Programme: Tribute to KIWI – Kino Women International (1987–90)
In the late 1980s, women filmmakers in Eastern Europe established an international association that fostered exchange and closer cooperation among women in film, and organised conferences accompanied by film exhibitions: KIWI – Kino Women International. Film screenings and discussions that will bring KIWI’s history to the present include Some Interviews on Personal Matters (Lana Gogoberidze, 1978) and I Am an Ox, I Am a Horse, I Am a Man, I Am a Woman (Sally Potter, 1987–88).
Guests include Salomé Alexi, Pavla Frydlová, Lana Gogoberidze, Debra Zimmerman.
GSSR 1978, D Lana Gogoberidze, SC Erlom Akhvlediani, Zaira Akhvlediani, Lana Gogoberidze, C Nugzar Erkomaishvili, M Giya Kancheli, S Vladimer Dolidze, P Georgian-Film, Gosteleradio USSR, Gruziya Film, Cast Sofiko Chiaureli, Gia Badridze, Sketevan Orakhelashvili, Janri Lolashvili, Salome Kancheli, Levan Abashidze, Print colour, DCP by 35mm, 94 min, georgian OV with engl. SUB, Arsenal – Institut für Film und Videokunst e.V.
Sopiko is around 40 and completely absorbed in her profession. As a journalist, she interviews a wide range of different women about their living conditions and desires, while she herself also makes a considerable effort to maintain the fragile balance between professional fulfillment and family obligations. Lana Gogoberidze tells a sensitive story of the connection between the private and the political in almost documentary style and with dynamic camerawork. With its focus on the everyday struggles of an emancipated woman, Ramdenime interviu pirad sakitkhebze is regarded as one of the first feminist films of the Soviet era.
Followed by a conversation with the director
Pupille – Kino in der Uni
GB 1987/88, D Sally Potter, P Penny Dedman, Print colour & b/w, DVD, 53 min, engl./russian OV with engl. SUB, Adventure Pictures
In this documentary produced for British television, director Sally Potter examines the significance of the role played by women in the Soviet film industry. In various interviews, actresses and female directors and screenwriters speak out about their experiences, including Lana Gogoberidze, Inna Churikova, Kira Muratova and Maya Turovskaya. The political climate of the Glasnost era enabled Potter to interweave the interview segments with numerous film excerpts that had not previously been available for viewing in the West. The film’s title is a play on a Russian saying popular among women during the Second World War, who were obliged to take care of work at home and in the fields on their own after their husbands had been called up to fight.
Pupille – Kino in der Uni
Whereas with Remake 1 the focus of our interest was on the Women’s Event of the Edinburgh IFF, in our second festival edition we turn our view to Eastern Europe. Here, women’s access to education and work was more of a given, though emancipation and equal rights didn’t necessarily follow. In the wake of perestroika, women filmmakers began to organise: In July 1987, more than 30 festival participants from 24 countries got together at the Moscow Film Festival and determined to establish an international organisation of film women. Lana Gogoberidse from Georgia and Márta Mézsáros from Hungary were voted presidents of the organisation, which in future was known as Kino Women International – KIWI. Its goals were the international exchange of information, closer cooperation among women in film and international distribution and co-production, as well as the organisation of film exhibitions. The collapse of the system and the very turbulent 1990s that followed in Eastern Europe resulted in the dissolution of KIWI, and its film programmes can only be reconstructed in fragments.
Topics for discussion are the conditions under which KIWI developed, the differences and solidarities between East and West feminists/filmmakers, the public response at the time and the difficult years of upheaval. We will also discuss the question of continuity in film women’s organisational structures today.