athletes

Autumn Gold (Herbstgold)

Autumn Gold (Herbstgold) (Director: Jan Tenhaven): The very defin­i­tion of a crowd-pleaser, Autumn Gold was greeted with a standing ova­tion and thun­derous applause at its world premiere screening. It’s a can’t-miss for­mula. Follow five ath­letes, all over 80 years of age, as they pre­pare for the World Masters Athletics Championships, held in 2009 in Lahti, Finland. Though it com­bines two very shop­worn doc­u­mentary ele­ments (eld­erly sub­jects, a big com­pet­i­tion), the film man­ages to tran­scend the for­mula by keeping its focus very much on the par­ti­cipants in the present and not delving too deeply into their past lives.

Our first intro­duc­tion to each of the five ath­letes is to join them as they train. The first thing we realize is that these are all ser­ious ath­letes, and that these games are not just about par­ti­cip­a­tion. There is real com­pet­i­tion, and our sub­jects are seeking not only gold medals but world records. And most of these folks have been ath­letes for a very long time.

Youngest is Jiri Soukup, an 82-year-old high jumper from the Czech Republic. His ambi­tion is to clear a height of 1 metre. Watching the scenes with his wife was charming. The best part of Jiri’s workouts is when he comes home after­wards to a soothing mas­sage from his sweet­heart. Though she wor­ries about him injuring him­self, she knows that he’s an ath­lete and that he won’t stop competing.

85-year-old Ilse Pleuger, from Germany, is a world-class shot putter, hoping to break the 6 metre bar­rier and win gold. The death of her beloved hus­band motiv­ated her to train and com­pete even harder.

The age­less Italian Gabre Gabric, still glam­ourous and flex­ible, refuses to reveal her age. “What’s an old woman? Who’s sup­posed to be an old woman? Not me!” she says. She’s a vet­eran of the discus, and hoping to break 13 metres.

With a twinkle in his eye, 93-year-old sprinter Herbert Liedtke tells you he still has an eye for the ladies. And more than just an eye. Although the Stockholm native is training hard for the 100m dash, he’s still looking for a girl­friend, too.

Most mira­cu­lous of all is 100-year-old Austrian Alfred Proksch, still throwing the discus; that is, when he’s not painting nude women in his studio.

And though he’s not fea­tured in the film, you will be awed by the incred­ible Italian Ugo Sansonetti. His appear­ance at the com­pet­i­tion was nothing short of jaw-dropping for a variety of reasons.

Each of these char­ac­ters could have car­ried a film by them­selves. What they have in common is that they are all both lit­er­ally and fig­ur­at­ively com­fort­able in their skins. They recog­nize that they are slowing down, that their bodies are no longer as effi­cient as they used to be. But they also recog­nize that what’s most important is their drive to com­pete, and by com­peting with ath­letes their own age, they can still win medals and achieve world records. Recognizing that they may only have a few years left has helped these ath­letes focus more intently on their short-term goals. It’s both touching and inspiring to see how each of them has lived and con­tinues to live their life to the fullest.

Official site of the film

Here is the Q&A with dir­ector Jan Tenhaven from after the screening, con­ducted by Hot Docs pro­grammer Myrocia Watamaniuk:

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Duration: 12:45

8/10(8/10)

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Horses

Horses (Director: Liz Mermin): This film chron­icles a year in the lives of three Irish race­horses, and although we hear plenty from the human trainers, it’s an attempt to make the horses them­selves the prot­ag­on­ists. In that respect, it’s only par­tially successful.

Mermin spent a year with Paul Nolan and his brother James at their Toberona Stables, training her camera on three of their best hopes for suc­cess. Diminutive but brave Ardalan has a few wins under his belt, but is having trouble moving up to races where he must jump high fences. Joncol is a gen­tleman giant, untested but per­haps the stable’s best pro­spect. And vet­eran Cuan na Grai is still recov­ering from a tendon injury. Though he’s had suc­cess, this season will determine whether he returns to win­ning or is forced into early retire­ment. The horses clearly have their own per­son­al­ities. While Ardalan seems to only per­form when it suits him, Joncol is a determ­ined racer, and Cuan na Grai is described by his hand­lers as a “head case,” eccentric and skit­tish around strangers.

The real char­ac­ters, though, are the men who work with the horses. Paul is both charming and blunt. He spends every waking moment trying to get the best out of these equine ath­letes. He makes it clear that while it is a busi­ness for him, he cher­ishes each of these animals. He speaks fondly of recently-retired cham­pion Accordion Etoile, now free to run around at will in the pad­dock with the family’s pet pony. Groom Gerry is even more of a softie around the horses, con­stantly making small talk with them. It was fas­cin­ating to watch them work, and to realize how much they know about each of their animals and the con­di­tions for any given race day.

I was sur­prised to learn that each of these horses might race only 4–5 times in a year, and that an injury can take them out of com­mis­sion for a year or more. I was also sur­prised that at 5 years of age, Ardalan and Joncol were just embarking on their racing careers. That means that each horse is a sig­ni­ficant invest­ment and the owners and trainers only have a few oppor­tun­ities to make back their money and hope­fully a bit more. This human drama in addi­tion to the pent-up anti­cip­a­tion of the horses them­selves made each race shown in the film a nail-biter. We’re rooting for Toberona Stables as much as we’re rooting for each horse. If there was any doubt in my mind before, the film clearly shows how much these horses love to run and even more how they love to win.

Mermin takes a few risks in an effort to get inside the horse’s minds. Her innov­ative use of sound and music to indicate each horse’s mental state may be lost on a few audi­ence mem­bers. The same goes for her use of flash­backs and a dream sequence. In spite of these effects, the rough nature of some of the camera work as well as a few too many close-up shots of the horses’ faces detract slightly from the film’s effort to cap­ture the equine view­point. Nevertheless, Horses gives us an emotionally-involving glimpse into the lives of a few equine ath­letes and of the people who care for them.

Here is the Q&A with dir­ector Liz Mermin from after the screening, con­ducted by Hot Docs pro­grammer Angie Driscoll:

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Duration: 18:20

7/10(7/10)

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