FLAHERTIANA
STORIES
AT THE HEART OF EVERY "FLAHERTIANA" FILM, THERE IS A PERSON. THE 25-YEAR HISTORY OF THE FESTIVAL ALSO CONSISTS OF HUMAN DESTINIES AND STORIES. WE DECIDED TO TELL ABOUT "FLAHERTIANA" WITH THE WORDS OF PEOPLE WHO CREATE IT, AS WELL AS GIVE A VOICE TO THE DIRECTORS AND FRIENDS OF THE FESTIVAL
PEOPLE STORIES
Flahertiana is my life
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I am the person who sees documentaries at its best and worst
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It was a week-long immersion into the world of documentary films
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It was clear as day that our Pechenkin is, indeed, that leopard of today and tomorrow
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Flahertiana became a turning point in my life
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The festival has become a catalyst for cinematic life of a completely different level
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Everyone talked in their own language and we all understood each other
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It was Pavel's will and everyone else was just not envious
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Documentary films never age
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Work at Flahertiana felt like a fortune of incredible people for me
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Documentary films for me were some kind of chaos
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Such was my state after my first Flahertiana: perfectly happy and absolutely exhausted
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Now I can clearly say that I am both – a musician and a translator
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Herz Frank was our living flag
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I have to admit, you can't call me a patriot of Flahertiana
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Flahertiana is karma to me
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Bring you, put you to sleep, feed you. Who does this all? The mother of the festival!
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They are cockroach-like, sure, but they are cockroach-like adults
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At that time sponsors were two companies, one for vodka, the other – for beer
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I'm extremely happy when I see a full screening room
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Cinema always equals a state of force majeure
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Our festival is no entertainment
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At some point, I started to feel like I am inside a film
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Flahertiana simply dragged me in
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Flahertiana is for a 100% about a person
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Flahertiana is very much like a marathon
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My favorite film is the light on people
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Lemekhov and Flahertiana are about a creative conflict in a good sense
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Life Code according

to Pavel Pechenkin



I know how to answer all the questions of people who constantly ask themselves: what do I do, why do I live, what to do next? Watch documentaries. You will understand everything with its help

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"Documentary films never age"


Naum Kleiman is considered a godfather of Flahertiana. Film theorist and expert on Sergei Eisenstein told us how the festival got its name and why there is no hierarchy in life and cinema.

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FILM STORIES
INTERNATIONAL COMPETITION
OFFLINE VS ONLINE

In the old days, aesthetics evolved for centuries or decades, and last summer it was modernized, at most, in a month. Distant reality has pushed the physical one aside, dictating its everyday life and style rules pretty much to the whole society. The selection process for our competitive program began a year ago – and finished already in the confusion of pandemic and quarantines. The result is the program that offers a poignant dialogue of stories, which unfold in the worlds that have forever lost their friendliness: in the very physical reality and in virtual space. The "mirror world" now dictates the rules. But nostalgia is with the material world – one without masks, with hugs and other Shakespeare drama. The more valuable are the documents of human existence that the competition program offers.

Path is shown to everyone - online or offline. Now, there is an American film Jawline (Lisa Mandelup) – here a stream of phone messages creates an endless soundtrack that embellishes the everyday life of the characters. Sing Me a Song by Thomas Balmes – a monastery in Bhutan discovers the Internet and the young monk's doubts about the Universe are becoming global as the Net itself. But here's what is interesting – having already lined up our program, we realized how much nostalgia there is in it for life off the base, for the "old" way of being without warnings and website pre-orders. "Our dungy earth alike feeds beast as man. The nobleness of life is to do this..."

You will also feel that nostalgia while watching Love Child by Danish Eva Mulvad - a report about an Iranian couple forced to flee with their four-year-old son from a country where love challenge and adultery lead straight to the death penalty. It is also there in the decadent tragicomic ordeal of Baron Ronald Reisinger of Scotland on a tourist ship – the Dutch King of the Cruise (Sophie Dros). As well as in the crafty lessons of seduction in School of Seduction by Alina Rudnitskaya. Or in the melodramatic excitement of Bitter Love by the Pole Jerzy Sladkowski.

There is some logic in the fact that this is perhaps the least politicized program in recent years – it is an obvious response to the agitation and confusion of people. Unfortunately, political manoeuvring certainly means too much but it is steadily becoming old-fashioned. The waves of public sentiment are roaring in oceanic fashion – but their cinematic portrait shows us that society is now more than ever a collection of individuals. Unpredictable ones. They must be served an upper hand. Unpredictable ones - no matter if they are off- or online. They must be served an upper hand.


Marina Drozdova

NATIONAL COMPETITION
DOMESTIC TOURISM. A JOURNEY FOR MEANING

Travel was officially allowed in Russian Flahertiana 2020. At least domestically. Now we go to a city near Moscow to teach children tolerance, then to Peru, to a shaman treating cancer, then to feel the pain of young hungry Ural comedians.

The program also includes the classic road movie "Rodina Trip" (Dmitry Vologdin) – for the first time in 30 years, Uncle Sasha left his remote village and went straight to the FIFA World Cup. And beautiful southern landscapes – animator Alexandra leaves the Ural cold for Cyprus in "Dead Season" (Natalia Savras). For her, this is an escape from her experiences but you cannot escape from yourself, no matter how hard the heroes try.

It seems that directors more than before are looking at the life of "business people", those who are still engaged in manual labor. For example, this is the look of Yevgeny Grigoriev's film "Handmade". It contains six stories filmed by different documentary filmmakers: about a farmer with Western habits and a large Russian family, an anesthesiologist priest, a fisherman and other craftsmen. The man with the camera asks them directly: "What is the main thing in your life?" But at best, the only answer to this is: "In the sense?"

Both heroes and directors are busy looking for meaning. This other inner journey is eternal. And when the meaning seems to be found, it turns out that life treacherously does not want to adjust to it. Even if you really want to believe. A stunning and lively example is the film "Estoy Feliz" (Anastasia Korkia, Lyudmila Nekrasova): the shaman "drove away" the heroine's cancer, but no matter how strongly she felt "inner health," the doctors have their own opinion. In the room of a young teacher from the film "Hey! Teachers!" (Yulia Vishnevetskaya) there are motivating notes with the values of humanism. But no matter how much she wants a real dialogue, in the classroom children will sense moralizm and ask: "Are you the most righteous one?" Dasha's trip from "To See Peter" (Kapitolina Dolgikh) will be her first and last, no matter how much her family and thousands of people who have helped raise money for the trip may believe in good.

Does it mean that it is not enough to believe the best? No one can give an exact answer, besides, didacticism is not about Flahertiana cinema at all. But what these films confirm once and again is that reality always has its own director.


Anastasia Kozhevnikova
STUDENT FILMS COMPETITION
First you cry, then you laugh


The youngest and most rapidly developing Flahertiana program is a student competition. Blitz with the ideologist and curator of the student competition Olga Averkieva. We ask briefly, Olya doesn't necessarily answer so.

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FESTIVAL HISTORY
THE FIRST FLAHERTIANA DOCUMENTARY FILM FESTIVAL. THROUGH THE EFFORTS OF FILMMAKERS WHO ARE WORKING AT SVERDLOVSK FILM STUDIO AT THE TIME, THE FESTIVAL IS CREATED IN THE MIDST OF THE 1990S. THE FIRST FLAHERTIANA TAKES PLACE IN THE UST-KACHKA SANATORIUM -– THERE ARE HOT DISCUSSIONS ABOUT THE THEORY OF CINEMA AND SCREENINGS OF THE FILMS BY ROBERT FLAHERTY, VIKTOR KOSAKOVSKY, SERGEY DVORTSEVOY, AND OTHER DOCUMENTARY FILMMAKERS. "IN THE EARLY 90S, ALMOST NO ONE WATCHED DOCUMENTARIES. WE ONLY DREAMED ABOUT IT AND FILMED WITH THE STUBBORNNESS OF THE DOOMED," RECALLS PAVEL PECHENKIN.


TRADITIONALLY, "FLAHERTIANA" TOOK PLACE IN THE WARM SEASON: FOR SEVERAL YEARS IT WAS A MAY EVENT. IN THE 2010S, THE FESTIVAL BEGAN TO TAKE PLACE IN AUTUMN. HOWEVER IN 1998, WINTER WEATHER AWAITED VIEWERS – THE SCREENINGS WERE HELD FROM JANUARY 17 TO 23.


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THE FESTIVAL IS BEING HELD IN PERM FOR THE FIRST TIME. FLAHERTIANA HAS MOVED FROM THE UST-KACHKA RESORT TO PERM CINEMA HALLS. THIS YEAR THE PROGRAM INCLUDED A SECTION ON VISUAL ANTHROPOLOGY AND THE PROJECT "FLAHERTIANA – SCHOOL OF TOLERANCE" WHICH WAS SUPPOSED TO DRAW ATTENTION TO THE PROBLEM OF NATIONAL AND SOCIAL CONFLICTS.









ONE OF THE GUESTS THIS YEAR IS THE "GODFATHER" OF THE FESTIVAL, NAUM KLEIMAN. IT WAS HE WHO ONCE INVENTED THE NAME "FLAHERTIANA"














FLAHERTIANA RECEIVED INTERNATIONAL STATUS. SINCE THIS YEAR, IT HAS BEEN HELD ANNUALLY IN PERM, AND THE INTERNATIONAL JURY HAS BEEN CHOOSING THE MAIN FILM OF THE FESTIVAL.














THE FESTIVAL BEGINS ITS COOPERATION WITH THE INTERNATIONAL FEDERATION OF FILM CRITICS. THE FIPRESCI JURY, CONSISTING OF FOREIGN AND DOMESTIC JOURNALISTS, PRESENT A SPECIAL DIPLOMA TO THE BEST FILM OF THE MAIN COMPETITION.











THE FLAHERTIANA ONLINE PROGRAM WHICH IS SCREENED IN PARALLEL TO THE MAIN COMPETITION EXPANDS THE AUDIENCE OF THE FESTIVAL TO 27 THOUSAND PEOPLE BY SHOWING FILMS ON THE INTERNET.


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INTERNATIONAL JURY PRESIDENT HERTZ FRANK IS A CULT FIGURE FOR FLAHERTIANA. HIS CLASSIC FILM "TEN MINUTES OLDER" BECAME THE SUBJECT OF DISCUSSION ABOUT TIME IN CINEMA.

THE SAME YEAR, THE FLAHERTIANA-SOCIUM PROJECT IS LAUNCHED WHICH DEVELOPS THE IDEA OF CINEMA AS AN EDUCATIONAL TOOL. UNDER THE LEADERSHIP OF OLGA AKHMEDZYANOVA, "VUZ-FLAHERTIANA" (HIGH SCHOOL FLAHERTIANA) BEGINS WHERE SCHOOLCHILDREN AND STUDENTS THEMSELVES CHOOSE DOCUMENTARIES FOR DISCUSSIONS AND ORGANIZE SCREENINGS.




FESTIVAL REBRANDING AND "NEW FACE" OF NANUK. ERKEN KAGAROV'S STUDIO IS WORKING ON FLAHERTIANA'S CORPORATE IDENTITY. LATER, DESIGNER PETYA STABROVSKIY, A STUDENT OF LEONID LEMEKHOV WHO CREATED THE FIRST LOGO OF THE FESTIVAL, WILL WORK ON IT.

THE EMERGENCE OF THE EDUCATIONAL PROGRAM FLAHERTIANA WORKSHOP MADE IT POSSIBLE FOR THOSE WHO DREAM OF MAKING FILMS TO TAKE PART IN MASTER CLASSES OF DIRECTORS, CINEMATOGRAPHERS, SCREENWRITERS, EDITORS, AND OTHER PROFESSIONALS FROM RUSSIA AND FOREIGN COUNTRIES.




















SINCE 2012, THE NATIONAL COMPETITION HAS STARTED TO FORM. IT GETS THE NAME "RUSSIAN FLAHERTIANA". FIRST, THE FILMS ARE JUDGED BY THE AUDIENCE JURY WHICH INCLUDES STUDENTS AND THE MOST ACTIVE LOVERS OF DOCUMENTARY FILMS. LATER, A PROFESSIONAL JURY WILL APPEAR, WITH THE PARTICIPATION OF RUSSIAN DOCUMENTARY FILMMAKERS AND FAMOUS PERM RESIDENTS.








THE MAIN PRIZE OF THE FESTIVAL GOES TO THE IRANIAN FILM "TRUCKER AND THE FOX". FOR THE FIRST TIME IN THE HISTORY OF FLAHERTIANA, THE STATUETTE OF THE BIG GOLDEN NANOOK IS SENT TO THE MIDDLE EAST, BEFORE THAT EUROPEAN AND CHINESE AUTHORS WERE NOMINATED AS WINNERS.

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FLAHERTIANA LAUNCHES A STUDENT FILM COMPETITION. SINCE THIS YEAR, STUDENT FILMMAKERS HAVE BEEN COMING TO PERM, GRADUALLY FORMING A YOUTH COMMUNITY AROUND THE FESTIVAL.












FOR THE FIRST TIME, FILMS OF FLAHERTIANA ARE SHOWN IN OXFORD. THE DOCUMENTARY FILMS ARE PRESENTED TO THE AUDIENCE BY VLADIMIR BERESNEV, THE CURATOR OF "VUZ-FLAHERTIANA" AT THE TIME.












FOR THE FIRST TIME, THE INTERNATIONAL PITCHING "FLAHERTIANA FORUM" IS TAKING PLACE – THE PRESENTATION OF PROJECTS OF FUTURE FILMS IN FRONT OF POTENTIAL PRODUCERS FROM DIFFERENT COUNTRIES. THUS, THE FESTIVAL BEGINS TO DEVELOP AS AN INDUSTRIAL PLATFORM WHERE YOU CAN NOT ONLY PRESENT A FINISHED FILM TO THE AUDIENCE BUT ALSO FIND A TEAM OR FUNDING FOR A NEW FILM.










































2020 HAS CHALLENGED THE ENTIRE WORLD. IN DIFFICULT CONDITIONS OF THE CORONAVIRUS PANDEMIC, THE FESTIVAL TEAM NEVERTHELESS FOUND AN OPPORTUNITY TO MEET WITH THEIR AUDIENCE. "THE XXTH FLAHERTIANA IS A HUGE PATH FOR THE FESTIVAL TEAM. IT COULD HAVE BEEN PASSED ONLY BY CRAZY, RECKLESS PEOPLE WHO WERE SURE THAT THEIR WORK WAS THE BEST IN THE WORLD," SAYS PAVEL PECHENKIN.
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1995
The first Flahertiana Documentary Film Festival. Through the efforts of filmmakers who are working at Sverdlovsk Film Studio at the time, the festival is created in the midst of the 1990s. The first Flahertiana takes place in the Ust-Kachka sanatorium -– there are hot discussions about the theory of cinema and screenings of the films by Robert Flaherty, Viktor Kosakovsky, Sergey Dvortsevoy, and other documentary filmmakers. "In the early 90s, almost no one watched documentaries. We only dreamed about it and filmed with the stubbornness of the doomed," recalls Pavel Pechenkin.
1998
Traditionally, "Flahertiana" took place in the warm season: for several years it was a May event. In the 2010s, the festival began to take place in autumn. However in 1998, winter weather awaited viewers – the screenings were held from January 17 to 23.
2000
2002
The festival is being held in Perm for the first time. Flahertiana has moved from the Ust-Kachka resort to Perm cinema halls. This year the program included a section on visual anthropology and the project "Flahertiana – School of Tolerance" which was supposed to draw attention to the problem of national and social conflicts.
2004
One of the guests this year is the "godfather" of the festival, Naum Kleiman. It was he who once invented the name "Flahertiana"
2006
Flahertiana received international status. Since this year, it has been held annually in Perm, and the International Jury has been choosing the main film of the festival.
2007
The festival begins its cooperation with the International Federation of Film Critics. The FIPRESCI Jury, consisting of foreign and domestic journalists, present a special diploma to the best film of the main competition.
2008
The Flahertiana Online program which is screened in parallel to the main competition expands the audience of the festival to 27 thousand people by showing films on the Internet.
2009
International Jury President Hertz Frank is a cult figure for Flahertiana. His classic film "Ten Minutes Older" became the subject of discussion about time in cinema.

The same year, the Flahertiana-Socium project is launched which develops the idea of cinema as an educational tool. Under the leadership of Olga Akhmedzyanova, "VUZ-Flahertiana" (High School Flahertiana) begins where schoolchildren and students themselves choose documentaries for discussions and organize screenings.
2010
Festival rebranding and "new face" of Nanuk. Erken Kagarov's studio is working on Flahertiana's corporate identity. Later, designer Peter Stabrovskiy, a student of Leonid Lemekhov who created the first logo of the festival, will work on it.

The emergence of the educational program Flahertiana Workshop made it possible for those who dream of making films to take part in master classes of directors, cinematographers, screenwriters, editors, and other professionals from Russia and foreign countries.
2011
2012
Since 2012, the national competition has started to form. It gets the name "Russian Flahertiana". First, the films are judged by the audience jury which includes students and the most active lovers of documentary films. Later, a professional jury will appear, with the participation of Russian documentary filmmakers and famous Perm residents.
2013
The main prize of the festival goes to the Iranian film "Trucker and the Fox". For the first time in the history of Flahertiana, the statuette of the Big Golden Nanook is sent to the Middle East, before that European and Chinese authors were nominated as winners.
2014
2015
Flahertiana launches a student film competition. Since this year, student filmmakers have been coming to Perm, gradually forming a youth community around the festival.
2016
For the first time, films of Flahertiana are shown in Oxford. The documentary films are presented to the audience by Vladimir Beresnev, the curator of "VUZ-Flahertiana" at the time.
2017
For the first time, the international pitching "Flahertiana Forum" is taking place – the presentation of projects of future films in front of potential producers from different countries. Thus, the festival begins to develop as an industrial platform where you can not only present a finished film to the audience but also find a team or funding for a new film.
2018
2019
2020
2020 has challenged the entire world. In difficult conditions of the coronavirus pandemic, the festival team nevertheless found an opportunity to meet with their audience. "The XXth Flahertiana is a huge path for the festival team. It could have been passed only by crazy, reckless people who were sure that their work was the best in the world," says Pavel Pechenkin.
CREATED BY
CREATED BY
Text Anastasia Kozhevnikova, Rinata Khaidarova, Alina Stabrovskaya
Video Kristina Onosova, Rinata Khaidarova, Olga Badina, Vladimir Ermakov
Photo Alexey Sukhanov, Eugeny Demshin, Sergey Lepikhin, Flahertiana's archive
Translation Asya Alypova, Anastasia Kazakova, Alexandra Domracheva, Anastasia Shilonosova
Editor Anna Sidyakina Proofreader Nikolay Shilov
Design Petya Stabrovskiy, Alina Stabrovskaya

Special thanks to LABORATORY studio for organizing the photo shoot
The project was implemented under support of a grant from the President of the Russian Federation for the Development of Civil Society provided by the Presidential Grants Fund