WWF Greece slams government for violations of environmental rulebook


By Harry van Versendaal

An annual report released by the local branch of the World Wildlife Fund (WWF) shames Greece for systematic violations of the environmental rulebook, while lamenting the waste of a historic opportunity to make the financial crisis a starting point towards a “truly sustainable economy.”

“We are pretty much in the same mess as last year. Despite some progress in certain areas, the overall picture is quite grim,” WWF Greece chief executive Dimitris Karavelas told a press conference Tuesday at the organization’s headquarters in Athens.

“This is the picture of a country that is paying a hefty price for inaction, a lack of transparency, the ‘tidying up’ of violations and bad legislation,” Karavelas said.

“This is the picture of a country that is killing its own hopes for a truly sustainable economy,” he added.

Among other faults, the annual study, now in its 12th year, criticized the leftist-led government for not doing enough to curb illegal construction, for its plans to build new coal plants and for lax waste management resulting in more European fines.

‘In tatters’

The Environment Ministry is drafting a bill that will make it easier for homeowners to protect illegal buildings from demolition. Under the proposed legislation, the charges for homes at the lower end of the scale in terms of value would be reduced in a bid to encourage owners to come forward and register their property and pay the appropriate penalty.

The draft bill has triggered alarm bells among environmentalists, as it contains provisions widely seen as a precursor to the legalization of illegal residential developments in forests and woodlands.

“Legislation to protect forest areas is in tatters,” said Theodota Nantsou, head of policy for WWF Greece.

The near 150-page report also criticized plans by Public Power Corporation (PPC) to construct two new lignite-powered plants in Ptolemaida and Meliti, in northern Greece.

Greece has signed the 2015 Paris Agreement, a binding global compact to slash greenhouse gases and keep global temperature increases to “well below” 2 degrees Celsius.

Meanwhile, a 2013 study commissioned by WWF questioned the economic viability of the PPC projects.

Filthy habits

The WWF report also lambasted delays and omissions in implementing waste management regulations that have repeatedly triggered warnings and fines from European authorities.

The European Court of Justice earlier this year ruled that Greece has violated key EU laws on hazardous waste management and slapped Greece with heavy financial sanctions: a lump sum of 10 million euros, plus a penalty payment of 30,000 for every day of delay in complying with the decision. This came on the back of a 10-million-euro fine last year for flouting European regulations regarding the management of urban wastewater.

Quoting recent data by the European Commission, WWF said Greece is second among the 28-member EU bloc in the number of open legal cases it faces with regard to infringements of EU environmental rules.

The WWF report acknowledged some positive steps, including an initiative to expand the areas in the EU’s Natura 2000 network (up to 1.93 million hectares of marine areas, among them the Gulf of Corinth, the sea around Crete, the coasts of Paxoi, Pylos and Andros, and the sea between Kavala and Thasos) and the introduction of designated marine wildlife parks.

Strong card

WWF officials dismissed skepticism that the environmental rollback is the unavoidable byproduct of a painful financial crisis that has seen the country’s gross domestic product drop by about 25 percent since 2008.

“Things do not necessarily have to be this way. All this does not derive from some bailout commitment, it is not mandated by the financial crisis. What we see is the outcome of intended policy decisions,” Karavelas said.

“We still believe that Greece should use its strongest card, its natural environment, and that this could contribute to a truly sustainable way out of the crisis,” he said.

Strangers in a strange land


Algerian writer and journalist Kamel Daoud poses on October 27, 2014 in the southern French city of Marseille. [AFP]

By Harry van Versendaal

“Just think, we’re talking about one of the most-read books in the world. My brother might have been famous if your author had merely deigned to give him a name… But no, he didn’t name him, because if he had, my brother would have caused the murderer a problem with his conscience: You can’t easily kill a man when he has a given name.”

Seventy years after the publication of “The Stranger,” Algerian journalist Kamel Daoud revisits Meursault, the absurd anti-hero of Albert Camus’s emblematic novel. Meursault, “a Frenchman who just didn’t know what to do with his day and with the rest of the world, which he carried on his back,” shoots and kills an Arab man lying on a beach as he is dazzled by the blazing midday sun. In his book, “The Meursault Investigation” (Patakis, translated by Giannis Stringos), which was recently published in Greek, Daoud grapples with what he considers an overwhelming omission in Camus’s narrative and sets out to give the victim name and context. The details are narrated by the victim’s younger brother, Harun, who also discloses, as it were, the name of the dead Arab: Musa.

Harun, whose life has been hijacked by the anger and sadness of a mourning mother that imposed upon him the duty of reincarnating her tragic firstborn, is seeking justice and absolution. He will finally get his chance during the 1962 massacre of Oran, where a still-unknown number of Pieds-Noirs met their death. Ironically, killing a Frenchman – this one with a full name – leaves him with an absurd aftertaste. In the aftermath, Musa is not accused of taking another man’s life, but for picking the wrong time.

“This Frenchman, you should have killed him with us, during the war, not last week!,” an officer of the Algerian National Liberation Front yells at Harun during interrogation. “I didn’t see what difference that made, I replied,” says Harun. At the trial of “The Stranger,” Meursault is found guilty because he was not seen crying at his mother’s funeral.

Randomly thrown into a meaningless universe, Harun and Meursault appear immune to the values and the dictates of the judge, the priest, or the officer. Both are strangers in their respective worlds.

Although this is a post-colonial narrative about the legacy of millions of Meursaults, the author finds very little to celebrate as the setting smacks of decay and frustration. “I watched the post-independence enthusiasm consume itself and the illusions collapse,” the hero says.

Daoud uses the same material as Camus – “the stones from the old houses the colonists left behind” – but he uses it in a very different way. Contrary to the cold, detached language of the Nobel Prize-winning author and philosopher, the book which last year won the Prix Goncourt for a first novel, crackles with tension and sentiment.

Born in 1970 at Mostaganem, Daoud now lives at the port of Oran on the Mediterranean coast where he works for a French-language Algerian newspaper. Not everybody is fond of his ideas: one ultraconservative cleric has demanded his public execution for being “an enemy of religion.” Inevitably, there are times when the words of Harun appear to come straight from the author’s lips:

“As far as I’m concerned , religion is public transportation I never use. This God – I like traveling in his direction, on foot if necessary, but I don’t want to take an organized trip.”

Ο ξένος του Καμύ κι ακόμη ένας

Του Χάρη φαν Φέρσεντααλ

«Σκέψου το λίγο, είναι ένα από τα πλέον διαβασμένα βιβλία στον κόσμο, ο αδελφός μου θα μπορούσε να ’χε γίνει διάσημος, αν ο συγγραφέας του είχε καταδεχτεί μονάχα να του δώσει ένα όνομα… Ομως όχι, δεν του έδωσε όνομα, αλλιώς ο αδελφός μου θα είχε δημιουργήσει πρόβλημα συνείδησης στον δολοφόνο – δε σκοτώνει κανείς εύκολα έναν άνθρωπο όταν αυτός έχει όνομα».

Eβδομήντα και κάτι χρόνια μετά την κυκλοφορία του «Ξένου», ο Αλγερινός δημοσιογράφος Καμέλ Νταούντ στέκεται απέναντι στον Μερσώ, τον «παράλογο» αντιήρωα του εμβληματικού έργου του Αλμπέρ Καμύ. Ο Μερσώ, «ένας Γάλλος ο οποίος δεν ήξερε τι να κάνει τη μέρα του κι όλο τον υπόλοιπο κόσμο που κουβαλούσε στους ώμους του», πυροβολεί θανάσιμα έναν Αραβα σε μια παραλία κάτω από το ανελέητο φως του μεσημεριανού ήλιου. Στο βιβλίο του, «Μερσώ, ο άλλος ξένος», ο Νταούντ καταπιάνεται με το βασανιστικό για αυτόν κενό στην αφήγηση του Καμύ και αναλαμβάνει να δώσει όνομα, οικογένεια και χαρακτήρα στο θύμα. Τις λεπτομέρειες αφηγείται ο μικρός αδελφός του θύματος, Χαρούν, ο οποίος μας φανερώνει και το όνομα του νεκρού Αραβα: Μούσσα.

Ο Μούσσα, που η ζωή του έγινε βορά στον θυμό και στο πένθος μιας μητέρας που του ανέθεσε το χρέος της μετενσάρκωσης του αδικοχαμένου πρωτότοκου, αποζητά δικαιοσύνη και λύτρωση. Θα έχει την ευκαιρία του κατά τη διάρκεια των γεγονότων του Οράν, τον Ιούλιο του 1962, και τη σφαγή άγνωστου μέχρι και σήμερα αριθμού Αλγερινών ευρωπαϊκής καταγωγής. Ομως η δολοφονία ενός Γάλλου –με ονοματεπώνυμο εδώ– επιφυλάσσει στον Μούσσα μια γεύση παραλόγου. Βρίσκεται να κατηγορείται όχι επειδή σκότωσε, αλλά επειδή δεν διέπραξε το έγκλημά του στο πλαίσιο του απελευθερωτικού αγώνα. «Τον Γάλλο έπρεπε να τον σκοτώσεις μαζί μας, στον πόλεμο, όχι αυτή την εβδομάδα!», ωρύεται ένας αξιωματικός κατά την ανάκριση. «Απάντησα πως αυτό δεν άλλαζε και πολλά πράγματα», εξιστορεί ο Χαρούν. Στη δίκη του «Ξένου», ο Μερσώ κρίνεται ένοχος επειδή, νωρίτερα, δεν έκλαψε στην κηδεία της μητέρας του.

Σε έναν κόσμο όπου βρέθηκαν τυχαία, έναν κόσμο χωρίς έξωθεν ή εγγενές νόημα, οι δύο ήρωες παρουσιάζουν ανοσία στις αξίες και τις επιταγές του δικαστή, του παπά, του αξιωματικού. Αμφότεροι είναι ξένοι στον κόσμο τους.

Αν και έχουμε να κάνουμε με ένα μετααποικιοκρατικό αφήγημα πάνω στα πεπραγμένα και στη σκιά χιλιάδων Μερσώ, το σκηνικό βρίθει από παρακμή και ματαίωση. «Είδα τον ενθουσιασμό της Ανεξαρτησίας να ξεφουσκώνει, είδα τις ψευδαισθήσεις να ναυαγούν», λέει ο πρωταγωνιστής, στα μάτια του οποίου το Αλγέρι μοιάζει με «παλιά ξεπερασμένη ηθοποιό της επαναστατικής τέχνης». Ο Νταούντ χρησιμοποιεί τα ίδια υλικά με τον Καμύ, «τις πέτρες από τα παλιά σπίτια των αποικιοκρατών», αλλά με διαφορετικό τρόπο. Σε αντίθεση με την ψυχρή, αποστασιοποιημένη γλώσσα του Γάλλου, το ύφος του βιβλίου, που πέρυσι βραβεύτηκε με το Goncourt πρώτου μυθιστορήματος, δονείται από ένταση και συναίσθημα.

Γεννημένος το 1970 στο Μοσταγκανέμ της Αλγερίας, ο Νταούντ ζει σήμερα στο μεσογειακό λιμάνι του Οράν, όπου αρθρογραφεί σε τοπική εφημερίδα. Οι απόψεις του δεν είναι αρεστές σε όλους. Ενας συντηρητικός κληρικός ζήτησε την εκτέλεσή του χαρακτηρίζοντας τον «εχθρό της θρησκείας». Αναπόφευκτα, είναι στιγμές που οι λέξεις του Χαρούν μοιάζουν να βγαίνουν απευθείας από τα χείλη του συγγραφέα: «Για μένα η θρησκεία είναι ένα μαζικό μέσο μεταφοράς που δεν χρησιμοποιώ», λέει. «Μου αρέσει να πηγαίνω προς αυτό τον Θεό με τα πόδια, αν χρειαστεί, αλλά όχι με οργανωμένο ταξίδι».

Covering the refugee crisis: Rules of engagement


By Harry van Versendaal

As soaked asylum seekers in the mud-choked tent city at Idomeni marched through the sprawling camp to protest the border shutdown by authorities in the Former Yugoslav Republic of Macedonia (FYROM), a rain-drenched Giorgos Moutafis followed them with his camera. Reports the following day said three Afghans were found dead, believed to have drowned when a group of about 20 refugees attempted to cross the Suha Reka river on the other side of the border.

Three days later, sitting inside a cozy and dry theater in the port city of Thessaloniki, about a one-and-a-half hour drive from the makeshift camp, Moutafis discussed the journalistic, moral but also psychological challenges of documenting the ongoing crisis.

“I often take photos and cry at the same time. It is impossible to remain uninvolved emotionally,” he said during a panel discussion on the sidelines of the Thessaloniki Documentary Festival (TDF), which this year returned with a tribute to migration. Having repeatedly highlighted the subject in previous years, one got the impression that the 2016 TDF was saying, “Told you so.”

As the refugee crisis deepens and the death toll rises, professional reporters often find themselves putting the stringent non-engagement code of principle on the back burner. A photo published by AFP in November showed Moutafis assisting an injured woman lying on the seashore after arriving on Lesvos island.

“You have to tell the story. But you can only go as far as your limits. You have to live with your conscience,” he said.

Since entering the field in 2007, the 38-year-old photographer has covered several conflicts and humanitarian disasters in more than 20 countries for a number of respected international publications including Newsweek, Time, The Guardian and The New Yorker. Recent developments sent him closer to home. He has spent the past year shunting between Idomeni, Lesvos and Kos, the latter two being the eastern Aegean islands on the front line of Europe’s refugee crisis.

Moutafis has taken thousands of photos and shot many hours of video footage which he plans to use for a future documentary project. His pictures include dozens of bodies of drowned people that were found on Greek shores, often by him first. He is not apologetic about these images. Instead, he believes that disturbing shots can have a consciousness-shifting potential, or what is commonly called “shock value.”

“I believe in the power of the image. It’s time to shock people. It could be a way to prompt people into action,” he said, adding that pictures can and should be taken in a way that shows respect for the subject as well as the audience.

Since January 2014, some 1,161 people have died on the Aegean crossing, according to data compiled by the International Organization for Migration (IOM).

“We must not allow ourselves to get used to the idea of people dying, we must not allow ourselves to grow immune to this spectacle,” he said.

The debate on the use of graphic images gained fresh intensity last year following the publication of a photograph depicting the tiny body of 3-year-old Aylan Kurdi, washed up on a Turkish beach, face down in the waves. Most newspapers chose to publish the image, although in some cases pixelated. The impact, at least in the short term, was evident as charities supporting migrants and refugees reported a significant increase in donations in the following days.

The iconic photograph was last month recreated by Chinese artist Ai Weiwei, who lay face down on a pebbled beach on Lesvos. Several critics found the gesture to be in bad taste. In another controversial stunt staged at Idomeni last week, the famous artist set up a white piano in the middle of a muddy field before inviting an aspiring Syrian pianist to play for the first time in years. A tent filled with an actual refugee family and a small campfire was set up next to the piano. Ai said that the act was more than a performance. It was “life itself” and showed that “art will overcome the war.” The artist held a plastic tarp over the pianist to protect her from the pouring rain as she played a rather basic melody. A small group of refugees watched in wonder. One witness criticized the stunt as “cheap and superficial.”

Although art can serve a very real purpose using its own idiosyncratic vocabulary, it is rarely held accountable for its effectiveness or historical accuracy. The media, on the other hand, have an obligation to stick to a more literal language.

“Pompous as it may sound, this is history in the making. As photographers we have a responsibility toward the historians of the future,” Moutafis said.

Dozens of journalists working for the world’s leading news agencies, including Reuters, The Associated Press, Agence France-Presse and Al Jazeera, have in recent weeks flocked to the frontier to cover developments with the help of computers, satellite vans and the latest trend in refugee coverage: drones. When not on duty, you will usually find the pack drying their feet and cleaning their equipment at Asimenia’s, a taverna-turned-media-hub – complete with brand-new Wi-Fi and plug extensions – in the nearby village of Plagia.

Back in the camp, refugees dogged by a shortage of food, medicine and drinking water await the outcome of a key European Union summit with Turkey in Brussels on Thursday. This is unlikely to go in their favor, at least in terms of lifting border restrictions for the more than 45,000 people now stranded in Greece.

In a desperate attempt earlier this week, about 2,000 refugees tried to find a way around the border fence in order to cross into FYROM. Up to 80 reporters, aid workers and volunteers were arrested by FYROM police during the attempt.

As he continues to document their fate, Moutafis remains sober about his part in all of this.

“Let’s not overestimate the photographers’ role here,” he said. “We are not doing anything special. The real heroes are the people living in the mud-bogged tents.”

Life: A user’s manual


By Harry van Versendaal

When he was in his mid-60s, Stamatis Moraitis was diagnosed with terminal lung cancer. His doctor told him he had between six and nine months to live. Living at the time in the US with his Greek-American wife Elpiniki and their three children, Stamatis was not going to be dictated to.

“The cheapest funeral at the time was $15,000. I told her that in Icaria island, a priest friend of mine will do a nice funeral for me for $200. So, we can go to the island for the funeral and the $15,000 can go for the kids. Why should the undertakers have it?” says Stamatis in Haris Raftogiannis’s “True Blue,” which screened at the Thessaloniki Documentary Festival this week.

So the couple moved across the Atlantic to the idiosyncratic eastern Aegean island about 30 miles off the Turkish coast.

Nine months came and went… then years. Stamatis somehow managed to save something far more precious than his $15,000. Rather than succumbing to the disease, his ailing health gradually improved.

When he decided to check with his doctors back in the States, he found out that “they were all dead,” he recalls, giggling at his kitchen table as he takes another sip of his “medicine,” Icaria’s sweet red wine.

Scientists from around the world have sought to crack the mystery behind the good health and longevity of the inhabitants of this small, lush island with a population of less than 10,000. A 2009 study published by the National Geographic Society listed Icaria among five so-called “blue zones” where residents were found to outlive the American and Western European average by around a decade. About one in three Icarians was found to live into their 90s, while the population featured much lower rates of cancer and heart disease and significantly smaller chances of suffering from dementia or depression.

Producer Vicky Micha thought at the time that making a movie on the subject was bound to attract global interest. However, coming up with funds for the movie proved to be a challenge, Raftogiannis, a media-shy filmmaker in his late 30s, said during an interview in the northern port city.

“The project was in a coma for a few years, and I was close to pulling the plug on it last spring,” Raftogiannis said. Like Stamatis, the leading character, the project had its own back-from-the-dead twist. After taking one final look at the material and trying out a different structure, Raftogiannis managed to put together a 28-minute gem that seemed to resonate with Thessaloniki audiences.

Stamatis, now in his mid-90s, and his “girlie,” as he likes to call his wife, are a delight. Married for over 60 years, they are the epitome of joie de vivre. They spend their days chatting, teasing and helping one another, tending to their garden or cruising the island’s winding roads in their red Lada.

The news about Greece’s economic woes on the TV does not seem to disrupt their routine. The only thing capable of briefly shaking their existential tranquillity is bad news of a different kind: the death of or a memorial service for a fellow villager.

“I am interested in loss and how people deal with it,” Raftogiannis said. “Love, life and death is the trinity that plays on my mind, my existence; that’s the kind of thing I become obsessed with,” said the filmmaker nine years after making a short about unrequited love in a butcher’s shop.

“So what is interesting about this couple is how chilled out they are about everything, like they don’t give a damn. Even when things are serious, they find a way to ride it out, and I found that fascinating. It’s this idea of overcoming: seeing a bad thing coming and finding a way of coming out unscathed,” he says.

But how much of this is thanks to Icaria?

“Icaria, yes, there is certainly something special about the place, but I have no idea what it is. Some people say it is the natural radiation emanating from the ground,” Raftogiannis said in reference to the island’s granite rocks and famous hot springs. “Everything there is just slower.”

Scientists tend to link the Icarians’ high life expectancy to a range of factors, including the local version of the Mediterranean diet, a healthy social life (exemplified in their Dionysiac “panigyria” or outdoor feasts), daily exercise on its rocky slopes and the habit of taking afternoon naps.

“It’s possible it has something to do with the place. But you must also have it in you as well. The place alone is not enough,” the director said.

Any stressed-out urbanites watching this heartwarming, uplifting film will likely feel a longing for the couple’s relaxed lifestyle. Raftogiannis, for one, is not coy about his sentiments.

“You can’t help liking their carefree nature while also feeling a bit envious. They are cool, charismatic people.”

Haris Raftogiannis is currently working on three new documentaries and one feature-length fiction film to be called “To Potami” (The River), “an existential fairy tale about love.”


Home and away: Andreas Koefoed talks about his film on plight of displaced children


By Harry van Versendaal

Big shocks change perceptions, and Denmark’s decision earlier this year to confiscate valuables from asylum seekers hoping to find refuge on Danish territory caused some serious damage to the nation’s benevolent image.

However, as Andreas Koefoed’s latest documentary demonstrates, any absolute, black-and-white narrative must be treated with suspicion. “At Home in the World,” to be screened at the Thessaloniki Documentary Festival (TDF), which opened Friday, tells a heartwarming, encouraging story from the same Nordic country.

Relying on an unobtrusive, fly-on-the-wall style, the 36-year-old director follows five non-native children attending a Red Cross school in Lynge while Danish authorities consider their families’ asylum claims. Denmark last year received 10,434 asylum applications.

Initial impressions can be deceiving. Unbending introversion or sudden outbursts of violent behavior suggest that the reasons that made these children and their families flee, the often treacherous journeys to safe territory and uncertainty about the future have resulted in profound psychological trauma.

Connecting these stories, which are documented over the course of a single school year, is Dorte, a committed and compassionate teacher whose presence and demeanor deconstructs another stereotype: that of the self-centered, robotic Northern European.

Born in Copenhagen, Koefoed graduated in documentary direction from the National Film School of Denmark in 2009. He holds a sociology degree from Copenhagen University too, where he also studied anthropology and political science. “At Home in the World” won the award for best mid-length film at the prestigious International Documentary Film Festival Amsterdam (IDFA) 2015.

Koefoed spoke to Kathimerini English Edition about his movie, Europe’s response to the ongoing refugee crisis and mainstream media coverage of the situation.

What was your motive in making this film?

I wanted to understand what it’s like to be a child and a refugee. What it’s like to lose a home and be on the run and having to search for a place where you can feel safe – a possible new home. How do you face the challenges of everyday life, a new language, new people, new friends? And how do you deal with a troubled past and an uncertain future?

How conscious were the children of the situation they were in, in your view?

My understanding is that they know their present situation pretty well, the status of their case and so on. However, many of the children did not know why they had to flee, because their parents never told them. Not knowing your own story is difficult. You need it to create meaning in your life and to be able to engage in the present, to establish a new home.

How difficult was it to gain access and make this documentary? How difficult was it to become “invisible” and escape the attention of little kids?

It was not that difficult. The Red Cross in general and the head of the school in particular were very helpful and open. They normally do not allow journalists in because they have to protect the children. But they had confidence in my project and they felt they could benefit from the film in the sense that people could get an understanding of what they are doing there. The kids were very aware of the camera in the beginning, but slowly I became a part of the classroom and the kids lost interest and all the natural scenes would simply pop up.

Are you hoping the film will challenge mainstream Western perceptions of migrants and refugees?

Yes. I want to show that these kids are like other kids, but in a difficult situation. It seems to be such an obvious point, but because of the mainstream media’s and politicians’ representations of refugees they have become a stereotype with no personality and no face. You hear many refugee stories, but they are mostly presented by others, and as a result they are usually portrayed in a cliche manner. I also tell the kids’ story, but I try to take a step back and let the children come forward and let us into their lives.

Are you happy with the way Europe has responded to the ongoing refugee crisis?

I am not at all happy. I am disappointed that many countries, including my own, do not assume the responsibility that is needed, and that Europe as a whole hasn’t been able so far to solve it together.

What is your opinion of Denmark’s recent decision to allow authorities to confiscate valuables from refugees?

I think it is awful and completely unnecessary. I understand the point that if a refugee is wealthy then he can cover his own expenses, but I guess only a very small number of the refugees belong to this category. Taking a person’s valuables gives them the worst possible start for a new life in Denmark.

Do you agree with criticism of the so-called multicultural model adopted by Western European states? Is traditional Islam, in your view, compatible with Western, secular values?

I believe that there is room for all cultures within our societies. We have to make sure that young Muslims don’t get attracted to the radical groups by including them in society and letting them practice their beliefs and giving them an opportunity for a good life and a good career. If people feel accepted, respected and appreciated, they will also feel as a part of society.

Film about Paraguay trash band opens Thessaloniki doc fest


By Harry van Versendaal

A film about a group of children living next to one of Paraguay’s biggest landfills who learn to play instruments crafted entirely out of trash until they start performing around the world will be the curtain raiser Friday at the Thessaloniki Documentary Festival (TDF), which this year hosts a timely tribute to the plight of refugees.

Directed by Brad Allgood and Graham Townsley, “Landfill Harmonic – A Symphony of the Human Spirit” showcases the Recycled Orchestra of Cateura as an example of how human creativity, expressed here in the form of music and recycled objects, can bring about social transformation even in the most poverty-wracked communities.

Now in its 18th year, the 10-day festival has gone from strength to strength. In 2015, about 50,000 viewers flocked to the TDF theaters, which include the Olympion and Pavlos Zannas cinemas in central Aristotelous Square and the red-brick complex on the seafront. Despite stubborn budget woes, organizers have managed to bring together about 186 shorts and features, including 72 homemade productions, for this year’s event – the last to be directed by Dimitris Eipidis since his 1992 appointment.

Refugee crisis

Audiences in the northern port city, which is just a one-hour drive from the expanding refugee camp near Idomeni at Greece’s border with Former Yugoslav Republic of Macedonia (FYROM), can this year choose from among a host of films on migrants and asylum seekers.

Highlights include “This Is Exile: Diaries of Child Refugees,” by Emmy-award-winning director Mani Yassir Benchelah, which tells the story of Syrian children forced to flee to neighboring Lebanon. The film is based on the exiled youngsters’ testimonies about loss, hardship and hope.

In “At Home in the World,” Danish filmmaker Andreas Koefoed observes five refugee children attending a Red Cross school in his home country as they try to overcome traumas and build a new life. The film received the 2015 Award for Best Mid-Length Documentary at Europe’s most prestigious documentary festival, the IDFA in Amsterdam.

The Nordic country, which recently enacted controversial laws allowing police to seize refugees’ assets, is the setting of Michael Graversen’s “Dreaming of Denmark” as he follows an Afghan minor stuck in the EU country’s asylum process.

A panel discussion titled “Documenting the Refugee Issue: Methods, Objectives, Challenges, Ethics” will take place at the Pavlos Zannas Theater on Wednesday, March 16, starting at 11 a.m.

‘Inventing reality’

Among this year’s highlights is a masterclass by contemporary Danish cinematographer Jon Bang Carlsen. Known for his radical, hybrid style, which he lays out in “How to Invent Reality,” the 65-year-old Carlsen has made more than two dozen films since the 1970s that draw heavily on personal experience. His masterclass, “Inventing Reality,” will take place at the Pavlos Zannas Theater, on Tuesday, March 15, starting at 11 a.m.

Approximately 490 films will be available at this year’s Doc Market, a digital library that caters to television networks and industry professionals from around the globe. Some 60 buyers are expected to attend from Europe, the United States and Canada.

Parallel to the screenings will be a photo exhibition by nonprofit street paper Schedia vendors. Organized by TDF, Schedia, the State Museum of Contemporary Art and the Thessaloniki Center of Contemporary Art, the exhibition “Images of Our Other Self” will be staged at the Thessaloniki Center of Contemporary Art (Warehouse B1, Thessaloniki Port) between March 12 and 26.

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