turkey 2018, Official Selection
  • Guth Gafa International Documentary Film Festival,[42] Ireland 2018, Won: Dutch Directors Guild Award
  • Nederlands Film Festival, Netherlands 2018, won Best Dutch Feature Documentary
  • Meetings in Siberia-International Festival of Documentary Films,[43] Russia 2018, Official Selection
  • Astra Film Festival,[44] Romania 2018, competiton | La Orquídea Film Festival, Ecuador 2018, Out of competion: Gender Section
  • Panorama Internacional Coisa de Cinema,[45] Brazil 2018, won Best Feaure Film
  • Beirut International Womens Film Festival,[46] Lebanon 2019, won Best Documentary
  • Femcine9,[47] Chile 2019, won Best Feature Length | Animavì-Animation Cinema And Poetic Art Festival, Italy 2019
  • FIDBA[48] - Buenos Aires International Documentary Film Festival, Argentina 2019, Official Selection
  • History Film Festival,[49] Croatia 2019, Official Selection, won Grand Prix.

TURN YOUR BODY TO THE SUN

Her next film, Turn your body to the sun (2021, 90') also deals with the traumatic past of the Soviet heritage, through the eyes of a daughter searching for her fathers' past. It's An evocation of a time when man's cruelty seemed to know no bounds, or repercussions as Fionnuala Halligan writes in ScreenDaily[50] And Peter Bradsaw writes in the Guardian (2024):

"Dutch Estonian novelist Sana Valiulina investigates the life of her father who was compelled to betray Stalin's Soviet Union by serving the Nazi war machine (...) it is an extraordinary tale, arguably worthy of Boris Pasternak and David Lean'. The leap between the present and the past, between the first person docu footage and the archival images result in poetic, essayistic visuals, and create incongruous moods on the level of spectatorship. While the personal archiveology becomes a narrative stimuli for the filmmaker immersed in his/her own story, they also elicit "another kind of empathy" with a wider, collective appeal for the viewer".[3]

Modern Time review by Carmen Grey writes in Modern times (2021):

"Though Sana has lived in the Netherlands for thirty years and is used to communicating in Dutch, she prefers to speak in Russian for the film — as she puts it, because she wants her father to understand her. The notion that Turn Your Body to the Sun is a dialogue not only with the audience but with an ancestor now deceased in order to come to terms with their life underscores that documentary cinema not only records the past but has the cathartic potential to reconfigure its meaning and heal its legacy of trauma. As she addresses her father as a traitor, we sense her complex relationship to his actions, which are difficult to justify on moral grounds, and made more incomprehensible by a prevailing culture of silence and shame. The limits of possible resistance, and the ultimate culpability of the state for the lack of a future left to men who had been drafted against their will and risked their lives in an operation they had not been able to win, are thorny areas the documentary presents with frank openness but makes no pretense of ethically resolving. By the close of this powerful exploration into the meaning of allegiance and identity in wartime, one question by Sana's father remains hanging in the air: «Did I betray my fatherland? Or was I betrayed by my fatherland"?[51]

Dutch film critic Coen van Zwol writes (2022):

"Turn Your Body to the Sun is a 'Vatersuche', a monument to the monstrously treated prisoners of war in the Soviet Union. As such, it is a kind of counterpoint to 'Muttersuche' Love is Potatoes, a monument to Russian peasantry. The latter film revolved around fundamental misunderstanding between Aliona, who grew up in the Netherlands, and her stubborn mother Zoya, and focused on the 36 square metres of a peasant house where her mother and aunts grew up - you could almost smell the damp and mould. Instead, in Turn Your Body to the Sun, everything is in motion, just like father Sandar at the time. We see Sana and her sister Dinar on the train or metro talking about the traumas he kept silent about. Out of guilt or shame, because he preferred to forget".[52]

Festivals and AwardsTurn your body to the sun
[edit]

Turn your body to the sun was nominated for the Prix Italia 2023[53]

  • Mumbai International Film Festival, India, 2022, Golden Conch Award
  • DocAviv, Israel, 2022
  • True/False Festival, Columbia USA, 2022, Nominated[54]
  • Biografilm Festival, Bologna, Italy, 2022, Nominated[55]
  • Thessaloniki International Documentary Film Festival,[56] Greece 2022 Nominated
  • Parnu Film Festival,[57] Estiona, 2022
  • FARAD Film Festival,[58] Romania, 2022
  • Documentarist Istanbul, Turky 2022[59]
  • Ambulante Mexico film festival, Mexico 2022
  • Inconvenient Films,[60] The Netherlands, 2022
  • Palić Film Festival, Serbia, 2022
  • Hot Springs International Film Festival,[61] USA 2022
  • Verzió International Human Rights Documentary Film Festival,[62] Budapest, Hongary, 2022
  • Message to Man International Film Festival, St. Petersburg, Russia, 2022, Silver Centaur Award, Student Award
  • Muestra de Cine Internacional Memoria Verdad Justicia,[63] Ciudad de Guatemala, Guatemala, 2023
  • Crossing Europe Film Festival, Linz, Austria 2024.[64]

GERLACH, the last farmer

Gerlach (76', 2023) is a first collaboration with Dutch director Luuk Bouwman and was five years in the making. It is Aliona van der Horsts' first feature film in the Netherlands. It got the Chrystal film award for arthouse cinema succes.

GERLACH is a loving and humorous portrait of arable farmer Gerlach, who has been farming in the shadow of Amsterdam Airport for sixty years. Around him, he has seen everything change. His simple wooden house is now wedged in between a Shell petrol station, a McDonalds outlet and various distribution centers. With great dedication he cares for his beets and grains, while property developers eye his land and climate change disrupts his harvest. Despite everything that comes his way, Gerlach stands tall with his down-to-earth humor, helped by his loving brothers and friends. His little house is the raindrop in which the world is reflected, existentialist and absurdist.[65]

Festivals and Awards
[edit]
  • IDFA, The Netherlands 2023, Winner best Dutch Documentary Award
  • Crystel Film Award 2023, The Netherlands
  • Nominated for Duth Directors Award (DDG)
  • Crossing Europe Film festival, Linz Austria 2024
  • Biografilm festival, Italy 2024, Nominated
  • Documentarist Istanbul Documentary Days, Turkey 2024
  • Shanghai International Film Festival, China 2024
  • European Film Festival, Palic, Serbia 2024
  • Netherlands Film Festival, winner of Forum for Directors VEVAM Award
  • CineEco festival,[66] Portugal 2024, Honorable Mention
  • Eberswalde Film Festival,[67] Provinziale, Germany 2024, Golden Distel Award
  • Budapest Internation Documentary Filmfestival[68] 2025

Filmography

[edit]
Shorts Features
1995 Memorabilia (10') 2000 After the spring of '68, a story about love (58')
1997 The lady with the white hat (47') 2006 The Hermitage Dwellers (74')  
1998 Kiev: The dissident and the general (15') 2006 Voices of Bam (90'), codirected with Maasja Ooms
1998 The little Red Box (20') 2008 Boris Ryzhy (59')
2003 A passion for the Hermitage (6x 25') 2011 Water Children (73')
2013 15 Attempts (50') 2017 Love is potatoes  (90')
2021 Turn your body to the Sun (93')
2023 Gerlach, the last farmer (74'), codirected with Luuk Bouwman

List of Awards

[edit]
  • 2000 Dutch Academy award, After the spring of '68, a story about love (58')
  • 2006 Grand Prix FIFA Montreal, 'The Hermitage Dwellers' (74')
  • 2006 Special Jury award at Tribeca International Film festival, 'Voices of Bam' (90'), codirected with Maasja Ooms
  • 2008 Silver Wolf Award, IDFA, Boris Ryzhy (59')
  • 2008 Grand Prix Edinburg Filmfestival, Boris Ryzhy (59')
  • 2011 DOXA Grand Prix, Water Children (73')
  • 2017 Golden Calf for Best Dutch Feature at Nederlands Film Festival, 'Love is patotoes' (90')
  • 2021 MIFF Award, Turn your body to the Sun (93")
  • 2023 Best Dutch Documentary Award IDFA, Gerlach, the last farmer (74'), codirected with Luuk Bouwman
Nationality Dutch
Education University of Amsterdam, Master Russian literature (1988–1993), Dutch Film and TV Academy, directing (1993–1997)
Occupation Film director/ Cineast/ Documentary filmmaker/Cinematographer/Editor

References

[edit]
  1. ^ a b "Tribute 2024: Aliona van der Horst-Crossing Europe".
  2. ^ "Nicole Sante, Bussiness Doc Europe - Filmcritic 2024". 12 November 2023.
  3. ^ a b Bradshaw, Peter (January 22, 2024). "Turn Your Body to the Sun review – staggering second world war survival story". The Guardian.
  4. ^ "Home | Hot Docs". hotdocs.ca.
  5. ^ a b "Artdocfest — Documentary Film Festival". Artdocfest.
  6. ^ "Crossing Europe | Crossing Europe". www.crossingeurope.at.
  7. ^ "NGO Docudays". docudays.org.
  8. ^ "Search". Beldocs.
  9. ^ "Cercador | Filmoteca de Catalunya". www.filmoteca.cat.
  10. ^ "Aliona van der Horst – FilmForward".
  11. ^ "Oscars.org | Academy of Motion Picture Arts and Sciences". www.oscars.org.
  12. ^ www.oberon.nl, Oberon Amsterdam. "IDFA Professionals". IDFA.
  13. ^ "Home". www.docnomads.eu.
  14. ^ "Master of Film | Artistic Research in and through Cinema". Netherlands Film Academy.
  15. ^ "Docmakers".
  16. ^ "David L. Wolper Student Documentary Achievement Award | International Documentary Association | CollegeXpress". www.collegexpress.com.
  17. ^ "Homepage | International Documentary Association". www.documentary.org. May 15, 2025.
  18. ^ a b "ABOUT". Aliona van der Horst.
  19. ^ "Passie voor de Hermitage gemist? Bekijk hier alle uitzendingen terug. Passie voor de Hermitage Uitzending gemist". www.uitzendinggemist.net.
  20. ^ "Variety". Variety.
  21. ^ "Search Results". February 27, 2013.
  22. ^ Macnab2008-11-30T17:26:00+00:00, Geoffrey. "Expose of the Burmese dictatorship win Amsterdam doc award". Screen.{{cite web}}: CS1 maint: numeric names: authors list (link)
  23. ^ Akhmetzhanova, Maria. "Aliona van der Horst explores the life and death of poet Boris Ryzhy | Film of the week". New East Digital Archive.
  24. ^ "Versteend leven". De Groene Amsterdammer. July 13, 2011.
  25. ^ "DPG Media Privacy Gate". myprivacy.dpgmedia.nl.
  26. ^ "Sarasota Film Festival 2025". Sarasota Film Festival.
  27. ^ a b c "Western Canada's Largest Documentary Film Festival | DOXA Documentary Film Festival". www.doxafestival.ca.
  28. ^ "YIDFF: Publications: YIDFF 2011 Official Catalog". www.yidff.jp.
  29. ^ "DOK Leipzig » 27 Oct – 2 Nov 2025". www.dok-leipzig.de. May 12, 2025.
  30. ^ "Salem Film Fest". Salem Film Fest. March 30, 2025.
  31. ^ "Water Children".
  32. ^ "Melinda Blos-Jáni, Acta Univ. Sapientiae, Film and Media Studies, 24 (2023) 80–91" (PDF).
  33. ^ Zwol, Coen van (October 10, 2017). "Met een volle buik begrijp je hongerlijders niet". NRC – via www.nrc.nl.
  34. ^ "It's All True – International Documentary Film Festival". etudoverdade.com.br.
  35. ^ "Crossing Europe | Crossing Europe". www.crossingeurope.at.
  36. ^ "DOK.fest München". DOK.fest München.
  37. ^ "Beldocs | Međunarodni festival dokumentarnog filma". Beldocs.
  38. ^ "Festival EDOC | Festival Internacional de Cine Documental "Encuentros del Otro Cine"".
  39. ^ "22. Movies Festival Millennium Docs Against Gravity". 22. Movies Festival Millennium Docs Against Gravity. April 14, 2025.
  40. ^ "Biografilm". www.biografilm.it.
  41. ^ "DOCUMENTARIST 18th Istanbul Documentary Days | 14-19 June 2025".
  42. ^ "Guth Gafa | International Documentary Festival".
  43. ^ "Home - SiberiaDOC". siberiadoc.ru.
  44. ^ "Home - Astra Film Festival 2025". www.astrafilm.ro.
  45. ^ Itajahy, Duda. "XX Panorama Internacional Coisa de Cinema - O Cinema no Centro". XX Panorama Internacional Coisa de Cinema.
  46. ^ Festival, Beirut International Women Film. "Beirut International Women Film Festival". Beirut International Women Film Festival.
  47. ^ "Femcine". femcine.cl.
  48. ^ "FIDBA 2024".
  49. ^ "History Film Festival". www.filmfestivals.com.
  50. ^ Halligan2021-11-23T22:25:00+00:00, Fionnuala. "'Turn Your Body To The Sun': IDFA Review". Screen.{{cite web}}: CS1 maint: numeric names: authors list (link)
  51. ^ Gray, Carmen (November 21, 2021). "The soldiers who refused to die".
  52. ^ Zwol, Coen van (June 14, 2022). "Een leven vermalen door Stalin en Hitler". NRC – via www.nrc.nl.
  53. ^ "PRIX ITALIA". www.rai.it.
  54. ^ "2022".
  55. ^ "BiograFilm Festival".
  56. ^ "Thessaloniki Documentary Festival". www.filmfestival.gr.
  57. ^ "Pärnu filmifestival – Filmifestival".
  58. ^ "Festival de Film Documentar". www.farad.ro.
  59. ^ "DOCUMENTARIST 15. İstanbul Belgesel Günleri | 25-30 Haziran 2022".
  60. ^ "Human Rights Film Festival: Inconvenient Films | Human Rights Film Network".
  61. ^ "34th Annual Hot Springs Documentary Film Festival". hsdfi.org.
  62. ^ "VERZIO Film Festival". verzio.org.
  63. ^ "Muestra de Cine Internacional Memoria Verdad Justicia | Guatemala". Memoria Verdad Justicia.
  64. ^ "Turn Your Body to the Sun | Crossing Europe". www.crossingeurope.at.
  65. ^ "Docmakers".
  66. ^ https://cineeco.pt/pt/en/
  67. ^ "NEWS".
  68. ^ "BIDF | Budapesti Nemzetközi Dokumentumfilm Fesztivál". bidf.hu.
[edit]
Retrieved from "https://en.wikipedia.org/w/index.php?title=Draft:Aliona_van_der_Horst&oldid=1293235834"