Interview: Cassandra Berry, Susan Carol Davis, Claire Blakeney DeJarnett - "The Take Away" rockumentary

ROFFEKE: What unique challenges did you face in the making of "The Take Away" that you did not face making the previous two short films in the series? What challenges were similar to those of the other two short films? How long was the filming process and the editing process? What interesting parts, if any, ended up on the cutting floor and why?

Susan Carol Davis:
The challenges for the three films that Claire and I have made together are very similar:
1) Amount of time available to film 2) Limitations in budget available to promote the film once they were made 3) Availability of subjects to interview in a timely manner. When we set a goal to complete a film project for a requested film festival premiere, that has sometimes meant wrapping up our shooting of the film before every single person is interviewed whom we wanted to include.

At the same time, we set a goal to keep the length of our films under 20 minutes generally and that does mean, some favorite moments are edited out of the final cut when those moments don’t drive the story forward or mean as much to an audience outside of Denton, Texas where our filmed subjects live. The filming process for The Take Away was a total of 12 months with editing being a 5-month process.

 

Cassandra Berry

Claire Blakeney DeJarnett:
Our trip to Palestine with Cassandra yielded many hours of interesting footage, stories, and interactions that were especially difficult to trim down. At Cassandra’s old high school she tells a couple of intense, heartbreaking, and eye-opening stories about her time there. Taking these moments out was a choice for time and tone. A challenge on site in Palestine was the heat! I believe we were filming in Texas in July and this made it difficult to film exteriors for extended periods of time.

ROFFEKE tackles the misconceptions that rock is "mzungu" (white man) music and devil music. Muddy Waters sang that "The Blues had a baby and they named it rock and roll". You sing The Blues and Gospel (and rock?) in neighborhood bars. How do you reconcile all that - white, devil music, etc - with your Faith and history?

Cassandra Berry:
I personally do not buy into the misconceptions of rock music. Most, if not all, music is influenced by African/African American spirituals and gospel music, which often offers messages of hope and a rhythm that promoted excitement. The music I sing are messages of love, hope and community. Messages that need to be shared inside and outside the walls of faith-based communities. My audiences know that I identify as a Christian, whose heart is to carry out the true meaning of love and unity.

I was once asked by a pastor if I was still singing in the bars and the eateries. I told him yes and that I tend to go where Jesus would also go.

If through music, I can help someone to feel better leaving, than when they came, then I feel I fulfilled by life’s mantra. That mantra is “if I can help somebody while on this life’s journey, then my living is not in vain”. And that’s how I reconcile my faith and history.

Susan Carol Davis

 

ROFFEKE: In addition to being the CEO of Curious Dog Creative LLC, a film/stage director, producer and actress, you are also an arts educator. a) What would you say is the importance of arts education?
b) As a juror for the Thin Line Fest, what makes a film (or screenplay) stand out for you?

Susan:
a) Arts education encourages openness to other cultures, other traditions and other lifelong interests. Whether young adults decide to graduate from high school or college then work as dancers, actors or visual artists, they can enjoy the arts as hobbies and support arts organizations as donors. Art education in large or small communities opens up opportunities for people of all ages with physical, emotional or mental challenges to thrive and nurture self-esteem.

b) The films or screenplays that stand out to me capture my attention and interest within the first minutes of watching or reading. One example is the contemporary film, Emilia Pérez, nominated for the Golden Globes and Oscars this year. The camera work, the visuals, the sounds and acting are intriguing. I want to know more. I want to watch more. A film can have a large budget or a small budget. What I look for in narrative and documentary films is the director or writer’s clear point of view and how valuable their stories are in impacting the modern world for positive change and tolerance.

 

Claire Blakeney DeJarnett

ROFFEKE: You are the director of Film Programming for Thin Line Fest. What steps, if any, do you take to ensure the film programme is diverse and inclusive? What challenges do you face in this attempt?

Claire:
We have a terrific film programming team that is dedicated to watching all submissions in order to curate an interesting, diverse, and inclusive line-up and work with a number of distributors that bring quality content from around the globe. We try to program content from multiple perspectives and cultures and engage the communities around these topics. Our biggest challenge is the amount of submissions to review and chisel down. We receive around 400 submissions a season and have a small program each year. That small program must be engaging, unique, and varying in its themes and perspectives.

ROFFEKE: All three of you wear many hats and encounter (I think) similar challenges that women in entertainment from all over the world face. How do you take care of your mental health?

Susan:
I keep a sales job in the retail industry (clothing) because I enjoy the staff teamwork and because I like helping people of all ages to have a healthy body image. I also enjoy my home and my two dogs where there is peace and quiet and a place to entertain others. I begin and end every day with 15 minutes of meditation and prayer.

Cassandra:
Music is one of a few things that helps my mental wellbeing; it’s my love language with the God I serve. Family is very important to me, so spending quality time with them promotes positive mental health.

Claire:
Unabashedly, this is something I struggle with on a daily basis. Sometimes, the stress of my “many hats” and state of the world can feel overwhelming, but I try to make time for the activities that feed my soul and instill a sense of awe. I find peace in nature, and even if the day is busy and I can’t make it out for a hike, looking up at the sky for a moment or admiring a flower grounds me.

Interview: Zeke Hanson - Director of "Jazz and Roll" Rockumentary

ROFFEKE: The filmmakers of the Rockumentary "Metallica: Some Kind of Monster" filmed 1600 hours of footage which was cut down to 2 hours 20 minutes. How many hours (or minutes) of footage did you film for this 10 minute documentary about the TriTones? What criteria did you use to include or not include footage in the final cut of Jazz and Roll?

ZEKE HANSON: That was a monster of a documentary. I remember when they did that, and it's still hard to wrap my mind around that incredible amount of footage. I think TriTones was about 2.5 hours, give or take. What does or doesn't make the final cut is always the storytellers dilemma. My goal is always to be in a situation where I have to cut good footage, because I have too much that I like to make it work. But that's not always the case. For The TriTones it was different. They were minors at the time, and it was almost the end of their school year, so there really wasn't a possibility for me to shoot practice room or the jam sessions that they were talking about. It was more of capturing a moment in time, so that no matter what they all end up accomplishing down the road, this was something that they did and that they could use to look back on.

ROFFEKE: How did this project come about? Did you reach out to the TriTones or did The TriTones reach out to you? What challenges did you face while making Jazz and Roll?

ZEKE: I was actually working on another series at the time. (Step Into My Studio, on SDPB) and was interviewing Drex's (Trombone player) dad. During the interview he was sharing stories about a band his son was a part of and said it might be a fun story if I wanted to check them out. It took a bit for me to finish up some other projects, but I was able to make it to one of their last shows that summer.It was an uncertain time for them as the majority were graduating high school and leaving the regularity of the group. I'm glad I was able to see them play. It's one of those projects that came about by being present in the conversation, not just the interview.

ROFFEKE: Your other project - which is quite different from Jazz and Roll - is called "The Missing and Murdered". What inspired you to work on this? What lessons did you learn from that project that you (may have) applied in filming Jazz and Roll?

ZEKE: Yes. It is quite different. When I started on The Missing and Murdered, I didn't really understand what I was getting into. I was working on another feature documentary at the time, and was told that if I rode along on the Missing and Murdered ride, that it might help get other interview participants for the other project. At the time I had never done a cross documentary state trip.  Not on my own and certainly not periodically from a horse. It was a long shoot and I had to negotiate a lack of electricity to make it work. I think the lesson that I learned from that, that I take with me for every project is that there will always be obstacles. Part of telling any story is accommodating the struggle to make it. It can be a frustrating journey, but the story has to reveal itself sometimes. You can't just force it. How any filmmaker handles that is part of their style.

ROFFEKE: Your thoughts on Artificial Intelligence and the future of filmmaking?

ZEKE: Oh. Good. I think art has been kicked around and bullied for its entire existence. You can always find people who are willing to take credit for other people's work. But now you see people who are taking credit for something that isn't even real. Art should be felt, not simulated. In my opinion, fake intelligence is a steroid. It should be treated the same way as any asterisk is used in a sporting event or record book. Heavy use of anyone else's work isn't homage, it isn't creative, and there is a word for it. Plagiarism. It culls from existing art to "create" something else. There's nothing new about it. Just heavy filtering. For some of my other documentary research, the immediate incorporation of AI into search engines has actually made it more difficult to find what I'm looking for. Why use artificial, when we are all capable of using the real thing?

ROFFEKE: Your advice for aspiring documentary filmmakers?

ZEKE: You have to have that sick to your stomach feeling.That need to create. Filmmaking is a tough business. Not because of the storytelling, but because of the business. It'll come at a cost, and not always just financially. It costs time, resources, and focus. It'll beat you down and chew you up. But it can also take you around the world and introduce you to people and places you would never otherwise see. I can't imagine doing anything else. For me, documentary filmmaking shines a light on the community of the world. It isn't always pretty, but... if you don't share it...then who will?

Director's Biography:
Zeke Hanson is a film producer, documentarian and author.

"Jazz and Roll" Synopsis:
A little bit rock'n roll, a whole lot of jazz fusion. Hear from The TriTones about what music means to them, and why they can put their musical twist on any genre. 

ROFFEKE OFFICIAL SELECTION 2020 (Partial Listing)

A Youtube playlist featuring some of the short films, music videos and rockumentaries submitted to ROFFEKE in 2020. Watch it here.

 'Tis the holiday season, so the first music video is "Just Like Xmas" by Tom Tikka.

The year 2020 has been a bit...much, and the theme and inspiration behind the second music video speaks to this:

"In a divided time, when only the most sensational acts are acknowledged by the public, a shy man longs to be seen and heard. In particular, he seeks the attention of a girl who mesmerizes him and awakens his creative passion, but when he falls prey to the seductions of easy fame, will he pay the price for losing his true self? The 5th chapter, "Woke," from Kenny Cash's iLLustrated Opera (dubbed the iLL Opera) features Jaqx finding the courage to use his voice,  but when he finally protests against the dividing forces that rule his world he is forced to confront his hyped up alter ego.  Musically, "Woke" Blend of punk, funk and jazz fusion w/ aggressive vocals which reflect the battle that ensues."

Director's Statement: " After nearly forty years on the planet without paying much attention to politics, I never imagined a time would come when I had to express my opinion on the political landscape of the world that we live in. But following the 2016 presidential election, not having a political voice seems to have become an impossible task. The world has started to look a bit like a cartoon to me, where interaction doesn’t happen so much face to face, but rather with hyper-caricatures of one another on social media. I had always loved comic books, science fiction, stories of illuminati, and tales of redemption, so voicing myself through an even more caricaturized graphic approach just seemed right. Being a part of social media left me with my own internal struggle, as it is easy to fall prey to its seduction and the pull of media in general. What we see and hear repeatedly tends to shape our thoughts and close our minds to other's perspectives. If, at the core, the majority of humans tend to desire similar things, then why are we so divided in our approach to obtain them? So this is my voice for the new generation: my kids’ generation. Find your voice, use your voice, but always challenge your voice by listening to another’s."

The last music video in this playlist is a rollercoaster romp through an other-worldly reality - sort of like what 2020 felt like. The difference is that this music video is fun to watch, the song is sure to get you moving and the story is captivating:

"The hero breathes a cloud of strange smoke. He bangs a spray paint that turns into a living and dancing cartoon robot in the wall. All over the city, we see graffiti come to life to join our protagonist, who is going to get caught, to end up like a black and white 2D poster on the wall (like JR). Guided by the robot / bomb in the wall, he will meet 3 characters, the freaks of Caravan Palace, scary and crazy, who will first haunt him, pursue him, then finally amuse him to the point of dancing with them in a crazy way." (Director: Béchir "Jiwee" Jouini)

The year 2020 has been a cloud of strange smoke. It has haunted us and pursued us but hopefully, with a bit of friendship, fun and freedom, we can get to the point of dancing with it in a crazy way and ending the year on a high note. Happy holidays everyone!

Acts of Resistance: Heavy Metal Music in Latin America (#HumanRightsDay online screening)

 Youtube premiere of "Acts of Resistance: Heavy Metal Music in Latin America" on #HumanRightsDay 10th December 2020, 8am (Kenyan time).

"Metal music in Latin America is simply unique. It has tackled head-on the ongoing aftermath of coloniality (poverty, dictatorships, neoliberalism) like very few other musical genres. Few people have documented it as consistently as Dr. Nelson Varas-Díaz, a Professor at Florida International University’s Department of Global and Socio-cultural Studies. This documentary film follows him as he continues his trek through Latin America, documenting the varied manifestations of metal music in the region. In this, his fourth film on the subject, he documents how metal fans and musicians use the power of music to change their societies. Whether inspiring support for rural schools in Guatemala, engagement in environmental activism in Ecuador, or work for memory and peace in Colombia, metal music has become a form of decolonial activism in Latin America. This is what happens when the music’s extreme sounds and lyrics are combined with local concerns with un buen vivir (a life well-lived). Metal has taken to the streets, and is a force to be reckoned with beyond the stage."

Youtube link

#aorrockumentary

Review: The River Don't Care

"Love the video. The unresounding effort of a band to start new somewhere else. LA in this case is very different and welcoming. It shows the lengths bands go to to find a niche even if it means to up and leave. I think they should have played the song not just in the background and then tell their story as cut out excerpts in between the video. The video reminds me of behind the scenes of U2, touring and production of their songs. I generally like the vibe and now I have to Google their complete song and have a listen." - Love Kassim "The part I liked most about this is that everyone has what it takes to be what he/she wants to be in future, as long as you believe in yourself, for everything is possible in a willing heart. Best friends in our lives add more value to our lives as they encourage us on our way to success. The most beautiful message in this is how we can choose our friends and it is not a matter of having many friends but what is important is having valuable friends." - Mereru David Stanley

Review: Songs of Injustice

Reviewer: Mutendei Writes

Songs of Injustice is a film that can be summed up through an anecdote of my own creation; “a seed planted in soil produces a plant that blooms in accordance with the properties and characteristics of the soil it germinates in.”

Songs of Injustice is a film that captures the emergence of Rock music or Metal within South America, focusing on the organic adaption of a foreign musical genre, and its transformation into an independent art form with a unique purpose and significance to the people of Latin America.

Every art form and artist seeks to establish an independent identity and Metal in Latin America is no exception. However as Songs of Injustice narrates it’s about the journey and not the destination.

Metal in Latin America is undoubtedly a tool of resistance against decades of past and ongoing political oppression, marginalization and dictatorship, the very soil in which Metal, planted as a seed grew into something organic and independent of its point of origin.
This by itself is a success in its own right when evaluated on the basis of the opening credits quote from Gabriel Garcia Marquez, the 1982 Nobel Prize winner for literature.

“The interpretation of our reality through patterns not our own, serves only to make us ever more unknown ever less free, ever more solitary.”
Metal is not constrained by the original valueless form of rock, inapplicable to the environment of Latin America. A fact that the documentary film alludes to, highlighting the reality that music cannot be removed from the life it exists in.

The style and tempo of the documentary focuses more on the reasons and motivation behind the music and adopts a mostly historical focus when discussing the featured musicians throughout the featured Latin countries, Peru, Mexico, Argentina and Chile.

This focus, while positive is also a bit of a downside as it doesn’t showcase the artistic development of the groups, their background and personal bios and with them the organic music within Latin America, outside of the messages around which their music is constructed.
How they came together and how they began to associate are vital segments that the film misses and either excludes intentional or unintentionally.

Because of this the film beyond the halfway mark of its one hour and thirty minutes run time starts to feel very repetitive. In addition, Songs of Injustice as a documentary film would have been better segmented, by clearer demarcation between the switch of focus from country to country, perhaps by use of the different names of counties or their flags as a transition.

It’s clear that Metal is to Latin America what Reggae is to Jamaicans, however it also misses the opportunity to get the reaction of the fans to the music and provide a perspective on the inspirational aspect to everyday persons, who are not musicians; everyday persons living in the environment that the music and its messages stems from and seeks to create awareness and historical education.

Given that the term “Aguante” which characterizes the musicians’ motivation to create metal, stands for “strength, resistance, support”, and a “yes we can” attitude, songs of resistance fails to provide a voice to the fans who the music is made for and sung to.

Despite missing this segment, the documentary film Songs of Injustice is a body of work that cannot be overlooked when seeing to understand the purpose an value of Metal within Latin America and the heavy history it is tied to.

The film closes smartly with a call to attention encouraging people to be aware or by modern lingo, “woke” to the reality that there is a vital need to pay attention to and embrace Metal as a form of resistance and means to be in tune with the reality of the day.

(Written in March 2019).

Mutendei Bio

Mutendei Writes (Elias Nabutete) a Kenyan writer, with Kenyan & Canadian life experiences, writes & performs under the penname Mutendei Writes. As an artistic writer, using original, creative & structured writing, covering unique, genre inspired material, moving beyond the limiting modern day mainstream spectrum of content has been Mutendei Writes. Interweaving modern & cultural inclinations, with vivid storylines, Mutendei Writes artistically creates written & Spoken Word Poetry, along with short stories. With four unique books; The Poetry Express, The IdeaBankisms, Shadow Walkers & Everything Mutendei. Mutendei Writes has also maintained monthly website releases on mutendeiwrites.wordpress.com, adding to his works, while enabling others to pursue their literary goals.

Interview: Alec Herron - Producer of "The Music Stops Here"

ROFFEKE: What lessons did you learn from carrying out the Kickstarter campaign for "The music stops here"?

Alec: I learned to allow people to buy into the project, rather than just donate money. By this, I mean we hosted events where donors and potential donors could see the work in progress, feeling a part of an ongoing project that they could see and help progress and be a part of. It's also important to keep the donors updated on your progress, not just take the money and say 'thanks, cya'. You have to remember that were it not for their kind donations, your film wouldn't be going beyond your laptop screen.

ROFFEKE: In the BBC radio Manchester interview, you admitted that you were "losing money" because of this project. What priceless things have you gained from making this documentary?

Alec: This is our first documentary, both for myself and (Director) Adam Farkas. Technically we learned a lot about film-making and production, though this is quite obvious, I guess. From the Star and Garter I learned that culture means much more than anything else in this city. Manchester is a passionate city and at the heart of that passion are two things: football and music. I gained an even greater love for my city and for the people that make it so special; the unique characters, the creatives, the down-to-earth spirits and most of all, the people who keep enjoying the city's nightlife and don't give up on the music.

ROFFEKE: Which scenes would you have loved to be included in the final cut of the documentary?
Alec: There is a scene about the 'Smile' indie disco, which many will claim is the longest running indie disco in the city that, essentially, can claim to have invented indie rock. We just couldn't fit this into the shorter version of The Music Stops Here, but we will look to include this in a later form. There are also some great scenes which go into the local political situation that has led to the due closure of The Star and Garter, which add real depth, but might be a bit too overwhelming for a casual non-Manchester viewer.

ROFFEKE: If the "soul" of the Star and Garter could speak, what do you think it would say?

Alec: "Turn it down!"

ROFFEKE: Advice for aspiring documentary producers?

Alec: Just pick up the camera, find the right story and go for it. Don't worry so much about the technical side. People will forgive some dodgy camera angles or sound glitch, but they won't forgive a boring story. Also, when people say "No" to speaking on camera, try again another couple of times. Some of the best interviews you'll do are with initially very reluctant subjects. Equally, some of the worst interviews will be with people who have too much to say!

(Like Placebo:Alt. Russia, The Music Stops Here touches on SDG 11 and SDG 16: "Make cities and human settlements inclusive, safe, resilient and sustainable" and "Promote peaceful and inclusive societies for sustainable development, provide access to justice for all and build effective, accountable and inclusive institutions at all levels." Under SDG 11, target 11.4 stands out: "Strengthen efforts to protect and safeguard the world's cultural and natural heritage.")

Rockumentary - Placebo:Alt Russia

When I watched Placebo:Alt Russia, I wasn't that surprised to see how passionate Russians are about rock music. According to the analytics, this ROFFEKE blog is mostly viewed by Americans. Russians come in second and Kenyans take third place. Rish, a Kenyan female rocker told me that her songs are mostly downloaded by Russians. A member of Kenyan metalcore band Last Year' Tragedy gave me similar statistics.

What I love about Placebo:Alt Russia is that it is very human, meaning that anyone from any country (Every You Every Me :-) - and especially the creatives - will relate to the sentiments expressed throughout this rockumentary. Rock 'n' roll is just the backdrop, the framework on which various issues are hang upon: censorship, architecture, guerrilla art, politics, crowdfunding, tradition versus modern, cultural exchange, religion, photography, artistic activism....

This year, ROFFEKE will be highlighting the Sustainable Development Goals (SDGs). Placebo: Alt Russia touches on SDG 11 and SDG 16: "Make cities and human settlements inclusive, safe, resilient and sustainable" and "Promote peaceful and inclusive societies for sustainable development, provide access to justice for all and build effective, accountable and inclusive institutions at all levels." Under SDG 11, target 11.4 stands out: "Strengthen efforts to protect and safeguard the world's cultural and natural heritage."

Documentaries are a great way of making people aware of the natural and cultural heritage that is in danger of being made to disappear. In Placebo: Alt Russia we learn of historical buildings in danger of being demolished and two very punk artists who are doing their part to creatively document these buildings for future generations.

I dare say that this fascinating film can be summarized by the three F's in the ROFFEKE motto: Friendship.Fun. Freedom.

Rock 'n' Roll and Social Change

Excerpts from "U2: Anthem for the 80s"

Edge
“Rock ‘n’ Roll should be escapist, should be just about having a good time…and sure, I think rock ‘n’ roll has always had that. But why shouldn’t it also face what’s actually happening and try to deal with that as well.”

Bono
“I’m aware of the contradictions of being in a successful rock ‘n’ roll band and yet at the same time writing about the lack of success in my own contemporaries. …literally the people on the same street as I grew up are having to leave Ireland and go to America to find jobs.”

Dr Garrett Fitzgerald, Irish Prime Minister 1982-1987
“According to the New York Times, U2’s performance in the US has caused the Democratic Party in its approach to the next Presidential election to reevaluate its understanding of how young people in America think and feel.”

Bob Geldof
“In the 60s, Dublin was a very small, pretty European city. Due to corruption and mismanagement and appalling planning, they removed people from the heart of the city out to these appalling ghettos out in the suburbs….When they removed the heart of the city they took its soul with it. Some of the businesses started folding and it became a wasteland. And the city itself became destroyed at the hands of the city management.”

Kenny
“We’re only a number in this country. U2 have a name.”

Bob Geldof
“If over half the country is under 25 you are looking at a potentially vicious explosive situation where you have classic African conditions like urbanization…a city that can’t live up to the expectations of the new immigrants…no jobs for those who have got the gumption to go out and try doing things themselves or for those who just look for a regular job or for university graduates then you have mass immigration again and that destroys the country.”

Bono
“People think because I am attracted to people like Gandhi or the Reverend Martin Luther King or even my faith, my believe in Christ, that I therefore am some sort of hero or man of God or peacemaker….One of the reasons I am attracted to these people is because I am the very person who would not turn the other cheek. I grew up with the violence in me and it’s still in me and I despise it."

“There was shouts of “Up the IRA”…. We were an Irish band and they thought we would fit into this version of Ireland and the revolution. I’m very clear on the way I feel about that. I would love to see a united Ireland but I never ever could support any man that would put a gun on somebody else’s head to see that dream come true. And we wrote Sunday Bloody Sunday in a rage.”

“I just set out this story: Broken bottles under children’s feet, bodies strewn across a dead end street. But I won’t heed the battle call. It puts my back up, puts my back against the wall. And then: And the battle’s just begun, there’s many lost but tell me who has won? The trench is dug within our hearts. Mothers , children, brothers, sisters torn apart. How long, how long must we sing this song?”

“I have often thought to myself…maybe we did fail…maybe the song Sunday Bloody Sunday is a failure…we didn’t succeed in making the point that we wanted to make…it has been misinterpretated…we’ve alienated the Republicans who wanted to use it as a battle cry and we’ve alienated the Unionists who only see it as a slap in their face.”

“LiveAid proved that music can unite people towards very specific ends if called upon. …music in the 60s surely contributed to the close down of the Vietnam war.”

Edge
“I think we write songs that we believe in. I don’t think we are trying to create a movement or tell people what to think. I think if there’s a message to U2 it’s think for yourself.”

Bono
“Amnesty International has doubled its membership as a result of the Conspiracy of Hope tour in the US. That’s real…that’s tangible evidence that the tide is turning…”

Edge
“I see that kind of concern coming in waves. I think the early 80s was a particular low point… and LiveAid was the beginning of a new awareness…I don’t think it’s unusual or precedent. I think it’s happened before and it will happen again…

Happy Birthday Philipp Griess!

Today is the birthday of German director Philipp Griess, who directed a fascinating and entertaining rockumentary titled "CHAO LEH - PUNK NOMADS"

For 18 years,German punk band “Speichelbroiss” have been making noise in the Bavarian backwoods. With “ChaoLeh” they have written a German-Punk-Hit for Asia. CHAO LEH - PUNK NOMADS is a film about the everyday life of a punk band on a Do-It Yourself-low-budget tour through Asia.

Philipp Griess was born in 1981. He studied history in Berlin and documentary-camera at the film school ZeLIG in Bolzano, Italy. He works as cameraman for documentaries and as scriptwriter for German broadcasters and independent productions.

Director’s Statement: I hope we managed to make a melancholic comedy, that tells us about the times when reality hits you while you try to live your dream, sometimes emotional, sometimes with a toungue-in-cheek distance. What do you think?

Well, courtesy of ROFFEKE, Kenyans will have an opportunity to watch this documentary soon, and give their thoughts on it.

Happy Birthday Philipp!

(You can wish Philipp a happy birthday in the comments)