Hilal Baydarov
출생 : 1987-01-01, Baku, Azeri SSR, USSR (now Azerbaijan)
약력
Hilal Baydarov (Azerbaijani: Hiləl Baydarov; Russian: Хилал Байдаров; born 1987; Baku) is an Azerbaijan filmmaker, cinematographer and editor.
During his high school years, he won the national championships of mathematics twice in 2004 and 2005. In 2011 he lead the Azerbaijani team at the informatics olympiad. After a master in computer sciences, Baydarov studied at the Sarajevo Film Academy under acclaimed Hungarian filmmaker Béla Tarr before going on to make his feature debut HILLS WITHOUT NAMES (2018), which premiered at the Montreal World Film Festival, the same year his documentary debut BIRTHDAY won the Docu Talent Award at the Sarajevo Film Festival. Since then Hilal has completed an award-winning trilogy of documentaries set in Katech Azerbaijan: WHEN THE PERSIMMONS GREW (2019) which won the Heart of Sarajevo for Best Documentary at the Sarajevo and the Interreligious Award and Special Jury Mention at Visions du réel; MOTHER AND SON (2019), which premiered in the main competition at IDFA; and NAILS IN MY BRAIN (2020) which premiered at Cinema du réel. His second feature film IN BETWEEN DYING (2020) became a participant in the man competition of the 77th Venice Film Festival.
Writer
전쟁에서 돌아온 남자의 이야기로 시작한다. 고향 마을은 황폐해졌고 모두 떠난 자리에 여동생 혼자 살고 있다. 남자도, 여자도 여기서 더 이상 사람이 살기 힘들다는 것을 안다. 전쟁의 상처를 폐허가 된 세상의 풍경만으로 설득해내는 독특한 영화다.
Editor
전쟁에서 돌아온 남자의 이야기로 시작한다. 고향 마을은 황폐해졌고 모두 떠난 자리에 여동생 혼자 살고 있다. 남자도, 여자도 여기서 더 이상 사람이 살기 힘들다는 것을 안다. 전쟁의 상처를 폐허가 된 세상의 풍경만으로 설득해내는 독특한 영화다.
Cinematography
전쟁에서 돌아온 남자의 이야기로 시작한다. 고향 마을은 황폐해졌고 모두 떠난 자리에 여동생 혼자 살고 있다. 남자도, 여자도 여기서 더 이상 사람이 살기 힘들다는 것을 안다. 전쟁의 상처를 폐허가 된 세상의 풍경만으로 설득해내는 독특한 영화다.
Producer
전쟁에서 돌아온 남자의 이야기로 시작한다. 고향 마을은 황폐해졌고 모두 떠난 자리에 여동생 혼자 살고 있다. 남자도, 여자도 여기서 더 이상 사람이 살기 힘들다는 것을 안다. 전쟁의 상처를 폐허가 된 세상의 풍경만으로 설득해내는 독특한 영화다.
Director
전쟁에서 돌아온 남자의 이야기로 시작한다. 고향 마을은 황폐해졌고 모두 떠난 자리에 여동생 혼자 살고 있다. 남자도, 여자도 여기서 더 이상 사람이 살기 힘들다는 것을 안다. 전쟁의 상처를 폐허가 된 세상의 풍경만으로 설득해내는 독특한 영화다.
Producer
Musa, a law student seeks out Davud, a man imprisoned for kidnapping four women. He soon discovers that all of his victims have no wish to press charges. On the contrary, they have the feeling of a new truth in themselves. Musa's encounter with the purported criminal becomes a journey into someone else's inner world. Are the questions he asks the correct ones? Is the law a genuine form of justice? What is the meaning of humans imposing punishment on others? Is Musa being enlightened by a superior man, or is he being lured into a world of illusion?
Editor
Musa, a law student seeks out Davud, a man imprisoned for kidnapping four women. He soon discovers that all of his victims have no wish to press charges. On the contrary, they have the feeling of a new truth in themselves. Musa's encounter with the purported criminal becomes a journey into someone else's inner world. Are the questions he asks the correct ones? Is the law a genuine form of justice? What is the meaning of humans imposing punishment on others? Is Musa being enlightened by a superior man, or is he being lured into a world of illusion?
Writer
Musa, a law student seeks out Davud, a man imprisoned for kidnapping four women. He soon discovers that all of his victims have no wish to press charges. On the contrary, they have the feeling of a new truth in themselves. Musa's encounter with the purported criminal becomes a journey into someone else's inner world. Are the questions he asks the correct ones? Is the law a genuine form of justice? What is the meaning of humans imposing punishment on others? Is Musa being enlightened by a superior man, or is he being lured into a world of illusion?
Director
Musa, a law student seeks out Davud, a man imprisoned for kidnapping four women. He soon discovers that all of his victims have no wish to press charges. On the contrary, they have the feeling of a new truth in themselves. Musa's encounter with the purported criminal becomes a journey into someone else's inner world. Are the questions he asks the correct ones? Is the law a genuine form of justice? What is the meaning of humans imposing punishment on others? Is Musa being enlightened by a superior man, or is he being lured into a world of illusion?
Editor
The love story of Davud, a young man in search of his ‘true’ family, who completes his life cycle in a single day. When he does find Love, it's in the place he has always lived. But perhaps it is too late.
Writer
The love story of Davud, a young man in search of his ‘true’ family, who completes his life cycle in a single day. When he does find Love, it's in the place he has always lived. But perhaps it is too late.
Producer
The love story of Davud, a young man in search of his ‘true’ family, who completes his life cycle in a single day. When he does find Love, it's in the place he has always lived. But perhaps it is too late.
Director
The love story of Davud, a young man in search of his ‘true’ family, who completes his life cycle in a single day. When he does find Love, it's in the place he has always lived. But perhaps it is too late.
Editor
A young man wanders through the ruins of what may or may not be his childhood home, where each crumbling doorway opens up onto the past. Memories accost him-memories of his school days, of loved ones long gone, of wonder, callousness, and defeat. The painful invasion gives rise to a series reflections on the limits of cinema and the poverty, and inescapability, of the life of the mind. No matter how much he has tried to change, the young man-who may or may not be the filmmaker himself-always returns to the same places, same questions, same faces, same recollections-the same nails in his brain.
Director of Photography
A young man wanders through the ruins of what may or may not be his childhood home, where each crumbling doorway opens up onto the past. Memories accost him-memories of his school days, of loved ones long gone, of wonder, callousness, and defeat. The painful invasion gives rise to a series reflections on the limits of cinema and the poverty, and inescapability, of the life of the mind. No matter how much he has tried to change, the young man-who may or may not be the filmmaker himself-always returns to the same places, same questions, same faces, same recollections-the same nails in his brain.
Producer
A young man wanders through the ruins of what may or may not be his childhood home, where each crumbling doorway opens up onto the past. Memories accost him-memories of his school days, of loved ones long gone, of wonder, callousness, and defeat. The painful invasion gives rise to a series reflections on the limits of cinema and the poverty, and inescapability, of the life of the mind. No matter how much he has tried to change, the young man-who may or may not be the filmmaker himself-always returns to the same places, same questions, same faces, same recollections-the same nails in his brain.
Screenplay
A young man wanders through the ruins of what may or may not be his childhood home, where each crumbling doorway opens up onto the past. Memories accost him-memories of his school days, of loved ones long gone, of wonder, callousness, and defeat. The painful invasion gives rise to a series reflections on the limits of cinema and the poverty, and inescapability, of the life of the mind. No matter how much he has tried to change, the young man-who may or may not be the filmmaker himself-always returns to the same places, same questions, same faces, same recollections-the same nails in his brain.
Director
A young man wanders through the ruins of what may or may not be his childhood home, where each crumbling doorway opens up onto the past. Memories accost him-memories of his school days, of loved ones long gone, of wonder, callousness, and defeat. The painful invasion gives rise to a series reflections on the limits of cinema and the poverty, and inescapability, of the life of the mind. No matter how much he has tried to change, the young man-who may or may not be the filmmaker himself-always returns to the same places, same questions, same faces, same recollections-the same nails in his brain.
A young man wanders through the ruins of what may or may not be his childhood home, where each crumbling doorway opens up onto the past. Memories accost him-memories of his school days, of loved ones long gone, of wonder, callousness, and defeat. The painful invasion gives rise to a series reflections on the limits of cinema and the poverty, and inescapability, of the life of the mind. No matter how much he has tried to change, the young man-who may or may not be the filmmaker himself-always returns to the same places, same questions, same faces, same recollections-the same nails in his brain.
Immobile in a home where the sands of time fall to the rhythm of the rural Azerbaijani sounds, a mother waits for her son. When he arrives, their conversations circle around existential questions and news from afar. Unrest cloaks the world outside. Mother and son grow closer, silence melts into words, and life springs between them. The son leaves, and winter settles in to the forever-outdated house in which temporalities blurs and past and present beat to the rhythm of the same clock.
Director of Photography
Immobile in a home where the sands of time fall to the rhythm of the rural Azerbaijani sounds, a mother waits for her son. When he arrives, their conversations circle around existential questions and news from afar. Unrest cloaks the world outside. Mother and son grow closer, silence melts into words, and life springs between them. The son leaves, and winter settles in to the forever-outdated house in which temporalities blurs and past and present beat to the rhythm of the same clock.
Editor
Immobile in a home where the sands of time fall to the rhythm of the rural Azerbaijani sounds, a mother waits for her son. When he arrives, their conversations circle around existential questions and news from afar. Unrest cloaks the world outside. Mother and son grow closer, silence melts into words, and life springs between them. The son leaves, and winter settles in to the forever-outdated house in which temporalities blurs and past and present beat to the rhythm of the same clock.
Producer
Immobile in a home where the sands of time fall to the rhythm of the rural Azerbaijani sounds, a mother waits for her son. When he arrives, their conversations circle around existential questions and news from afar. Unrest cloaks the world outside. Mother and son grow closer, silence melts into words, and life springs between them. The son leaves, and winter settles in to the forever-outdated house in which temporalities blurs and past and present beat to the rhythm of the same clock.
Screenplay
Immobile in a home where the sands of time fall to the rhythm of the rural Azerbaijani sounds, a mother waits for her son. When he arrives, their conversations circle around existential questions and news from afar. Unrest cloaks the world outside. Mother and son grow closer, silence melts into words, and life springs between them. The son leaves, and winter settles in to the forever-outdated house in which temporalities blurs and past and present beat to the rhythm of the same clock.
Director
Immobile in a home where the sands of time fall to the rhythm of the rural Azerbaijani sounds, a mother waits for her son. When he arrives, their conversations circle around existential questions and news from afar. Unrest cloaks the world outside. Mother and son grow closer, silence melts into words, and life springs between them. The son leaves, and winter settles in to the forever-outdated house in which temporalities blurs and past and present beat to the rhythm of the same clock.
In rural Azerbaijan, a mother welcomes her adult son, who left home eight years earlier. In the calm rhythm of rural life, reflective silences punctuate their personal, philosophical conversations.
Director
In rural Azerbaijan, a mother welcomes her adult son, who left home eight years earlier. In the calm rhythm of rural life, reflective silences punctuate their personal, philosophical conversations.
Director
One man and an apartment, about which we know nothing. This is the premise of a conceptual documentary based on the concept of providing a deliberately limited amount of information to the viewer. We look into the intimate space behind the closed front door, where the most ordinary activities are carried out: cooking lunch, preparing tea, eating lunch, starting a fire in the fireplace. In this residential monodrama, a second living actor is desperately lacking, one that would bring to life the plot embodied in speech. It becomes a study of a person’s existence in their most personal space - a dwelling that can be just as much a preserve of peace and security as a golden cage of solitude.
Screenplay
Birthday of a lonely woman. Her husband died years ago and her sons left her alone. She expects only a simple telephone call but nobody calls. She makes special meals but nobody visits. She prays all day but they are not heard.
Director
Birthday of a lonely woman. Her husband died years ago and her sons left her alone. She expects only a simple telephone call but nobody calls. She makes special meals but nobody visits. She prays all day but they are not heard.
Editor
After many years the Wanderer returns to his land to hear the Voice again which can be heard only there.
Cinematography
After many years the Wanderer returns to his land to hear the Voice again which can be heard only there.
Writer
After many years the Wanderer returns to his land to hear the Voice again which can be heard only there.
Director
After many years the Wanderer returns to his land to hear the Voice again which can be heard only there.
