Friday morning started off with Olaf M\u00f6ller <\/b>interviewing Dominik Graf<\/b>, the master of German genre films and tv productions. The morning discussion opened new perspectives on the history of film and television.<\/p>\n
M\u00f6ller\u2019s series of Master Classes focusing on football films continued in the afternoon with the screening of Zolt\u00e1n F\u00e1bri\u2019s <\/b>forgotten classic Two Half-times in Hell<\/i>, which is set in a prison camp. According to M\u00f6ller, the film deals with the myth typical for many football films that playing football represents sacrificing oneself for the greater good.<\/p>\n
In the afternoon at Lapinsuu, the audience got to ponder on the ambiguous and humane themes of Mahamat-Saleh Haroun\u2019s Dry Season<\/i>, set in the long civil war of Chad. The same humane theme continued in the evening at the Big Tent with a screening of the director\u2019s A Screaming Man<\/i>.<\/p>\n
This year\u2019s Carte Blanche series of films was chosen by author Kjell West\u00f6<\/b>. On Thursday there was a screening of Matti Kassila\u2019s Scarlet Week<\/i>, and as Friday\u2019s film West\u00f6 had chosen Luis Bu\u00f1uel\u2019s The Exterminating Angel<\/i>.<\/p>\n
French director Olivier Assayas<\/b> made an impressive return to The Midnight Sun Film Festival by introducing Ingmar Bergman\u2019s<\/b> Winter Light <\/i>in connection with the Bergman centennial celebration. Assayas delved deeply into Bergman\u2019s psyche, relating to the audience the profound conversations he had with the master director while working on a book about him. Assayas estimated that he knows more about Bergman than Bergman himself did.<\/p>\n