film
I was recently hired to edit a short film for Siemens Healthineers about an interesting hospital initiative in South Africa.
Over the past few years, I have collaborated with Siemens Healthineers quite a bit through Prima-Fila Correspondents, the agency I am working with. And I got to discover great projects like this one from Netcare at the Montana Hospital in South Africa.
Shoot at Mirko Loko’s studio in Lausanne, Switzerland. ©Mathilda Schaffter
Three continents in three weeks. When you make a film on Detroit techno legend Carl Craig, you have to be able to follow his pace. These past few weeks have been full of contrasts and incredible scenes and encounters. Imagine. On a Saturday afternoon of early April, you are at the top of a mountain in Chamonix filming Carl Craig with the Mont Blanc as a backdrop. Three days later, you meet with him again at MOCA in Los Angeles. And in between, you witnessed and filmed a fantastic set by Laurent Garnier at the Unlimited Festival in Chamonix, where Carl Craig and Mirko Loko also performed. And you finish up your journey around half of the world at the southernmost tip of Chile for a shoot for MAN Energy about the fuel of the future. And while you are doing all that, you are trying to organize the post-production for your current film Scars We Carry, that will come out in festivals later on this year.
Interview with Mirko Loko at Le Bourg. ©Mathilda Schaffter.
This has been my life in the past 3 weeks. But let’s start with the beginning. The first leg of this odyssey took place in Lausanne, the town I grew up in and where surprisingly I had never shot a film before. We shot several scenes for Rhythms of Tomorrow, the film I am making on Carl Craig. We shot with Mirko Loko, a deejay and producer I have admired since his early days at the Swiss radio station Couleur 3. Mirko was key in the making of the film on Carl and will play an important role in the documentary as well. So we shot with him at his studio and at Le Bourg Club in Lausanne. The stunning pictures you can discover with this post were taken by Mathilda Schaffter, a student in the master program in documentary filmmaking I am teaching at the Ecole Supérieure du Journalisme in Paris. She joined us for several days on the shoot and captured its essence.
Mirko Loko and Olivier Freymond looking at flyers from the Loft Club. ©Mathilda Schaffter.
We went with Mirko to a small village outside Lausanne where the posters and flyers of the defunct Loft Club are stored. The famous techno club where Carl Craig was a resident in Lausanne shut its doors a little more than 10 years ago and is now a shoe store. Interestingly enough, the club where I spent countless nights as a teen and young adult listening to Detroit techno, disappeared almost without a trace. While shooting in the tiny village I had never been to when I used to live in Switzerland, I discovered that Switzerland has fondue vending machines in places that do not even have a grocery store.
Carl Craig in Chamonix. ©Jean-Cosme Delaloye
After Lausanne, we went to shoot at the Unlimited Festival in Chamonix. The shoot was simply incredible. First, it is one of the coolest festivals I have ever been to. I discovered wonderful artists such as Klement Bonelli and Clara. Filming Carl on top of the mountain, so far away from Detroit was undoubtedly a highlight. If you add to that an interview with the one and only Laurent Garnier as well as a shoot of his incredible set on a mountain, you can start to see see why this shoot was so special. When I studied in the UK, I used to go to the clubs Laurent was spinning at. And when I moved to the U.S., my wife bought me his book Electrochoc, which became my “Bible”. Laurent also did something really special for the film during his set at Unlimited.
Laurent Garnier spinning at Unlimited Festival in Chamonix. ©Jean-Cosme Delaloye
I left Chamonix exhausted but happy and excited for the next stop of the journey. Los Angeles, yes the City of Angels in which I hope to live one day. We went to LA because Carl Craig was inaugurating his Party/After-Party at MOCA, the famous Museum of Contemporary Art in LA. One day, I will write about everything I learned and discovered while following Carl around the world. I will just say for now that Carl is a unique artist and human being whose sound can take you on a journey deep into a universe you did not even know existed within you.
Carl Craig inside his Party/After-Party installation. ©Dan Wechsler
Carl’s music and his Party/After-Party installation at MOCA are a wonderful and intriguing sensorial experience. And what a sight it was to film Mirko Loko spinning Carl’s tracks during the after-party of the gala celebrating Detroit artist at MOCA.
Interview with Carl Craig at MOCA. ©Dan Wechsler.
We shot really cool scenes at two of LA’s iconic record stores, Rubycon Records and Stellar Remnant and we got the privilege to shoot inside Kenny Larkin’s studio. Kenny Larkin is another deejay I loved dancing to while growing up in Switzerland. We also had the chance to shoot with Silent Servant, one of my favorite deejays out of LA.
Kenny Larkin in his studio in LA. ©Jean-Cosme Delaloye
After two weeks on the road with Carl, I caught a plane to Chile. And after a 36-hour journey, I arrived in Punta Arenas at southernmost tip of Chile. The shoot there was for MAN Energy, which is part of a pilot project to produce emethanol from wind and hydrogen.
Punta Arenas. ©Agustin Barrigo
When growing up, I dreamt of crossing Chile from the north to south one day. I never got to do it, but at least I could see Punta Arenas. And experiencing the end of the world is well worth it. Everything is special in Punta Arenas, the landscape, the light, the mood. And I did something there I would never have expected doing after shooting in techno clubs for the past few months: I attended a karaoke night in a Punta Arenas bar. I will leave you with that image of men and women sitting at tables, often alone, drinking pints of beer, and suddenly coming alive when it was their turn to sing. The power of music, this is what these past 3 weeks have been about for me.
Karaoke night in Punta Arenas with Claudia Lucero. ©Jean-Cosme Delaloye
HARLEY is officially out in the United States and Canada! You can find the film on all major VOD platforms such as Apple TV, Amazon Prime, Google Play, Youtube, Microsoft Xbox, Vimeo, VUDU.
What a journey it has been. It started with the belief that we had a story with heart and a massive amount of risk-taking. This project was driven with the willingness of one man, Harley Breite, to embark on a quest to conquer his own insecurities in the search for unrequited love.
When I started working on this documentary film, I immediately thought of Don Quixote, one of my favorite books. We tend to see Don Quixote as a delusional knight tilting at windmills in his quest for Dulcinea, an imaginary woman. But for me, Don Quixote was truly alive as long as he was on a quest and he died when he gave up.
I identify with him, because I have always been on a quest. So I was lucky to join Harley Breite, a criminal defense attorney in New Jersey, on his own to prove himself and hold in his arms the woman of his dreams. We were no alone on this journey as many artists helped us make HARLEY: Lila Place, the editor; Nick Strini, the director of photography, Max Avery Lichtenstein, the composer who captured the complexities of Harley in his soundtrack; Maia Carolina, the editor of trailer; German Nocella and Daff Schneydher, who graded the film; Federico Moreira, who made it sound good, @Guille Lawlor, who created all the Rocky-inspired tiles and designed the poster with the powerful portrait of Harley after his brutal MMA fight taken by Fábio Erdos.
When we thought we had made our dreams come true with a selection to the Tribeca Film Institute Festival in 2020, Covid-19 hit. The festival was cancelled and our distribution strategy crumbled. It was nearly a knockout punch for a small production like ours, but we got back up with the help of Lowell Shapiro and Mike Dill at Black Box Management who breathed new life into the project and opened up new horizons for HARLEY with Matt Shanfield, James Guido and others at IPC. And then came Gravitas Ventures brought on board by the film's agent Andrew Herwitz.
We are here today thanks to all of them and to many more. When we wrapped up the production, Harley, the protagonist of the film, gave me an old copy of Don Quixote written by Cervantes. It is a precious gift because every time I have doubts about my own quest in documentary filmmaking, I can open it up and read the quote I chose to open HARLEY: “The greatest madness a man can be guilty of in this life, is to let himself die outright, without being slain by any person whatever, or destroyed by any other weapon than the hands of melancholy”.
Enjoy the film. I hope you will find something in Harley’s quest that speaks to you too.
As we remember the Capitol riots a year ago, meet Harley, the lawyer of Capitol rioter Scott Fairlamb. My documentary film HARLEY will be released on January 25 and is available on pre-order on iTunes:
https://itunes.apple.com/us/movie/harley/id1600773467
When I left my job at the Swiss daily newspapers Tribune de Geneve and 24 Heures 3 months ago, I wanted to finish a film I had been working on for the past 4 years.
I reached that goal yesterday. The documentary is not completely done but it is close. It tells the story of a wild and brutal murder of a young fan by a crowd at half-time of a major soccer derby in Argentina. Originally, I just wanted to write the script and give it to an editor, but I quickly figured out it would make more sense to edit the film myself because the complex story structure required me to try out building the scenes to see if the script worked.
I kept going until yesterday. I had never edited a feature film before. But after all these years working with exceptional editors on my films, I felt ready to do so. For the past 3 months, I edited every single day from dawn until dusk. I went back to Argentina this month to shoot a scene in a prison that almost got canceled a few hours before I was about to shoot it. But journalism is the art of adapting quickly to a situation or to an environment and I was able to rescue this scene. And this past Sunday, I was finally able to export the rough cut of the film. I can't describe the sense of achievement I felt at that moment.
If you have ever been in a stadium during a soccer game, I believe this film will speak to you. Among the many highlights of the documentary, you will be able to watch Mario Kempes, who won the World Cup in 1978 and who is one of the most important soccer players in Argentina alongside Maradona and Messi. The murder took place in the stadium bearing Kempes' name in Cordoba and the opportunity to interview him was a special moment for me.
This film was made possible by many people, starting with my friend German Nocella, an incredible director of photography who believed in this crazy project 4 years ago, and also Lila Place, a truly exceptional editor with whom I learned a lot about editing while she edited 2 of my films. I would like to also mention Yannick Constantin, Agustin Barrigo and Elia Lyssy, who shot some of the images you will be able to discover in the film next year.
This project started in Montevideo in May 2017 when I met Kevin Gissi, a Swiss-Argentinian soccer player who suggested I should make a film on the Argentinian Barra Bravas (hooligans). And so I did. There are some incredible characters in this film. And I am forever indebted to 2 families for trusting me and for sharing their story with me. I will write more about them and about the film soon. So stay tuned.
The Mario Kempes stadium where we shot IN THE CROWD in Cordoba, Argentina.
The world lost a beautiful and courageous soul yesterday. Wilfredo Macario died of Covid-19 on August 16, 2021, in Quetzaltenango, in Guatemala. In 2013, Wilfredo and his family welcomed me into their home and agreed to share their painful story for my film LA PRENDA (The Pawn). This film premiered at Hot Docs and screened everywhere because their story and their resilience were so powerful and I am forever indebted to them. As a documentary filmmaker, the best result you can achieve is to take good care of the story you have been gifted by courageous people like Astrid, Wilfredo and the entire Macario family. I hope to that day I did it. Let me share this short piece I put together so that hopefully, you can get a glimpse of this man's big heart. RIP Wilfredo.
On Tuesday March 26, 2019, I was interviewed by Kevin Moore for his talk show Twilight Talks on CUNY TV. We discussed the kind of documentary films I do, the role of a journalist dealing with a tragedy, the current administration, etc. I hope you will be able to check it out here.
Stray Bullet was featured on Swiss National Television in December. It was in story focusing on the Netflix release of the film in the US. Please check it out.
Should a film aim to bypass festivals and be released directly on Netflix? This is the question the major Swiss daily newspaper 24 Heures asked Jean-Cosme Delaloye, the director of STRAY BULLET. His response was unequivocally yes for his latest film. Since STRAY BULLET was released on Netflix, the feedback has been huge. It is incredible to see on Twitter the amount of people the film touched and how far it has traveled in the U.S. One of the main participants of the film has been invited to give talks to college students. People, who had relatives hurt by stray bullets, reached out to us. It has been an unbelievable experience to witness how wide the audience for this film has been. Some films might be more suited for festivals like Jean-Cosme Delaloye’s previous film - LA PRENDA - had been. But the Netflix release has been absolutely fantastic for STRAY BULLET. If you have not watched the film here, you can do so here.
When you start working on a documentary film, you have to be ready for a marathon during which you will have to deal with highs, lows, intense emotions, rejections, frustrations, anguish, excitement. You will have to hustle, convince, think, imagine, find solutions and take risks.
I started working on LA PRENDA - THE PAWN six years ago. At the time, I had just finished BY MY SIDE, a film I produced myself. I was screening it at the Icaro Festival in Guatemala in November 2011 when I decided to do a follow up on an audio documentary on kidnappings in Guatremala I had done for Swiss Public Radio. I met Rodolfo Diaz, a lawyer of the Sobrevivientes Foundation. He was representing the family of Kelly Diaz, a teenager who had been kidnapped for a ransom and ultimately been killed.
Kelly Diaz.
When I heard about the brutality of that case, I thought that it would have made headlines around the world if it had happened in the US or in Europe. Before she was killed, Kelly had been tortured and raped. Her pelvis had been fractured. Her body was found days later in the woods.
@ElQuetzalteco
I decided to start doing a film on Kelly's story, without thinking twice about it. The next morning, I hired a cameraman and we drove 4 hours through Guatemala to Quetzaltenango, where I met with Karin Gramajo. Karin is Kelly's cousin and she has been fighting for justice for Kelly for the past 7 years despite the threats she has had to deal with. Karin should have been a lawyer but could not afford to finish her studies. So she helps people with their legal fights against the widespread impunity in Guatemala. If Karin hadn't agreed to be in La Prenda, there would have been no film. But she did agree and we embarked on an incredible journey together.
Karin Gramajo in Quetzaltenango.
We were soon joined by Astrid Elias, a courageous young woman living in Los Angeles, who had been kidnapped and raped as a child in Guatemala. I remember the call I received one day from Azalea Vazquez, a witness in Astrid's political asylum case in Los Angeles. Azalea had heard I was looking for another case of kidnapping for my film and she decided to reach out to me. In a documentary film, there are moments like that. You feel you are stuck because the story is so sensitive that people can't share it. And suddenly a door opens. Thanks to Azalea, I was able to speak with Andrea Garcia, Astrid's lawyer, and with Astrid herself. Astrid is a shy young woman, who had been kidnapped and raped in Quetzaltenango when she was 14 years old. After a ransom was paid by her family, she was released and stayed at her grandparents' home without leaving. Once she started going out again a year later, she was threatened again. So her parents who lived in Los Angeles, decided to make her come to the United States with her younger sister. But Astrid was caught by the border patrol while she was trying to cross into the United States and she was facing deportation when I first met her. While fighting for her life, she decided to let me document her ordeal.
Astrid at the 2016 FIFDH in Geneva. ©Miguel Bueno, FIFDH
Andrea Garcia, Astrid's lawyer, at the FICG in Los Angeles. ©Juan Tallo, FICG in LA
In a world where journalists are under constant attack and ignorantly labeled as fake news by some people, Astrid gave me the opportunity to go to the bottom of her story over the next 2 years. When she was facing deportation, we were there. When she was praying for a reprieve, we were there. When she went to her final court hearing, we were there. Her family embraced us. They showed us a courage I have seldom been exposed to. They trusted with a story, their story.
Estella and Alberto, Astrid's parents, on the red carpet of the FICG in LA at the Egyptian Theater in Hollywood. ©Juan Tallo, FICG in LA
A film is a team. And thanks to all the people who decided to work on it, produce it, support it and finance it, we were able to get it done in 2 years. The response has been incredible. It premiered in 2015 at Hot Docs and at the prestigious Guadalajara Film festival. It screened in some of the best festivals in the world such as Thessaloniki, Mill Valley, Havana, FIFDH, San Sebastian. It screened at the Egyptian Theater in Hollywood, at Lincoln Center in New York as part of the Women in the World Summit. Astrid got to share the stage with Meryl Streep, America Ferrara, Microsoft exec Brad Smith and many others. The film won several awards and it is still going around the world as part of the FIFDH on tour. Last month, it screened in Guatemala and sparked a debate on human rights and justice with a Guatemalan Supreme Court judge.
Despite its big success in festivals, it took time for La Prenda - The Pawn to be broadcast on TV. That changed on May 14, 2018, as the film screened on Swiss Public Television RTS in Switzerland. As a filmmaker, I feel I finally reached the end of the marathon of La Prenda. I can let this film go even if Kelly, Astrid, Micaela and their families will always remain in my heart.
Sobrevivientes lawyer Rodolfo Diaz, Jean-Cosme Delaloye (director of La Prenda), Astrid Elias and Luisa Ballin at the FIFDH in Geneva. ©Miguel Bueno, FIFDH.
As a documentary filmmaker, you never stop running. But you will always cross paths with people that inspire you and push you forward. My next goal is to finish my new film's marathon. I am getting close to it as we will announce a major US release for Stray Bullet in the next few weeks.
The family of 12-year-old Genesis Rincon celebrating her birthday a few months after her death. Scene from Stray Bullet.
You make documentary films for nights like these. On April 19 2018, LA PRENDA screened in the magnificent auditorium of the Mexican embassy in Guatemala City. This special screening took place in the context of the FIFDH Human Rights Festival on Tour to commemorate the 70th anniversary of the Universal Declaration of Human Rights. After an incredible festival run that started in 2015 at Hot Docs and at the Guadalajara Film Festival, LA PRENDA came home. We missed Astrid, one of the protagonists who lives in Los Angeles, Kelly's family and Micaela's family. But Karin and Rodolfo, 2 of the main protagonists of the film, spoke for them.
Kelly Diaz Reyes was kidnapped and killed in March 2011.
Astrid Elias in La Prenda.
They shared the stage with Supreme Court judge Maria Eugenia Morales Aceña during one of the best Q&A the film ever had. LA PRENDA sparked discussions at the highest level of Guatemalan justice system. The protagonists' quest for justice impressed Justice Morales Aceña. "The film teaches me about the life of the children is a "prenda" (a jewel)", she said after watching LA PRENDA. "It is so precious that we have to defend it. The most important thing is to try to prevent these cases".
Supreme Court judge Maria Eugenia Morales Aceña at the Q&A for LA PRENDA with Sobrevivientes lawyer Rodolfo Diaz and Karin Gramajo Lopez. Guatemala City, April 19, 2018.
Swiss ambassador Hans-Ruedi Bortis presenting LA PRENDA on April 19, 2018, in Guatemala City.
In Kelly Diaz Reyes' case, justice hasn't been achieved yet. The teenager was kidnapped and killed 7 years ago but her family is still fighting with the lawyer Rodolfo Diaz and the Sobrevivientes Foundation to make sure the convicted murderers are not released prematurely. A visit to the "Casa de la Memoria" (House of remembrance) in Guatemala City is a powerful reminder that these cases keep happening and that people keep disappearing.
Nights like these inspire you to keep going and to keep hustling to make films that matter. Because ultimately, you get to meet courageous people like Karin, Astrid, Rodolfo, Norma Cruz, Fernando Carac Saquic, Hortensia Reyes, Don Chepe, who trust you with their story. LA PRENDA was our attempt to make it shine and to make sure it is not lost on anybody who watches the film. That is why it was such an honor to receive last night the Icaro best documentary award the film had won in 2015 when it first screened in Guatemala. It is hard to measure the real impact of a film but this award means that the voices of Karin, Astrid, Kelly, Fernando and all the other protagonists of LA PRENDA have been heard in their own country.
Jean-Cosme, the director of La Prenda, with Karin Gramajo Lopez, Rodolfo Diaz, Maria José Gramajo and 4-year-old Maria Fernanda Gramajo
It was months in the making but here it is! We rae happy to share the new trailer of Stray Bullet, Jean-Cosme Delaloye's new feature documentary about the killing of 12-year-old Genesis Rincon in 2014 in the streets of Paterson, NJ. The film will be realeased in the U.S. soon!
Thanks to our friends at Wheelhouse Creative for their work on this trailer.
My film LA PRENDA (THE PAWN) about the kidnapping and rape of young women in Guatemala is screening today at the Tolerance Film Festival in Slovenia almost 3 years after its World Premiere at Hot Docs. The next screening is scheduled on April 12 at the Swiss embassy in Guatemala City in the context of the FIFDH human rights festival world tour.
For the past several weeks, I have spent a lot of time shooting in a trial Paterson courtroom and then waiting outside that same courtroom for the verdict. While waiting for it, I was able to capture the life on the bench next to the courtroom's door. I saw people waiting to go in for their court appearance, relatives and a lawyer waiting for a verdict, children waiting for their mom while she was in court. Here are a few snapshots taken in February.
Stray Bullet had its Swiss premiere last month at the renowned Solothurner Filmtage festival in Switzerland and was featured in the Swiss daily newspapers 24 Heures and Tribune de Genève.
Page from 24 Heures on January 27, 2018.
Page from the Tribune de Genève on January 27, 2018
JCDe Productions is proud to launch its new website. On this blog, we will document what it takes to make an independent documentary film and provide behind the scenes insight into our stories. Don't hesitate to get in touch!
