V "Sevil" International Women's Documentary Film Festival is held in Azerbaijan from 5 to 12 July.
In both global and domestic cinematography, the number of female directors is significantly less than that of male directors. This trend is also evident in Azerbaijani cinema. The numerous societal restrictions faced by Azerbaijani women have impacted this area as well. Although the art of cinema in Azerbaijan has been established since 1898, the first female director, Gamar Salamzade, emerged only in 1930.
In modern times, various measures are being taken worldwide and in Azerbaijan to overcome these obstacles. Many institutions are being created and budgets allocated to support the development of women. There are also festivals that showcase films exclusively by female directors and tell women's stories. One such festival is the “Sevil” International Women's Film Festival, which has been running since 2020. Each year, the Festival organizes various masterclasses and discussions to support the local film industry and advance women in cinema.
The masterclasses at this year's festival are designed to allow anyone interested in cinema to learn by participating. The Festival brings together local and international film artists, providing a broad platform for them to connect and learn from each other. The documentary segment of the festival takes place not only in Baku but also in other regions such as Lankaran, Sheki, and Shabran. This initiative greatly supports the development of film enthusiasts and women in these regions. While part of the festival's program remains traditional, new sections are added each year to reflect current agendas.
Overall, the festival dates coincide with a revival in the field of cinema and the recognition of new talent. Currently, there is no specialized course or alternative education for studying documentary film in Azerbaijan. This issue has been a topic of discussion and effort in recent years. Festivals like these also help accelerate this process. It is expected that the number of such festivals and events will increase in the future.
Culture
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Events in history are not merely dates or fragments of historical memory; they leave deep marks on cultural memory as well. Artists, in particular, transfer these events into their works, shaped by their personal perceptions and interpretations. January 20 is one such event that has found its place in cultural memory. Although this topic is relatively less explored in contemporary art, it has never lost its relevance. How should this historical memory be represented? How does it manifest in art?
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