Wemw 2015 catalogue by elisa bordon

WHEN EAST MEETS WEST january 18-20, 2015

organized by

in collaboration with

with the support of

under the patronage of

in partnership with

with the technical support of

Savoia Excelsior Palace

4 foreword 6 WEMW selected projects

CONTENTS

102 LAST STOP TRIESTE 114 FIRST CUT LAB 124

industry guide

274

wemw partners

280 staff 284

INDEX PARTiCIPANTS

FOREWORD

For the 2014 edition we received 200 applications from 29 countries, the highest number since WEMW began. Yet we decided to embrace what might have seemed an overly optimistic approach - to broaden even further the bridge that WEMW had been building between Eastern and Western cinema. So we decided that the 2015 edition should include not only the UK and Ireland, but also extend outside Europe, to English-speaking countries in North America. This challenge was rendered even more uncertain by the difficulty to predict the level of interest, which the audiovisual production of this part of Europe would meet in Canada and in the United States, and vice-versa. This year applications came from 29 countries again, but they totalled 285, including 19 from Canada and 12 from the USA. Moreover, we have added two new spaces to the traditional programme: First Cut Lab, a workshop dedicated to feature films in their editing phase, and Last Stop Trieste, a valuable opportunity to present documentaries which are at an advanced editing stage to a select panel of international sales agents, festival officials and TV commissioning editors. Also, this year the Festival includes Born in Trieste, a section dedicated to films, which in the past few years began their production journey at WEMW. Who knows what our challenges will be for 2016… But it isn't just by looking at the numbers that we take comfort in the choices we have made. The quality of the projects presented continues to remain high and it wasn't easy to restrict the selection to the 22 which will take part in the pitching event. We also believe that many of those who were excluded will find their path anyway, contributing to the growth of the economy and of culture in our continent, which has been facing a seemingly endless crisis for too many years, making the pessimism of many understandable. We, on the other hand, continue to stay incurably optimistic and to repeat what we wrote a few years ago: “Culture is an economic factor of prime importance; it is above all what links people together; it is a catalyst which will manage to destroy the last few existing barriers. As Europeans we must believe that the cultural diversity of the Continent

is a source of richness to exploit - not a limitation but a resource to be harnessed, to encourage growth for all”. WHEN EAST MEETS WEST is organised by the Friuli Venezia Giulia Audiovisual Fund with the Trieste Film Festival, in collaboration with EAVE, Antenna Media Torino and MAIA WORKSHOPS. It enjoys the support of Creative Europe - MEDIA Programme; Direzione Generale per il Cinema – MiBACT; CEI (Central European Initiative); Confartigianato Udine; and is under the patronage of Eurimages. The 2015 edition of WHEN EAST MEETS WEST will be a three-day event dedicated to producers, commissioning editors, representatives of market and regional funds from Italy, Eastern Europe and the Englishspeaking countries – the UK, Ireland, Canada and the USA. This year we aim to create again an event that will generate close ties between the participating regions and countries. Cinema professionals from many different geographical backgrounds will gather in Trieste for a series of round-tables, master-classes and case studies organised to facilitate opportunities for collaboration between Eastern European producers and Western companies, and vice-versa. This makes the Friuli-VeneziaGiulia Region a unique point of reference for such initiatives. Film and documentary producers from Albania, Armenia, Azerbaijan, Belarus, Bosnia and Herzegovina, Bulgaria, Croatia, Cyprus, Estonia, Georgia, Greece, Kosovo, Kazakhstan, Latvia, Lithuania, Macedonia, Moldova, Montenegro, Poland, the Czech Republic, Romania, Russia, Serbia, Slovakia, Slovenia, Turkey, Ukraine, Hungary, Great Britain, Ireland, Canada, the United States and Italy will meet with commissioning editors, distributors and representatives of funding bodies and markets, in order to present the whole range of production and distribution opportunities, as well as financial resources, available to the industry. We are confident that the 2015 edition of WHEN EAST MEETS WEST will again prove very popular with industry insiders and consolidate what is, in our opinion, an essential initiative for the development of audiovisual companies of the New Europe. PAOLO VIDALI FRIULI VENEZIA GIULIA AUDIOVISUAL FUND

WEMW SELECTED PROJECTS

22 international projects from 13 different countries will participate at the 2015 edition of When East Meets West. The final line-up includes 12 fiction feature films and 10 documentaries selected amongst 285 applications from 29 different countries. For the 2015 edition the WEMW international committee has been composed by Manuela Buono, Alessandro Gropplero, Danijel Hocevar, Leena Pasanen and Alex Traila. The WEMW jury, including Matthieu Darras (TORINOFILMLAB), Nikolaj Nikitin (SOFA) and Kristina Trapp (EAVE), will award the WEMW Development Award to the best project, as well as a scholarship for participation in the next edition of the EAVE European Producers Workshop. Moreover, thanks to the partnership with EGG, one of the leading post and VFX companies in Ireland, selected participants will compete for the new EGG Digital Cinema Award, a prize consisting in a full Digital Cinema Package.

AFTERGLOW | SZILÁNKOK FILM

HUNGARY

BUTTERFLY CITY | PLANET KORDA PICTURES

IRELAND

24 28

50 54 58

ITALY

COUNTRY FOR OLD MEN | GRAFFITI DOC

ITALY

MISSING PERSONA | CATBIRD PRODUCTIONS NANOOK | RED CARPET

PEOPLE FROM NOWHERE | MISTRUS MEDIA

70 PERSONS UNKNOWN | ROAST BEEF PRODUCTIONS 74

UNITED KINGDOM

IN SEARCH OF A LOST COUNTRY | CROATIAN FILM ASSOCIATION

MARIPOSA | 20 YEARS LATER

NICO, 1988 | VIVO FILM

ITALY LATVIA UNITED KINGDOM

GOOD DAY’S WORK | BELA FILM

LA VITA NUOVA | ALPIS

COMMISSARI EUROPEI | HiQ PRODUCTIONS

GATEWAY 6 | STIGMA FILMS

SLOVENIA

ARMENIA

THE ITALIAN CHAPEL | BLUE HORIZON PRODUCTIONS

THE MANAKIA BROTHERS | SAGA FILM

THE OLDEST MAN ALIVE | MUSTARD & CO, JOLEFILM

BULGARIA

SERBIA

CANADA

STITCHES | WEST END PRODUCTIONS THE INCIDENT REPORT | TREMENDOUS PRODUCTIONS

ITALY

IRELAND

CROATIA

SARAJEVO CALLING | VICO FILMS

THE WHALE | PARTNER MEDIA INVESTMENT WRONG PLANET | REDBIRD

CANADA UNITED KINGDOM ROMANIA USA ITALY UNITED KINGDOM

AFTERGLOW Genre Director Writer Producer Budget Company Looking for

Documentary Noémi Veronika Szakonyi Horváth András Dezso, Noémi Veronika Szakonyi Julianna Ugrin € 220.000 (€ 30.000 in place) Éclipse Film, Café Film (Szilánkok Film Kft.) partners in Belgium, Germany, France

Julianna Ugrin Noémi Veronika Szakonyi Contact details Éclipse Film Thököly út 112/b 1146 Budapest, Hungary T: +36 20 212 86 36 julianna.ugrin@eclipsefilm.hu Szilánkok Film Kft. Seregély u. 3-5. 1037 Budapest, Hungary 10

SYNOPSIS

“I can clearly remember the first time I have heard about You. I was six years old. Mother was talking with someone, and I was eavesdropping on them. They were talking about You. About the part of me, that was always missing from my life since the day I was born. My Father often says, I came to earth with two missions. Firstly, to fill in the space that You left behind, secondly to bring peace into the family. When I turned 14, I decided to look for You. After six years of investigating, I took off with the hope that I can finally meet You…” My brother was kidnapped by his own father in 5th of September 1985 from Budapest. After a long pursuit, on 20th of November 2007, I found him in Brussels. My mother went through unbearable pain of losing her only son and she never found him. Two years later I was born into this deep secret that she was carrying. It completely determined my life, after 6 years of searching I finally found him. He became the leader of one of the most powerful anti-terrorist SWAT teams in the world. Not long ago they met after 28 years. It was a beautiful experience and a huge shock at the same time. He invited us - his mother’s family - to his wedding in this year’s June, which will be the first time after 28 years that his father and mother meet again. AFTERGLOW is going to present the story of my mother and brother under the final years of the communist regime in Hungary and the present when everyone is facing the truth about the past. DIRECTOR’S NOTES OF INTENTION

My name is Noemi Veronika Szakonyi. I am a 26 years old, graduating documentary film directing master student from Hungary. As I

mentioned in the treatment, this film is a personal mission for me. Ever since I was born, I have lived my life with my eyes open. It was in the early days of my adolescence that I noticed having a curious sense for perception for things, details or even colors that hardly made sense at the time. As I grew, I gradually learned to put the pieces together with the tool of the cinema. This is a very deep story, which roots inside me as a storyteller, as a filmmaker. In my life, the greatest task was finding my kidnapped brother. I feel the only way I can entirely and honestly fulfill this mission is to tell the story to the whole world in my language, that is the art of the cinema. COMPANY PROFILE

Szilánkok Film Kft. is the project company that is producing AFTERGLOW. Based on the new Hungarian regulations, all project supported by the National Film Fund has to establish a new project company. The managing directors of Szilánkok Film Kft. are Julianna Ugrin (owner and managing director of Éclipse Film Kft.) and Tamás Hutlassa (managing director of Café Film.) Éclipse Film is a Budapest-based independent film production company, founded by Julianna Ugrin in 2011. The company’s focus is on highquality productions with relevant, particular or artistic content. Éclipse Film develops and produces mainly documentaries, but also author fiction films, commercials and corporate films on an international level. The main focus is on creative documentaries. Since it’s foundation Éclipse Film established connections among young, talented Hungarian filmmakers and experienced members of the industry.

became the most popular Hungarian movie in the year of its first run, won a special prize in Cannes and numerous other festival awards, while the integrated campaign for its first run brought a Golden and a Platinum Effie for Café. Café Film uses its free resources to realize independent TV, web-video and film projects. These productions keep the creators’ minds fresh and give them the opportunity to try out the newest, cutting-edge film and post-production technologies. Café Film puts extra emphasis on being the Hungarian partner of international productions. Thus they provide location scouts, equipment and crew rentals, prepping and executing all stages of film and photo shoots. They are ready to meet the highest international expectations, as their filmography justifies: Selected filmography: Terápia (Therapy) – HBO TV-series (2012), Fehér Nyíl (White Arrow) – TV-drama (2011), Hangyatérkép (Ant Map) – TV-drama (2011), Ivanovék karácsonya (Christmas at Ivanov’s) – TV-theatre (2011), A repülés története (History of Aviation) – short movie (2009), Kontroll – feature film (2003). In production: Klára Trencsényi: Train to Adulthood – 90’ documentary (producer) – Éclipse Film Tamás Almási: Music Saves You – 90’ documentary (associate producer) – Éclipse Film Mária Takács: Hot Men Cold Dictatorships – 90’ documentary (producer) – Éclipse Film Béla Paczolay: Comedy Duel – feature film (executive producer) – Café Film Isti Madarász: LOOP – feature film (executive producer) – Café Film

Café Film is the film production partner company of Café Communication. Its first all-night feature film, ’Kontroll’ has set the gage high: it

In development: Noémi Veronika Szakonyi: Afterglow – 90’ documentary (producer) – Éclipse Film and Café Film Erzsébet Rácz: Judith’s Book – feature film (producer) – Éclipse Film and Café Film PRODUCER’S PROFILE

Graduated from ELTE University in 2005, Julianna Ugrin producer started to work in the film field at Flora Film International. In 2009 she was selected to EURODOC producers workshop. From March 2009, she worked at Havas Films as producer and production manager (Une île de musique au Coeur de l'Europe – broadcasted by Arte; Farewell Comrades! – in co-production with Artline Films, Gebrueder Beetz and Arte). In 2010 she participated at Dragon Forum. In 2011 she co-organized the 1st session of EURODOC in Budapest. She established Éclipse Film, an independent film production company in 2011. In 2012 she was part of Sarajevo Talent Campus and she was also selected to Pack and Pitch. In 2013 she pitched in Trieste at When East Meets West. In July 2013 she participated at IDFA World View Summer School. She is part of Emerging Producers 2014. She joined Café Film in 2014. Member of EDN. FILMOGRAPHY and AWARDS 2013 – Stream of Love – documentary – dir.: Ágnes Sós IDFA – main competiton 2013 Trieste IFF – Best documentary award 2014 - Espansioni award 2014 Zagreb DOX – Special Mention 2014 Mediawave – Best International Documentary 2014 2013 – The Sailor – documentary – dir.: András Kollmann

2012 – Pietà - short fiction – dir.: Dániel Márton Szerencsés 2011 – Farewell Comrades! – 6 x 52’ documentary series – dir: Andrei Nekrasov 2010 – Une île de musique au cœur de l’Europe – documentary – ARTE – dir.:Laurent Hasse WRITER & DIRECTOR’S PROFILE

Noémi Veronika Szakonyi is a freelance film director. She graduated in 2011 from the Beijing Film Academy, where she studied filmmaking. After leaving China, she applied for the University of Theater and Film Arts Budapest, for the documentary directing masters, where she got accepted. She is going to graduate in October 2014 with an animated documentary. FILMOGRAPHY Bell Jar (short, Beijing Film Academy, 2011) The Birdman (short, Beijing Film Academy, 2012) China, Hungary and the football (assistant director, first Chinese Hungarian Coproduction, 2013) The city of hairdressers (short, University of Theater and Film Arts, Budapest, 2013) Afterglow (short, University of Theater and Film Arts, Budapest, 2013)

BUTTERFLY CITY Genre creative feature documentary Director Olga Cernovaite Writer Olga Cernovaite Producer Jeremiah Cullinane Budget € 195.000 (€ 40.000 in place) Company Planet Korda Pictures Ltd. Looking for Already co-producing with Lithuania Close to co-production agreement with Finland. Open to partnerships elsewhere (UK, Germany/Austria, France, other Baltic or Scandinavian countries, Poland or other eastern/central European countries)

Jeremiah Cullinane

Contact details Planet Korda Pictures Ltd. 6 Eustace St. 2 Dublin, Ireland T: +353 1 672660 F: +353 1 6726600 icontrol@planetkorda.com www.planetkorda.com

SYNOPSIS

The city of Visaginas was created out of the forest from nothing in the 1970s in order to service a powerful Soviet nuclear power station (Ignalina Nuclear Power Plant / INPP). The city and power station were created in spirit of idealism, and created a huge industry for the Lithuanian SSR, which would be of great importance when the country later declared independence in 1990. But when Lithuania joined the EU, concerns were expressed about the 4 RBMK reactors, which were identical to the ones in Chernobyl. Under pressure, Lithuania decided to close the INPP, and now buys its electricity from Russia instead of selling it there. Visaginas has only this industry, so the closure of the plant is catastrophic. The dream is in ruins, and the town is dying. Even today, however, the city is like a mini-USSR: The main language there is Russian, and most of its residents come from either Russia or another former Soviet Republic. The paradox is that it is inside Lithuania, people there are officially Lithuanian citizens, but at same time they do not feel part of Lithuanian society. It is like city in a bubble, separated from the outside world, and stuck in time. The dilemma that people face there is both material: how will they earn a living? – and deeply personal: who are they and where do they belong? Where is home, if they are forced to move? The director, herself born in Vilnius from Russian parents in the 70s, undertakes a journey of discovery, meeting people of similar background, integrated or not into society (“their” society, “their” country). The film, in mainly observational form, follows characters from different backgrounds but all at crossroads of their lives: Vladimir, the environmental technician, who watches with dismay and disgust the dismantling of the plant; Dmitri, a plant safety officer from

Ukraine, who wonders where he will go next; Aleftina, a chemistry teacher, who despairs at the declining number of children each year in her class, and Elena, a folklore and dance instructor who tries to keep the flame of Russian culture burning. Not only social issues but also questions of language, culture, and religion are raised – and ultimately identity and belonging. With “Russians” elsewhere in Europe now violently affirming their sense of identity and defending their language, how will these “Russian”Lithuanians react, and how will the rest of Lithuania react to them? DIRECTOR’S NOTES OF INTENTION

Like many, my parents migrated from Soviet Russia to the Lithuanian SSR. They came for work and an easier life, and I was born in Vilnius, the Lithuanian capital. When the USSR split up, we stayed, like most of the migrants who already worked and established life and families in these Baltic countries. Like the other children, I went to Russian-speaking school but I adopted the language and culture of my birthplace. In Lithuania, relations with the Russian minority have become normalised... on the surface anyway, and despite bad history. I feel completely Lithuanian and feel integrated into society. But I know that’s not the case for everyone. I know there are communities that live “apart” and I wonder how they live their lives. People here notice my Russian name. I sometimes wonder do they truly accept me, who was born and lived my whole life in “their” country, who speaks “their” language perfectly? Then I discovered a very unusual city, inside Lithuania, but at the same time not really part of it, as though inside a little bubble. In this place, Visaginas, it is quite unusual to hear Lithuanian spoken. Most people living there are either Russian, or of Russian background, or

from another former Soviet republic, but there are few “real” Lithuanians. Even people born there don’t consider themselves really Lithuanian. How strange, I thought. The city only exists since the 1970s and was designed, out of nothing, in a spirit of idealism, and attracted people from all over the USSR, but now the nuclear power plant it was built to service is being shut down, and the city is dying, which is sad. Still today, though, there was something about this city that made me think of a kind of “mini-USSR” – if it is permissible to remember not just the bad things of the “old regime…” Things there today reminded me of growing up in Vilnius, and people there touched me. In a strange way I felt at home in Visaginas, if home could be expressed in time instead of as a place. I felt that I understood the spirit of this city and I could empathize with the situation of the people there, who were losing their jobs and facing an uncertain future. In a strange way, being there was like going back in time and then witnessing the disappearance of this earlier, more innocent time. But I also felt curious about these Lithuanian “Russians” – because in a way they were like me, and yet not quite… Like me, they have Russian blood, language, family, culture, religion, etc., but unlike me, for them “real Lithuania” seems like a different country, with foreign people speaking a strange language. Of course I wonder how they manage in their heads questions about who they are – questions that I and maybe everyone asks themselves, and how do they reconcile where they live with who they are? So who are we, those born here – still Russians? This question I hear very often. And I ask myself - who am I? I do not live on my forefather's land, I do not really keep Russian traditions and customs, but I still speak my mother tongue. Now I have a little daughter – which language should I teach her first? This Russia my mother is from – 15

Astrakhan – I have only visited once in my life, but according to popular stereotype, I am supposed to be carrying it in my veins and in my genes, and feel some deep sense of attachment. So I would like to explore these questions, through the medium of portraits and stories of people living in this dying city. There are no easy answers, but even asking the questions helps a little to understand more about myself, but also more about this country I live in. Structure, Visual Style, and Approach The film will follow a few characters from Visaginas, from different backgrounds, observing them in their lives, their interaction with their families, friends, colleagues, and “own” immediate Russophone community as well as in wider society if that opportunity takes place. The sequences and characters are intercut and sometimes intersect at common locations (the power plant, the orthodox church, etc.) I am interested in the immediate situations of these characters, how they are affected by and dealing with the slow death of their city, their “wonderful bubble” for so many years, but I am also of course interested, in the background, in how they will emerge from the bubble into the outside world, interact (or not) with society, integrate (or not), feel sense of belonging (or not), and handle questions of culture and language. I believe the two things are related. Framing the sequences from daily life will be a recurring motif of tea-drinking in the respective kitchens – a place where I start off and return to regularly: sitting and drinking tea in the kitchen is an essential component of Russian life. All Russians enjoy drinking tea, and it is a moment when he or she can relax, open up, share intimate thoughts with a close person, so it is the best moment of the day to get them to speak freely. The idea is not unlike the sauna sequences in Joonas Berghäll’s and Mika Hotakainen’s Finnish doc-

umentary Steam of Life), giving a flavour of the day that has past, worries and moments of joy or humour, perhaps along the way highlighting some cultural differences between ethnic Lithuanians and Russians. The same structure applies to the other characters. In between the sequences, in a transitional, travelling/moving scene, I share (in voice-over diary form) my own thoughts what I am witnessing and feeling, coming to this place, comparing myself to the situations of her characters, as I navigate between the stories. I can see myself in at least a small piece of everyone’s story; maybe even I can put some pieces together to get a better understanding of myself? In some ways, this is also a journey of discovery. The nature of the film is a juxtaposition of images and speech. It will be a mix of observational and what Bill Nichols called “performative” mode of documentaries, that is to say subjective and personal, lending biographical or autobiographical voice to its characters. I will myself not appear in the film, but my presence will be there, behind camera. My voice will be heard through a voice-over written during or after shooting, which will not only be intended to deliver information, but also and rather reflections about how I am feeling about the process. If I speak directly to characters, the voice of the character will be heard at another point of the film, most likely during a moment or passage of observation. But mainly the characters will interact with a close person in his or her kitchen, before being shown in their everyday environment on the wider world. Hopefully, subtle cultural differences will come across in a non-verbal way, with images: through body language, behaviour, dress, general presentation, etc. Through the spoken word – conversations with me and with each other – my “Russians” also talk about how they feel, living in their communities. With time, people open up and share their thoughts and feelings.

COMPANY PROFILE

Planet Korda Pictures is a small but dedicated Irish production company, co-founded in 2005 by Irish director Jeremiah Cullinane and Italian writer and producer Bartolomeo Di Benedetto, focusing on international creative feature-length documentary films. Almost always working in tandem with international co-producers, its strategy has been to instigate or acquire projects, develop them, and look for partners. The company tends to look beyond the borders of Ireland for material, and the two producers have extensive experience and contacts throughout Europe. Artistically, the company is interested in visually engaging and provocative documentaries which offer a different perspective and challenge accepted ideas. Often, there is some kind of inter-cultural aspect to our projects. The company is by choice small and is happy to focus on quality productions which it believes strongly in and which correspond to its artistic direction: well crafted, artistically and intellectually strong films, perhaps provocative, perhaps humorous, which appeal to a thinking and sensitive audience. Planet Korda Pictures is a member of Screen Producers Ireland (SPI) and the European Documentary Network (EDN). Jeremiah is a graduate of the EAVE programme (2000) and Bartolomeo completed EURODOC in 2012. Completed films: Hitler’s Irish Movies (2007); Pro-Irish, anti-British propaganda feature films produced in Nazi Germany 52’ documentary, digibeta; director: J. Cullinane budget: €135,000; commissioned by Irish broadcaster RTE, 1st

broadcast 30 Jan. 2007 World Sales: RTE International (edel.edwards@rte.ie) Creative Chaos: Round One (2008) Life goes on in South Lebanon after the 2006 Israeli-Hizbullah war 66’ documentary, DV-Cam to digibeta; writer/director: Hassan Zbib budget: €53,000; coproduction: Odelion Films (France) with completion finance from the Irish Film Board, Ministère des Affaires Etrangères (F) Selection: Galway Film Fleadh (world prem.), Lussas, Iran Doc Fest, Dublin Int’l Film Festival, Cinéma du Réel (Paris), Visions du Réel (Nyon), FIGRA, Tétouan, Tunis, Documenta Madrid… Knygnešiai (Smuigléirí Leabhar / The Book Smugglers) (2010) the story of the smugglers who kept the Lithuanian language alive 1 x 52’ and 1 x 73’ documentary narrated by Gearóid Mac Lochlainn, HD; co-production Era Films (Vilnius), Vinegar Hill N.I. (Derry); TG4 (Ireland), BBC Northern Ireland, ILBF, LRT (Lithuania), Lithuania Ministry of Culture, MEDIA Broadcast Fund; production budget: €141,000 Selection: Scanorama (Vilnius), Chicago Irish FF, Celtic Media festival, Belfast FF, Cape Winelands Film Festival, (Cape Town), Kino Pavasaris (Vilnius), Guth Gafa (Ireland), Arsenals (Riga), Kenya Int'l FF, Istanbul 1001 FF, Nordic Film Days (Lübeck), POFF/Black Nights (Tallinn), Millenium FF (Brussels), EPOS Art Film Festival (Tel Aviv) Prizes: Silver Crane for Best Cinematography, Lithuanian National Film/TV Awards 2011,

Golden Grape for Best Cinematography, Lubiskie Film Summer, Poland www.booksmugglersthemovie.com If Not You (2012) The lives and friendship of two young residents of an institute for mentally handicapped in Kaunas. 52’ documentary by Olga Susteriove Premiered at the Kino Pavasaris Int’l Film Festival, Vilnius Under the Hood (2013) In Belarus, what is the language of hope... and the language of fear? Feature documentary directed by Mark Byrne & Rob Dennis budget: €137,000; Irish Film Board, ERR (Estonia), TG4, Ceske Televize, LTV, LRT, MDR (Germany), Belsat, German Marshall Fund, and MEDIA. Co-pro Era Film (Vilnius) World Sales: Kim Christiansen, DR International Sales, kimc@dr.dk Festival Selection: Guth Gafa (Ireland), Kino Pavasaris (Vilnius), Nordic Film Days (Lübeck), Prifest, Pristina Int’l Film Festival, Kosovo, Dingle International Film Festival, Co. Kerry, Ireland, Santa Monica Indie Film Festival, California, USA, New York Indie Film Festival, USA (Honorable Mention), Scanorama Film Forum, Vilnius (special work-inprogress presentation for UNICEF Goodwill Ambassador Liv Ullman)

PRODUCER’S PROFILE

Jeremiah Cullinane studied film at Concordia University, Montreal, and ESEC, Paris. He worked for several years in the performing arts, contemporary dance and theatre, in France, before moving back to his native Ireland. He has directed several short films and 3 low-budget "action" feature films for the US market, as well as children’s television. Since 2005 he co-manages Planet Korda Pictures through which he continues to direct and produce, mainly creative feature documentaries for the domestic and international market, and working with other emerging directors. Jeremiah is a graduate of the EAVE programme (2000) WRITER & DIRECTOR’S PROFILE

After studying chemistry and obtaining her Bachelors then Masters Degree from Vilnius University Olga Cernovaite switched track and studied Film at the Baltic Film and Media School, Tallinn University, Estonia, whence she graduated in 2009, writing her Masters thesis on Finnish documentaries. After gaining experience working in various capacities on film productions, Olga completed her 1st full-length film, If Not You, which premiered at the Kino Pavasaris Festival in Vilnius in March 2012. Olga is currently researching and preparing her second documentary film, Butterfly City.

See You at the Pictures (2013) Ireland at the cinema, through the decades 1x75’ special event documentary for RTÉ, 1st broadcast 1 April 2013 Production finance from RTÉ and BAI; production budget: €215,000 www.seeyouatthepictures.com

Commissari Europei

Europe as you’ve never seen it before Genre Documentary Director Gustav Hofer, Luca Ragazzi Writer Gustav Hofer, Luca Ragazzi Producer Gustav Hofer, Vania Del Borgo € 280.000 (€ 50.000 in place) Budget Company Hiq Productions Looking for Funding, partners for international co-production

Vania Del Borgo

Gustav Hofer

Contact details Hiq Productions Via Macerata 56 00176 Rome, Italy T: +39 348 8800967 gustavhofer@gmail.com www.hiq-productions.com 20

Luca Ragazzi

SYNOPSIS

A European commissioner is someone whose judgment we fear. This is especially the view in our country, Italy. They’re the ones we associate with the policies of austerity and cuts – the Brussels meanies who want to control us poor southern Europeans. But here come two very different “European commissioners”, travelling to Europe to find out: What does Europe need to become sexy again? Gustav Hofer and Luca Ragazzi are award-winning filmmakers known for taking on serious questions with irony and wit. In a series of successful films they’ve explored issues from civil rights and the Church in Italy to the exodus of young Italians from their country, and most recently on what it means to be “on the Left” today. With this new film they take their inimitable style to Europe. Never before in the Continent’s history have the destinies of the various countries been more indissolubly bound and never before have so many countries decided to unite politically and economically of their own free will, guaranteeing the Continent the longest period of peace in its history. And yet the great European dream seems today broken. Europe is perceived as an evil stepmother who demands nothing but sacrifice from us. Even if our lives today are deeply connected to the lives of other Europeans we know very little about our partners and we are not even aware of how much of Europe we live actually already in our daily life. Nevertheless, in the national media both in Italy and in many other European countries the tendency is to focus on what goes on inside our national borders more than on European issues. Commissari Europei wants to invert this tendency, bringing Europe into the homes of Italians and other Europeans, breaking stereotypes, prejudices and myths - with an innovative style that is light and open and why not - even educational.

The film will start in Brussels and from there we will travel to some of the EU member states that are emblematic for some of the issues we want to address, meeting people, listening to their stories and changing perspective every time. DIRECTOR’S NOTES OF INTENTION

This is not just a film about Europe but about the search for a European identity, about what it is that attaches us to the idea of Europe or if it has lost its sense today. It seems especially difficult for us, as Western and Southern Europeans, to "love" the EU under the given circumstances but we also have to ask ourselves, what can we do, to change the situation and what unites us. We would like to raise this big and important topic in an accessible and light way. It is our intent to make a film about Europe that does not only show its difficulties, but seeks to connect the problems we are facing with the uniqueness of the European dream. We want to create a fast paced, accessible film that takes the viewer on a trip around Europe where the storytelling is not always linear but where stories are also linked in a free associative way. The film will use archive material from public and institutional audiovisual archives as well as from private, family and super-8 archives. Our encounters during the film will be shot in HD. Some will be shot in a more interview-style, others in a more informal observational way. Once a film critic described our way of working as follows: “They make documentaries that seem fiction movies but what you see is all real”. That’s how we like to do it.

COMPANY PROFILE

HiQ productions is an audiovisual production company based in Rome and Valle Aurina (BZ). Its main activity is the production of documentaries and factual programmes for the international market. Our first feature doc, "Suddenly Last Winter" had its premiere at the Berlinale in 2008, earning a Special Mention. The film went to over 200 festivals, winning 20 awards, and was broadcast in different EU countries and the US. "Italy Love it or Leave it” (2011), our second feature doc, was coproduced by NDR-Arte and WDR in association with Rai 3, with the support of MEDIA Development and Broadcasting. It was released and broadcasted in over 20 countries and has participated in over 200 festivals, winning 20 awards. Our 3rd doc “What is Left ?” (2013) was supported by BLS , Rai 3 and Media Development and was released theatrically in Italy, Germany, Austria and will be in Canadian cinemas in 2015. it participated at many festivals such as Hotdocs Toronto, Minneapolis International Film Festival. Sheffield Doc/fest, Munich Dok.fest. Our mission is to make films with a personal approach bringing social and political issues on screen, creating docs in a humorous and accessible way to reach a wide audience and create a debate and at the same time we like to experiment with cinematographic language and try new visual approaches.

PRODUCER’S PROFILE

Gustav Hofer was born in Sarnthein (South Tyrol, Italy). After his studies in Communication Science at the University of Vienna and Cinema at Middlesex University in London, he moved to Rome. He works as a freelance journalist and independent filmmaker. He works for the French-German broadcaster Arte as correspondent from Italy. He produced “Suddenly Last Winter” (2008), “Italy Love it or Leave it” (2011), “What is Left?” (2013), Limbo (2014, in co-production with Zalab). Filmography as Producer/Director - Limbo (2014) Dur. 56’ co- directed with M. Calore; - What is Left (2013) Dur. 74’, co-directed with L. Ragazzi; - Italy Love it or Leave it (2011) Dur. 52’/74’ co-directed with L. Ragazzi; - Suddenly, Last Winter (2008) Dur. 80’ co-directed with L. Ragazzi; - Men for all Seasons (2005) Dur. 50’, for Doctors without Borders; - Bush Back Home, (2004) Dur. 26’ Vania Del Borgo is a Rome-based producer with many years’ experience in the UK where she worked as an independent producer and director until 1999 mainly for Channel 4. In Italy she has worked as a producer/director for RAI’s thematic satellite channel RAI SAT ART and for the current affairs documentary series C’era una volta, broadcast by RAI 3. In 2002 she joined the independent production company Doclab, where she was responsible for coordinating project development and international co-productions and where she co-wrote and produced the award-winning feature-length documentary Excellent Cadavers (2005), directed by Marco Turco, as well as a number of one-off history documentaries.

In 2009 she developed and co-wrote Nato’s Secret Armies, directed by Andreas Pichler and produced by the Milan-based independent MIR Cinematografica, and was executive producer for Cristiano Barbarossa on his A Slum Symphony (2010), produced by Verve Media Company. In 2010/11 she developed Maremma Days with Danish filmmaker Jannik Splidsboel, and began collaborating with Gustav Hofer and Luca Ragazzi as executive producer. She also collaborates with Alessandra Populin (Tailsfilm), co-producing/co-directing One Meal at a Time/Reinventing Fire, and with Augusta Eniti’s Altreforme, producing director Paola Sangiovanni’s feature documentary A Body Like Mine. WRITER & DIRECTOR’S PROFILE

Luca Ragazzi, director, was born in Rome in 1971. He has a university degree in Philosophy and Literature and has specialized in cinema. For more than a decade Luca Ragazzi worked as a film critic for different Italian media, print and radio. At the same time he worked as photographer. In 2007 he started his first experience as a documentary filmmaker with “Suddenly Last Winter”, which premiered in 2008 at the Berlin Film Festival and won over 20 awards world wide, including a special mention at the Berlinale and the “Nastro d’Argento”, the Italian film critics award. With “Italy Love it or Leave it” Luca Ragazzi co-directed his second documentary, developing and writing it together with Gustav Hofer in the framework of the Documentary Campus Master School 2010. He also developed, wrote and codirected their third film "What is Left?".

COUNTRY FOR OLD MEN Genre Director Writer Producer Budget Company Looking for

Documentary Pietro Jona Pietro Jona, Stefano Cravero Enrica Capra € 280.000 (€ 60.000 in place) Graffiti Doc co-production partners from US and the rest of Europe

SYNOPSIS

In the last ten years, some fifteen thousand American citizens moved to Ecuador for good. Men and women who have worked all their life and now can’t afford to support themselves in the US with the social security check alone. Life in Ecuador can be easy for a not so wealthy couple of Americans in their third age. The climate is mild, with no cold winters, the time zone is the same as the one in the States, the Internet connection is fast enough, the official currency is the American dollar. Above all, the cost of living is far lower than in the US and one can afford to pay the price for medical treatments. But their integration in the social life of the town is the slightest. They live in separate residential compounds, surround themselves with hi-tech gadgets and with the most modern appliances, don’t speak Spanish, and hang out at bars and restaurants whose customers are mainly Americans. Overall, they feel deceived and cheated by a pledge that wasn’t kept. What is left of the American Dream? DIRECTOR’S NOTES OF INTENTION

Enrica Capra

Pietro Jona

Contact details Graffiti Doc Corso Tortona, 2 10153 Turin, Italy T: +39 011 1950 8620 info@graffitidoc.it www.graffitidoc.it 24

Country for Old Men is not meant to be a full coverage and its goal is not to fully investigate the phenomenon of the immigration from the USA to Ecuador from a sociological, political or economic point of view. My interest lies entirely in the human aspect of the issue, in the consequences that a weak human category by definition is forced to suffer because of the global crisis of an economic model. My intention is to tell the existence of a group of people who live and interact in a context that is totally alien to their stories and their common experiences. To show, through the apparent normality of their actions, the exceptionality of their human condition. Moreover, this story has an universal meaning. The American dream

may have turned out to be a lie for the characters of this story, but the Americans are not the only ones who dreamed that dream. What happens in Ecuador to the Americans happens in other countries in the world to other people. The Americans who can’t afford to pay for their medical care and can’t survive in their own country, it’s all of us. Ecuador is Bulgaria, Thailand, Tunisia. The economic crisis of the so-called developed countries exports itself and, paradoxically, exports the development model that generated it. COMPANY PROFILE

Founded in 2004 by three partners, following the international Eurodoc experience, Graffiti rapidly gained a solid reputation even across the country’s borders as a refined and high-level production company, both in terms of the quality of its authors and directors and in terms of subjects and issues engaged. Already since its first works, mainly creative documentaries, Graffiti developed projects alongside some of the best production companies on the European market, destined for the main international tv channels (the cooperation with the French-German cultural channel ARTE has been continuous for the past 10 years), and selected at prestigious festivals. Graffiti’s capability to work on the international market was repeatedly recognized and rewarded by the EU MEDIA Programme, with the support granted to two of the company’s ‘Slate of Projects’ (in 2009 and 2012). Amongst Graffiti’s latest works, “Dust – The Great Asbestos Trial” by Niccolo Bruna and Andrea Prandstraller, financed by the public channels of France, Germany, Switzerland and Belgium, was shortlisted for Best Feature Documentary at the David di Donatello 2012. Furthermore it won various prizes in international festivals like the Baghdad Film Festival 2012 (Best Film), Rio de Janeiro FilmAm-

biente 2012 (Best Feature Documentary) and won the Jury Prize at the Cinemambiente International Film Festival in 2011. Having created a solid filmography and a wide and efficient international network, since 2010 Graffiti has dedicated its efforts to fiction film, developing the first feature (set in Italy) of the Belgian director Patric Jean, which participated at the annual EAVE workshop in 2011. It went on to collaborate as executive producer on the cinematographic debut of the Franco Senegalese director Dyana Gaye, “Des Etoiles” (released at Toronto IFF 2013). With Giorgio Cugno’s project “Alien Food”, an Italian-Danish co production supported by MEDIA and FCTP, Graffiti was been selected at the prestigious FrameWork programme by TorinoFilmLab, where it received an award. PRODUCER’S PROFILE

Founder and CEO of Graffiti, a Turin based company, Enrica Capra has produced mainly documentaries for the international market, both for TV and for theatrical release, selected at international festivals, and distributed all over Europe. Among them, ‘Dust. The Great Asbestos Trial’ was awarded many prizes at festivals worldwide, included David di Donatello, Rio de Janeiro, Baghdad, Turin’s Cinemambiente. In recent years she’s been devoting more and more to fiction, developing feature films (‘Breaking Free’, by Belgian director Patric Jean; ‘Alien Food (aka Without the Implant)’, by Giorgio Cugno, the second film from the author of ‘Vacuum’, selected at TorinoFilmLab’s FrameWork) and line producing promising débuts like 'Des Etoiles', the first feature length by French director Dyana Gaye. With a background in literature and history and an experience in theatre as director’s assistant, she worked previously as a manager in the publishing sector for nearly a decade. She then entered 25

the development team for an Italian movie production company. After attending EURODOC in 2003-04, with other associates she established GraffitiDoc. She graduated at EAVE Producers Workshop in 2011. Enrica has served as Vice President of Doc/it, the Italian association of documentary professionals, in 2011-2013, and was member of the Jury at several international film festivals.

na Nicchiarelli. Among his main works, we can recall the awardwinner ‘Sette opere di misericordia’, feature length film by Gianluca and Massimiliano De Serio, and ‘Slow Food Story’, documentary by Stefano Sardo, sold in dozens of countries around the world.

WRITER & DIRECTOR’S PROFILE

Born in 1969, Pietro JONA has devoted himself to photography and filming since his University years, whilst studying literature and cinema. Since 2005 he has been working professionally in the audio-visual world in different roles, from sound engineer to DoP, and has directed a huge number of newsreel and short films for several international channels. His activity brought him to work in such different countries as the United States, Guatemala, Hungary, Spain, Turkey, Syria, Egypt, Sudan, Afghanistan, Iraq and Israel. More recently he has directed the documentary ‘Forte dei Russi’, produced by Magnolia and Real Time. ‘Country for Old Men’ is his first entirely personal piece of work. Born in 1977, Stefano CRAVERO is one of the most appreciated (story-)editors of the younger generation both in Italy and in France, where he also resides. With both a DAMS degree and a diploma by the ‘Centro Sperimentale di Cinematografia’, Stefano is a member of A.M.C. (Association of Cinema Editors), for which he has served for years as member of the board and secretary. He taught editing techniques at the Centro Sperimentale from 2005 to 2007. His love for cinema brought him to work in various roles with outstanding directors such as Roberto Faenza, Guido Chiesa, Susan26

GATEWAY 6 Genre Director Writer Producer Budget Company Looking for

Sci/Fi Tanel Toom Malachi Smyth Ben Pullen, Matt Wilkinson € 4.000.000 (€ 1.200.000 in place) Sentinel Entertainment, Stigma Films Producing/Financing Partners

Ben Pullen

Tanel Toom

Contact details Sentinel Entertainment Ltd SW5 9PF London, UK T: +44 7973308001 bp@@sentinelentertainment.com www.stigmafilms.com, www.sentinellentertainment.com

SYNOPSIS

Set in the future, on a war-ravaged Earth, four soldiers man the last bastion - an outpost in a sea-covered continent - awaiting relief or the enemy, whichever comes first. But as the empty weeks turn to months, a paranoia descends that tests relationships to breaking point. Especially with the arrival of a mysterious boat - is it the help they've been so anxiously waiting for or something far more sinister... Sometime in the future, stationed on a remote outpost in the middle of an endless ocean, a skeleton crew of four await a long overdue relief ship or an enemy that has been anticipated for several generations – whichever comes first. Under the command of Hendryx, their Sargeant, they are charged with keeping watch and maintaining the decrepit workings of their ‘rig’ and executing the essential but monotonous daily routine of receiving and transmitting updates to command via the satellite which orbits overhead. Once a month the monotony is broken by a Tide Out; the whole ocean being swept away under the eye of a massively oversized moon – only to sweep back in 24 hours later. It is during this event that the crew has an opportunity to service the key component of their rig – the nuclear bomb which sits underneath and which they are charged with detonating should any sign of the enemy appear. The crew are temporarily united in joy when a boat arrives on the horizon and it is assumed the relief have - after several months of delays - finally arrived. However the boat is discovered to be empty and when Hendryx orders the group to dismantle the boat instead of using it to send some of the crew home for news, a mutiny is threatened. Hendryx tricks the crew into shooting the boat out of the water with their own howitzer, but is soon overpowered and locked away and all order on the rig begins to collapse.

Ryx is discovered to have disappeared and the only life dinghy taken, the crew lose their slender grasp on reason and one of their number attempts to detonate the bomb... only to find it no longer works. When the crew discover that Hendryx was in fact murdered, they are too late to save others from the same fate. Cassidy, their psych officer, acting as a sleeper for the enemy, and taking the boat as a sign of an impending invasion, has dispatched the others and disarmed the bomb awaiting the arrival. Sullivan, the reluctant leader and exploited lover, is left with the hardest decision of all, to trust the lover who has betrayed him and betray his cause, or dispatch his lover and take on his shoulders the duty which he has evaded for so long. Tricking Cassidy into mending the bomb, Sullivan is left with no choice but to kill her, and is finally left alone, a sentinel once again, guarding against the threat of an unknown enemy, abandoned in a vast ocean, awaiting orders. The screenplay recently topped the Brit List – a list of the hottest unproduced UK screenplays for 2015. http://variety.com/2014/film/news/brit-list-matinee-idol-gateway6-lead-list-of-best-unproduced-screenplays-in-u-k-1201362678/ DIRECTOR’S NOTES OF INTENTION

Welcome to GATEWAY 6. You are one of four soldiers charged with manning this military outpost, defending your homeland from the threat of invasion against a human enemy you’ve never even met. But your time was up 3 months ago, and your relief still hasn’t arrived. Considering the essence of your job is self-annihilation, to arm the nuclear device upon which your new home from home now sits, the relief not showing can only be very bad news… 150 years ago you would have been on the outskirts of a city – land all around you - but as the global population built, the need for more resources peaked. A scramble for the Antarctic erupted with the end of a no-go treaty in 2041. Nuclear low fission mining in the southern latitudes led to a cataclysmic shift of the earth’s axis. The moon was thrown into parabolic orbit. Life on earth changed immeasurably. Massive tides and floods swept the earth. The migration to altitude sparked 50 years of global wars and fierce fighting. Over the course of a century two large habitable continents emerged: Them and Us

“I know not with what weapons World War III will be fought, but World War IV will be fought with sticks and stones.” - Albert Einstein

Now they want what we have and we desperately fight to protect what’s ours. Precious resources; minerals, water and most important of all - land. We are the vanguard of this defence – Gateway 6.

Imagine you are on a rusted metal rig, in the middle of an endless ocean, thousands of miles from home. The wind howls and the iron structure creaks painfully, threatening to collapse. A huge, oversized moon hangs over you. Your solitude is unfathomable.

GATEWAY 6 is a contained paranoid thriller, that combines the solitary predicament of MOON with the environmental horrors of DAS BOOT and the ‘fight to survive’ of ALIEN. Instead of the leaking submarine of Das Boot we have the collapsing rigs, and 29

instead of the monster of Alien we have an unknown enemy within. It’s a character-driven thrill ride, fuelled by human stories, emotions, amazing visuals, massive tides and the red button of a nuclear bomb, just waiting to be pushed. What makes this stand-out from other typical contained thrillers is the setting and the larger-than-life visuals. The landscape - the endless sea - is no less than epic, with its different moods and the recurring ‘tide-outs’ (once a month all water retracts, turning the landscape into a wet desert for scavenging) revealling a sunken city beneath – fragments from a life before now. The contrast between the small, claustrophobic rooms of the rigs and the vast exterior of an endless ocean applies also to the human story - as in I AM LEGEND, an epic environment hides an intimate and recognisable story of the human condition. Thematically I’m also interested in how important information is in our modern lives. Imagine a situation where your loved one goes hiking and on the third day suddenly doesn’t answer their phone anymore. If three days later you discover it was just bad reception, in your head you’ve already witnessed the bleakest and most horrid scenarios. Or on a smaller scale, how would a modern audience react if they lost their mobile phone for a day? Now picture this for two years... Sullivan, Cassidy, Baines and Hendryx are all alone in the middle of the ocean, miles from home and their loved ones, not knowing whether they are guarding a place that still exists or all alone in the Universe. In the beginning of our film, the suspense comes from outside – the unpredictable tides, disintegrating rigs and the danger of the enemy, then after everything becomes uncertain, the threat comes from within - the characters themselves are all infected with the seeds of paranoia, suspicion and doubt. Every character is looking for answers in their own way - Sullivan is trying to get answers 30

about home from Hendrix, Cassidy - as the psych officer - is trying to approach everything rationally, Hendryx relies on duty to keep him sane and Baines has his own private quest to get answers from God. But none of these routes give a satisfying answer. Even God is silent on Gateway 6. To make matters worse, there is also a twisted Romeo & Juliet story playing out - Sullivan and Cassidy’s ill-fated romance - and it will become more and more important during the course of the film, until this relationship will finally define the future of the Gateway (and maybe even the outcome of the war between these continents), driving the film to its satisfying finale. Production Designer Simon Bowles (The Doomsday, The Descent, Hyde Park on Hudson) has an amazing opportunity for world creation within Gateway 6, which is both new and exciting. As there is no internet, and most of the remaining world doesn’t even have electricity, we have gone from digital back to analog. The look of the rigs is extremely functional (as a military outpost), no luxury, just pure practical and approach. It’s a place where everything is falling apart - the equipment breaks down, things get worn out and gaffer tape becomes your best friend. The only moments reminding us that land once existed, are the trips to the sunken town during the tide-outs and the salvaged findings in Baines’ shrine. These familiar everyday things collected into the homemade cathedral have become rare relics of a lost world. The cinematography and sound for Gateway 6 will be as precisely composed as the Production Design. The 1:2.35 anamorphic widescreen with grand vistas intercut with close action; with surrounding wind and bassy moans of the metal rigs. David Lean and Alfred Hitchcock mixed with the money-shots of Ridley Scott would be the key references for the precisely designed visuals and tone. It’s epic

and full of suspense. The film will be lensed by Philip Blaubach or Sam MacCurdy. As I have quite a lot of experience using VFX in my previous work, and even doing some of it myself, I feel comfortable with building and shooting the rigs on a sound stage using a green screen or projection; and finishing the look with digital set extensions and compositing work. It will be a polished and confident in style. I intend to deliver from the first frame till the last. The stakes rise with every scene and the tension goes up and doesn’t stop till the end. Gateway 6 captures the audience with its gripping story, striking setting, slick visuals and engaging characters. It is a story about four people sitting on a bomb. Sometimes trying to kill each other, sometimes trying to love, but always thinking of that red button, playing with the idea of pushing it. And actually, everyone has that red button, waiting to be pushed. I’m going to push that button. Director’s Mood reel: https://vimeo.com/108905264 (password: gateway6) Director’s website: www.taneltoom.com COMPANY PROFILE

Sentinel Entertainment, based in Kent and London, was set up in 2003 by former actor Ben Pullen and former McCann Erikson executive William Pullen. The company began its life with two series for mobile phones with The Horror Channel in 2007 and 2008 before completing 4 short films for Screen South/UK Film Council/BFI bewteen 2009 and 2012. The company has 2 feature films in development and a trans media project “Killer App” which is based on its award winning Mobisode series Walker Stalker.

Stigma Films is a new UK production company, having launched in November 2011. The company signed a 1st look deal with Pathe UK the same year, to develop high concept, low budget genre movies for an international audience. Currently in production is THE CALL UP, a sci-fi action movie, which topped the UK Brit List in 2011. Altitude Film Sales are selling at this year’s AFM, having already closed a multi-territory deal with EOne. Stigma are also developing a British comedy about the scouting movement, exec produced by Damian Jones (THE IRON LADY, FAST GIRLS), and supported by the BFI. Pathe UK are developing their bromantic comedy, THE PERFECT GUY. Stigma’s first production was the BFI-funded suburban thriller, SLR, for Northern Irish director talent Stephen Fingleton. The film premiered at this year’s Galway Film Fleadh, won Best Short at Foyle and was recently nominated for an IFTA (Irish BAFTA). PRODUCER’S PROFILE

Ben Pullen has over 19 years’ experience in the film industry; firstly as an actor and for the last 6 years as a producer for Sentinel Entertainment Ltd a company he and his partner set up to exploit new frontiers in digital production and distribution. He has produced 2 series for mobile phones for the Horror Channel, and two short films for the UKFC: WAYFARING STRANGER written by Billy Mackinnon and directed by Rick West and THE FISHDANCE KID written by Kate Wickens and directed by Vanessa Caswill. Ben has several feature projects in development including UNDERDOG, a redemptive coming of age tale of a troubled youth and 31

his savior, a Bull Terrier called Jeffo, and KILLER APP, based on Sentinel’s award winning trans media project WALKER STALKER about a social media psycho stalker. Ben produced 2 shorts for the BFI in 2013: SHALLOW is written and directed by Will Bridges and stars Dan Stevens (Downton Abbey) as a politician involved in a tragic car accident and UNORIGINAL, written by Jamie Shearing and directed by David Jackson, a Sci Fi Drama about enslaved writers of the future in league with Ai computers. It stars Derek Riddell and Saskia Reeves. Matthew Wilkinson has worked for Avalon Television and Management Group, AP Watt Literary, Film & Television Agency, as a freelance screenwriter and as a film reviewer for Channel 4/film and Little White Lies magazine. He has also worked as a professional script editor for the BFI and EON Productions, amongst others. In March 2011, he left his position as script Development Executive at Working Title Films to return to producing fulltime. There he worked on the script development of a number of high-profile feature films, including NANNY MCPHEE AND THE BIG BANG and the Studio Canal released TINKER, TAILOR, SOLDIER, SPY. He also worked with upcoming writer and director talents including SHERLOCK HOLMES screenwriter Michael Johnson, playwright Jack Thorne, ‘71 and TOP BOY director Yann Demange and Tom Harper, director of the upcoming WOMAN IN BLACK sequel. His production company Stigma Films Ltd signed a 1st look deal with Pathe UK in 2012 to develop a slate of high concept low budget genre features for an international audience. These included classic sci-fi, GATEWAY 6, for Oscar-winning director Tanel Toom. He is also working with the BFI and exec producer Damian Jones (THE IRON LADY) to develop comedy feature, SCOUTING FOR RUDE32

BOYS, for Award-winning filmmaker and NFTS graduate, Joe Tucker. Before this, Matthew worked on a number of high-end short film projects, most notably, INSEPARABLE, starring Benedict Cumberbatch (SHERLOCK) and Nathalie Press (MY SUMMER OF LOVE), which screened as part of the 51st London International Film Festival and, WORM, a black comedy starring Tom Basden and Robert Glenister which will air on Channel 4 later this year. His most recent film is suburban thriller, SLR, one of a handful of shorts back by the BFI, for Northern Irish director talent, Stephen Fingleton. The film premiered at this year’s Galway Film Fleadh and was just nominated for an IFTA (Irish BAFTA). WRITER & DIRECTOR’S PROFILE

Malachi Smyth's writing credits and co-credits include several short films: THE ARCHITECT (Director: Luke Watson), award-winner at Munich, Poitiers, Metz, Valencia, and the British Short Film Festival); THE TAIL (Dir.: Andy Shelley), screened at Clermont-Ferrand, Iran, IMAGO, Brussels, Egypt, and Edinburgh, among many other festivals; and SCHOOL OF LIFE (Dir.: Jake Polonsky), screened widely, including Galway, Soho, and Tehran Festivals, and winner of Best Short BIFA in 2004; and the feature film GHOST MACHINE (2009), which he rewrote for Generator Entertainment (Mark Huffam and Simon Bosanquet; Director: Chris Hartwill). He currently has numerous original feature films in development in the UK and US, including GRASS(Steel Mill Productions, Ken Marshall, Dir: Tom Green); TWO GRAVES (Producer:42, Director: Luke Watson); NOCTURNE (Producer: Bone Fide, Director: Konstantinos Frangopoulos); BORDER POST (Producer: Generator Entertainment, Director: Chris Hartwill). He is represented by J&B Management.

Tanel Toom is an Oscar-nominated director with more than a decade of directing experience. Born in Estonia Tanel trained at Tallinn University Baltic Film and Media School before gaining a place at the prestigious National Film & TV School in the UK. His shorts have been to over 35 international festivals and won 17 awards including winner of Best Foreign Film at the 37th Student Academy Awards for THE CONFESSION. He was also Nominated for Oscar in Live Action Short category at the 83rd Academy Awards. Working across film and commercials Tanel loves to to create mood, atmosphere and emotion and is equally comfortable with straight drama and VFX heavy projects. Tanel is based in London and Tallinn and has been a guest lecturer at Westminster University and Metropolitan Film School in London, University of Beira Interior in Covilhã, Portugal and the Baltic Film and Media School in Tallinn, Estonia. He is currently developing 3 feature projects with producers in the UK and Estonia. He is represented by United Agents in the UK and William Morriss/Endeavour in the US.

GOOD DAY'S WORK Genre Director Writer Producer Budget Company Looking for

Arthouse drama with comical undertone Martin Turk Martin Turk Ida Weiss € 870.000 (€ 70.000 in place) Bela film d.o.o. partners in Croatia, Czech Republic, Slovak Republic, Macedonia, Italy, Germany, France

Ida Weiss Contact details Bela film d.o.o. Beljaška ul. 32 1000 Ljubljana, Slovenia T: +386 41 508 791 ida@belafilm.si www.belafilm.si 34

SYNOPSIS

Andrej has been unemployed for a long time now, and he desperately needs a job. His family is in a tough spot, and his son Luka is getting into fights in school because children are teasing them for being poor. After a restless night of worry, Andrej is off to a promising interview for the position of school janitor. When his car won't start, he travels there by bus. Everything goes on time until he bumps on a car accident in a remote alley. A bicyclist is heavily wounded while the guy, guilty for the accident runs away. Andrej instinctively runs to help. He calls up the ambulance and waits by the bicyclist. The ambulance arrives quickly. Andrej is now already running late. He wants to quickly leave but is hold on the spot, first by the doctor, then by the police in order to report about the accident. By the time he finally makes it to the school, the interviews are already over. The job went to Igor, a man Andrej bumped into on school entrance. Before he can reveal his latest failure to his pregnant wife Janja, a work offer suddenly arrives from a client of his good friend and brother-in-law, Klemen. Klemen takes Andrej to a slaughterhouse on the outskirts of town, but it soon becomes apparent he doesn't have the stomach to be a butcher. Incidentally, his janitor qualifications land him the position of a security guard. Andrej is thrilled. Things are finally going his way, he tells wife Janja he got the job, but leaves out it's not the one he was preparing for. On his first day of work, Andrej stumbles on a scene that leads him to discover workers in the slaughterhouse are stealing. Convinced he is doing the right thing, he informs the manager, but the workers act together and play him for a fool. The manager doesn't believe his story, and Andrej ends up being fired right away.

Desperate over the turn of events, he visits Klemen, who criticizes him for being naive and a do-gooder who can't set his priorities straight and provide for his family. He urges Andrej to speak to Janja and tell her everything, but Andrej is already close to the edge. He promised his son an expensive toy and his wife some peace of mind. He can't handle another failure. He's determined to somehow fix things before the family finds out. Klemen, knowing better and wishing to help, calls his sister and tells her everything. Janja, panicking, disillusioned and angry because she's had to hear it from another man, kicks Andrej out. Devastated, Andrej puts all the blame on Igor, the stranger who took his janitor's job in school. In his thoroughly naive manner, he decides to find and visit Igor, a man who turns out to be primitive and sadistic, in order to beg him if he'd let him have the job. Fully convincing himself it's the fair and proper solution to all his problems, Andrej rings Igor's doorbell... DIRECTOR’S NOTES OF INTENTION

Andrej is a modest person, a caring father and a loving husband, an honest guy with a sensitive conscience who always tries to do the right thing. He's been unemployed for quite a while now, and he's getting truly desperate for a job. Work is what he needs most, not only in the material sense but also as a circumstance vital to his self-respect, and he's willing to take on any offer. Andrej's pregnant wife Janja has been supporting the family by working as a geodesist which makes him feel like a failure. On top of that, their financial difficulties are having a troubling effect on seven-yearold son Luka who's been stealing toys from his classmates. The children tease Luka for being poor and, according to their reasoning, the son of lazy underachievers. All this frustrates Andrej

but also motivates him to feverishly search for any kind of job he can get his hands on. In spite of earnest efforts, though, his attempts are met with failure. When naive unwillingness to look away from criminal dealings in a company costs Andrej another chance at employment, his best friend and brother-in-law Klemen tries to confront him with the realities of life that often have nothing in common with Andrej's shiny values. Andrej doesn't budge. Hoping everything will still turn out right, he starts hiding the failures from his wife. The white lies and feelings of inadequacy push him into a series of events that spin completely out of control. In his impotent frustration, Andrej finally focuses all his anger and blame on a stranger named Igor who happened to get "his" job, the position of janitor in a primary school – one that Andrej was working particularly hard to get. Through the lens of his own bad luck and helplessness, he sees Igor as the personification of injustice and the broken system, and the existential crisis is making him believe, irrationally, that Igor should and will let him have the job, if only he can find him and convince him to do it. Andrej, whose reason is getting increasingly clouded as he desperately tries to maintain his integrity, is finally swallowed up by a sequence of misfortunate coincidences that end in tragedy. And yet, there is room for salvation even when things hit rock bottom. His family stays by his side. I see Andrej's story as a journey through a period that had a severe impact on the reality of our time. A time of crisis that affected us worse than anyone could ever predict. One of the crisis's particularly destructive blows are the shocking rates of unemployment of the young and middle aged generations, to which Andrej also belongs. Here in Slovenia, we are constantly faced with the tragic stories of young families 35

who aren't able to satisfy their most basic human needs. With my own fatherhood, I've become acquainted with the responsibility of providing for the family. Witnessing all these unfortunate events in the media, which appear with alarming frequency and picture people in the most destitute circumstances, I've realized they're affecting me on a deeply personal level, more than they'd be had I not started my own family. The crisis also raised the issue of work as a human value. Work is man's central activity, a source of identity. Without anything to contribute to, people lose self-respect, they feel inferior, useless, redundant and expendable. All these negative emotions drive Andrej on his quest for work. He needs work simply to justify his existence and his role of husband and father. The way, though, is paved with obstacles, many in the form of people that do have employment but don't respect it, hustling, cheating, following some other, entirely devalued and selfish code of conduct. Prior to the crisis, insensitivity, ruthlessness, trickery and deceit were already the imperatives of success, but now they are becoming the defining characteristics of society. The tragic nature of Andrej's character lies in his rigid stance of moral goodness, which although genuine and touching, is a major impediment to his efforts in the harsh contemporary reality. To preserve his self-image, Andrej starts slipping into small lies and big promises, all in the service of good intentions. His naiveté and firm belief in universal justice is at the same time comical. From outside, looking at the big picture, he appears brave and a man of integrity, although he thinks of himself as a coward and is often the victim of abuse by strangers. The atmosphere of the film looks to be similar to that from Ken Loach's Raining Stones and My Name is Joe, which successfully fuse social drama with the tragicomic elements of everyday life.

The latter one, in particular, is fundamentally a sad story with a sad ending, but it is not a dark or depressing film. Tragic events allow humorous situations that leave a warm and humane impression, an amazement over the chance and irony shaping our everyday lives. I wish to shoot A Good Day's Work through the perspective of Andrej as it is becoming increasingly distorted by his problems. The camera is by his side all the time, revealing what is initially a childishly naive, and then more and more enclosed, suffocating view of the world. I plan to employ mostly steadycam and colors dominated by green undertones, with some red props or pieces of clothing. The film would consist of longer mise-en-scéne shots with the aim of making viewers become increasingly aware of Andrej's personal disintegration. The editing rhythm starts slow and keep gaining pace until the central scene of the film, Andrej's confrontation with Igor, a man he in his mind envisions as the embodiment of unfairness, a construct of everything that is going wrong. In that moment, the film will enter a state of pause, a disconnect mirroring Andrej's own disconnect from a life that "belongs" to a honest person. Tension is also escalated by the sound atmosphere. What starts out as minimalistic, carefree music intertwined with the background noises of the city grows increasingly hermetic and oppressive, accompanying Andrej's descent into rage and personal tragedy. The story unfolds in the suburbs of an unknown, larger city. Those familiar with former socialist capitals will be able to recognize the architecture and setting. It can be Ljubljana, Bratislava, Zagreb. What matters is the impression that these locations are suspended somewhere between the future and the past. Their careful selection will turn them into another of the film's protagonists, the mute

observer of the bizarrely unlucky story that closes in around Andrej as the film progresses. By working closely with actors during the phase of project development, I wish to strengthen the dialogue to make it thoroughly lifelike and fluent. Throughout the phase, I would like to rehearse all the scenes and work on creating truly intense situations, focusing on the emotional charge of the tragic events as well as the situational comedy aspects of the film. In its essence, the story of A Good Day's Work is a commentary on the current social situation, the discontent and growing existential problems that lead people towards prejudice and actions they would not be capable of in a stable, dignified environment. But it is fundamentally not a film about hopelessness or utter failure. It aims to be a mirror of some important time, a time of crisis that affected contemporary Europe and the entire developed world, a time that inevitably leads us to reconsider our own relation with the values we have forgotten. Perhaps we, just as Andrej, should finally lose it and kill the bad guy, too. In a symbolic manner, of course. COMPANY PROFILE

"THINGS WE'VE NEVER DONE TOGETHER" by Martin Turk, short fiction, 2011, HD Cam, 10 min. "WHERE HAS THE WORKING CLASS GONE?" by Maja Weiss, documentary, 2010, HD Cam, 54 min. "STEALING THE CORN", short film by Martin Turk, 2009, 35mm, 11 min. "EVERY DAY IS NOT THE SAME", short film by Martin Turk, 2008, 35mm, 12 min., "DAR FUR – WAR FOR WATER" feature documentary by Tomo Kriznar & Maja Weiss, 2008, 35mm/Digital Beta, 89 min.; "A FEEL FOR WIND" TV documentary by Maja Weiss, 2008, Digital Beta, 54 min. "INSTALLATION OF LOVE" feature film by Maja Weiss, 2007, 35mm, 97 min. "MARIJA VERA" by Maja Weiss, documentary, 2006, Digital Beta, 53 min. "DEVIL’S COLONY" by Boris Petkovic, documentary, 2006, Digital Beta, 48 min., in co-production with TV Slovenia "CHILD IN TIME" by Maja Weiss, short fiction, 2004, 35mm, 16 min. "UNDER PRESEREN’S HEAD - EUROPE’S OLD NEW FACES" by Maja Weiss, documentary series for ARTE, Digital Beta, 26 min. "GUARDIAN OF THE FRONTIER" by Maja Weiss, full length fiction, 35mm, 2002, 100 min. "NUBA – THE PURE PEOPLE" by Tomo Kriznar & Maja Weiss, documentary, Beta SP, 2000, 50 min. "STEKLARSKI BLUES" by Peter Braatz, experimental documentary, 2001, 35mm, 10 min. "THE ROAD OF FRATERNITY AND UNITY" by Maja Weiss, documentary, 1999, Beta SP, 104 min. & 50 min. 37

PRODUCER’S PROFILE

Ida Weiss Producer of all Bela film titles. Her other wok includes: Production manager or executive producer’s credits: "BANKERS" – TV fiction film "TUNING" - full length fiction film "PLAN B" – full length fiction film "BLIND SPOT" - full length fiction film "ADRIAN" - short fiction film Producer of Drama Department at TV Slovenia (National Public television) (2001 – 2004): Selected productions: “VLADIMIR” by Zoran Živulovi , full length fiction film, 2002, S16mm, 90 min. “GANGL” by Marko Radmilovi , full length fiction film, 2003, S16mm, 80 min. “NEW WORLD” by Maja Weiss, fiction series, 2004, S16mm, 5 x 30 min. 1994 – 1997 – working at various productions for TV Slovenia and independent Producers Trainings: 2010 EAVE training program (Media program) 2007/08 participant of ACE-ATELIERS DU CINEMA EUROPEAN (Media program)

2006 participant of Cinelink 2004 participant of East of Eden (Media program) 2003 participant of EdeN (Media program) 2001 participant of Transit Zero Membership in professional organisations: - European Film Academy - EAVE Network - ACE Network - EDN – European Documentary Network - Association of Slovene Filmmakers (Executive Board Member 2003-2005; Control Board Member 2005 – 2008) - Association of Slovene Producers

Quinzaine des Realisateurs. Film was also screened on more than 30 international film festivals and awarded in Zagreb and Teheran. In 2009 his short film Stealing The Corn was presented in Palm Springs, Sydney Flickerfest and Bratislava. The same year the FIPRESCI Jury of Slovenian national film festival awarded his medium length fiction film Room 408 with a Best Film Award. He was developing his debut feature film script Feed Me With Your Words in 2009 at the Cannes Film Festival's program The Cinefondation Residence. Project was selected for Cinemart, TorinoFilmLab and Les Ateliers d'Angers. Feed Me With Your Words was released in 2012. It's festival circuit includes Montpellier, Sao Paolo, Torino, Mumbai, Tallin, New York, Los Angeles, San Jose, Oporto, Pula....

WRITER & DIRECTOR’S PROFILE

Martin Turk was born in 1978 in Trieste, Italy. In 1998 he moved to Slovenia to study film directing at the Ljubljana Film Academy (AGRFT). He graduated in 2004. While studying, he worked as an assistant director on feature films such as No Man's Land by Danis Tanovic, Ljubljana the Beloved by Matjaž Klopcic and Installation of Love by Maja Weiss. His graduation short film The Excursion (2002) won awards at international festivals in Montpellier (Grand Prix, Audience Award and Young Audience Award), Bologna (Special Jury Prize) and Wiesbaden (Best student film). His short film A Slice Of Life (2006) was presented at several international film festivals (Edinburgh, Angers, Huesca, Valencia, Bristol, Montpellier...) and won the prize for best Slovenian short film. In 2008 his short film Every Day Is Not The Same premiered at the

IN SEARCH OF A LOST COUNTRY Genre feature documentary Director Marija Ratkovic´ Vidakovic´ Writer Marija Ratkovic´ Vidakovic´ Producer Barbara Jukopila, Vera Robic´-Škaricar Budget € 193.567 (€ 52.000 in place) Company Croatian Film Association Looking for co-producers

Barbara Jukopila Marija Ratkovic´ Vidakovic´ Contact details Croatian Film Association Tuškanac 1 10 000 Zagreb, Croatia T: + 385 91 560 0363 barbarajukopila@hotmail.com marijaratkovic@gmail.com www.hfs.hr 40

SYNOPSIS

Marija (29) is born on November 29, 1985. This date was a national holiday in the former republic, the so-called Republic Day because it is when Yugoslavia was formed 71 years ago in the town of Jajce in Bosnia and Herzegovina. Today, there is only a museum which consists of one room reconstructed in detail on the day of the historic declaration of Yugoslavia. The big room is symbolically surrounded by six little ones, dedicated to the countries which came into existence after its break up. Marija has from her birth in a way been connected to Yugoslavia. Even after the country fell apart, its values remained instilled deeply in her. On her 30th birthday (November 2015), Marija is going on a road trip with her mom (54) and brother (16) with a wish to spend it in Jajce. On their way, she wants to find out the real story about her Grandpa Mic´o (her mother’s father) who was a Yugoslav politician, but most of all a journalist who truly believed that Yugoslavia is the best political solution for the people in this region. He somehow symbolized that same country in Marija’s family. When Yugoslavia fell apart, he fell apart as well. Years after his death Marija found several boxes of documents and letters he had left behind. By going through them with her mom and by taking her to the place where it all began, she will discover the truth about her Grandpa, about the ideals and values he instilled in his family and what exactly has remained of it because each of the travellers on this journey has grown up at a completely different time and society. But Marija will also find out the truth about herself, about her relationship to her family, especially to her mother… Second point of their journey is going to be in Belgrade, in Grandpa’s flat, where he spent most of the time during the last years of his life, observing how everything he believed in for so many years

is being shattered into pieces. Today, that flat is their only physical connection to Grandpa. But each and every time Marija enters the flat she feels like her Grandpa is still waiting there for her. Their journey will end on Kosmaj, a mountain not far from Belgrade, where one of the biggest communist monuments still stands tall. By visiting it the cycle of the former country, as well as the family cycle will hopefully close: namely, in Marija’s family her Grandpa still represents ex-Yugoslavia the same way communist monuments now represent milestones of that same state in our society. Visually very attractive and interesting, it’s a peculiar fact that, unlike the monuments of other countries of the Eastern Bloc, they promote the cult of a country as such and not of its leader. Marija’s mother visited these monuments as a child during school fieldtrips. Of course, back then, they looked completely different: praised and glorified in ’70s and ‘80s, they are now destroyed and left to nature’s mercy. Same as Grandpa Mic´o, they’ve also lost their battle with time. This is going to be a film about taking one family meticulously apart, piece by piece, but hopefully also bringing it together again. The film is going to be made out of three parts: a) Marija’s story of her family, with special focus on her Grandpa Mic´o, his ideals and values which were supposed to be passed on from generation to generation (Grandpa – mother – Marija and her brother – Marija’s son) and what is left of them today. The film is conceived as a type of a travel documentary, which reveals the story of Marija growing up in the context of specific historic events (when Yugoslavia as a country was falling apart). Main protagonists in front of the camera are Marija’s mother, brother and herself. Their road trip is the core structure of the film. While driving to Jajce,

Belgrade and Kosmaj, Marija will ask her mother questions (and face her with some of the documents and letters grandpa left behind) focusing on five major events in her grandfather’s life in which he primarily fought against every form of nationalism in the former country. These events are the best way to describe his character but also to describe the ideals and values he was striving for. Marija chose Jajce, Belgrade and Kosmaj as three symbolic points in the context of former Yugoslavia and her family. Jajce, where Yugoslavia was formed, Belgrade where Grandpa’s flat is still located (most of Marija’s memories connected to Grandpa took place at that same flat) and Kosmaj, where we can symbolically see what is left of Yugoslavia today. While developing the whole project, Marija realised that below the ideals and values of her Grandpa, she also has the need to question her family relations, to try to provide herself and her mother with answers to some questions which have so far remained unresolved and unanswered, to clarify situations her brother knows nothing about because he is 14 years younger and was just a child at the time. Namely, while reminiscing about her grandpa’s values and ideals in this film, Marija has realized that she can resolve some things only if she is honest to herself. Choosing her brother as a participant of their journey, as well as choosing the journey itself as a shift away from everyday life, is not accidental. Firstly, in a way, he is a mediator between Marija and her mother, and secondly, Marija believes that her brother needs to know some things because they will eventually catch up with him. Both narrative segments intertwine on the journey – through the story of Grandpa Mic´o, Marija will try to resolve the story with her mother, while the trip to Jajce, Belgrade and Kosmaj to celebrate her 30th birthday on former Republic Day will symbolically close another cycle. 41

b) During the entire road trip, as a sort of in-between sequence shots, the symbolic connective tissue will be images of communist monuments throughout the former country. These images will show the state in which the monuments are today in all newly established countries (Croatia, Slovenia, Bosnia and Herzegovina, Serbia, Macedonia, Montenegro and Kosovo). Until the end of the film and the visit to Kosmaj and to perhaps one of the most impressive monuments, their meaning in the literal sense will not be disclosed (they will be mentioned in discussions of the main protagonists, but what they represent exactly won’t be clearly explained). As such, they will symbolize the Yugoslav identity which will be many times mentioned in the film. There is no need for historians and sociologists to talk about them. It is enough to see these to some ugly, and to others beautiful colossal monuments (nevertheless artworks, everyone agrees in that) located in the middle of nowhere so that they can be seen from a few kilometers away. For example, The Crown on Kosmaj was illuminated until 1999 and on clear nights it could be seen even from Belgrade. Through images of monuments, through their grandiosity, but unfortunately stoutness and decrepitude today one will be able to see what Yugoslav identity once was and what is now left of it. Thus, you will notice that the current state of every monument is different in each country. Nowadays every nation sticks in a different way to these values by which Marija’s grandfather, and indirectly her family, lived. In Croatia, for example, a few months ago a huge state celebration was organized next to one of the monuments – actually the only one which is at least a little bit cared about. Some days before the celebration, workers found out that a big part of the monument is missing. How big? Sky scraper big! When it went missing? Nobody knows. Police report says “sometime between January and June”. For six months nobody 42

noticed that a huge block of iron is missing. Nobody. And by now it’s probably sold and turned into something else. c) The story will be complemented with archival photographs (mostly from family albums), home videos from Marija’s childhood (while researching, Marija found more than 15 hours of video materials, mostly celebrations and everyday situations from her family), video and voice recordings from grandpa Mic´o’s professional life (meetings, ceremonies, conferences…) and also everyday situations in Marija’s family today. Namely, like in most families today, Marija’s family (her mother, father, brother, husband, son…) gets together to celebrate birthdays, holidays, etc. These gatherings are indirectly related to the topic – for example, while celebrating someone’s birthday all members of the family easily get into heated discussion weather a hero from the communist period is still a hero today. Marija’s brother usually provokes these conversations, commenting on historical events in the way he has learned them at school, which is of course very different from the interpretation of the same events at the time when Marija’s mother learned them. Taking into account the fact that both of them have quite a sharp tongue, their lunches become quite interesting especially when Marija’s dad decides to join the discussion. Recording the family events is planned before and after the trip on Marija's 30th birthday. By observing those gatherings in different parts of the film you will be able to see how some relationships among family members change, especially before and after the road trip, how some things “come out of the closet” and change everything.

DIRECTOR’S NOTES OF INTENTION

Through all these years I was thinking of my Grandpa just as my grandpa – the man who made me read daily newspapers when I was 9, the man with whom I had my first political discussion at the age of 11, but also the man who bought me my first Barbie doll. Nevertheless, my Grandpa Mic´o affected me much more than I thought. I grew up in a family which regarded Yugoslavia as an ideal country. Its values are deeply ingrained in me. By making this film I want to find out who my Grandpa Mic´o really was, besides being my grandpa. I want to examine the values and ideals my family instilled in me and whether I still believe in them. I also want to examine our family relationships which are coming from my mother’s relations to my Grandpa, which then she passed on to me and my brother and now I’m passing them on to my son, whether I wanted it or not. Today – when I am mother, I am aware that all the decisions I make, will not affect only me, but also my son. So if we don’t resolve some things completely, they will end up unresolved and transfer on. That is the reason why I chose a road trip for this talk, for family reassessing, and why I also chose these three locations which mark Yugoslavia (Jajce, Kosmaj), my Grandpa (Jajce and his flat) and my brother, mother and myself today (Kosmaj, his flat). Isolated from everyday life, three of us in a car will not be able to do anything else but talk. My idea is to provoke them with my questions. I want my mother to give me some answers – answers, which she is now refusing to give. Why? I don't think she is hiding some family skeletons (to be honest, I’m the one who does), I just think that she hasn’t had enough strength to face my Grandpa's legacy yet. And being with me and my brother in my car, she won't have any excuse. In a way – this film will not only be cathartic for her, but also for me, for the whole family.

Why my 30th birthday? Because the theme of the film spins indirectly and directly around it: I was born on Republic Day - the biggest Yugoslavian holiday at the time. Perhaps that's why my birthdays are always celebrated with a special ceremony. Even today, when Yugoslavia doesn’t exist anymore. By filming at that exact time, I want to close the circle on the realistic and symbolic level. Is there a better time to discuss the country no longer exists but on the day when that same country was most celebrated? Especially at the place (Jajce) which will certainly be visited on that special day. That very same country and its values are still tied to me and my family, so an especially emotional time is around my birthday. Especially the 30th, which itself invokes emotional evaluation. As I’ve pointed out, my grandpa is still a symbol of Yugoslavia in my family, our “truth”. In the same way Yugoslavia used to be (and still is) symbolically represented by national liberation movement’s monuments, or colloquially put - communist monuments. When I first saw photos of them in the newspapers, the first image I had in my mind was of my Grandpa Mic´o. Year 1991, Yugoslavia falling apart and the beginning of the war made him almost overnight an old, disappointed man. He felt abandoned as the monuments are abandoned today. That is why I want to use them as connective tissue among the shots of our road trip. In fact, in the last few months while doing intensive research about the monuments and reading my Grandpa's documents, I realised that I find the same passion with which the monuments are described (how they symbolise fight and resemblance of our country's heroes) in my Grandpa's letters. While he was, for example, writing to the former president of Macedonia and trying to find a solution for bringing his Yugoslavia back together. The passion which filled Grandpa’s desperate letters and his wish for Yugoslavia’s survival I see in the 43

sharp ending of the Crown on Kosmaj. No art historian’s word can better describe it than that crown ending put in a film frame. What is the film going to look like? It’s going to be a real family drama! You will not only enjoy discussions between me, my brother and my mother in the car, but also during my family gatherings, which will be shot before and after our road trip. Some families talk about new teeth or new words of their grandchildren, but mine doesn’t. Mine talks about politics. Or better said, they argue. My parents, my 15-year-old brother, my husband and me (my son is still too young for real participation). Three generations raised in completely different societies. A family that doesn’t celebrate Christmas, for example, any kind of Christmas or Hanukah. Through our gatherings you will find out how the whole film affects our relationships, how it separates us, and I firmly believe reconnects us in the end. And how, I hope, nothing will be the same after my 30th birthday. At first I thought that I wanted to make a movie for Grandpa, for his ideals, for my mom, but then I realized that because of these ideals and values I have to be honest with myself. Actually I want to do it for myself, so that I can honestly talk about things with my family and so that I know what I want to carry over to my own child in the future. COMPANY PROFILE

Croatian Film Association initially used to be an association of non-professional film and video groups operating in Croatia since 1928. Under the Association’s patronage operate 162 film and video youth clubs and 45 associations with legal status, along with a great number of independent film and video authors. The association works in the following ways: coordinates and supports work of clubs and associations, issues film magazines and books 44

about film, co-organizes courses and workshops for children and adults, encourages and provides technical assistance in realization of media education, organizes national and international festivals of children, youth and amateur film in general, distributes and presents a program of film classics (in its own art cinema). In 2000 the Association also started its own film production and distribution. In the past 10 years CFA has produced more than 90 short and 3 feature films. PRODUCER’S PROFILE

Barbara Jukopila was born in 1987 in Pula, Croatia. She graduated in Film, TV and Theatre Production (BA) from the Academy of Dramatic Art in Zagreb. She also has a Master degree from the Academy of Dramatic Art in Zagreb in major: Production of Audiovisual and Multimedia Projects. Recently she produced a feature film FLEKE (SPOTS), directed by Aldo Tardozzi, which premiered at Sarajevo film festival 2011. She also produced several shorts, such as TORTA S CˇOKOLADOM (THE CHOCOLATE CAKE), directed by Dorotea Vucic and CRVENO (RED), directed by Sonja Tarokic. She worked as assistant director or production assistant on feature films (Love Island, directed by Jasmila Zbanic) and tv commercials (production company: Kinoteka and Kabinet). She is developing feature film Hotel Zagorje (Cinelink 2014.) as executive producer (production company: Deblokada and Živa produkcija). She attended Ex Oriente workshop with project Djangarchi (Nukleus film).

of Dramatic Art, spending one semester at Wayne State College in Nebraska, USA. Marija also finished several educational courses in the fields of cinematography and drama, as well as in journalism. She volunteered on a number of festivals and workshops, and therefore acquired considerable experience in organizing such events and working in the framework of civil society. As of November 2012, Marija is permanently employed at the Croatian Film Association as production coordinator/executive producer (producing approx. 5 short films per year) as well as the Manager of Festival Programs (which includes Four River Film Festival – international festival of high school film, the Croatian Film Making Festival and the Croatian Children's Film Making Festival). She is fluent in English, German and Spanish. It is her first film as a director.

WRITER & DIRECTOR’S PROFILE

Marija Ratkovic Vidakovic (born in 1985 in Karlovac, Croatia) successfully finished B.A. studies in Film, TV and stage production, as well as M.A. studies in Performing Arts Production at the Academy 45

La vita Nuova Genre Fiction Director Carlo Zoratti Writer Carlo Zoratti, Cosimo Bizzarri Producer Laura Cattaneo (Alpis), Henning Kamm (DETAiLFILM) Budget € 1.400.000 Company Alpis Looking for Broadcaster

Laura Cattaneo

Carlo Zoratti

Contact details Alpis Via Pradamano 88 33100 Udine, Italy T: +39 349 3819538 laura@alpis.tv www.alpis.tv 46

SYNOPSIS

Franco and Pia are members of the newly born La Vita Nuova a group of people that reenacts their own dreams as a form of spiritual healing for their existential anxieties. They meet weekly in a warehouse of a remote town in North Eastern Italy and undergo sessions that draw from a vast and confused repertoire of self-help psychology, yoga schools and counseling therapies: the participants are asked to engage in breathing exercises, basic meditation techniques and finally reenact the dreams they had the night before as a way to solve the existential issues that are buried deep down in their subconscious. Franco, the guru of the movement, sees his role as a way to reach the success that he, a phone company door-to-door salesman, has always craved for in life. On her hand, Pia, a depressed nurse, has joined the group secretly hoping that the practice will help her overcome loneliness that hit her after her parents’ death. As the weeks and the sessions pass by Franco becomes more selfconfident and begins to exercising his role on the other members of La Vita Nuova in an increasingly authoritarian way. In the meanwhile Onelio, the grumpy and cynical warehouse custodian who has so far tried to boycott the sessions, decides to get involved with them after having been blown away by a random meeting with whom he believes to be his long disappeared father. A dangerous threshold is finally crossed when Franco asks the participants to take the reenactment of the dreams outside of the warehouse and into the real life. In a crescendo in which reality and dreams begin to blur, the sessions take the shape of giant daydreams in which the most hidden fears, perversions and desires of La Vita Nuova members are exposed on the streets, parks and cafes of the town.In the final session, Pia realizes that one of her dreams is

being reenacted inside the hospital where she works. As she desperately tries to stop the other members from hurting patients and jeopardizing her career, Onelio instead pushes the reenactment to its extreme ends as if he was possessed by a divine force. When Franco finally manages to stop him and bring the situation back to where it started, it’s too late: Pia has an emotional breakdown that makes the other members realize how close they were to harm people and put their own life at stake. As La Vita Nuova dissolves, all characters are forced to make the choices that they have been postponing for too long: Franco quits his salesman job and chases a new career in the show business, Onelio leaves the warehouse to follow his presumed father and Pia comes to terms with her parents’ death to embrace a new life of hope and love. DIRECTOR’S NOTES OF INTENTION

The film is a mix between fiction and documentary. In fact, I would like the majority of the participants to the movement to be real people, while the main characters will be played by professional actors. Therefore the narrative construction of the film may change, following the interaction between the actors and the real people. I want the tone of the movie to be bittersweet, grotesque. Comedy and drama should mix together creating awkward situations. Ambiguity plays a fundamental role in the story as belief, the main theme of the movie, can exist only where ambiguity exists: the more Franco acts ambiguously, the stronger will be the act of faith requested to his adepts. We would like the movie to be a small independent gem that could have an appeal on both festivals and theaters, hopefully winning the esteem of the jury and the audience. We don’t want to make it an art house film though, as I am convinced that stories have

a therapeutic function and as many people as possible should benefit from them: for this reason, my ideal target is my cousin, my neighbor’s kids and a friend of mine that works as carpenter. COMPANY PROFILE

Alpis is an italian production company founded in 2014 by Marina Rosso and Carlo Zoratti. The company is young, but builds on its founders’ experience. Marina and Carlo both come from Fabrica (the research centre on communication funded by Benetton) to take on a career respectively as a photographer and as a director. Recently Laura Cattaneo, a former corporate fundraiser, has joined the company as executive producer. Alpis current projects are La Vita Nuova and Wooden Mirror. For more info visit the website www.alpis.tv. PRODUCER’S PROFILE

Born in 1985, she graduated in International and Diplomatic Sciences, did a master in International Economics and specialised on EU project design and implementation. After some working experiences in the international organization sector, in 2014 she decided to move to creative industries and collaborate with Alpis. She has recently won the Erasmus for Young Entrepreneurs program working in collaboration with the German production Company Detail Film (in Berlin). Furthermore she has widen her skills in the production world attending the Erich Pommer Institute seminar on legal and financial aspects of the European Co-Production.

WRITER & DIRECTOR’S PROFILE

Carlo Zoratti: Director and Author Born in 1982, he graduated in interaction design at the Turin University before moving to Fabrica, Benetton’s research center on communication founded by Oliviero Toscani. He worked there for two years before becoming a freelance filmmaker and director. He directed several music videos, short movies, the live show of the Italian Pop Star Jovanotti and funded the Italian web-tv Pronti Al Peggio. His experience varies from fiction to documentary. The Special Need is his first feature film. Sample of previous work: www.vilma.it Cosimo Bizzarri: Screenwriter and Author Cosimo Bizzarri is a writer. He published articles and short stories in books and magazines and worked as an author for several video productions. In 2006 he curated Abbasso il Duce, a documentary about the Italian Resistence during the Second World War, and in 2009 he worked on the DaGaza.org project, that will later become the documentary film Cast Lead, winner of the Jury Prize at the 2009 Locarno Film Festival. From October 2005 to November 2008 he worked at Fabrica, Benetton’s communication research centre, first as a student and then as the coordinator of the Writing department. During his time at Fabrica he met Carlo with whom wrote The Special Need. Sample of previous work: www.cosimobizzarri.com

MARIPOSA Genre Director Writer Producer Budget Company Looking for

Drama Maria Saakyan Jeff Kalousdian Jeff Kalousdian € 1.199.000 (€ 50.000 in place) 20 Years Later US and European Producing Partners

SYNOPSIS

Alejandro, an evolutionary biologist from Mexico, travels through the USA heartland researching the mysterious disappearance of the Monarch butterfly which has since before the time of the Aztecs migrated each year by the hundreds of millions through North America to a small forest in Central Mexico. When Alejandro is suspected of drug trafficking and violently detained by the police, he’s befriended by Natalie, a young artist struggling with drug addiction and searching for a way out of her dark life. As Alejandro moves closer to understanding what has happened to the Monarchs, he discovers Natalie is connected to his estranged son which disappeared years earlier. DIRECTOR’S NOTES OF INTENTION

Jeff Kalousdian

Maria Saakyan

Contact details 20 Years Later 27/25 Nalbandyan Street, Apt. 7 0001 Yerevan, Armenia T: 37498852080 jkalousd@yahoo.com

Life is a journey full of accidents and coincidences and sometimes serendipity is the outcome and we find happiness. MARIPOSA is a story of a workaholic scientist who has been afraid of real life and relationships for a long time because of his past failures and how destiny takes hold of his life to bring him back to what really matters. And through Natalie’s more poetic and sensual approach to life, he discovers a more beautiful way of seeing the world, as reflected in Natalie’s drawings, and he achieves a transformation that brings them closer together. Mariposa questions chance events and explores the idea of synchronicity and the place of individual in the vastness of Time and Space. Do we exist only for here and now... or maybe there is some place for us into Eternity? Alejandro - the main hero – is sure that he controls his life. Technologies and science serve him to make his life predictable and understandable, a false sense of security is found in knowledge. But an unexpected meeting with Natalie - the opposite of himself, a young artist still full of dreams, driven by intuition, emotions–shake

his world. Even Alejandro’s dry science is converted in Natalie’s eyes into magical beauty. Through Natalie, Alejandro starts a journey towards himself. He comes to understand that being disconnected from his own son, the harshness that he has judged his weaknesses has created a prison for both of them. But this clarity comes too late. In Mariposa loss and the gift of life run together. And there is a hope – maybe Universe takes care of us through synchronicity – even if we are not aware actually. COMPANY PROFILE

20 Years Later Films was established in 2011 by Jeff Kalousdian with the mission of producing innovative feature, documentary and animation films that appeal to both domestic and international audiences. In 2012, 20 YEARS LATER and Maria Saakyan’s ANNIKO Films joined forces creating 15 years combined film production experience. 20 YEARS LATER also provides production services drawing on its team's vast regional network and technical and human resources to support filmmakers throughout the region. 20 Years Later Films and Producer Jeff Kalousdian Current Projects: THE FLORIST, feature fiction, directed by Maria Saakyan, produced by Jeff Kalousdian – in development; TERRITORIA, feature fiction, directed by Nora Martirosyan, produced by Jeff Kalousdian – in development; THE SCARYTALE, feature, directed by Maria Saakyan, produced by Jeff Kalousdian – post production; SPIRAL, feature documentary, directed/produced by Jeff Kalousdian – post product; WARNING SIGNS, feature documentary, directed by Jeff Kalousdian, produced by Bianca Bagaturian – in production.

PRODUCER’S PROFILE

Jeff is a producer and award winning screenwriter. He got his start in film production while still a teenage helping-out on the production of commercials and sports program in his father’s production company. He went on to study photography and filmmaking at San Francisco State University and later received a MA in International Development from the University of Sussex, UK where he focused his studies on postconflict economic development. In 1994, Jeff moved back to Armenia from the US, where he has been based since. He has worked in many of the worlds hotspots where he developed and managed humanitarian aid and economic development program in the South Caucasus and Balkans for organizations such UN Refugee Agency, Save the Children, Danish International Development Agency, European Union and US Agency for International Development among others. In 2005, Kalousdian combined his love for cinema with his experience in international development by helping the Golden Apricot Film Festival in Armenia establish the very successful Directors Across Borders program, which employs cinema as a means of supporting cultural tolerance and conflict resolution in the south Caucasus and neighboring countries. In 2011, Kalousdian created the Directors Across Borders Eastern Partnership Cultural program which was awarded a 700,000 EURO grant from the E.U. to help strengthen the film industries in countries former Soviet Union & Eastern Europe as a means of cultural exchange, democracy building and regional integration. In 2010, Kalousdian co-produced HERE, the first foreign feature film shot entirely on location in Armenia and Nagorno Karabagh. The filmed stars Ben Foster (The Mechanic, 310 Yuma) & Lubna Azabal (Paradise Now, Incendies) has screened in over 20 festivals worldwide, including Sundance and Berlin, and has had theatrical release in the US and soon to be released in Europe. In 2011, Jeff won the Paul Award for his

first feature film script THE FLORIST, a story about love and loss in the frozen conflict between Armenia and Azerbaijan. In 2011, establish 20 Years Later Production with the mission of bringing innovative local fiction and documentary stories from the Caucasus to the world. FILMOGRAPHY HERE - Feature Fiction, Co-Producer; SPIRAL (Post-Production), Feature Documentary, Armenia, Director/Producer; THE SCARYTALE, feature, post production; WARNING SIGNS (production), Feature Documentary, US-Armenia, Director/Producer; AWARDS 2011 Paul Screen Writing Award (Los Angeles, CA) for THE FLORIST. WRITER & DIRECTOR’S PROFILE

Maria was born in Yerevan, Armenia in 1980. Her family moved to Russia in 1992. She graduated in 2002 with a degree in film directing from VGIK (All State Russian Film Institute), studying under Vladimir Kobrin. Her first feature “The Lighthouse” 2007 has been selected by more than 30 festivals and released in Russia and distributed internationally Second Run DVD, UK. From 2003 to 2006 Maria worked as a creative producer in “Andreevsky Flag” Film Company. From 2007 to 2008 was creative producer at “ Narti Film” Moscow based film company and was presenting the film by Aslan Galazov ” Swallows have arrived”. Maria’s second feature was formed as an independent film production. At 2009 Maria and Victoria Lupik open a Yerevan (Armenia) based “ANNIKO Films” and start developing Maria’s second fea-

ture “I am Going To Change My Name”. It received support by international institutions including World Cinema Fund, Torino Film Lab, Danish Film Institute, Goteborg Film Fund, and awarded Best Pitch from B2B, Belgrade and DAB at Golden Apricot International Film Festival, Yerevan. The Film is an Armenia, Russia, Germany and Denmark co-production. In 2010 Maria was selected for Berlinale Talent Campus. Her third feature, “ENTHROPY” was recently released in Russian cinemas and been proclaimed as the “most scandal film of the year” and AID ES CHEM received “The Best feature film 2013” Armenian National Cinema Award and number of other awards at the international film festivals. In 2014 Maria directed her debut opera, “ RING OF FIRE” by Avet Terteryan. Filmography as a director 2014 Ring of Fire – opera by Avet Terteryan THE SCARYTALE (post-production), 90min, DCP 2013 ALAVERDY a.k.a. I’M GOING TO CHANGE MY NAME, 96min, 35mm; 2013 ENTROPHY, DCP, 75min; 2009 TERRANOVA, (second unit director); 2007 THE LIGHTHOUSE, 78 min, 35mm 2003 THE FAREWELL, short; 2000 THE GAME, short

Prizes and Mentions THE FAREWELL - “Best short film Golden apricot” awards, Yerevan, Armenia, Special mention International Fano Film Festival, Italy, Trieste IFF, Best camera special prize from Kodak , VGIK. THE LIGHTHOUSE - Special mention Moscow’s Premiera Film Festival, Award “Best Debut” at ¨Golden Apricot¨, Grand-Prix Split International Film Festival, First Prize Moscow Human Rights Festival. ENTHROPY – prize of the name of Savva Kulish at Viborg FF, Russia I’M GOING TO CHANGE MY NAME Official selection: Locarno IFF, Karlovy Vary IFF, Moscow IFF, Goteborg IFF, Belgrade IFF, Torino IFF, London BFI, Golden Apricot IFF, Minsk IFF , Kinoshok FF, Moscow Premiera FF e.c.t. AWARDS Hayak 2013- “Best film of the year” National Cinema Academy Award, Best Camera Work, Best Feature of Armenian Competition on Golden Apricot IFF 2013, Best Directing and Best Camera Work at Kinoshok, Best Actress at « À L’EST, DU NOUVEAU »à Rouen et MontSaint-Aignan, France, honorable mention of the Jury at Lima, Peru, Best feature at Bridge Film festival, Mitrovice, Kosovo

Festivals (official program /competition) International Film Festival Rotterdam, International Film Festival Telluride, USA; «Premiers Planes» Angers, France, Film Festival Oberhausen, Germany, International FreshFilm Festival, Intl. Karlovy Vary Film Festival, International Fano Film Festival, Italy , Pesaro IFF, Moscow IFF, Fajr IFF, Iran, Sofia International Film Festival, Bulgaria, Bucharest IFF, ArtFilm Slovakia IFF, Trieste Intl. Film Festival, Italy, London TIFF, Sao Paulo IFF, Taipei IFF, Breadford IFF,UK, Ourense IFF, Goteborg IFF, Belgrade IFF, Torino IFF.

MISSING PERSONA Genre Director Writer Producer Budget Company Looking for

Documentary Anne Henderson Anne Henderson Katarina Soukup € 425.000 (€ 81.000 in place) CatBird Productions European co-production partners and financing

Katarina Soukup Contact details CatBird Productions 210b ave Mozart West H2S 1C4 Montreal, QC, Canada T: +1.514.576.8590 F: +1.514.419.8590 info@catbirdproductions.ca catbirdproductions.ca 54

SYNOPSIS

Two women seek to untangle the threads of a secret relationship that occurred almost a century ago, a liaison that would make them cousins. The storyline could be out of a screenplay by Ingmar Bergman, but it is instead a page taken from his life. Missing Persona, written and directed by award-winning Canadian director Anne Henderson, will be an unfolding mystery interweaving the past and the present, the factual and the imagined. The secret at the heart of this film concerns Erik Bergman, a Lutheran minister who preached for the Swedish King. (Erik was later depicted in the film Fanny and Alexander.) There is evidence that Erik led a double life, fathering several “illegitimate” children with a young woman in his parish. One of these children was possibly Ingmar, adopted by Erik to replace an infant son who had died at birth. Is this true? Veronica Ralston, granddaughter of Erik, and Louise Tillberg, granddaughter of Erik’s mistress, are determined to solve the mystery that has haunted them for two generations. This documentary takes us on a journey to the heart of an unconventional family, one in which repression and artistic imagination are inextricably entwined. It is a story about buried secrets, the search for identity, and the universal need to understand why our families turn out the way they do. DIRECTOR’S NOTES OF INTENTION

A rich girl’s baby dies; a poor girl’s baby is given up. When researching this story, I kept asking myself: why would a woman give birth and abandon three sons? I believe her circumstances must have been untenable. One hundred years ago, the Christian Church discriminated against women who loved freely, while turning a blind eye to the “transgres-

sions” of its own preachers. Unmarried mothers a century ago had few choices but to give up their babies since “illegitimate children” were considered tainted. Priests had the power to conceal the truth by rewriting legal documents, and changelings were not uncommon. Most of us have grown up in families where all was not as it seemed. As children, we sense this atmosphere of unanswered questions, the gap between the surface facade and the undercurrents. Sometimes this gap becomes a chasm, with psychological fallout affecting several generations. I believe all of us create stories to make sense of our own lives. In Missing Persona, two women create a narrative to explain their dysfunctional upbringings and their parents’ unhappiness. Both Veronica and Louise had mothers who were institutionalized for short periods of time, and who experienced addictions. Louise’s father had great difficulty in loving and trusting women, because of his own mother’s enormous deception. Buried secrets can leave a toxic legacy. They can be the catalyst for family dysfunction, but sometimes for creative genius as well. In the case of the Bergman children, the unspoken truths were an ongoing source of dramatic material, not just for Ingmar but also for Margareta, his sister. Throughout his career, Ingmar was fascinated by the gulf between the glittering surface and the darkness underneath, a subject matter that made his films universal. Everyone has lived through the contradiction between order and chaos. COMPANY PROFILE

Founded in Montreal, Canada in 2006, the mandate of Catbird Productions is to produce exciting, socially relevant independent documentaries that push the boundaries of the genre. Recent Catbird titles include Lost Rivers (Radio-Canada, ARTV, CBC

Documentary, NHK, Icarus Films, Terranoa), a feature documentary which has screened at over 50 festivals worldwide; Come Worry with Us! (SuperChannel, les Films du 3 Mars, Cinema Guild) by award-winning Canadian filmmaker Helene Klodawsky; as well as the acclaimed web documentary Burgundy Jazz (Radio-Canada/CBC Music), winner of a Digi Award, a Prix Boomerang, and a Prix Numix, and nominated for a Canadian Screen Award, a Webby Award, a Prix Gémeaux, and a Rockie Award from the Banff World Media Festival. PRODUCER’S PROFILE

Katarina Soukup is President and Producer at Catbird Productions (Montreal). Previous to Catbird, she had almost ten years of experience as documentary and multimedia producer with Igloolik Isuma Productions, the award-winning creative team behind the Canadian cinema classic Atanarjuat The Fast Runner (2000), winner of the Camera d'or at Cannes 2001. As a producer, Soukup seeks out film projects that tell powerful human stories and reveal the extraordinary in the seemingly ordinary. She is particularly interested in films about music, art, culture, the environment and human rights. In 2008, she had the privilege of working with mentors Jennifer Baichwal, Elizabeth Klink, and Connie Field at the Art of Documentary workshop (Praxis Centre for Screenwriters/National Film Board of Canada) in Vancouver, and was selected to participate in the Talent Lab at the 2009 edition of the Toronto International Film Festival. She also serves on the board of the Hot Docs Canadian International Documentary Festival and was co-president of DocQuébec (the Quebec chapter of the Documentary Organization of Canada) for four years. She holds an MA in Media Studies from Concordia University. 55

WRITER & DIRECTORâ&#x20AC;&#x2122;S PROFILE

Anne Henderson has been writing and directing documentaries for 25 years, with many international titles to her credit. Her documentaries encompass a wide variety of subjects concerning culture, human rights, history, and the environment. She likes to tell stories about ordinary people in extraordinary circumstances. She is the recipient of a Genie Award, two Hot Docs Awards, a Gemini, as well as various international film prizes. Selected credits include Water Marks, a documentary about the Canadian poet Pat Lowther; The Road from Kampuchea, a portrait of the Cambodian landmine survivor who became the 1999 Nobel Peace Laureate, A Song for Tibet, the moving story of a family divided by war and exile, and Holding Our Ground, a study of a squatter community in the Philippines where the women take control of their destinies. She has also directed several series for television, including Women: A True Story (narrated by Susan Sarandon), The Human Race written by journalist Gwynne Dyer, and Dogs With Jobs, the popular series on working dogs.

NANOOK Genre Director Writer Producer Budget Company Looking for

Drama Milko Lazarov Milko Lazarov, Simeon Ventsislavov Veselka Kiryakova/Red Carpet € 1.250.000 (€ 650.000 in place) Red Carpet Canadian or Danish co-producer

Veselka Kiryakova Milko Lazarov

Contact details Red Carpet Selishteto Str 16 1738, Sofia - BULGARIA T: +359 898 610764 redcarpetfilms.bg@gmail.com www.redcarpet-films.com 58

SYNOPSIS

In the ice wilderness of Greenland the aged Inuits NANOOK and his wife SEDNA live in an igloo. They are the last to have chosen the old way of living in the changing world around them. Every day NANOOK goes out hunting in the ice wilderness but it seems that his hunting skills have started to decay. Planes fly in the sky, animals die without an obvious reason, ships and people increasingly pollute the area. SEDNA’s health starts deteriorating which NANOOK does not notice at first and she goes to a small settlement on the shore, and phones her and NANOOK’s daughter SEDNA, who is long gone to Europe, asking her to come back. AGA arrives and goes to her parents. SEDNA is happy to see her, but NANOOK is cold and distanced with his daughter. He has not forgiven her for going away. AGA lives in the igloo for some days with her parents, following their rules. SEDNA’s illness seems to bring NANOOK and AGA closer together. One day, NANOOK and AGA go out hunting with the dog sled. Suddenly the ice cracks and the sled falls through it with NANOOK barely surviving. With AGA’s help he manages to get to the igloo where SEDNA warms him up with her own body, which ultimately costs her life. After SEDNA’s death AGA remains in the igloo for a while but understands that this is not the right place for her. She asks NANOOK to come with her in Europe. He is the last Eskimo in a disappearing world. NANOOK does not give her an answer. The following day AGA is on the ferry. In that time NANOOK goes to the hole in the ice where he usually hunts or fishes, but he is no longer concerned if he will catch anything. NANOOK is just a black dot in the big white vast. DIRECTOR’S NOTES OF INTENTION

I am excited for a very long time how the modern and very fast developing world concerns the small communities, how processes that, at first sight, have nothing in common affect fatally the life of entire nations.

My intention with this project is to look steadily how the global warming and the offensive civilization put to the proof the conservation of the Eskimos’ identity. I am interested how the same those Eskimos who live in unbearable for the modern people conditions have succeeded to conserve the delicacy in their interpersonal relations and perceive life with smile and sympathy. COMPANY PROFILE

RED CARPET is a Bulgarian Independent Film Production Company that has made the biggest TV campaigns licensed by BBC for The Bulgarian National Television – The Great Bulgarians and The Big Read. RED CARPET is a company with a lot of experience in producing documentary movies and TV productions. The first feature movie produced by RED CARPET is ALIENATION (2013), conceived and directed by Milko Lazarov. The premier of ALIENATION was at Venice'70 in the offical selection of Venice Days and it won two awards there: Special mention from Europa Cinemas Label and Best young director from FEDEORA. ALIENATION was awarded with Best Bulgarian Feature Film at Sofia Film Festival, 2013 and with Grand prize in Competition 1-2 at Warsaw Film Festival, 2013. Milko Lazarov received award for Best director from Bulgarian film academy (2014). The Academy awarded ALIENATION also for Best feature movie, Best first feature movie and Best editing. For ALIENATION Milko Lazarov received Golden Rose, 2014 for Best director and Kaloyan Bozhilov received Golden Rose, 2014 for Best Cinematography. ALIENATION was presented at international film festivals all over the world. PRODUCER’S PROFILE

Veselka Kiryakova was born in Bulgaria. She graduated at the National Academy for Theatre and Film Arts |NATFA| in Sofia, Bulgaria, where she studied Film Editing. She is an editor of many Bulgarian

and international shorts and documentary movies. Her first feature movie as a producer was ALIENATION (2013), conceived and directed by Milko Lazarov. The premier of ALIENATION was at Venice'70 in the offical selection of Venice Days and it won two awards there: Special mention from Europa Cinemas Label and Best young director from FEDEORA. ALIENATION was awarded with Best Bulgarian Feature Film at Sofia Film Festival, 2013 and with Grand prize in Competition 1-2 at Warsaw Film Festival, 2013. ALIENATION was presented at international film festivals all over the world. Since ALIENATION she is already the main producer for the company. WRITER & DIRECTOR’S PROFILE

Milko Lazarov was born in Bulgaria. He graduated at the National Academy for Theatre and Film Arts |NATFA| in Sofia, Bulgaria, where he studied Film and TV direction in the class of Prof. Vladislav Ikonomov. He is an executive producer and director of Bulgarian National Television’s most successful BBC projects “The Great Bulgarians” and “The Big Read”. He used to be a lecturer in NATFA’s film department „Experimental filmmaking and inscenation”. He participated in many public discussions regarding the Cultural life of Bulgaria. ALIENATION is his first feature film. The premier of ALIENATION was at Venice'70 in the offical selection of Venice Days and it won two awards there: Special mention from Europa Cinemas Label and Best young director from FEDEORA. ALIENATION was awarded with Best Bulgarian Feature Film at Sofia Film Festival, 2013 and with Grand prize in Competition 1-2 at Warsaw Film Festival, 2013. Milko Lazarov received award for Best director from Bulgarian film academy (2014). The Academy awarded ALIENATION also for Best feature movie, Best first feature movie and Best editing. For ALIENATION Milko Lazarov received Golden Rose, 2014 for Best director and Kaloyan Bozhilov received Golden Rose, 2014 for Best Cinematography. ALIENATION was presented at international film festivals all over the world. 59

NICO, 1988 Genre Drama Director Susanna Nicchiarelli Writer Susanna Nicchiarelli Producer Marta Donzelli, Gregorio Paonessa € 1.400.000 (€ 140.000 in place) Budget Company Vivo film Looking for Our aim is to involve international coproducers from UK, Germany and Eastern Europe (all territories in which the film is going to be shot), distributors and international sales agent. On the Italian side talks are underway with Rai Cinema, who has coproduced Susanna Nicchiarelli's previous two features.

Marta Donzelli

Susanna Nicchiarelli

Contact details Vivo film Via Giovanni Antonelli, 41 00197 Rome, Italy T: +39 06 8078002 F: +39 06 80693483 martadonzelli@vivofilm.it www.vivofilm.it

SYNOPSIS

Christa Päffgen, also known as Nico, is an ex model, singer of the Velvet Underground; she was a star of Andy Warhol's Factory, now she's just turned fifty and looks quite trashy and wasted, but there is still something irresistible about her charm. Today Nico is in her house in Ibiza, and she's going for a ride on her pink Graziella. It's July 18th, 1988: the last day of her life. We go back in time, finding her as a little girl in Lübbenau, Germany, in 1945. We're in a small graveyard next to the station of the little country town, Christa is playing around among the tombs. Where the fields meet the night sky, there is a red light, blazing: a sound of explosions is coming from there. Christa wonders what it may be: she frowns. In the same cemetery, more than forty years later, we see Nico's funeral. Here we meet beautiful Ari, twenty-five years old, Nico's illegitimate son (never recognized by his father Alain Delon), and Richard Price, a.k.a. Doctor Pluto (that's how he likes to be called). He was Nico's manager, and he worshipped the woman. Our story is Nico's story but also his story: the story of the tours they did together in the last years of Nico's life, and of the unexpressed love of this man for this special woman. Before getting on the road to start the tour, Nico buys a portable Nagra recorder with Pluto's help: she needs it to record sounds for her next album. This recorder will be her inseparable friend until, at the end of the movie, we will learn that she was looking for something specific with it. For years she's been trying to recreate the sound of the bombings of Berlin, carried by the wind, that she heard from her house in Lubbenau, when she was a little girl. It was more than a sound, it was a feeling. The feeling of defeat. First stop of the tour: Italy. Nico is not famous anymore, nobody recognizes her and they don't sell that many tickets. Italian journalists, like everybody, keep asking her about her past, the Factory,

Andy Warhol, and nothing about her present. “I am one of the few who is still alive. People like these clichés, I think. It's bad taste,” says Nico, and it's true, though she's not angry about this, she finds it funny. In fact, things go pretty well until the sleazy Italian promoter steals all their money and disappears. To pay for the hotel in Ivrea, they are forced to give a complimentary concert. Second stop: Eastern Europe. In Prague, the Czech promoter has organized an illegal concert, which means that the event will be undercover. What he has actually obtained authorization to do is a vague “artistic” performance with the attendance of an unspecified guest. The identity of this guest, in other words Nico, has not been reported to the authorities. The illegal concert is inside a gym at the far edge of the city. Nico is very sick, because she wasn't able to find heroin in Prague: she does the show in withdrawal, without understanding anything of what is going on. When the police arrives to arrest the promoter and his staff, the band runs away to Krakow. When she is sick, Nico dreams about her son. She dreams about the “gothic” graveyard of her childhood memories, she dreams about playing hide and seek with him between the tombs... Ari is so fragile, he's tried to commit suicide a few times... one day he asks his mom to stop with the heroin, and she does. She gets on a methadone program, and goes on with her tour. Next stop: Germany. Here a lot of memories come to Nico's mind. The trains that passed by her town going to Poland when she was a child, probably bringing the Jews to Auschwitz. She collects sounds of her country with her Nagra recorder, and puts up a show with her son Ari, who has followed her on the tour: while she sings he projects slides of when she was young and he was a boy, and the shows are beautiful, really moving. Nico admits that Ari is the only person she ever loved, though she did abandon him as a child. And she will never forgive herself for this. We're back in Manchester, it's the end of the tour, Nico is about to

leave for Ibiza where she will find her death. Nico is in her flat, collecting her luggage, and Pluto is helping her bring the bags down to the taxi. Mr. Wise, Nico's landlord, an eighty year old hassidic rich man, accompanies them to the door and smiles at Nico: later she explains to Pluto that he has asked her to marry him, and that that she said that yes, she will, as soon as she comes back from Ibiza. Pluto is jealous, angry and surprised. He can't bare to look her in the eyes. As Nico's taxi drives away, he stands in the middle of the road, and watches her disappear. He will never see her again. He loved her, but never found the guts to tell her. The last scene of the film is again a memory of the time of the war: in the Lubbenau graveyard, little Nico has climbed on the broken statue of an angel, she is watching, like at the beginning of the movie, the blazing red horizon and frowning. Her mom enters the cemetery, looking for her and calling out her name. Nico doesn't answer until the woman comes closer: “What's that light, mom?” she asks. Her mother looks in that direction and sighs. “That's Berlin, burning”. The mother lays a hand on her daughter's shoulder, and the film ends. DIRECTOR’S NOTES OF INTENTION

We all know who Nico is, but it is not the Andy Warhol superstar I want to make a film about: I would like to tell the story of the woman she became afterwards. When the experience of the Factory and of the Velvet Underground was over for her, when she had left the United States to return to Europe, after most of her famous friends had died... Nico became, I believe, with maturity, a very provocative and complex character, a character whose story is worth telling. In the Eighties, Nico kept on making her own austere, gloomy and experimental music, with deep vocals and impenetrable lyrics, without trying in any way to make a more commercial product that would meet the taste of the public of the time. She had a very small audience, but she was content with it: she didn't care about not 61

being young or famous anymore, she had learned the lesson from Andy Warhol, she was too ironic to seek “popularity” and to believe that being famous could give significance to her life. She kept on writing songs, recording LP's and touring around Europe, though her concerts were in small clubs and the tickets barely payed for the expenses and her heroin. This was her life. The music Nico made at that time was difficult, of course, but I believe it was by far one of the most interesting, uncompromising productions of the period. Her shows were more like performances than concerts, and her way of singing was completely out of the ordinary. The somber atmosphere of her productions reverberates the drama that Nico lived throughout her life: growing up in Germany after Nazism and the defeat, bearing a child whom his father never recognized and then abandoning him with his grandparents, her problems with drugs... In the film, all this will be in the background, irrupting in the story from time to time with flashbacks or dreamlike sequences, while in the foreground the main story-line will be the one of Nico and of the little group of people that accompanied her in the last tours of her life, around European countries in the Eighties, a time so close and yet so different from the time we live in now (the band also played on the other side of the iron curtain...). As opposed to the drama of the flashbacks, this part will be lighter, at times funny, describing a light context and describing Nico as she appears in the interviews of the time: an ironic woman of deep intelligence and experience, in spite of her serious drug problem. A woman who wasn't at all nostalgic of her fame and youth and who, on the contrary, preferred the independence and freedom she had found with maturity. Nowadays, in the era of botox and people wanting to be healthy, young and beautiful forever, I find that Nico is an extremely uncon-

ventional female figure, and this is one of the reasons why I find her story is worth telling. The way her life went towards the end tells a lot not only about how show-business and mass culture function, but also about how life goes in general, how relative and brief success is, and in what different ways people deal with failure. I find that Nico's story, as dramatic as it may appear, contains also a positive message, seen that she kept on making good music and wanting to play it and share it with others though the times for her had changed completely. Of course, the movie will have its dark moments: it starts on the day of Nico's death and in the first half Nico is still dealing with heroin addiction and regrets from her past life: but this is only a part of the story I want to tell. The message I would like to give in telling this woman's story is a message of love for life and art and music in spite of all the bad things. My idea is to shoot the movie in the style of the videos of the late eighties: I would like to imitate the look of beta-cam, giving it the rough appearance of the few videos that I found of Nico's concerts at the time. Beta-cam, Hi8, and all the non-digital video supports of the time, how ever sketchy and rough they may appear now compared to the HD, have acquired a somehow romantic flare: the movie would be a road movie of a group of losers following Nico around Eastern and Western Europe, shot in a way that imitates the quality of videos and documentaries of the time. The film is based on a real story, and it will have even in the image and style a strong touch of reality. The sources I am basing my research on for the script are all direct witnesses of Nico's last part of her life, whom I have met and interviewed personally, and they will be counseling me all through the realization of the movie: the members of her band, the Italian promoters, the Czech promoter

and Nico's manager have been telling me a lot about the last part of Nico's career and the events I mention in the script, and a lot about how Nico, herself, was. That's also why the choice of the actress interpreting Nico will be crucial: she should be around 50 and willing to appear older, able to sing and interpret all the nuances of such a complex female character, and willing to act out all the contradictions and irony of being an artist nobody recognizes in the street anymore, and a woman whose beauty is fading away. This would be my third feature movie. My first movie, Cosmonauta, came out in 2009 and was set in the sixties, it was the story of an Italian communist girl during the space race: it was a coming of age feature, a period film that told how history and politics can become a part of somebody's childhood, influencing it in every way. My second feature was instead a sort of science fiction story, the story of a woman in her forties who thanks to an old “magic” telephone comes in contact with herself as a child and tries to save her father, whom she lost when she was twelve years old after a terrorist attack. Again, in this movie, I told a private story set in a historical context, again through the eyes of a female character, in this second movie through the eyes of the same character as an adult and as a child, but with also the very “cinematic” game of science fiction. In this third movie about Nico, I will put together all the things I like the most, some of which are already in my first two movies: the reflection on the past and on the historical context (not only in Nico's memories of the German defeat will we find historical themes, but also in the present of the story, like in the episode of the illegal concert in Prague), the nature of nostalgia, music, which has always been important in my formation as an artist, and a certain tone, that all my movies have, balanced between drama and comedy,

with light moments but also important and dramatic themes. In this story there will be also a few more “mature” themes I haven't dealt with yet and that touch me very much in this particular moment of my life: themes like maternity, like the fear of ageing or of artistic failure... Nico was certainly not a good mother, but she was in my opinion a good artist, because she didn't live, like many of us do, in the constant fear of failure. She just liked doing what she did. The look of this movie will be more somber compared to my first two movies, that were shot both in 35mm and were very colorful and “classic”: in this case, I think the style will reflect the nature of the subject, the down and out conditions of a tour of a “has-been” heroin addict and the atmosphere of her music. The film should have therefore a gothic, dark and unconventional image. Just like Nico's appearance. COMPANY PROFILE

Vivo film, established at the beginning of 2004 by Gregorio Paonessa and Marta Donzelli, is an independent production company for art-house films. Vivo film’s productions include works by Guido Chiesa, Jean-Louis Comolli, Michelangelo Frammartino, Chiara Malta, Pippo Mezzapesa, Susanna Nicchiarelli, Nelo Risi, Corso Salani, Daniele Vicari. In 2007 Il mio paese by Daniele Vicari won the David di Donatello Award for Best Documentary and Imatra by Corso Salani, was awarded the Pardo d’Oro – Special Jury Prize in Locarno’s Filmmakers of the present section. In 2010 Le Quattro volte by Michelangelo Frammartino, was premiered in Cannes Director’s Fortnight Section and won the Europa Cinema Label Award. Since then, it has been sold in more than 45 countries, and has been travelling around the most prestigious

festivals receiving countless awards. In 2012 Pezzi by Luca Ferrari was awarded as Best Documentary at the Rome International Film Festival. In April 2013, Alberi a cinematic installation in loop by Michelangelo Frammartino has been world premiered in the prestigious V/W Dome of MoMA PS1, in partnership with Tribeca Film Festival. Via Castellana Bandiera, the first film by cult theatre director, Emma Dante, has its world premier in competition at the Venice Film Festival, where was awarded with the Coppa Volpi for the Best Actress to Elena Cotta. In November 2013 Wolf a documentary film by Claudio Giovannesi was premiered at Torino Film Festival where is got the Jury Award. PRODUCER’S PROFILE

Marta Donzelli was born in Turin in 1975. She lives and works in Rome. After a graduate degree, she finished her PhD in Philosophy in 2004, with a thesis on Edmund Husserl. The same year, with Gregorio Paonessa, she established Vivo film, an independent production company for art-house films. She is currently Head of the Editorial Secretariat and Member of the Editorial Board at Donzelli Publishing House. Vivo film’s productions have been selected by some of the most prestigious international film festivals. In 2011 she was Italy’s “Producer on the Move” at Cannes Film Festival; together with Gregorio Paonessa for Le Quattro volte she was awarded the “Ciak d’Oro” as Best Producer and was nominated as Best Producer for the David di Donatello Awards. In 2014 she's juror of Torino Film Lab Framework Production Award. With Vivo film she is currently committed, among others, in the post

production of Sworn Virgin by Laura Bispuri (former WEMW project, selected then by the Cinéfondation – L’Atelier 2013, Cannes Film Festival) and in the preparation of Beirut, I love you by Zena El Khalil, awarded in 2011 with the TorinoFilmLab Production and A. WRITER & DIRECTOR’S PROFILE

Susanna Nicchiarelli was born in Rome in 1975. She studied philosophy at the University of Rome La Sapienza and obtained a PHD in Film Aesthetics at the Scuola Normale Superiore di Pisa, attending courses and master classes also in Paris at the Ecole Normale Superiéure de Fontenay-aux-Roses/Lyon. She studied film direction and script writing at the University of California Los Angeles (UCLA) and in 2004 she graduated in Cinema Direction at the Centro Sperimentale di Cinematografia in Rome, Cinecittà. She directed two feature films (Cosmonauta, 2009, winner of the Controcampo prize at the 66th Venice International Film Festival; La Scoperta dell'Alba, 2013, presented in the Official Selection at the Rome International Film Festival) and, among other shorts and documentaries, two animation shorts (Sputnik 5, 2009, stop-motion animation, winner of the Nastro d'Argento Best Animation Short and of the Brooklyn International FilmFestival, Best Animation Film; Esca Viva, 2012, stop motion animation on paper, presented in the Official Selection at the Rome International Film Festival, as a Special Event). FILMOGRAPHY Per tutta la vita, documentary, 52' (Nicchia Film and Raicinema, 2014); Esca Viva, stop motion animation on paper, 5' (Nicchia Film 2012) – presented in the Official Selection at the Rome International Film

Festival, 2011; La Scoperta dell'Alba, feature film, 89' (Fandango and Raicinema, 2012) – presented in the Official Selection at the Rome International Film Festival, 2011; Cosmonauta, feature film, 85' (Fandango and Raicinema, 2009) – presented in the Official Selection at the 66th Venice International Film Festival, 2009, where it won the Controcampo Italiano Prize; the film also won the Koln Internationales Frauenfilmfestival 2010, was nominated both at the David di Donatello and Nastro d'Argento Best First Film 2010, and won the Ciak D'Oro Best First Film 2010); Sputnik 5, stop-motion animation, 8' (Nicchia Film, 2009 ) – presented at the 66th Venice International FilmFestival as a Special Event in 2009, winner of the Nastro d'Argento Best Animation Short and of the Brooklyn International FilmFestival, Best Animation Film; L'Ultima Sentinella, documentary, 50' (Vivo film – Nicchia Film, 2008) – transmitted in Italy by Current TV in September 2009; Giovanna Z. una storia d’amore, 15’ (Nicchia Film / Sky, 2005) – Prize of the Public at the International Festival of Trevignano – Nastro d’argento best actor to Luciano Scarpa; Uomini e Zanzare, medium-length feature, 62’ (Centro Sperimentale di Cinematografia, 2004) – independent and successful distribution in cineclubs around Italy - selected in various international film festivals around the world; Il Terzo Occhio, documentary, 52’ (Pupkin Production / Tele+, 2003) – trasmitted by Tele+ in April, 2003; Special Mention at Womens’ Festival Sguardi Altrove – selected in various film festivals in Italy and around the world; Il linguaggio dell’amore, short, 15’ (Centro Sperimentale di Cinematografia, 2002) - Rotterdam International Film Festival 2003

- Torino Film Festival 2003; I diari della Sacher. Ca Cri Do Bo, 24’ (Sacher Film - Nanni Moretti and Angelo Barbagallo, Tele+ and Raitre 2001) – 58ª Mostra Internazionale d’Arte Cinematografica di Venezia 2001.

People From Nowhere Genre Director Writer Producer Budget Company Looking for

Documentary Jaak Kilmi Gints Grube Antra Gaile, Jaak Kilmi € 216.554 (€ 11.409 in place) Mistrus Media Co-production partners, Sales Agent

Antra Gaile

Jaak Kilmi

Contact details Mistrus Media Blaumana street 11/13 -13 LV 1011 Riga, Latvia T: 0037129195876 F: 0037167313314 antra.gaile@mistrusmedia.lv www.mistrusmedia.lv 66

SYNOPSIS

In 1978, Ieva Lesinska was a university student in Soviet Latvia, with dreams of becoming a writer. She had just spent a heady month in New York visiting her father, Imants Lesinskis, a Soviet translator working at the United Nations. He was an employee of the KGB and a member of the Communist Party. During her trip to the US, Ieva’s father informed her that he and his wife Rasma were about to defect and gave her a blunt choice: She could take a taxi to the Soviet Embassy and denounce him as a traitor, or she could stay with him and never again see her mother or her homeland of Latvia. She chose to stay. They officially became East German immigrants with new identities: Peter and Linda Dorn, and their daughter Evelyn – citizens of nowhere who carried re-entry permits but no passports. In 1985, soon after he publicly disclosed confidential items on various KGB operations, Imants Lesinskis died under mysterious circumstances. Soon after his death, the CIA acknowledged that Imants Lesinskis “made a significant contribution to the U.S. government and this agency after his defection.” Nevertheless the CIA declined to comment on the most intriguing element of the story Lesinskis told in the 1980s – his claim that he had served as a double agent for two decades working undercover for the KGB by day, slipping secrets to the CIA by night. This is a profoundly human drama of one family in hiding. It is also a story of a young woman in the middle of spy games played on behalf of powerful nations. She is an innocent bystander, the principal narrator and protagonist, and also a victim of circumstance. Using archival materials and re-enactments, People From Nowhere will bring the past that has been so wrapped around extremely intimate details from these years in Ieva’s life close to the viewer,

so close that they will become sensuously perceptible in the same way this young woman unexpectedly entered into an unfamiliar world at the end of the 1970s and the beginning of the 1980s. This story will be Ieva’s search for truth about her father and the investigation of a Cold War in which she herself, unwittingly, took part. DIRECTOR’S NOTES OF INTENTION

This is a story of a young woman in the middle of the spy games of powerful nations. She is a bystander, but also the principal character, as well as a victim of circumstance. In Ieva’s story, I am fascinated by the opportunity to enter into a world, accompanied by her, that is exciting and full of adventure. It is also a world that hides a profound family drama. These emotionally confusing years are mostly stored in the form of photos in Ieva’s albums. There are Kodak photos with faded colors, which in their miraculous way introduce us to Ieva (who was officially not known as Ieva, but Evelyn Dorn) and the times in which the photos were taken. In many of these, we can also see Ieva with her father and stepmother in their home in America, although many of the moments and events that have key importance in her memory and that give meaning to the events of those days and her lost identity, are not depicted in these photos. People From Nowhere is based on a playful concept, where Ieva tries to restore these moments – the family’s arrival in the US, the defection, the first days in a safe house – by visually describing them, making it as if these old photos have been taken anew. My wish is to re-create these moments, where the 20-year-old Ieva finds herself in an unknown spy game and has to make a choice, one that would cut her off completely from her former life. I want to restore this world through sensory details by looking for

people and props to recall some important moments once again with the cooperation of Ieva. We will cast a woman who could be the young Ieva in the photos, and a man and woman who will play her father and stepmother. In pursuing this process, we witness Ieva’s relation to these events from the present day. We will travel with her through the same places in America that have had an important role in her memories, and unravel these moment by moment. Ieva’s active role in this re-creation process is extremely important, as are her detailed descriptions of the hidden emotions in these seemingly carefree poses in the old photos. There will be three different story-telling methods: The first is told through Ieva’s memories in her own voice. Secondly, there will be her search for the truth about her father told in an observational style with interviews. Finally, there will be the re-creations of Ieva’s active memories through re-creating old photos, visually, the most innovative aspect of the film. COMPANY PROFILE

Film studio Mistrus Media was established in 2000 by journalist and political scientist Gints Grube inviting professionals of different fields that think alike in order to develop and create documentaries, feature films, TV programmes and other projects. Since then Mistrus Media has become one of leading production companies in Latvia. Productions of Mistrus Media by the best Latvian and international film professionals have received several national and international festival awards, and local and foreign TV channels have broadcast them. Latest feature documentary “Escaping Riga” by Davis Simanis premiered internationally at IDFA 2014 and was selected by CPH:Dox 2014, as well as received awards for the Best Production Design and the Best Make-up Artist in the Latvian National Film 67

Festival “Lielais Kristaps” 2014. Furthermore the short documentary “Cats in Riga” by Jon Bang Carlsen had world premier at IDFA 2014 and has been selected for the Short Films Official Competition of the 32th Environmental International Film Festival in Paris. Mistrus Media is currently involved in the production of feature drama “Chronicles of Melanie” (supported by Eurimages) by Viesturs Kairiss, co-produced by Inland Film Company (Finland) and feature documentary "My Six Million Dollar Father" by Ieva Ozolina. Productions in development: investigative documentary “Dangerous liaisons”, feature documentary “People From Nowhere” and feature films: “Manor Boarding house” and “Boy with dog”. PRODUCER'S PROFILE

Producer: Antra Gaile Antra joined Mistrus Media in 2012 and since then she has gained profound experience in creative and historical documentaries production. Her previous experience is related with management and marketing communications of social responsibility, brand and culture projects in daily newspaper. She holds degree in Social Science and currently is preparing to receive MBA. Her latest production is documentary (almanac) “Over the River, Over the Roads” (140 min) consisting of shorts directed by seven well-known European filmmakers: Sergei Loznitsa, Rainer Komers, Jon Bang Carlsen, Bettina Henkel, Ivars Seleckis, Jaak Kilmi and Audrius Stonys. A short documentary by Jon Bang Carlsen “Cats in Riga” premiered at IDFA 2014 and is selected for the Short Films Official Competition of the 32th Environmental International Film Festival, Paris.

Selected titles: “Over the Roads, Over the River”, dir. Ivars Seleckis, Audrius Stonis, Jaak Kilmi, Jon Bang Carlsen, Rainer Komers, Bettina Henkel, Sergei Loznitsa, 140’, 2014; “Kipsala”, dir. Ivars Seleckis, 20’, 2014; “Littering Prohibited!”, dir. Jaak Kilmi, 17’, 2014 (co-producer with Jaak Kilmi); “Cats in Riga”, dir. Jon Bang Carlsen, 15’, 2014; “Daugava Delta”, dir. Rainer Komers, 20’, 2014 (co-producer with Rainer Komers); “The Old Jewish Cemetery”, dir. Sergei Loznitsa, 20’, 2014 (coproducer with Maria Choustova-Baker, Sergei Loznitsa); “Vadatajs”, dir. Davis Kanepe, 26’, 2013; “Ghetto stories. Riga”, dir. Linda Olte, 60’, 2012. WRITER & DIRECTOR’S PROFILE

Writer: Gints Grube Since 1998 has directed more than 10 documentaries. Latest release is feature documentary "Larger than life" about the artistic director of New Riga Theatre, often regarded as one of the best directors not just in Latvia, but also in Europe, who holds a strong position on the stage of international contemporary theatre. The documentary “Sounds Under The Sun” (HD, 62 min, 2010, co-directed with Davis Simanis) received Grand Prix at the International Music documentary Film festival KAMERaTON, 2011 and Special Mention for Extraordinary Artistic Achievement at the 47th International Festival Golden Prague, 2010. Gints has a notable experience in directing and possessing a deep knowledge in politics, history and cinema as well as script writing. He has excellent interviewer skills as he has held interviews with many of the great personalities of

20th century – among them Henry Kissinger, Madeleine Albright, George Soros, Vaclav Havel and many others. Director: Jaak Kilmi Jaak Kilmi graduated from the Tallinn University, majoring in film directing. He has (co-) directed and produced a string of awardwinning short films, a number of documentaries and two feature films. His documentary fiction “Disco and Atomic War” (2009) has received numerous international awards. He is well known for his socio-critical films that deal with the Soviet era and its repercussions on life in Estonia today. He is author of critical essays on books and films. Selected titles: Littering Prohibited!, 17’, 2014 Paper City, 30’, 2014 The Circus Tour, 26’, 2011 (with Andres Maimik) Disco and Atomic War, 77’, 2009 The Art of Selling, 87’, 2006 (with Andres Maimik) Came to Visit, 40’, 1997

PERSONS UNKNOWN Genre Director Producer Company Looking for

Feature Documentary Havana Marking Mike Lerner, Aleksandra Bilic Roast Beef Productions Funding, European and U.S broadcasters and co production opportunities

Aleksandra Bilic Havana Marking

Contact details Roast Beef Productions 28 Denmark Street WC2H 8NJ London, UK T: 0044 2072402885 aleks@roastbeeftv.com www.roastbeeftv.com 70

SYNOPSIS

When a body is discovered in an unmarked grave, chances are it is the ICMP (International Commission of Missing Peoples) that are called into action. The world’s experts in identifying both the body and the cause of death, the team has revolutionised the detection of mortal remains with their innovative use of scientific techniques. Set up in the aftermath of the Bosnian war by Bill Clinton, since 2001 they have identified over 20,000 people and taken over 54,000 bone samples. Under the leadership of Kathryn Bomberger (USA) they are now Interpol’s go-to unit to undertake DNA sampling and analysis – immediately flying to hurricane disasters, tsunami situations– anywhere where a sudden number of missing people and unidentified bodies occur. Alongside this, they are also crucial in the detection of murder, mass-murder and genocide however long ago. The team is made up of pathologists, archaeologists, anthropologists, molecular biologists and more. They are CSI, Sherlock, and Time Team wrapped up and for real. Led in the field by archaeologist, Ian Hanson (UK), the team deals with graves that each have a different issue or condition that makes them unique; some bodies are in mine shafts or mud slides or salt lakes... just getting the body out can be life-threatening. Their lab in Sarajevo, run by DNA expert Ana Bilic, (Bosnia), has become the centre of excellence. As Neils Morling, VP of the International Society for Forensic Genetics says: “Its work with DNA is, without doubt, the single most important achievement within the field of human identification.” They are developing techniques to find mass graves and bodies using remote sensing and infrared imagery, geo-physics and magnotrometry, and always work to integrate scientific approaches. They have become experts in using imagery and criminal profiling of mass murderers and regimes to find

graves. They give evidence at courts around the world including The Hague and truly believe that by solving the crimes of the past, they are impeding the murders of the future. We have exclusive access to the team, the lab in Sarajevo, and ID centre, run by forensic anthropologist, Dragana Vucetic (Serbia), and to the emergency units flying off at a moment’s notice to whatever disasters strike next: they went to Nairobi after Westgate, New Orleans after Katrina, Japan after the Tsunami. They have outposts in Iraq, Chile and Argentina and are continually learning from new scenarios, aiming to maximise scientific understanding and find new techniques to integrate within their process. Working with top graphic artists we will use the most exciting and sophisticated effects we can to then tell the micro story of each body found. Every aspect – and each one has a different scientist managing it - will tell a story that helps the ICMP identify the macro story: where, when and how the deceased came to be there? Finally, and most importantly, using DNA, anthropology and other forensic techniques, we will discover who the individual was and connect them with their living relatives. DIRECTOR’S NOTES OF INTENTION

The ICMP are an incredible organisation. The stories generated by their work are important, moving, gripping tales and perfect for cinema - but so too is the story of ICMP itself. At the forefront of DNA science they have innovated and experimented with the technology and achieved things no one would have thought possible a decade ago. And the science is extraordinary. So much so that I see this film first and foremost as a science film, inspiring and illuminating, getting to the heart of that discipline but also the ethics of the discipline and the bigger concepts behind it: what makes

us human? What are our responsibilities? How can we heal our societies in the aftermath of a crisis? The ICMP are contributing completely to the humanity of a region, and as such this film will try to do the same. COMPANY PROFILE

Roast Beef Productions, a London based production company, began in 2005 and has had an incredible impact in these few years and most recently with The Square and Pussy Riot - a Punk Prayer. We have had five films at Sundance, won six Sundance Awards, two Oscar nominations, two Grierson Awards, and Prix Italia. We understand how to make documentaries compelling, funny, gripping and thrilling. We are not afraid of "big" subjects: the Afghan war, organised crime, Putin's Russia, the Egyptian revolution, scientology but have been able to humanise and popularise them in every film we have made. Nor are we afraid of experimentation and original approaches to film making, working with animation, hybrid doc drama forms and new technologies and techniques. As a result our films and our success we have burst onto the global documentary scene, attracting funding from co-producers all over the world, and getting sales and distribution deals all over. We have highly functioning production facilities and we are supporting both upcoming and experienced directors, bringing their stories to a worldwide audience. The Square 2013 Dir: Jehane Noujaim, Producer: Mike Lerner Afghan Star 2009, Dir: Havana Making, Producer: Mike Lerner The Russian Woodpecker 2014, Dir: Chad Cracia, Proucer: Mike Lerner 71

Pussy Riot : A Punk Prayer 2013, Dir. Mike Lerner & Maxim Pozdorovkin Producer Mike Lerner Smash & Grab the Story of the Pink Panthers 2013, Dir. Havana Making, producer, Mike Lerner The Do Gooders 2013, Director: Chloe Ruthven, Producer Mike Lerner Scientologists at War 2013, Director: Joseph Martin. Produced by Danielle Clark A whole Lott More 2012 Director: Victor Buhler, Produced by Mike Lerner Hell and Back Again 2011: Director: Danfung Dennis , Producer: Mike Lerner PRODUCER'S PROFILE

Oscar-Nominated, Mike Lerner has been making films since 1988 for BBC, Channel 4, BFI, HBO, PBS, Discovery Channel. He has won a number of industry awards including, Academy Award Nomination for Best Documentary Feature 2012, 6 Sundance Awards (Grand Jury, Special Jury, Best Director, Audience, Cinematography) , EMMY Award for Best Documentary, 2 Grierson Awards for Best Documentary, Prix Italia, 2 Royal Television Society Award Nominations and 2 IDA Award Nominations, Cinema Eye Award, Independent Spirit Award, Gotham Independent Film Award, Audience Award Durban Film Festival, The Alfred Dupont Award, Winner Best Documentary Moscow Film Festival.

WRITER & DIRECTOR’S PROFILE

Havana Marking is a respected journalist and film maker. Afghan Star was her first feature doc, winning both the Audience & Directing Awards at Sundance 2009, the prestigious Prix Italia for Best Cultural Documentary and the British Grierson Award for Best Documentary on a Contemporary Issue. Since Afghan Star she has co-directed Vote Afghanistan! for More4 and ‘Silencing the Song’ for HBO. Smash & Grab- The Story of the Pink Panthers is her most recent feature doc, has received rave reviews around the world. Previous directing credits include The Crippendales – an uplifting and touching look at contemporary disability; The Great Relativity Show – an hilarious animation explaining Einstein’s theory. Havana has produced both Factual and Factual Entertainment for BBC1, Channel 4, Discovery, National Geographic and ITV. She has written feature articles for The Guardian, The Observer and The Telegraph.

SARAJEVO CALLING Genre Director Writer Producer Budget Company Looking for

Drama TBC Jonathan Ellen Cormac Fox, Marcos Kantis (German co-producer), David Collins (executive producer) € 1.600.000 Vico Films Balkan/East European partners

Cormac Fox Contact details Vico Films Unit D, Glencormack Business Park Kilmacanogue, Co. Wicklow, Ireland T: +353 87 646 0406 F: +353 1 201 4999 cormac@vicofilms.com www.vicofilms.com 74

SYNOPSIS

Sarajevo Calling is a black comedy about Fazla, a charming but troubled musician, who is catapulted to the international stage, courtesy of the Bosnian government who select him to represent the country as their first ever Eurovision entry. Based on a true story, the film takes place during the siege of Sarajevo in 1993. The Bosnian War was the bloodiest conflict on European soil since World War II and the Bosnian government were desperate to get the attention of the West in hopes that the Western World would intervene in the war. In a moment of either madness or genius, the Minister of Culture decided what better way to raise Bosnia’s international profile than on stage at the Eurovision. And so it was that Fazla heard of this idea and saw a way to escape the siege, flee a country he had grown to care little for and become a star. So begins a very unique road movie that celebrates humanity’s hopes and humour in the darkest of days. After initial scepticism and great difficulty, Fazla manages to form an eclectic band, full of colourful characters. Unfortunately, during the process his relationship sours with his girlfriend. She leaves him and flees Bosnia, Fazla not knowing if she has broken through the Serbian lines or being killed in the process. The band record their song “All the Pain in the World”, produce a fantastically cheesy music video amongst a crumbling Sarajevo and are then tasked with the dangerous job of breaking through the Serbian lines and into Slovenia, where they will compete in the regional qualifications. After a tense qualification process, as well as some terrible dance choreography and ridiculous costume malfunctions, they finally arrive in Cork, Ireland for the Eurovision itself. Throughout this time, the Serbians are well aware of Fazla’s plans and are determined to stop him every step of the way.

The final performance in Ireland is quite poor. The band is disappointed, knowing they have no chance to win. To make matters worse, the Bosnian voting committee in Sarajevo is unable to make contact with Ireland to pass on their votes. All seems lost. Finally however, the Bosnians make contact with Cork and through a terribly distorted phone line with gunfire audible in the background the votes are relayed. And as this happens, a ripple of applause spreads across the audience, which turns into a standing ovation. It proved to be a turning point in the war. The Irish were the first people to put pressure on their government to intervene in the war. And like a domino effect the Irish government were the first government to put pressure on the international community to intervene. Sarajevo Calling is most definitely a dark comedy (it is hard to think of the Eurovision with anything other than a smile) but it is set against the backdrop of an awful war. The story focuses on the journey of Fazla and his companions and the sacrifices that many made along the way. During that standing ovation in Cork, Fazla was finally hit with the realisation of what they had achieved, a profound sense of pride for his country, and a longing to return to a country he was previously so keen to flee. COMPANY PROFILE

feature-length film and theatrical documentary projects, the company’s recent feature film credits include King of the Travellers and Dark By Noon. The company has recently wrapped shooting on History’s Future (dir. Fiona Tan) – a co-production between Vico Films, FamilyAffair Films (Netherlands) and RohFilm (Germany). PRODUCER'S PROFILE

Cormac Fox established Vico Films in 2003. He has worked as a producer and co-producer on several feature films, as well as producing more than a dozen short films, earning the company over 20 awards at prestigious international festivals and events (Venice Film Festival, Los Angeles International Film Festival, BBC3 New Filmmakers). In 2012, Fox produced King of the Travellers (dir. Mark O’Connor) which secured UK and Irish theatrical distribution in 2013 through Metrodome UK and in 2014 was released on VOD platforms across 42 international territories through Under The Milkyway. His most recent productions include the feature documentary The Devil’s Pool (dir. Cecily Brennan) and the sci-fi feature film Dark By Noon (dir. Alan Leonard & Michael O’Flaherty) which received its premiere as the Closing Film at Sci-Fi London in May 2013 and has since been picked up by US sales agents Tomcat Films. Fox is currently developing a slate of feature film projects and theatrical documentaries. Cormac is a graduate of ACE, EAVE and Screen Producer 3. Most recently, he has co-produced History’s Future – a co-production between his company (Vico Films), FamilyAffair Films (Netherlands) and RohFilm (Germany). The film is due for completion in May 2015. Cormac’s next project is the Irish-Welsh horror film A Dark Song, scheduled to shoot in Spring 2015.

WRITER & DIRECTOR’S PROFILE

SARAJEVO CALLING SCREEN-PLAY – 2011 Set against the flames of the recent war in Bosnia, the bloodiest conflict witnessed on European soil since 1945, Sarajevo Calling is the true story of one man’s journey from starvation to stage fright as he attempts to save his country through the power of pop and become Bosnia’s first entrant in The Eurovision Song Contest. DINNER WITH A DICTATOR STAGE-PLAY – 2004 – first performed at The Wickham Theatre, Bristol – October 2004. From inside his fortified compound on the outskirts of Belgrade, Slobodan Milosevic was playing for time. His wife Mirsa was drunk, their son Marko was high and their daughter was, as her father was only too happy to point out, overweight. With NATO Special Forces at the gate and Serbian troops still loyal to the aged dictator on the roof, a bloodbath seemed inevitable. Dinner with a Dictator is the true story of the young law school graduate name Jovan who was sent to the Milosevic front door with a final plea to see reason. He ended up staying for supper. PEELED OVER FILM AND STAGE COMEDY SKETCH SHOW – The Orange Club London 2004-2007 and Edinburgh Festival 2006. Co-writer for this monthly mélange of original stage, film and standup sketch comedy. Winner of The Big Boost Award for new comedy in 2006. NEWSREVUE COMEDY SKETCH SHOW – The Canal Club London 2008. Co-writer for one season of this multi-award winning weekly satirical look at the world’s news.

ACTOR - THEATRE Wuthering Heights - UK No. 1 Tour – 2004/2005 - Ian Dickens Productions Comedy of Errors – The Tabard Theatre London – 2005 – LOST Productions. Newsrevue – The Canal Cafe – 2008 – James Witt La Ronde – Brockley Jack Theatre – 2008 – Simon Beyer Race to Win – National Theatre Museum – 2008 – Susan Lund A Clockwork Orange - The Broadway Theatre 2006 - Cameron Jack Productions Our Country’s Good - Grange Court Theatre London - Kit Thacker RADIO Quay F.M. Channel Islands - Drive Time Daily host - 2009 Burst F.M. Bristol - The Lunch Hour host - 2004 TV AND FILM Seconds from Disaster – 2007 - Darlow Smithson Productions Comedy Box – 2006 - Warner International Weekend Lovers – 2005 - Little Kiran Productions ACTING AGENT - Val Horton, New Faces Ltd, 2nd floor The Linen Hall, 162-168 Regent St. London W1D 5TB. +44(0) 20 7439 6900 info@newfacestalent.co.uk QUALIFICATION HISTORY London School of Journalism - Travel Journalism (1st) – 2008. Drama Studio London – M.A. Acting – 2004. Bristol University - B.A. Drama, Theatre, Film and Television (2/1) – 2001 to 2004.

STITCHES Genre Director Writer Producer Budget Company Looking for

Drama Miroslav Terzic Elma Tataragic Uliks Fehmiu, Milena Garfield € 600.000 (€ 100.000 in place) West End Productions Germany, Italy

Uliks Fehmiu

Milena Garfield

Contact details West End Productions Stanisalva Sremcevica 5 11000 Belgrade, Serbia T: +16462477361 artisanpa@yahoo.com 78

SYNOPSIS

Miroslav Terzic

Ana is a 45 year old woman living in Belgrade with her husband, who works as a night guard at a company about to collapse, and her 21-year-old daughter Ivana who is a student. Ana's life has a routine. She wakes up every morning, cleans her well-kept apartment, greets her husband with a breakfast after his night shift and leaves for work in her seamstress studio. In the studio she has a world of her own, surrounded by clients and clothes. But Ana also has a secret. Every day she makes little round ups to the local hospital, apparently close to her workplace and waits for a particular lady. One day her routine is broken by a sudden visit by Olivera, whom Ana has had close contact to in the past. Olivera is bringing her an invitation to an annual meeting of a certain group: soon to be discovered as the Association of Parents of kindapped newborn babies. Ana is agitated by her visit, she is clear: her son died while she was in labour while Olivera reminds her that not so long ago she stronly claimed the opposite. Olivera leaves and Anna tries to ignore her visit. But it does not work that way. She decides to put an end to the story, close her 17-year-old case at the police station and get the death certificate to finally have closure of the story. But, the trip to the administration office will soon lead her to new information indicating that the child might be alive after all. With the help of a kind lady from the administration she even manages to get the name of the child. Meanwhile, she is keeping this a secret from her husband, who slowly senses that something is going on, and from her daughter Ivana, who has her on problems on her mind. Ana decides to act: the lady she has been following is apparently the doctor who delivered the baby - she manages to blackmail her into letting her have all the neccesery documents from the hospital,

but soon she is to discover that this will not go so easily. She is attacked on the street by a man trying to steal the dossier from her. It is not possible to keep this a secret anymore and her husband corners her. He does not want to go tbrought the hell of reviving the dead baby again and he will not stand and watch her have another breakdown which she obviously has had in the past. But Ana cannot stop now. With the help of her sister she manages to track down the boy who is 17 now in a small town close to Belgrade. As Ana gets closer to discovering the truth, her family begins to fall apart: Ivana is worried she is pregnant while Ana's husband cannot deal with Ana going through the past again. But after Ana becomes absolutely sure about her son's identity, her husband joins her side and they both try to visit the boy's family and speak to them about the truth. The other family is not eager about the news and they kick Ana and her family out - with the help of the son. Ana gives up, but Ivana does not. She soon discovers she is not pregnant and after that she sets up a meeting between her brother and her mother. The boy is furious - he does not want to see them ever again and does not care about the truth. But Ana is more content: she has found her son, she has told him the truth and she is now ready to meet the future. On the other side, the boy is not so calm any more. He discovers where Ana lives and when nobody is home, he breaks in from time to time and spends some time in the home that was supposed to be his. It becomes a matter of time until he decides to make the right move. DIRECTOR’S NOTES OF INTENTION

I became a father for the first time in 2001. That same year, a few months before the biggest event of my life, I heard the story

about fetal abduction in hospitals. The story about their selling; false death certificates; deceived mothers and ruined families. The birth that was about to happen, provoked fear in me, not only due to the natural question if everything would be all right, but rather whether we would fall into a similar turn of events. Decisive in fighting this battle, I started to dig, investigate archives and look for witnesses that wanted and had something to tell about this matter; a matter that rarely rises in the press and seems more as a story from a “Believe it or not” column; the one that disappears so quickly almost as if it was fictitious. Yet, was it? Maybe it was. But if it wasn’t, the truth would make all of us accomplices, because of the fact that we didn’t do anything about it. For a long time I was asking myself why didn’t any legal body react - the prosecution office, police, professional medical associations… I’ve found in Archives of “Politika” (the oldest and most popular newspaper in Serbia) dozens of articles about fetal abductions. All cases had the same pattern. The child is delivered. Tired mother is sedated. When she wakes up she is told that her baby has died. She is advised not to see the baby’s body, as the body is treated as a pathological waste and it looks disturbing. The autopsies are incomplete and unsigned. The death certificates are fabricated. All documentation is either contradictory or incomplete. The prices for a baby sold ranged from 250000 German marks to a bottle of brandy and two kilos of coffee. None of the cases have ever been solved. The majority of the cases had occurred during the late eighties and early nineties in the dawn of the war that tore Yugoslavia apart. I saw these events as the ultimate evidence of our human and moral deterioration that we still have not recovered from. A few years ago I met Mrs. Drinka Radonjic. She was my aunt’s 79

seamstress. After twenty years she managed to find her child and was proofing her case in court. I went to a tailor shop in the center of Belgrade to interview Mrs. Radonjic. She was a firm, brave and humble woman. Drinka found her son but he didn’t want to meet her, as he was told that his mother abandoned him when he was born. She did not have a lawyer, she was representing herself in court. She was telling us her story slowly. She didn’t let the emotions overwhelm her. Only at one moment, while she was talking about her son, and the feeling she had when they told her that he passed away, her voice trembled. Her stitches started to break. There are over 300 families that are trying to find their children. There are over 300 different stories and many more unheard voices. I’ve decided to tell one of them.. COMPANY PROFILE

The company, which produced in East Europe mainly from offices in the West, was founded by Milena Garfield and Uliks Fehmiu In 2010 West End was the main producer of the White White World with the coproduction partners Ostlicht Filmproduktion Germany and Hepp Film, Sweden. The film was shown in more then 30 international festivals all around the world (including Tribeca New York, Pusan, Korea, Mar del Plata, Argentina) and won numerous awards, among others Silver Leopard in Locarno Film Festival and Gran Prix in Cottbus Festival. White White World has been selected among 40 best European movies 2011 by the European Film Academy (EFA) The company has just completed the shooting of Oleg Novkovic’s new film “The Others” supported bythe Serbian Film Cent80

er, Serbian Ministry of Culture, Swedish National TV and MDM Fund,Germany. PRODUCER’S PROFILE

Milena Garfield is a pioneer of private and theater production in Eastern Europe. As associate artistic director and marketing director of Belgrade Drama Theater, she produced biggest hits of the ’90s using her concepts of theater marketing. She was managing director of Saatchi& Saatchi Advertaising, Balkans, and managing editor of “New Moment” magazine for visual arts. She lives in Washington D.C. Uliks Fehmiu, a film and theater star in Yugoslavia, left for America in the ’90s. He returned to the region with several leads in the films, including the lead in Oleg Novkovic’s “Tomorrow Morning”, and “ White White World” as well as “Redemption Street” directed by Miroslav Terzic for which he won the best actor award at the Sarajevo Film Festival in 2012. He lives in New York City. WRITER & DIRECTOR’S PROFILE

Miroslav Terzic - Director As of 1998 he worked as a freelance artist - director and screenwriter. He cooperated with the biggest advertising agencies in the region, such as Media Plus, Leo Burnett, Oghilvy & Mather, Saatchi and Saatchi, McCann, BBDO, Spectra, Kreativa, Incognito, Idea plus DDB ,Young & Rubicam/ Milan etc. for some of the major advertising campaigns. Some of his commercials were awarded at Eurobest, EPICA and Golden drum festival. His first feature film Redemption Street was successful both with film audiences as well as with film critics and festival selectors. The

film which has been sold by Fortissimo Films has been awarded at many festivals including Sarajevo Film Festival and Cottbus Film Festival. STITCHES will be his second feature film. Elma Tataragic – Writer Elma Tataragic has graduated Dramaturgy (Screenwriting and History of Cinema) at Sarajevo Academy of Performing Arts and obtained her Master of Science degree and PhD in Film and Literature. She has been with Sarajevo Film Festival since it was founded in 1995, where she now works as selector for Competition Program. She co-wrote short film FIRST DEATH EXPERIENCE and wrote and produced short NORTH WENT MAD. She has produced and cowritten the feature film SNOW shown at Cannes 2008 – Semaine de la critique where the film won the Grand Prix. The film has been shown at over 80 festivals and won over 30 international awards. She is General Secretary and a member of Filmmakers Association of BiH. She has been teaching screenwriting at Sarajevo Academy of Performing Arts since 2002, now as a professor. She is member of European Film Academy. She has published a book on screenwriting and is also working as a script doctor for Eurimages (EU coproduction fund) as well as advisor to European Film Academy and was a delegate for Rome Film Festival in 2012 and 2013.

The Incident Report Genre Director Writer Producer Budget Company Looking for

Drama Naomi Jaye Naomi Jaye Naomi Jaye € 1.000.000 Tremendous Productions Balkan/Eastern European co-producer

Naomi Jaye

SYNOPSIS

Miriam Gordon has been emotionally paralyzed since her father’s suicide over a decade ago – his body discovered surrounded by his massive book collection. No coincidence she ends up working in a library surrounding herself with books. Miriam is not a person who recovers. The library is in the heart of a neighbourhood home to the mad and the marginalized. It’s patrons and their absurd interactions with Miriam become material for the wry poetic ramblings she writes everyday on blank ‘Incident Report’ forms she finds in the library. Miriam’s carefully orchestrated world begins to unravel when she receives a series of odd, and increasingly threatening letters. Their mysterious author cast himself as the tragic hunchback Rigoletto from Verdi’s opera, and Miriam as his daughter Gilda. Amidst this strange world, Miriam meets a Slovenian artist named Janko and opens up her heart to romance. As love and emotion weave their way back into Miriam’s life, memories from her past start flooding her world in the form of apparitions in the library. The letters grow more and more menacing, but before Miriam can discover the identity of Rigoletto or the reason behind the mysterious notes, a brutal murder changes the course of her life. DIRECTOR’S NOTES OF INTENTION

Contact details Tremendous Productions 223 St Clements Ave M4R 1H3 Toronto, Canada T: +1 416 559 99800 naomijaye@gmail.com 82

I am drawn to stories that wedge themselves firmly between tragedy and comedy. The brilliance of The Incident Report lies in the number of laugh out loud moments that exists in this otherwise bleak world. Miriam works at the Allen Gardens branch of the Toronto Public library, a neighbourhood plagued by poverty and mental illness. Be it a man who directs traffic with a tea bag, or a woman who wears her tennis skirt flung over her shoulder like a toga, Miriam

finds herself trapped in a dark comedy of the unbalanced. It is this ‘unbalance’ that I am interested in exploring - the line between reality and fiction, imagination and memory. In a place where most people’s realities would be considered delusional, the lines are blurry. I want the audience to slowly untangle what is real, what is memory, what is story and what is fiction, allowing them to feel the full emotional impact of what is happening inside Miriam’s mind as she is forced out of her protective shell. I imagine the safe haven Miriam creates for herself in the library to be very still and controlled, monochromatic, static – filled with straight lines, clocks, manuals and order. The unusual library patrons and strange visions she sees will give a magical realist feel to the film, but will fit into Miriam’s world seamlessly. I don’t want to signal that they might not be real; they are a very strong and tangible part of Miriam’s experience. As emotion and love start to weave their way back into Miriam’s life, Allen Gardens, where she and Janko meet, and Janko’s apartment, will slowly start to pulse with energy and sensuality created through the use of colour, sound and movement. I am excited to create a film where the insane can find themselves at home next to the mundane, excited to explore the visuals of the rich inner world Miriam creates for herself where imagination, memory and reality all overlap. I am excited to bring the world of The Incident Report to the big screen.

outlandish musical feature WAXING POETIC and a UAE/Canada project THE COMMON FATHER, Tremendous Productions is looking for co-producing partners in Europe, Asia and the Middle East, with the desire of creating relevant and lasting partnerships across the world. PRODUCER, WRITER & DIRECTOR’S PROFILE

Award winning filmmaker Naomi Jaye’s roots in visual design bring a distinctive charm to her work that often focuses on the comedic side of human frailty. Her debut feature film THE PIN is one of North America’s only Yiddish language films to be made in over six decades. It premiered at Cannes 2013 as Part of Telefilm Canada’s Perspectives Canada, and won the Grand Prix at the Warsaw Jewish Film Festival. THE PIN opened in theatres across North America to rave reviews, and made the ‘Top 5 Canadian Films at the Box Office’ during its Toronto run. Alumnae of the TIFF Talent Lab and The Women in the Director’s Chair, and winner of the WIFT New Vision Mentorship, Naomi is hard at work adapting Martha Baillie’s Giller Prize listed novel THE INCIDENT REPORT.

COMPANY PROFILE

The Italian Chapel Genre Director Writer Producer Budget Company Looking for

Romance Emily Young John Wrathall, Emily Young Andrew Bendel, Cristiano Bortone € 3.600.000 (€ 1.276.931 in place) Blue Horizon Productions Equity, sales agent, presales, gap

SYNOPSIS

Framed by the true story of how a group of Italian prisoners of war built a place of worship in their Orkney island camp, The Italian Chapel tells the romance between one of the soldiers, Angelo, and Inga, a beautiful young girl living on a neighbouring island. DIRECTOR’S NOTES OF INTENTION

The Italian Chapel will be wild, beautiful and elemental; the extremes of weather, isolation and the harshness of camp life making the intimacy between Inga and Angelo - and the intricate wonder of the chapel - seems even more miraculous. I am fascinated by the fact that their relationship and Angelo’s creation of the chapel happen not despite but because of the difficulties of island life. I love that this is a film of contrasts that twine together to create beauty. I hope the audience will leave the cinema with their hearts breaking for Inga and Angelo and their impossible love, as well as marvelling at the power of love and art to transform people. COMPANY PROFILE

Andrew Bendel

Emily Young

Contact details Blue Horizon Productions 7 Old Pye Street SW1P 2LD London, UK T: +44 7802 853 263 ajbendel@bhprods.com www.bluehorizonproductions.co.uk

Blue Horizon Productions works across narrative fiction and documentary feature films, and now high-end television drama. Projects include an original thriller by Jeffrey Caine (Oscar nominee for The Constant Gardener screenplay), a love story by Emily Young (BAFTA winning director for her debut feature Kiss of Life), and a romantic comedy by award-winning commercials director Tom Connolly, to star Toby Jones. Blue Horizon is also developing a drama series with partners in Scandinavia and Germany. Development partners include the BFI, the Tribeca Film Institute, Equinoxe Europe and Channel 4.

PRODUCER’S PROFILE

After studying modern languages, Andrew worked for screenwriter Bruce Robinson (The Killing Fields; Withnail and I) on his adaptation of Germinal for Warner Bros. Andrew then joined the Special Features Unit in BBC-TV Drama, a boutique unit specialising in factually-based drama, where he worked with writers and in-house producers. After producing the feature film adaptation of Julian Barnes’s Metroland, Andrew produced theatre in Edinburgh and in the West End, and is developing a range of narrative fiction and documentary projects in the UK, Europe and the US. He is also developing a series of crime novels for Channel 4. He is a BAFTA voting member.

for Working Title's new writers' scheme. He is currently working on a screenplay with director Jamie Thraves (The Lowdown, The Cry of the Owl). Before becoming a screenwriter, John read History at Oxford and worked as a film journalist.

WRITER & DIRECTOR’S PROFILE

Emily Young Her highly critically acclaimed feature film Kiss of Life starring Peter Mullan was in official selection in Un Certain Regard at Cannes, was nominated for the Best Directorial Debut Prize at the British Independent Film Awards and won the prestigious Carl Foreman BAFTA for Special Achievement in a first feature film. She directed the feature adaptation of Paulo Coelho’s novel Veronika Decides To Die, a Das Films and Muse Films production starring Sarah Michelle Gellar and David Thewlis. John Wrathall Screenwriting credits include The Liability, starring Tim Roth, and Good, starring Viggo Mortensen and adapted from the play by C.P. Taylor, which was selected for the Toronto International Film Festival in 2008 and released in the UK by Lionsgate in 2009. His first commission was the original screenplay The Italian Chapel, 85

The Manakia brothers Genre Creative documentary Director Eliza Zdru Writer Eliza Zdru Producer Alexandru Teodorescu (Raluca Manescu - executive producer) Budget € 370.000 (€ 231.200 in place) Company Sagafilm Looking for Co-producer

Raluca Manescu Eliza Zdru Contact details Sagafilm Dimitrie Racovita street, no. 8, district 2 23991 Bucharest, Romania T: +4 021 317 33 60 / +4 0721 809 440 rmanescu@sagafilm.ro www.sagafilm.ro

SYNOPSIS

While trying to find out the truth about an old photograph of her greatgrandfathers taken in 1923 somewhere in the Balkans, the director goes on a trip in the region, to recreate on film the troubled story of the two people who allegedly took the photo - the Manakia brothers. The Manakia brothers are considered to be the Lumiere Brothers of the Balkans. They took thousands of photographs in villages and cities throughout the Balkans, then bought their first film camera in 1905 and started making documentary-style short films, portraying the people from their community and almost all the important political events of the region. Oddly enough, their life story is not so well-known, so trying to recreate it is the main aim of the director in this documentary. DIRECTOR’S NOTES OF INTENTION

Because I belong to the same ethnic minority that the brothers belonged to – the Aromanian / Vlach ethnic minority, I feel this documentary is for me a way of tracing back the history of my ancestors, especially because the life and work of the Manakia brothers coincide with the most important and most troubled part of the Vlach history and of the whole Balkan region. This is why my main intention is to use my personal POV to tell the brothers’ story, throughout the film. This will be a form of pursuit of the truth about the photograph of my great grandparents. However, to me, the story of the Manakia brothers is of equal importance as it coincides with the beginnings of cinema. Their story is the story of the early days of the cinematographe. Milton and Ianaki are to the Balkans what the Lumière brothers were to the whole world. I feel that, given both my own true interest in cinematography and in my ancestor’s past, the story of the Manakia brothers has in it the two most important issues that interest me most at this particular point. I almost feel that it’s mandatory for me to pursue this project.

COMPANY PROFILE

Saga Film is one of the biggest production companies in Romania. In 2007, it co-produced the Palme d'Or winner, "4 MONTHS, 3 WEEKS and 2 DAYS", directed by Cristian Mungiu. In 2010, Saga Film produced the debut feature "OUTBOUND", directed by Bogdan Apetri, after a story by Cristian Mungiu and Ioana Uricaru. The film premiered at Locarno IFF. In 2013, Saga Film produced "THE UNSAVED", directed by Igor Cobileanski, with a script by Corneliu Porumboiu. The film was nominated for 11 awards by the Romanian Film Industry in 2014. Saga Film currently develops the 3 debut features - 2 documentaries and one fiction, all of them having received state funding from the Romanian CNC in 2011, 2013 and 2014. PRODUCER’S PROFILE

Alexandru Teodorescu is Saga Film’s director. Under his supervision, Saga Film co-produced the Palme d’Or winner "4 MONTHS, 3 WEEKS and 2 DAYS", directed by Cristian Mungiu and produced by Mobra Films and the documentary "LA NOUVELLE VAGUE DU CINEMA ROUMAIN", produced by De Films en Aiguille and directed by Marius Doicov and Vincent Guyottot. The first short film that Alexandru produced with Saga Film was "THE YELLOW SMILEY FACE" (2008), directed by Constantin Popescu, which was selected at Locarno Film Festival and awarded at film festivals in Belgrad and Trieste. Alexandru Teodorescu’s first produced feature was "OUTBOUND" (2010), made after an idea of Cristian Mungiu and Ioana Uricaru and directed by Bogdan George Apetri. The film received the FIPRESCI Award at Warsaw IFF and Viennale and The Golden Alexander for Best Film in Thessaloniki FF. "THE UNSAVED", one of Alexandru Teodorescu’s latest finished productions, is the debut feature of Igor Cobileanski, with a script by Ro-

mania’s acclaimed director Corneliu Porumboiu. It premiered at Karlovy Vary IFF and was awarded The FIPRESCI Award at Cottbus IFF. Raluca Manescu is the executive producer of The Manakia brothers and the representative of Saga Film at WEMW. She has graduated The National University of Film and Theatre in Romania (UNATC) in 2013 and has an MA in Film Production. She wrote and produced several shorts as an independent screenwriter and producer, films that were very appreciated at festivals such as: Cottbus IFF, Sarajevo IFF, Thessaloniki IFF, Namur IFF. This year, her debut feature as screenwriter and production coordinator, will have its premiere. Raluca is working as a development executive producer at Saga Film and together with Alexandru Teodorescu, she is currently developing 4 feature films (2 documentaries and 2 fiction features) that were all granted state funding. WRITER & DIRECTOR’S PROFILE

Eliza has a degree in Film and Television Studies and a degree in Communication and Public Relations Studies. She has been part of a few documentary film workshops such as Storydoc (Greece/ Germany), BDC Discoveries (Bulgaria, Kosovo) and Aristoteles Workshop (Romania). Eliza has just finished her first feature-length documentary – “Songs for a Museum” (http://songsforamuseum.film-documentar.ro/), a film about the journey of four 84-year-old Aromanian polyphonic singers and the disappearance of a musical tradition along with the singers’ fading-out memory. “The Manakia Brothers” will be her second feature-length documentary. The project won the award for Best Pitch at the second edition of the BDC Discoveries workshop held in Prizren, Kosovo (august 2013). 87

THE OLDEST MAN ALIVE Genre Director Writer Producer Budget Company Looking for

Fiction Antonio Tibaldi Antonio Tibaldi, Ryan Brown Katie Mustard, Francesco Bonsembiante € 1.718.020 (€ 859.010 in place) Mustard & Company, Jolefilm International Sales

Katie Mustard Francesco Bonsembiante Contact details Mustard & Company - Katie Mustard 1100 S Hope Street #404 LA, CA 90015 T: 213 618 8105 katie@katiemustard.com

Jolefilm Via Quarto 16 - 35138 Padova, Italy T: +39 049 8718175 F: +39 049 8735263 info@jolefilm.it | www.jolefilm.com

Antonio Tibaldi

SYNOPSIS

A 90-year-old inventor who lives in an ancient New York City brownstone tries to kill himself after the death of his wife. By chance, he is saved by a stranger, a young Romanian woman in whose own life and problems he increasingly gets caught up. But the more involved he gets, the more his son and daughter-in–law grow suspicious about the woman’s true motives. With humor and heart, this family drama about new beginnings tells the story of an old man who unexpectedly finds the urge to live, and the jealousies, fears, and regrets it provokes around him. DIRECTOR’S NOTES OF INTENTION

In 2007 I was fortunate to meet John Doyel, a real life inventor. He was 90 years old, more than twice my age, and he became one of my closest friends. He always went around the city with a camera around his neck, taking pictures of water, of the effects of the wind, of shadows, of shapes that drew his attention. His curiosity and humble spirit were addictive and inspiring. Whenever I was in his neighborhood, I would call him and drop by his old, creaky townhouse. We would talk about whatever was on our minds, the books we were reading, our projects… it wasn’t long before we started making short films together, all of which were shot in and around his house, the oldest dwelling in Chelsea, Manhattan. One of the shorts we made was a little more ambitious than the previous ones. We were a crew of ten people, shooting for four days in his brownstone. John was acting in the film. He occupied the basement and 1st floor of his house while his daughter, sonin-law and granddaughter lived on the upper floors. When we were shooting—and surely disturbing the rhythm of the house—I

occasionally ran into John’s daughter in the entrance and hallways. I could sense that while happy to see her father busy and creatively involved with a group of much younger people, she was also concerned that we might be taking advantage of him. Maybe she thought her father was financing the short? I also detected a possible hint of jealousy: was her father’s curiosity and openness to new experiences something she had already given up on, although forty years his junior? That experience was the spark that motivated us to start developing THE OLDEST MAN ALIVE. In the story we wrote, Jack came out as a sort of last man standing of a much mythologized, much nostalgia-ized, much spoken & written about era. He is the embodiment of a lost idea of the American male and American masculinity... an Emersonian self-reliant WWII vet, a pilot, soldier, bohemian, painter, inventor, businessman, marketer, millionaire ... someone who helped save the world from possibly the greatest evil threat of all time, the Nazis ... When he meets Anca, she inspires in him a renewed irrepressible hunger for life. This film represents for me the opportunity to integrate what I have learned in the past 10 years making non-fiction films with my previous filmmaking experiences. I will put the actors in an environment where they will need to surprise one another. The camera will never anticipate the action. We will try to capture the spark and energy of the characters and the natural comedy of the situations in contrast with the gloom of the basement, with its growling furnace and narrow windows. The house, a character in itself, will carry an ancient, at times unsettling atmosphere. COMPANY PROFILE

JOLEFILM is a cinema, documentary and theatre production company founded in Padua (IT) in 1999. Its productions have always

aimed to develop public awareness of current topics tied to Italian and European territories. Jolefilm produces famous Italian actor Marco Paolini’s theatre and broadcast works as well as documentaries, short films and feature films by emerging talented authors. In 2011 the company produced Andrea Segre’s first feature film SHUN LI AND THE POET which was screened in many international festivals and received numerous awards (i.e. LUX prize, David di Donatello). The film has been released in more than 30 countries. In 2013 Jolefilm produced Segre’s second feature film, FIRST SNOWFALL, which premiered at 70. Venice Film Festival - Orizzonti Competition. PRODUCER’S PROFILE

KATIE MUSTARD (MUSTARD & COMPANY) Named as one of Variety’s Top 10 Producers in 2014, Katie Mustard has an impressive resume for a young producer. An Honors graduate of the USC film school, Katie has overseen the production of 35 movies, 20 short films, 3 feature documentaries and dozens of commercials in just under a decade. Last year, Katie Produced 5 films including Simon Helberg’s WE’LL NEVER HAVE PARIS (SXSW 2014) with Alfred Molina and Maggie Grace; Paul Bettany’s directorial debut SHELTER (TIFF 2014) with Jennifer Connelly and Anthony Mackie; & the Documentary feature THE CONSOLE WARS with Scott Rudin and Seth Rogen. This past January, Katie had her Ninth film premiere at the Sundance Film Festival with Desiree Akhavan’s debut APPROPRIATE BEHAVIOR. Other past Sundance premieres include Andrew Dosunmu’s RESTLESS CITY; THE GREATEST (Pierce Brosnan, Carey Mulligan, Susan Sarandon); NIGHT CATCHES US (Kerry Washington and Anthony Mackie) which went onto be nominated for an Independ89

ent Spirit Award; & the highly acclaimed short IN THE MORNING which screened before the US Congress on Human Rights. As a physical producer, her credits include MADE IN CHINA (winner Best Feature at SXSW 2009); Natalie Portman’s short film EVE (Venice FF 2008 starring Lauren Bacall, Ben Gazzara, and Olivia Thirlby); THE SON OF NO ONE (Sundance 2010 with Al Pacino, Katie Holmes, & Channing Tatum); THE MISSING PERSON (Sundance 2009 with Michael Shannon & Amy Ryan); & A CASE OF YOU (Tribeca 2013 with Evan Rachel Wood, Justin Long, Sam Rockwell, & Vince Vaughn). Katie has also worked in the Studio space with Paramount Pictures on films such as THE DEVIL INSIDE which top'd the box office scales as the largest grossing genre film of its time. Currently, Katie is producing DAUGHTER OF GOD staring Keanu Reeves & STICKY NOTES with Ray Liotta, Rose Leslie and Justin Bartha. Katie is represented by UTA. FRANCESCO BONSEMBIANTE (JOLEFILM) Graduated in Film Studies at the University of Padua, where he still lives and works today, Francesco Bonsembiante started to produce documentary films in 1999 with Carlo Mazzacurati’s RITRATTI (PORTRAITS, 1999-2002), a series of three documentaries dedicated to writers Mario Rigoni Stern, Andrea Zanzotto and Luigi Meneghello. On this occasion he met famous Italian actor Marco Paolini and they later founded the cinema and theatre production company Jolefilm. For Jolefilm, Francesco Bonsembiante has produced documentaries, short films and feature films. In 2011 he produced Andrea Segre’s first feature film SHUN LI AND THE POET and obtained Franco Cristaldi prize as well as the nominee as best producer for the David di Donatello and the Ciak d’Oro. In 2013 he produced Segre’s second feature film, FIRST SNOW90

FALL, premiering at 70° Venice Film Festival – Orizzonti Competition, and the documentary UNDUE DEBT by Vinicio Capossela and Andrea Segre, presented at 66° Locarno Film Festival. WRITER & DIRECTOR’S PROFILE

ANTONIO TIBALDI (co-writer and director) Antonio Tibaldi has written and directed 5 feature films in the US, Canada, Australia and Italy. Credits include ON MY OWN (Alliance Atlantis), LITTLE BOY BLUE (Warner Bros.), CLAUDINE’S RETURN (Miramax), and CORRERE CONTRO (Fandango). His films have been presented at major international festivals, including Sundance (3 films), Berlin, San Sebastian, Amsterdam, Rotterdam, Montreal, Hamptons. He has been nominated for 6 AFI (Australian Film Institute - Australia’s Academy Award equivalent) awards and 1 Genie (Canada’s Academy Award equivalent). Actors he has worked with include Judy Davis, Nastassja Kinski, John Savage, Ryan Phillippe, Shirley Knight, Stefano Dionisi, Christina Applegate. He is also an active documentarian. He has been sent by UNTV (United Nations TV) to remote parts of the world to put the spotlight on some of the world’s most underreported stories. These assignments have taken him to Somaliland, West Bank, Indonesia, Korea, China, Japan, Gabon, Saudi Arabia, Algeria, Guatemala, Honduras, Colombia, Ecuador and Mexico. In 2012 he completed [S] COMPARSE, a 62 minute documentary on African migration, winner of the Spirit Award at the Brooklyn Film Festival. His most recent documentary short GODKA CIRKA – (A Hole in the Sky) has won numerous awards including Best Documentary at Michael Moore’s Traverse City Film festival, and was in the official selection at the Sundance Film festival 2014.

He studied at Calarts with Sandy Mackendrick and received an MFA in Film as a Fulbright scholar. RYAN BROWN (co-writer) Ryan Brown graduated from Columbia University in 2000, where he won the Seymour Brick Memorial Prize for playwriting. He wrote screenplay adaptations of A TRAP FOR CINDERELLA (from the Sebastian Japrisot novel) and MONTGOMERY CLIFT: A BIOGRAPHY (by Patricia Bosworth) for Forensic Films. With Franklin P. Laviola, he wrote the original supernatural horror movie THE MEDIEVALIST for Nightjar Films. His low-fi sci-fi short film GATE OF HEAVEN premiered at the 2009 Big Apple Film Festival in Tribeca. He earned an MFA in Film and Media Arts from City College/CUNY in 2010. His short DAUGHTER OF HOPE premiered at the Cityvisions festival in 2010. He co-wrote with Tibaldi the short ‘Pro-trusion’, which started its festival run at the Rotterdam International Film Festival 2011. THE OLDEST MAN ALIVE is their first feature length collaboration. Brown’s film reviews and interviews have appeared on ioncinema. com, ugo.com, and AOL Digital Cities. He lives in Brooklyn, N.Y.C.

THE WHALE Genre Drama Director Andrea Pallaoro Writer Andrea Pallaoro, Orlando Tirado Producer Andrea Stucovitz € 1.500.000 (€ 400.000 in place) Budget Company Partner Media Investment Looking for The project is in development, at the moment we have signed development memos with CanadaBelgium-UK. We are looking for strong partners from US/ Canada and UK in order to secure financing of the film. We currently have a pending response from Rai Cinema, we intend to apply to Eurimages

Andrea Stucovitz Andrea Pallaoro Contact details Partner Media Investment Via San Godenzo 174 00189 Rome, Italy T: +39 0664760142 F: +39 0664720273 info@pmisrl.eu www.pmisrl.eu 92

SYNOPSIS

The Whale is a merciless, yet compassionate, lyrical, and daring character study of Hannah, a Polish woman in her sixties, as she copes with accusations of pedophilia and incest directed towards her husband of over forty years. As Hannah’s persistent denial reveals itself against a general truth, her reality becomes increasingly unhinged. Through the exploration of Hannah’s compromised sense of identity and self-control, the film investigates contemporary alienation the human struggle to connect and the boundaries between individual identity, couplehood, and society. DIRECTOR’S NOTES OF INTENTION

The Whale aspires to fully embrace a cinematic approach that largely stems from aesthetic, sensorial, perceptual, and emotional impulses; an approach that does not conform to the formulaic language of conventional narrative cinema and that does not prioritize cause-and-effect plotting and the pre-supposed need for the audience’s identification with character. Rejecting transitional, coverage-driven shots, camera positions, and movements that assume a single character’s perspective, the film uses framing, light, color, focus, sound, movement, mise-en-scene, and performance with integrity and coherence to articulate, as sincerely as possible, the rawness of Hannah’s psychological and emotional struggle. Its creative process strives for a rigorous minimalist cinema in which the narrative is a result of the observation of its characters and their surrounding world and not a contrived imposition on them. My decisions, as co-writer and director, are guided by the central motivation

to manifest my perceptions and emotions as honestly as possible. The Whale invites the spectator to interpret, experience, and make meaning of its images and its characters without extraneous cinematic manipulation. In the same tradition of the work of filmmakers like Michelangelo Antonioni, Bela Tarr, Andrey Zvyagintsez, Lucrecia Martel, Michael Haneke, the film aims to explore certain controversial complexities of human nature through a poetic cinema of insistent questions, provocation, and dialogue. Hannah’s story is told through the poetics of gesture and nuance, with a focus on her quotidian actions. The film’s foundation rests upon suspending moral judgment in a pursuit for greater human truths. For this reason, the characters are not depicted as good or evil, right or wrong, but rather as multifaceted human beings with their own fears, needs, anxieties, desires, and driving motivations. In dwelling within the space of a controversial subject, the film strives towards a realism that allows for a more intimate and individual interpretive agency on the spectator’s behalf. The film explores the difference between acting and behavior, which mirrors one another in a way that reveals what is put forth in public versus private, and what we convince ourselves of as a means of survival. Similarly, as a director I am interested in cinematic moments that cannot be digested, that bewilder with a profundity. This is what informs my approach to directing actors, which is primarily about the process of inciting their instincts, not so much their intellects. I am drawn to visceral, impulsive performances that let go of the rigid, stereotyped, and rational standards of morality. Rehearsals with my actors are structured like a workshop where we focus on the creation and visualization of the personal histories and subtext behind their characters. My quest is to provide the appropriate, safe environment to lead my actors to their character’s

innermost raw form of intimacy. Treading between the interior and exterior, the psychological and the physical, much of the film’s world is expressed through mirrors, windows, doors, and hallways. Reflective surfaces, often murky, infuse the film with altered perceptions that pervert, fragment, and disturb notions of reality, thereby mirroring the ever- precarious nature of self-identity when it is met by its need to survive, transform, or die. What is left unseen foregrounds the composition and framing of scenes. Every image is a fragment, and the proliferation of these fragments, serves to reveal Hannah’s unstable identity and dislocated sense of perception, cut off from the characters that flow in and out of her everyday life, sometimes never to appear again. In many instances using a shallow depth of field in which surrounding elements of the mise-en-scene will be out of focus, The Whale observes the space between Hannah’s inner life and her façade. The relationship between landscapes and characters plays a fundamental role in The Whale. Locations are treated as subjects in themselves and behave as a visual extension of Hannah’s inner world, echoing her alienation and anxieties into a bleak, grey, industrial landscape beset by power plants, factories, and desolated fog-immersed beaches. Subtly employing elements of magical realism in which mystical, entrancing elements are manifested within reality, settings teeter between the real and otherworldly, contributing to a sense of heightened reality, at times invaded by the uncanny, the grotesque, or the abject. Color plays a crucial role. Highly controlled and expressive, it is used instinctively to express emotion and reveal the inner moods, feelings, and psychology of Hannah. In The Whale, Hannah is often surrounded by colors that reflect her state of mind, a hyperreality. For instance, Michelangelo Antonioni’s Red Desert is the most eloquent example of this approach in the use of color. In this 93

film, Antonioni uses color very effectively to represent the main character’s enhanced perception of her surrounding world. As in all of my films thus far, the use of sound is meant to be exclusively diegetic, allowing the viewer the freedom to come to his/her own conclusions without external manipulation. Through a rigorous and poetic cinematic language, this introspective and devastating film aims to probe into the increasingly paralyzing inner torment of its protagonist: a woman, unhinged by denial and loss, whose sense of existence and identity once depended entirely on her husband, and who, in his absence, struggles to find herself, and disappears. COMPANY PROFILE

Partner Media Investment was created in 2006 by Lucia Lo Russo and Andrea Stucovitz, with the aim of giving continuity to the independent television distribution already made in recent years with television productions of some major company like CBS Broadcasting International, Paramount Television, Samuel Goldwyn Company, as well as various independent. PMI Srl inherited a client portfolio and the know-how of its associates, and is currently active in the sectors of distribution, independent production and other business services. 2014 THE WHALE by Andrea Pallaoro (In development) NESSUNO MI TROVERA’...(Ettore Majorana) by Egidio Eronico (In Production) BOTA by Iris Elezi and Thomas Logoreci 2012 ADHD RUSH HOUR by Stella Savino MICHEL PETRUCCIANI BODY AND SOUL by Michael Radford 2010 JU TARRAMUTU by Paolo Pisanelli 94

PRODUCER’S PROFILE

Andrea Stucovitz is the producer of “The Whale”. Since 1992, he has been working for the cinema industry, from world sales to independent production, production direction and organization. In 2006, he founds PMI, a production and distribution company. From the documentary by Paolo Pisanelli “Ju Tarramutu”, special mention at Nastri d’Argento, to Cannes Festival in the official competition with the moving biography about “Michel Petrucciani”, directed by Michael Radford. His last movie is one of the first coproduction among Italy, Albany and Kosovo, “BOTA”, by Iris Elezi and Thomas Logoreci, FEDEORA award at Karlovy Vary International Film Festival. Currently, he has different projects in production, among which there is the mockumentary “Unfindable”, by Egidio Eronico on the mysterious disappearance of the famous physician Ettore Majorana. As distributor, he is going to release the beautiful and moving documentary “Who is Dayani Cristal” by Gael Garcia Bernal, awarded at Sundance and special event at Rome International Film Festival. WRITER & DIRECTOR’S PROFILE

Andrea Pallaoro (b. 1982, Italy) is an award-winning film and theatre director whose recent work investigates the human perception of alienation and its relationship to intimacy. His short film Wunderkammer (2008) won six international awards and was selected in the official competition of over fifty film festivals around the world, including Sundance 2009. His first feature film Medeas (2013) had its world premiere in the Official Competition of the 70th edition of the Venice Film Festival, in the Orizzonti section. Medeas stars Academy-Award nominee and Golden Bear winner Catalina Sandino Moreno and Tony Award winner Brian O’Byrne.

Andrea holds an MFA in Film Directing from the California Institute of the Arts and a BA from Hampshire College. In 2013, he was a fellow at Yaddo. He lives and works in Los Angeles. Medeas recently won: UKTI Best Innovative Budget Award (Venice Film Festival), Best Debut- Cinematographer Award (CamerImage), Best Director (Marrakech International Film Festival), the Sergej Parajanov Award for Outstanding Poetic Vision (Tbilisi International Film Festival), and Best Film New Voices, New Visions (Palm Springs International Film Festival). Orlando Tirado (b. 1982, Mexico) is a writer, filmmaker, and artist. He holds an MFA in Art: Photo and Media from the California Institute of the Arts, an MA in Comparative Literature from SUNYBinghamton, and a BA in Aesthetics and Art from Hampshire College. In 2013, Orlando was a fellow at the MacDowell Colony and at Yaddo. Orlando and Andrea have collaborated since 2000 co-authoring projects including Wunderkammer, which won six international awards and screened in over 50 international film festivals, and the award-winning Medeas, which premiered at the Venice International Film Festival in 2013. Orlando lives and works in New York City, currently at work on a collection of stories. The Whale is his third major collaboration with Pallaoro.

Wrong Planet Genre Director Writer Producer Budget Company

Documentary Beryl Richards Beryl Richards Hilary Durman € 320.315 (€ 63.846 in place) Redbird

SYNOPSIS

A contemporary documentary drama, created by BAFTA-winning director Beryl Richards and teenage students of Northease Special School which explores their own identities, perceptions and imaginative worlds in one unfolding dramatic narrative. Wrong Planet is a story of a unique individual, Joe, on the run from his mainstream school, his teachers, the other students, his family – and himself. Teenagers like Joe with ADHD, dyslexia and autistic spectrum disorder just don’t fit into the ‘normal’ teenage world. Many are sent away to special schools where they have to find their place in a new world of disorder. Sometimes it can be the making of them. Wrong Planet is a unique fusion of documentary and drama, following Joe’s reluctant integration into a real special school, and interwoven with constructed surreal sequences drawn from his imagination and those of his fellow students. The narrative follows a fictionalized version of Joe’s own real life story, exploring both his external and internal worlds, set in a real special school, and featuring its pupils, and drawing on their real life experiences. DIRECTOR’S NOTES OF INTENTION

Hilary Durman

Beryl Richards

Contact details Redbird Redbird, 41 Southgate Street SO23 9EH Winchester, UK T: +44 (0)7710 449377 hilary@redbirdproductions.co.uk www.redbirdproductions.co.uk 96

At many times in our lives, we worry about what is normal. Certainly I have questioned this throughout my own life. Wrong Planet explores themes of normality and difference, by which we all measure ourselves from a young age, using the classroom/school as a microcosm of society. It touches on universal concerns about the human qualities we choose to value in our society. Wrong Planet can open up a door on a different view of the world, giving a voice to unpredictable thinkers. The film reflects this perspective cinematically, so the language of film is used to explore the pupils’ different ‘languages’.

My personal drive to make Wrong Planet comes from my experience of bringing up our son, an only child, who very much felt he was on the wrong planet by the age of 7. Aged 8, he was out of mainstream school, having fallen right through the system. As a family we became very isolated, as he was cut off from the normal milestones of a child’s development into the adult world. He grew up very differently and is defined by this. How you navigate your way back into society and find a place in the world is a story taken from my personal experience – one that continues to this day. (Beryl Richards) COMPANY PROFILE

Redbird is an independent production company set up by Producer Hilary Durman in 1992. For Redbird, Hilary has produced a range of documentaries, dramas and features for BBC, Channel 4 and ITV, winning 3 BAFTAs and awards from the Royal Television Society, One World Media, Prix Jeunesse and the Japan Prize. Dramas include Strong Language, Dream On, Oddsquad, and All About Me. Documentary series include New Shoots and The Shooting Party for Channel 4. Hilary is also the producer of documentary feature films, The Time of Their Lives (BBC Storyville/UKFC), Donor Unknown (More 4/ Arte/VPRO/ Sundance/Cinereach/Tribeca/ NRK/Yes and the Wellcome Trust) and Circus of My Sun (AJE). In 2014 Hilary produced 2 further feature documentaries for Redbird: Casablanca Calling focuses on a new generation of female leaders bringing religious, social and cultural change to Morocco, and Pirates of Salé, a film about Morocco’s first professional circus.

A fuller list of credits is available below. DOCUMENTARY Pirates of Salé – feature documentary following the lives of 4 young performers in Morocco’s first professional circus. Directors Merieme Addou and Rosa Rogers. ADFF SANAD, MBC. 2014. Casablanca Calling – feature documentary focusing on Morocco’s first female Muslim leaders. Director Rosa Rogers. ITVS, France Television, Al Jazeera Documentaries 2014 Donor Unknown – a feature documentary focusing on the story of the developing relationships between a sperm donor – Donor 150 – and the children who are now coming to find him. In production for More 4 and Arte. Director: Jerry Rothwell. Redbird and Met Film. More 4/Arte 2010. The Time of Their Lives – a feature documentary about Rose, 101, Hetty, 102, and Alison, 87, as they reflect on their lives, their passions and convictions - a frank and provocative film, exploring extreme old age and life before death. Director: Jocelyn Cammack. BBC Storyville 2009. All About Me - 3 short documentaries about genetic screening, surrogacy and donor conception.. Directors: Rosa Rogers and Jerry Rothwell. Wellcome Trust and Teachers TV, 2009 The Shooting Party – 12x30 minute series following 9 disabled directors, each making their first short film. Channel 4, 2008.

New Shoots - 12 x 30 minute debut documentaries made by disabled directors on mainstream themes and subjects. Hilary was Executive Producer. Channel 4, 2007. Back to Bombay, The Greatest Show on Earth, Dragon People - 3 x 30 minute documentaries made for VEE-TV, Channel 4’s flagship programme made by young deaf team. Back to Bombay, following a young deaf actress on a journey to discover her roots in India, and The Greatest Show on Earth about a young deaf dancer taking part in the Rio Carnival, were both winners at the Picture This festival in Canada. 2005-6. Director: Rosa Rogers. Channel 4, 2005-6. Picture of Britain - Picture of Hull, two profiles on the influence of place on comedy writer John Godber for BBC 1 and BBC 3. 2005. Director: Rosa Rogers. BBC 2005. VEE-TV - 6 series – 6 series of 12 x 30 entertainment programmes made by a young deaf team for a mainstream audience. Nominated for a Broadcast Award for Best New Programme. Directors: Martin Head and Ray Harrison Graham. Channel 4, 2001-2006. World of Difference – 3 x 30 minute documentaries on international development projects in Gambia, Cambodia and Bolivia. Directors: Rosa Rogers and Rupert Miles. Channel 4, 2003. Without You – 1 x 30 minute documentary about young people dealing with bereavement. Director: Rosa Rogers. Channel 4, 2002.

DRAMA All About Me – a drama about family secrets, donor conception, identity, nature and nurture, and genetic inheritance. Director: Beryl Richards. BBC 2007. BAFTA nominated. Oddsquad – drama by John Godber about three teenagers who each feel a little bit on the outside and join forces to sort out their problems for themselves.. Director: John Godber. BBC 2006. BAFTA award. Lion Mountain – a drama about two young refugees from Sierra Leone arriving in England. Director: Ray Harrison Graham. BBC 2003. BAFTA, RTS and One World Media Awards. Who Cares? - a drama about a young carer and his relationship with his failing grandmother and loving but neglectful mother. Director: Ray Harrison Graham. BBC 2003. Losing It – a drama about a teenage boy's struggle to hide his depression from friends and family. Director: Cilla Ware. Channel 4 2001. BAFTA , RTS and Mental Health Media Awards nominated. Strong Language - drama about a deaf teenager. Director: Cilla Ware. Channel 4 1999. Japan Prize, Prix Jeunesse. Dream On - Director: Cilla Ware. Channel 4 2001. BAFTA/RTS Awards. Rush (Channel 4) – 4 feature length dramas about a group of young deaf students making their way in the world. Winners of Best Drama at the Picture This festival in Canada, 2001-2005. Director: Ray Harrison Graham.

PRODUCER’S PROFILE

As director of Redbird, Hilary Durman has produced a range of documentaries, dramas and features for BBC, Channel 4 and ITV, winning awards from BAFTA, the Royal Television Society, One World Media, Prix Jeunesse and the Japan Prize. Dramas include Strong Language, and All About Me, both BAFTA nominated, and Lion Mountain, Dream On, and Oddsquad, all BAFTA winners. Documentary series include 3 different series for Channel 4 - VEETV, New Shoots and The Shooting Party - which gave opportunities to deaf and disabled people seeking to develop careers in television and film-making. Hilary was Executive Producer for the three series over their 8 year run. Feature documentaries include The Time of Their Lives (BBC Storyville/ UKFC) , Donor Unknown (More 4/Arte/VPRO/ Sundance/ Cinereach/Tribeca/ NRK/Yes and the Wellcome Trust) and Circus of My Sun (AJE). Donor Unknown was nominated for a Grierson award, won audience awards at Tribeca and Silverdocs, and was released in cinemas in June 2011. Hilary’s latest films are Casablanca Calling and Pirates of Salé. Casablanca Calling (ITVS/Sundance/EU Media/AJE, 2014), focuses on a new generation of female leaders bringing religious, social and cultural change to Morocco. Pirates of Salé is a feature documentary about the young performers of Morocco’s first professional circus.

WRITER & DIRECTOR’S PROFILE

Beryl directs TV drama, documentary, comedy and short films. She specializes in working with children and untrained actors. In TV, working as lead director, she has developed and helped create many popular UK series, for which she has been awarded 4 BAFTAs, an RTS, a British Comedy Award, the Prix Jeunesse, and two International EMMY nominations. (Leonardo; All About Me; My Life as a Popat; Uncle Dad). Beryl also regularly makes short films for the cinema, which have been shown in competition in over 60 international festivals, including Berlin and Clemont Ferrand. Her first screenplay Runaways was awarded the VFF Talent Campus screenwriting prize and development award at the Berlin Film Festival. Screenplay Diamond was in the top 10 shortlist of the screenwriting prize at Cinequest in San Jose in 2013. Both are in development, with Hilary Durman producing on Runaways. Beryl also works part time for the European Broadcasting Union in Geneva, executive producing a worldwide co-production of kids short films. Beryl was elected to the Board of Directors UK in 2011. Since then she has become Vice Chair and also chairs the Women’s Working Group for Directors UK which recently published report ‘Women Directors – who’s calling the shots?’

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Last Stop Trieste (LST) is a work in progress section for documentary projects from Eastern Europe and Italy to be potentially premiered by spring/ summer 2015. LST will present 4 documentaries in advanced editing stage previously developed either at Ex-Oriente Film, BDC Discoveries by Balkan Documentary Center, Docu Rough Cut Boutique in Sarajevo or presented at the previous editions of When East Meets West. Selected projects will be screened to an exclusive panel of international sales agents, festival programmers and TV commissioning editors. The LST international jury, composed by Catherine Le Clef (CAT&Docs), Leena Pasanen (Dok Liepzig) and Claudia Schreiner (MDR), will deliver the HBO Europe Award to the best project.

TEAM

PARTNERS

Anette Dujisin

PROJECTS Fabrizio Grosoli

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BROTHERS

108 CHILDREN OF THE TRAIN 110 FOUR PASSPORTS 112 Rada Sesic

KARST

BROTHERS Genre Director Writer Producer Countries Budget Company

Documentary Wojciech Staron Wojciech Staron Malgorzata Staron Poland € 150.000 Staron Film

SYNOPSIS

After 80 years of exile two brothers come back to Poland from Kazakhstan. The aim is to set their place in the new world. They face obstacles of character differences. One of them is a painter and a dreamer, the other one – a pragmatic engineer. They are as different as ink and water and as inseparable as a flower from its stem. They want to rebuild their lives in spite of dramatic events that the fate sends down on them when their house, with several thousands of paintings, burns down and when one brother has put the other brother in a center for elderly people. The race against time begins now. Will they be fast enough? DIRECTOR’S NOTES OF INTENTION

Malgorzata Staron

Wojciech Staron

Contact details Staron Film Platnicza 77 01-827 Warsaw, Poland T: 0048 505 934 943 gstaron@wp.pl staronfilm.pl 106

Every single film frame should provoke a heartbeat. Dramaturgy should be strong thanks to sensitive camera that approaches reality with a documentary eye and a fiction like storyline. My method of filming is based on the assumption that I never know where the film is going to take me and that I am always prepared to follow. Based on strong characters the story is being created during the process of capturing incredible, unexpected moments of life. The most important for me in the film “Brothers” is the deep understanding and respect for the strange and intensive relationship between the two brothers. I want to analyse it - not with words but with images, and with film sequences where the documentary substance is structured in a fictional manner.

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Children of the Train Genre Director Writer Producer Countries Budget Company

Creative documentary Klara Trencsenyi Klara Trencsenyi Julianna Ugrin Hungary € 110.000 Éclipse Film

SYNOPSIS

Our story takes place on the Children's Train, a small-gauge railway built in 1948 by the communist party of Hungary. The nearly seventy-year-old wagons still run every day carrying hundreds of thousands of passengers a year in the heart of Budapest. Both in the communist times and today the Train has been entirely operated by the children themselves. Today over 500 teenagers work here for free - in exchange for an unforgettable community experience. The Children’s Train is a metaphor used by the filmmaker to talk about current day Hungary, a country infamous for its extreme right wing governance. The main protagonists are two young railway workers, 13-yearold twins, KARMEN and VIKTOR. We follow their coming of age through the economic struggles and the eviction of their family while the Children's Train continues to be a refuge for them: a place of comradeship and order. DIRECTOR’S NOTES OF INTENTION

Julianna Ugrin

Klara Trencsenyi

Contact details Éclipse Film Bem rkp. 6. 1011 Budapest, Hungary T: +36 20 212 86 36 Julianna.ugrin@eclipsefilm.hu klaritat@yahoo.com www.facebook.com/eclipsefilmHU 108

Children of the train is a unique and universal story at the same time. Its scenery is the almost seventy-year old Train, reloaded with positive energy of today's teenagers. It's old values gain new meaning for a generation that has not lived through communism, but grew up in atomized families, with divorcing parents and virtual relationships. There has not been a feature documentary made about the Children's Train ever since its existence. I have spent more than 18 months with these teenagers, in order to better understand their life and make them used to the presence of the camera. I have a unique access to their stories: so we can look behind their serious, disciplined behavior and talk about the issues that really matter to them. Children of the Train is an often humorous, but mostly bitter-sweet character based story - that talks honestly about a democracy in trouble. 109

FOUR PASSPORTS Genre Director Writer Producer Countries Budget Company

(partly animated) documentary Mihajlo Jevtic Mihajlo Jevtic Natalia Imaz Germany, Serbia, Croatia € 115.000 Parabellum film

SYNOPSIS

Serbia is one of the world leaders in brain drain. Twenty-five years after the dissolution of the former socialistic Yugoslavia, the country is now a suburb of Europe, drowning in corruption. The promise of better days to come has kept me in Serbia until now. But contrary to all promises, my country keeps drowning. I live in a society where the greatest life success is to leave the country. This year, I will try to leave, too. I am on a mission to finish this film before I go. My father unknowingly started shooting it with his super 8 camera during our family vacation 30 years ago. The same camera I used to shoot the first shot in my life - a shot of my family -,unaware that one day I would become a film-maker. “Four Passports” is a personal journey through present day reality and my country's past, family super 8 archives and dreams. A portrait made by a guy who leaves. My traveller's suitcase. A film about four passports and one country. DIRECTOR’S NOTES OF INTENTION

Natalia Imaz

Mihajlo Jevtic

Contact details Parabellum film Rungestr. 22-24 10179 Berlin, Germany T: +49 30 2787 9813 F: +49 30 2787 9815 imaz@parabellumfilm.de www.parabellumfilm.de www.facebook.com/parabellumfilm 110

Being a first-person documentary, “Four Passports” presents my personal story of growing up in a society that falls apart and is rebuilt, but no longer perceived as one's own. In 1989, when I was 11, the children's passport of the Socialist Federal Republic of Yugoslavia was issued to me. I used it only once - one year later the Yugoslav wars started, and everything changed. In my lifetime, I've been issued four different passports - because, while dissolving, my country changed its name several times. I lived in the same address for 30 years - regardless, I grew up in four different countries. I will use these passports to structure the film in four parts and make a portrait of contemporary Serbia, seen through my own microcosms, my life and the lives of my family and my friends. I see this film as the content of my emigrant's suitcase, a collection of all the things that I want to bring with me into my new life when I soon leave. But it is so tough to pack one's life in a suitcase. Should I bring with me the good memories, and risk missing a home that does no longer exist? Or should I rather bring the bad ones to remind me that it was the right decision to leave? Will I find myself in the place where I will go? 111

KARST Genre Director Writer Producer Countries Budget Company

Creative Documentary Vladimir Todorovic Vladimir Todorovic Adriana Ferrarese France, Serbia, Montenegro â&#x201A;Ź 85.000 Ceresa Films

Adriana Ferrarese

SYNOPSIS

A lost and almost unbreakable Karstic Land in Montenegro has been chosen as the perfect spot by a rich and ambitious diplomat to built his dream house. The architect Goran will hire a local family of workers to accomplish this titanic task. Though explosions of rock , cultural clashes and extraordinary efforts they will manage to accomplish the impossible while facing a hostile as mush as magnificent nature. DIRECTORâ&#x20AC;&#x2122;S NOTES OF INTENTION

KRS (Karst) documents the construction of a house made of karstic rock in a isolated region of Montenegro. It is not only the sublime beauty of this rock that I want to show, but also how it is deeply representative of the ancestral culture of Montenegro. Through the intimate journey of an architect building a house, who will also have to face the clash between social classes (the owner of the house vs those who built it), I want to explore the complexity of the rock as it was the representation of the infinite elaboration of a culture, with its landscapes,people, legends, myths, songs.

Contact details Ceresa Films 75019 Paris T: +33611308645 adriana@ceresa-films.com

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First Cut Lab (FCL) is a programme designed for long feature fiction films in editing phase. Selected producer/director teams will receive expert feedback from top festival programmers, sales agents, creative producers and tailor-made advice from a consulting editor. The main goal is to foster the artistic potential of the selected rough cuts and, at the same time, to increase the sales, festival and circulation potential of the completed films. All three selected projects will be awarded with a free DCP by â&#x20AC;&#x2DC;Flow Post Productionâ&#x20AC;&#x2122;, the Belgian based one-stop-shop facility with whom we have proudly teamed up for this first edition of FCL.

TEAM

EXPERTS

Matthieu Darras

Rémi Bonhomme Semaine De La Critique

Amra Baksic Camo SCCA pro.ba

Guillaume De Seille Arizona Productions

Marta Donzelli Vivo film

PROJECTS Alessandro Gropplero

118 Clément Duboin

Lorenzo Esposito

Gabor Greiner

Vanja Kaludjercic

Urban Factory

Festival del Film Locarno

Films Boutique

Les Arcs European Film Festival

Benjamin Mirguet

Alex Traila

Nikitin Nikolai

Rickard Olsson

SOFA - School of Film Agents

Picture Tree International

SLEEPING LESSONS

120 STRANGE HEAVEN 122 THAT TRIP WE TOOK WITH DAD

SLEEPING LESSONS Genre Director Writer Producer Countries Budget Company

Drama Rusudan Pirveli Aleksandre Chkhaidze Rusudan Pirveli Georgia € 450.000 Filmodrom

SYNOPSIS

Zuka spends all his time hanging out with his friends on the street. One day with a friend he robes a woman (39). The life goes on in a usual way, until one day Zuka comes across the woman again. Zuka opens up to Filter (50). Talkative Filter interprets Zuka’s story in his way, inspiring Zuka to get closer to the woman. Filter teaches him the secretes of “hooking” the woman. Following Filter’s advices, Zuka manages to attract woman’s interest. The fragile relations are set between them. Zuka starts avoiding his friends. The relations between Zuka and woman become more intimate and profound. However the interference of street friends leads to abrupt ending. Zuka is hardly suffering from the loss and tries to get woman back. Using the last chance to get her back he gets involved in the criminal case, which also involves Filter and leads them to tragedy. DIRECTOR’S NOTES OF INTENTION

Rusudan Pirveli Contact details Filmodrom 28 Kipiani, Mtatsminda 0108 Tbilisi, Georgia T: 995322934713 / 995599560026 mail@filmodrom.ge www.filmodrom.ge 118

When real emotions enter one’s life, there’s no place for peace any more. The main character of the film Sleeping Lessons is the 19 years old Zuka, who is leading a usual life, hanging out with his street friends, without even noticing how easy life is for him. Until he’s involved in a criminal accident, followed with changes - discovering Woman and Filter. His relations develop in a different way with everyone around him. He more and more estrangers his friends, while on the other hand he gets more involved with the woman and Filter. The story is full of strong emotions, unexpected plot twists and characters with strong, distinctive features. This is human story of Zuka, woman and Filter involved in bizarre game, which no one can control in the end. 119

STRANGE HEAVEN Genre Director Writer Producer Countries Budget Company

Social drama Dariusz Gajewski Dariusz Gajewski, Michał Godzic Dariusz Gajewski, Kuba Kosma Poland € 1.700.000 Tak Film

SYNOPSIS

Basia and Marek are a young couple from Poland. In a way, they have been running away all their lives. Now they live in a small Swedish town, where they lead immigrants’ lives in a rich country. The only person that speaks Swedish is their seven-years-old daughter, Ula. Life is a struggle. When Anita, a Social Office worker visits them at home, she observes Ula’s life through the prism of the local culture and feels that, to Swedish standards, the child is neglected and unhappy. The parents don’t take her advices seriously. Due to a series of misunderstandings, Ula is taken away from them and given to a foster family. Will Basia and Marek decide to stick together and won't give up on Ula? Will they rebuild their bond and their family? DIRECTOR’S NOTES OF INTENTION

Kuba Kosma

Dariusz Gajewski

Contact details Tak Film Al. Jerozolimskie 121/123 m.39 02-017 Warszawa, Poland T: +48 602 435 513 kubakosma@gmail.com takfilm.eu 120

Every one of us, everywhere, strives for perfection. We are subject to the delusion that we can be ideal beings. We receive the reckoning for our delusions and the more they have sprung from our egoism and ignorance, the higher the bill. Thematically, Strange Heaven is a social drama, but conceptually, the story is a divergence from the sche¬matics of social cinema. From the dramaturgical point of view, it is a thriller. The protagonists’ emotions are commensurate to the stakes they are playing forthe highest possible for a human being. What they are fighting for is their humanity.

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THAT TRIP WE TOOK WITH DAD Genre Director Writer Producer Countries Budget Company

Tragicomedy Anca M. Lazarescu Anca M. Lazarescu David Lindner Leporda Germany, Romania, Hungary, Sweden € 2.600.000 FILMALLEE

David Lindner Leporda

Anca M. Lazarescu

Contact details FILMALLEE Bavariafilmplatz 7 82031, München - Germany T: +49 89 64 98 11 16 F: +49 89 64 98 13 16 info@filmallee.com www.filmallee.com 122

Dan Olteanu

SYNOPSIS

THAT TRIP WE TOOK WITH DAD is a moving story and it plays in a turbulent year - in 1968. With the "Prague Spring" setting the scene for the film in which a German family from Arad (Romania) two unequal brothers and their father - start a journey towards the GDR. There the older brother hopes for a surgery of the weary father to restore the family harmony again. But after they cross the East-German boarder their way back is closed by Soviet tanks moving into the CSSR. Suddenly the family finds itself in West-Germany and our protagonists are faced with an universal question: Is the personal happiness more important than family bounds? DIRECTOR’S NOTES OF INTENTION

In summer of 1968 when my Romanian father was 18, he went on his first trip through Eastern Europe with his parents. Due to the invasion of Czechoslovakia by Soviet troops their way home was blocked. They received a transit visa to travel back home through West Germany - an unimaginable act during the Cold War. Should they stay or should they go back? Realizing that those days could change their entire future, they started questioning their lives, experiencing the toughest moment as a family. I grew up with this story, having heard it many times. Like the Soviet tanks that ran over Prague, the characters are run over by a random incident with the power to change their lives. Even though this is a historical plot, the main theme remains contemporary. “That Trip we Took with Dad” asks a simple question: How free are we really to choose freedom?

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INDUSTRY GUIDE

126 ARMENIA 127 AUSTRIA 129 BELGIUM 130 BOSNIA AND HERZEGOVINA 133 BULGARIA 136 CANADA 144 CROATIA 148 CZECH REPUBLIC 152 ESTONIA 154 FRANCE 165 GEORGIA 166 GERMANY 171 GREEECE 172 HUNGARY 178 IRELAND

188 ITALY 231 LATVIA 232 LITHUANIA 233 LUXEMBURG 234 POLAND 238 ROMANIA 240 RUSSIA 242 SERBIA 246 SINGAPORE 247 SLOVAKIA 248 SLOVENIA 257 SWITZERLAND 258 UNITED KINGDOM 269 UKRAINE 270 UNITED STATES OF AMERICA

Cinestyria Filmcommission & Fonds

Cinestyria serves as a central contact point of Styria for film and TV projects with international distribution potential and touristic value. Our essential funding criterias are: international distribution, reference to Styria, touristic value and effect for Styria. We are acting also as a film commission, offering service and support for all kind of belongings for every Styrian film project.

Contact details: 20 Years Later | 27/25 Nalbandyan Street, Apt. 7 | 0001 | Yerevan T: 37498852080 | jkalousd@yahoo.com

Maria Saakyan

anEva production anEva production LLC was founded in the beginning of 2014 by Ani Vorskanyan and Edgar Karapetyan. Based in Yerevan, Armenia, the Company’s goal is to develop the film industry in the Southern Caucasus region. It focuses not only on the national feature films' production, but also on the co-production of independent feature, documentary and animation films with Europe and Western Asia. Our aim is to appeal via or films/projects both to domestic and international audiences. Ani Vorskanyan

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AUSTRIA

aRMENIA

Jeff Kalousdian

20 Years Later

Enrico Jakob

EastWest Filmdistribution EASTWEST FILMDISTRIBUTION is an international distribution company, which specialises in the promotion and sale of quality European and independent feature films. In 2004, EASTWEST was founded by Sasha Wieser and Steve Walsh, who each have over thirty years experience across all aspects of international film production and distribution. We start to work on our films from all stages (developing, production or finished film) and add to our catalogue about 10 films (life action and documentaries) per year. With a strong global network of contacts and with offices in London and Vienna, EASTWEST has a passion for world cinema and a firm belief that the films it represents deserve and will find a worldwide audience.

Sasha Wieser

List of recently acquired films FEVER by Elfi Mikesch (Austria, 2014; art house, Berlinale Forum 2014) LONDON PAYBACK by Ben Pickering (UK 2014; crime, thriller) DREAMS OF A CLOWN by Dieter Auner (Ireland, 2014; biography) A PLACED CALLED HOME by Maria Douza (Greece, 2013; drama) KEEP ROLLIN’ by Stefan Hillebrand & Oliver Paulus (Switzerland, Germany, 2013; coming of age) The company becomes involved in projects from as early as the first draft of the script, but also acquires finished films. Contact details: EastWest Filmdistribution | Schottenfeldgasse 14 | 1070 | Vienna T: +43 1 5249310 34 | F: +43 1 5249310 20 | office@eastwest-distribution.com | www.eastwest-distribution.com

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Flow postproduction

ORF is the Public Broadcaster in Austria with ORF eins and ORF 2 as main channels and two digital special interest channels: ORFIII and ORF Sport+.

Flow postproduction is the leading Belgian post facility and your one-stop-shop for the image postproduction of your audiovisual projects, offering digital intermediate, visual effects and 3D animation.

Channel profile Strand/Department ORF 2, Magazine Department. WELTjournal 30’ and WELTjournal+ 45’ are our weekly current affairs programs being aired on ORF 2. Our shows report on international affairs and global impact stories with a topical angle (Green, Social, Politics, Human Interest). The programs go out consecutively and are connected. Preferred Length: 30’ and 45’-50’

Contact details: Flow postproduction | Waalsekaai 58 | 2000 | Antwerp T: +32 499 25 81 18 / +32 468 22 31 03 | jules@flow-postproduction.be - paolo@flow-postproduction.be www.flow-postproduction.be

BELGIUM

AUSTRIA

Ines Pedoth

Österreichischer Rundfunk - ORF

Jules Debrock

Red Film Sales

Paolo Finotto

RED FILM SALES is an international sales agent for feature films and documentaries specializing in independent film distribution and marketing. Contact details: Red Film Sales | Werzer Promenade 1 | 9210 | Pörtschach T: +43 720 511336 | efm2015@redfilmsales.com

Gerhard Spiehs

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Sarajevo Film Festival

Al Jazeera Balkans started broadcasting in November 2011 and our main studio is in Sarajevo, located in BBI center, as the team lead by General Director Tarik Đodic´, Director of News and Programs Goran Milic´. Al Jazeera Balkans is offering a new and exciting perspective in the regional media landscape. Al Jazeera Balkans is distributed throughout main cable operators in the region, as well as a part of “free to air” on Eutelsat 16 degrees east. In Bosnia and Herzegovina Al Jazeera Balkans is also available via terrestrial frequency. Program is broadcast in High Definition (HD), in XDCAM HD on 50Mbit/s. Al Jazeera Balkans is fully integrated in Al Jazeera Network, and that is allowong distribution of materials and documenatry programmes within the network. Al Jazeera Balkans will “give voice to untold stories, promote debate, and challenge established perceptions.” Al Jazeera Balkans is following Al Jazeera network Ethical code and report EVERY ANGLE| EVERY SIDE. Program of Al Jazeera Balkans is produced by team of professionals, from the central studio in Sarajevo, and the regional centers in Belgrade, Zagreb and Skopje. Al Jazeera Balkans also have a wide network of correspondents in the region: Podgorica, Priština, Mostar and Banja Luka, as well as in Washington, London, Brussels, Berlin, Vienna, Moscow, Istanbul, Jerusalem and Beijing. Documentary genre that we are looking for to aqcuire or possible co-production should be connected to the Balkan region and Europe: Current affairs, politics, history, social and human rights, culture, music and sport.

After the 4-year-long siege of Sarajevo, and with an intention to recreate civil society of the City, in 1995, the Sarajevo Film Festival was founded. Today Sarajevo Film Festival is an international film festival with special focus on the region of Southeast Europe. High quality programming, strong industry segment, an educational platform for young filmmakers, presence of numerous representatives of film industry, film authors and media representatives from all over the world, as well as over 100,000 visitors, are the confirmation of the festival's status which is renowned and recognized by film professionals as well as by its audience. The Festival of such concept serves as a catalyst for cooperation within the region, and establishment of connections with partners from all over the world. It represents a platform for development of film business in Bosnia and Herzegovina and in the region, but also sets new standards of festival organization and film presentation. The platform which Sarajevo Film Festival offers to the region places the talents and projects from the South Eastern Europe into the centre of attention. It provides support and encouragement for creation of network of contacts between regional film professionals, but also opens a wide international network of contacts. For the representatives of the world film industry it offers new projects, ideas, and talents from the region. Sarajevo Film Festival Competition Programme screens world, international and regional premieres of feature, short, animated and documentary films from: Albania, Armenia, Austria, Azerbaijan, Bosnia and Herzegovina, Bulgaria, Cyprus, Croatia, Georgia, Greece, Hungary, Kosovo, Malta, Macedonia, Montenegro, Moldavia, Romania, Serbia, Slovenia and Turkey. Films selected in Competition Programmes for feature, short and documentary film compete for the prestigious Heart of Sarajevo Awards. The 20th edition of the Sarajevo Film Festival will take place from 15th till 23th August, 2014.

Refresh Production

Rada Sesic

BOSNIA AND HERZEGOVINA

Lejla Dedic

Al Jazeera Balkans

Elma Tataragic

Refresh Production, based in Sarajevo, founded in 1998, is production company active in film and television production and distribution. Developing its production, Refresh established effective and fruitful business links with both local and international partners from Croatia, Slovenia, Austria, UK, France, Germany, Turkey, Macedonia, Montenegro, Serbia.

Ademir Kenovic 130

Contact details: Refresh Production | Splitska 11 | 71000 | Sarajevo T: 00387 33 258150 | film@refresh.ba

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AGITPROP

SCCA/pro.ba, established in 1998, is the film, video and TV production. After establishing a strong basis in the production of artist videos and installations, pro.ba entered into film production with Aida Begic’s short FIRST DEATH EXPERIENCE (Cannes Film Festival, Cinefondation, 2000). In the years to follow pro. ba continued with production of short and feature lenght fiction as well as documentary films. Our films have participated and won awards at festivals worldwide including Cannes FF, Berlinale, Venice FF, Rotterdam FF, Locarno FF, IDFA, Clermont-Ferrand Short FF, Goteborg FF, Sarajevo FF among others. AN EPISODE IN THE LIFE OF An Iron Picker premiered in competition at Berlinale 2013 where it won Jury Grand Prize and Silver Bear for Best Actor.

AGITPROP is probably the most awarded Bulgarian film production company. AGITPROP has produced a number of films (producer Martichka Bozhilova) - creative documentaries and fiction films with a strong author’s style, among which the internationally awarded GEORGI AND THE BUTTERFLIES (IDFA winner), THE MOSQUITO PROBLEM AND OTHER STORIES (Cannes), CORRIDOR #8 (Berlinale), OMELETTE (Sundance). AGITPROP produced the first original Bulgarian content for HBO and National Geographic Channel. AGITPROP’s latest films include LOVE & ENGINEERING (Tribeca NY; Karlovy Vary 2014), DAD MADE DIRTY MOVIES (sold to more than 30 territories), and THE BOY WHO WAS A KING (Toronto IFF). Martichka Bozhilova has co-produced with Germany, USA, Finland, Sweden, Switzerland, Italy, Greece, Cyprus, Romania, Croatia, UAE. Among AGITPROP’s leading TV partners are: Channel 4, Sundance Channel, HBO, ARTE, PBS, YLE.

BULGARIA

BOSNIA AND HERZEGOVINA 132

Amra Baksic Camo

SCCA pro.ba

Martichka Bozhilova

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Veselka Kiryakova

Viktoria Films

RED CARPET is a Bulgarian Independent Film Production Company that has made the biggest TV campaigns licensed by BBC for The Bulgarian National Television - The Great Bulgarians and The Big Read. RED CARPET is a company with a lot of experience in producing documentary movies and TV productions. It has produced more than 20 documentary movies. The first feature movie produced by RED CARPET is ALIENATION(2013), conceived and directed by Milko Lazarov. The premier of ALIENATION was at Venice'70 in the offical selection of Venice Days and it won two awards there. Since ALIENATION Veselka Kiryakova is the main producer for the company.

In 2008 Maya Vitkova executive produced the independent feature EASTERN PLAYS by Kamen Kalev. The film premiered at the 62nd Cannes International Film Festival’s Director’s Fortnight and was nominated for the Camera d’Or. EASTERN PLAYS was among the 3 films nominated for the LUX award of the European Parliament, in the official selection of the 2009 European Film Awards and Bulgaria’s candidate in the nominations race for the Best Foreign Language Film Oscar 2011. Beginning of 2009 Maya Vitkova founded Viktoria Films. Viktoria Films competed its first feature VIKTORIA by Maya Vitkova in co-production with the leading Romanian company Mandragora (Anca and Cristi Puiu). The project has been selected for the Script & Pitch Workshops, the Balkan Fund, the Berlinale Talent Project Market, the NIPKOW Programm, the EKRAN Programme of Andrzej Wajda's Master School of Film Directing, the Phare Workshop, etc. VIKTORIA was financially supported by the Media Programme and Vienna Film Fund (development), and the Bulgarian National Film Center (development and production) and premiered in the World Dramatic Competition of Sundance Film Festival 2014. Ever since it competed at festivals such as the International Film Festival Rotterdam (Hivos Tiger Award Competition), Gothenburg International Film Festival (Ingmar Bergman international debut film award competition) and many others. Viktoria World Sales and Distribution sells the film.

ALIENATION |2013| awards: VENICE’70 |2013| - Special mention from Europa Cinemas Label, Best young director from FEDEORA SOFIA INTERNATIONAL FILM FESTIVAL |2013|- Award for Best Bulgarian Feature Film WARSAW INTERNATIONAL FILM FESTIVAL |2013|- Grand prize in "1-2 competition" programme BULGARIAN FILM ACADEMY |2014|- Best feature movie, Best first feature movie, Best director, Best editing GOLDEN ROSE |2014|- Golden Rose for Best director, Golden Rose for Best cinematography ALIENATION have been presented also during: BUSAN INTERNATIONAL FILM FESTIVAL 2013, SAO PAOLO INTERNATIONAL FILM FESTIVAL 2013, TALLIN BLACK NIGHTS FILM FESTIVAL 2013, TOFIFEST 2013, VILNIUS INTERNATIONAL FILM FESTIVAL 2014, NAPOLI FILM FESTIVAL 2013, ATHENS FILM FETIVAL 2013, BARCELONA AUTEUR FILM FESTIVAL 2014, PULA FILM FESTIVAL 2014, SARAJEVO FILM FESTIVAL 2014, CINEAST FILM FESTIVAL 2014.

BULGARIA

Milko Lazarov

Red Carpet

Maya Vitkova

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Canada Media Fund

Amérique Film is a company focused on the developing, financing and producing innovative feature films.

The Canada Media Fund (CMF) fosters, develops, finances and promotes the production of Canadian content and applications for all audiovisual media platforms. The CMF guides Canadian content towards a competitive global environment by fostering industry innovation, rewarding success, enabling a diversity of voice and promoting access to content through public and private sector partnerships.

Recent productions and projects include: Productions The Kind Words by Shemi Zarhin, Israel-Canada (2015) Buddha’s Little Finger by Tony Pemberton, Germany-Canada (2015) Stay by Wiebke von Carolsfeld, Canada-Ireland (2014) Friends From France by P. Kotlarski & A.Weil, France-Germany-Russia-Canada (2014) 2 temps, 3 mouvements by Christophe Cousin, Canada-France (2014) Development The Road Beyond by Douglas Buck, France-Canada At Sunset by Dan Weldon De l’amour pour Noël by Catherine Léger and Sophie Lorain Contact details: Amérique Film | 1001 rue Lenoir, A410-a | H4C 2Z6 | Montreal T: +1 514 844 0302, extension 222 | amerigo@ameriquefilm.com | facebook.com/ameriquefilm

British Columbia’s Knowledge Network

With offices in Ottawa, Toronto and Vancouver, the CMPA works on behalf of its members to stimulate the Canadian production industry by supporting export and co-production initiatives that enhance business opportunities between Canadian and international production communities. We also work with government on various policy matters including broadcasting and taxation, negotiate labour agreements with key unions and guilds, offer mentorship programs and administer copyright collectives. We host Prime Time in Ottawa, our premier annual conference event and together with industry partners we produce Profile, a comprehensive economic analysis of the Canadian production sector.

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Nathalie Clermont

Canadian Media Production Association The Canadian Media Production Association (CMPA) is Canada's leading trade association for independent producers, representing more than 350 media content companies engaged in the production and distribution of English-language television programs, feature films and digital media. Together, the production sector generates almost $6 billion CDN of activity annually and sustains 127,700 full-time jobs.

British Columbia's Knowledge Network is a commercial-free, multi-platform public broadcaster. Through television and the web, Knowledge Network broadcasts a mix of arts and culture programs that explore the world from local, national and global perspectives.

Rudy Buttignol

CANADA

Martin Paul-Hus

Amérique Film

Susanne Vaas

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Goodbye Productions

Founded in Montreal, Canada in 2006 by independent producer Katarina Soukup, Catbird Productions is dedicated to producing feature-length, broadcast and interactive documentaries about music, the arts, culture, human rights and the environment. Soukup brings to Catbird almost 10 years of experience as documentary and multimedia producer with Isuma Productions, the award-winning Inuit team behind the Canadian cinema classic Atanarjuat The Fast Runner (Caméra d’or, Cannes 2001). Recent Catbird titles include Lost Rivers (Radio-Canada, ARTV, CBC Documentary, NHK, Icarus Films, Terranoa), Come Worry With Us! (SuperChannel, les Films du 3 Mars, Cinema Guild) by award-winning Canadian filmmaker Helene Klodawsky, as well as the acclaimed web documentary Burgundy Jazz (Radio-Canada/CBC Music), winner of a Digi Award, a Prix Boomerang, and a Prix Numix; and nominated for a Canadian Screen Award, a Prix Gémeaux, a Webby Award, and a Rockie Award from the Banff World Media Festival.

GOODBYE PRODUCTIONS is a Vancouver-based independent production company that collaborates with both critically acclaimed and emerging talent to develop and produce engaging features. Goodbye is driven to cultivate filmmakers with innovative visions and to create films that connect audiences through powerful storytelling.

Goodbye most recently completed SITTING ON THE EDGE OF MARLENE, a drama by writer-director Ana Valine that is an adaptation of the Billie Livingston novella that premiered at the 2014 Vancouver International Film Festival and had its International Premiere at the 2014 Busan International Film Festival.

CANADA

Katarina Soukup

Catbird Productions

Amber Ripley

Goodbye continues to source out commercially viable material and is currently producing a slate of projects that are at various stages of development and pre-production. Contact details: Goodbye Productions | 506 – 55 Water St | V6B 1A1 | Vancouver T: 604-375-4633 | ripley@goodbyeproductions.com | www.goodbyeproductions.com

Filmoption International Founded over 30 years ago, Filmoption International specializes in the distribution of feature films and in the sale in Canada and overseas of films, documentaries and television programs. Filmoption represents on an exclusive basis a large number of companies in Quebec and Canada and several foreign companies (USA, France) on international markets. In Canada, Filmoption imports foreign feature films and documentaries for theatrical exhibition. The company also works closely with several Quebec producers to develop and finance films, documentaries and TV series. Andrew Noble

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Newfoundland and Labrador Film Development Corporation

MORAG LOVES COMPANY is a St. John’s, NL internationally acclaimed production house specializing in drama and documentary, including the Gemini winning period drama series RANDOM PASSAGE. A selection of other films include LOVE AND SAVAGERY, an international feature co-production with Ireland’s Subotica Entertainment and Parkex Pictures, Montreal (BON COP, BAD COP, Kevin Tierney), Mary Walsh's YOUNG TRIFFIE, a feature co-production with Denise Robert, Cinemaginaire, Montreal (THE BARBARIAN INVASIONS). The company recently completed THE GRAND SEDUCTION, a coproduction with MaxFilms, Roger Frappier (JESUS OF MONTREAL) The box office feature comedy success, directed by Don McKellar (LAST NIGHT) distributed by eONE, premiered at TIFF 2013 and is now enjoying world wide release.

Dorian Rowe is the Manager of Programs at the Newfoundland and Labrador Film Development Corporation (NLFDC). The NLFDC is a Crown Corporation of the most easterly (and closest to Europe) Canadian province: Newfoundland and Labrador. The NLFDC’s mandate is to develop the local film and television industry and to promote Newfoundland and Labrador to the world as a location for production. Dorian is responsible for the Equity Investment Program, a fund annualized at $2 million (with addtional amounts possible), and for the film and video tax credit – a 40% tax rebate on resident labour. Combined, the two programs can offer more than 30% of a production’s financial structure from the province, and can be combined with further Canadian incentives nationally. Dorian has been in the industry for more than 17 years, working extensively in production and post-production, and through government, to develop the industry and manage the investments of the corporation. He has served on the board executives of a number of organizations central to the industry, in particular the Newfoundland Independent Filmmaker’s Co-operative, the Atlantic Studios Co-operative and the Association of Cultural Industries, and has worked for the government’s Culture Division where he was responsible for film, video, digital media, music and cultural exports. He has for many years been one of the leading proponents of the interactive digital media industry within government. On behalf of the Newfoundland screen industries he regularly attends international markets such as the Toronto International Film Festival, Strategic Partners in Halifax, the European Film Market in Berlin, and Produced By, E3, and the American Film Market in Los Angeles. He currently serves on the Canadian Association of Provincial Funding Agencies and is co-chair of the National Tax Credit Committee.

MORAG’S recently completed documentaries include PHANTOMS ON THE FRENCH SHORE, broadcast on Radio Canada & CBC, WHERE DID I PUT MY MEMORY, and LIFE BELOW ZERO, both airing on CBC”s Doc Zone. UPCOMING PRODUCTION: A feature documentary on the great tragedy of Beaumont Hamel with director Brian McKenna (Montreal) and writer Michael Crummey (NL), entitled NEWFOUNDLAND AT ARMAGEDDON. The two-hour television special will be broadcast on the anniversary of Beaumont Hamel on CBC National Television and on the French Network of Radio Canada. This is a co-production with Gala Films, Montreal. We have two features and two documentaries in development at the moment. A co-production feature length comedy with Parkex Pictures (Montreal) entitled Ben & Gerry, and Atlantic Gold, a co-production with Quebec’s Attraction Images with Director Donald Petrie. Documentaries in development with Barbara Doran as writer/director include THE BOOMERS ARE COMING and MOONSHINE.

CANADA

Barbara Doran

Morag Loves Company

Dorian Rowe

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CANADA

Northern Town Films

Daniel Janke

Northern Town Films is currently working in partnership with Galafilm [Montreal] on the feature film ‘A Long Way Around To An Unusual Destiny.’ We are attending WEMW in the hopes of finding a European partner for the making of this film. Northern Town Films is based in Whitehorse, Yukon, Canada. Our feature length performance documentary ‘Grubstake Revisited’ is currently in post-production for release in the spring of 2015. The animated film ‘How People Got Fire’ [NFB 2009] has received numerous awards, and has been screened around the world. Northern Town Films also provides production logistics assistance for companies looking to shoot in the north of Canada. Contact details: Northern Town Films | 18 Bluebell Place | Y1A 5V1 | Whitehorse, Yukon T: 867 633-4806 | danieljanke@northwestel.net | www.northerntownfilms.com

w: www.cmpa.ca e: coproduction@cmpa.ca

Tremendous Productions

Naomi Jaye

With a flair for cinematic scale and visual storytelling, Tremendous Productions, helmed by filmmaker Naomi Jaye, creates films for the world stage that provoke emotion through a combination of unconventional stories and striking visual execution. Tremendous Productions’ debut feature film THE PIN is one of North America’s only Yiddish language films to be made in over six decades. Recently awarded the Grand Prix at the Warsaw Jewish Film Festival, THE PIN opened on over 30 screens across North America to rave reviews, and made the ‘Top 5 Canadian Films at the Box Office’ during its Toronto run. Next up for Tremendous Productions is THE INCIDENT REPORT, an adaptation of the novel by Martha Baillie. The project was developed through the prestigious Torino Film Lab, with plans of being in production in the fall of 2015. With a slate of strong feature films in development, Tremendous Productions is looking for co-producing partners in Europe, Asia and the Middle East, with the desire of creating relevant and lasting partnerships across the world. Contact details: Tremendous Productions | 223 St Clements Ave | M4R 1H3 | Toronto T: +1 416 559 9980 | naomijaye@gmail.com

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t: +1-613-233-1444 t: @CMPAUpdates

The Canadian Media Production Association (CMPA) is a national trade association that represents leading screen-based production companies. Ask us how to connect with them.

Croatian Film Association

The Croatian Audiovisual Centre (HAVC) is the central film funding and strategic film agency in Croatia. It provides public funding for development, production, promotion and sales of Croatian film abroad, festivals, schemes and programmes aimed at widening audience choice, supporting film education, culture and archives, as well as skills and training initiatives. The Centre also administers the Croatian tax rebate scheme for film and TV production, aimed at encouraging inward investment.

Croatian Film Association was originally an association of non-professional film groups operating in Croatia since 1928. Since 1992, CFA has been a member of the international organization of nonprofessional cinema (UNICA) and since 2005, a member of the International Federation of Film Associations, as well. Main object of CFA's work is organizing some of the most important film festivals and workshops in Croatia in term of education and non-professional filmmaking, intended for mentors of children and youth film clubs, but also children and youth themselves. In 2000 CFA also started its own film production and distribution. In the past 14 years CFA has produced more than 100 short and 5 feature films (3 fiction and 2 documentaries). In the past year, CFA started opening for international co-productions as well.

croatia

Tina Hajon

Croatian Audiovisual Centre

Barbara Jukopila

Marija Ratkovic’ Vidakovic’ Hrvoje Hribar

HRT – Croatian television

Sanja Ravlic

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Croatian Radiotelevision is a public radio and television company. It is one of the European public broadcasting organisations created to serve the society, establish a public good and contribute to the development of a democratic society. HRT began back in May 1926 with the founding of Croatian Radio. Broadcasting had been started by members of the Zagreb Radio Club. They obtained a concession and authorization from the State, and founded the Zagreb Radio station. "Hello, hello! This is Radio Zagreb" these were the first words broadcast at 8:30 pm May 15th on medium wave. Three decades later, the first television station began broadcasting in what was then Yugoslavia, but also across South-East Europe. Croatian Television (formerly called Television Zagreb) began broadcasting on May 15th 1956. In June 1990 the Parliament of the Republic of Croatia passed a law changing the name from Radio and Television Zagreb to Croatian Radiotelevision. HRT is a public radio and television station mainly funded by taxes and advertising revenue. Its four channels are broadcast to more than one million homes. It has 3,500 employees, 21 radio channels, a television centre in Croatia and several abroad. 70 studios and departments are involved in the production of programmes. 18,000 hours of national programmes are produced each year, and about 7,000 hours of foreign programmes are broadcast. Contact details: HRT - Croatian television | Prisavlje 3 | 10 000 | Zagreb T: +385 99 634 7447 | F: +385 1 634 3665 | rzuber@hrt.hr | www.hrt.hr

Goran Radman

Robert Zuber 145

croatia

Missart Missart is a company that has primarily dealt with documentary production so far. We produced two documentary series that were aired on Croatian TV(HTV). One of them is arguably the best rated TV documentary series(TV ratings) in history of HTV. They dealt with a war in Croatia(Vukovar). We also produced a documentary about a Croatian national soccer team that turned to be a highest selling DVD in Croatia. We won an INMA award for a best DVD with a newspaper for documentary ”Vukovar 1991”. Dominik Galic´

Sekvenca Sekvenca aims at producing original cinema that reaches audience everywhere. We pay specific attention to new and emerging authors with distinctive handwriting and try to tailor the production in order to serve and support their vision. Our main goal is to connect with fellow filmmakers around the world and establish a wide network of collaborators so that we can mutually help each other create engaging and thought-provoking cinema. Jure Pavlovic’

Luka Venturin

PROJECTS COMPLETED UMBRELLA (2012, Short, 17') dir: Jure Pavlovic’, financed by HAVC (Croatian Audiovisual Centre) and City of Zagreb Cultural Office 7AM - 11PM (2013, Creative Documentary, 30') dir: Jure Pavlovic’, co-production with HRT (Croatian National Television) PICNIC (2015, Short, 12') dir.: Jure Pavlovic’ IN POST-PRODUCTION WHAT I AM (2014, Documentary Series, 12x30') dir.: Almmir Fakic’, Damir Janecek, Jure Pavlovic’ IN PRODUCTION FRUIT (Animation short, 5’) dir: Ivan Mirko Senjanovc’

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Petra Oplatkova

Institute of Documentary Film

Founded in 1945, FAMU is the national film academy of the Czech Republic. FAMU offers BA, MFA, and PhDs, and has departments in Directing, Animation, Documentary, Screenwriting, Producing, Cinematography, Editing, Sound, Still Photography, the Center Audiovisual Studies, and at FAMU International which provides short term courses and degree programs in English.

Founded in 2001, the IDF is a non-profit training and networking centre based in Prague, Czech Republic, focused on the support of East European creative documentary film and its wider promotion. Over the past thirteen years, IDF activities have developed into a comprehensive chain of support that offers assistance to individual filmmakers, groups of carefully selected professionals with projects or films (Ex Oriente Film, East Silver, KineDok, East Doc Platform - East European Forum, Project Market, Doc Tank) the broader professional community, as well as the general public (www.DOKweb.net).

Film Distribution ARTCAM

Jihlava International Documentary Film Festival

Film Distribution Artcam is fully integrated distribution company focused on independent and arthouse films in the Czech Republic. Since founding in 2000 we released more than 100 European films with arthouse profile. In 2012, in cooperation with Fresh Film Fest, Artcam introduced joint label FRESH ARTCAM focused on 1st & 2nd films and innovative models of distribution (Day & Date Release, VOD, Events). Recent titles: Mommy (Xavier Dolan, 2014), Just the Wind (Bence Fliegauf, 2012), Amour (Michael Haneke, 2012), Post Tenebras Lux (Carlos Reygadas, 2012), NO ( Pablo Larrain, 2012), Clip ( Maja Milos, 2012), Pevnost / Fortress ( dir. 2012 Lukas Kokes, Klara Tasovska)

Jihlava IDFF is the largest festival of creative documentary films in Central and Eastern Europe. We conceive documentary films primarily as unique artworks dealing with significant themes. Jihlava IDFF’s Industry Programme offers a networking platform for Emerging Producers, the Inspiration Forum, which will initiate new topics in documentary films, Festival Identity meeting for directors and programmers of all kinds of festivals and much more. Jarmila Outratová is the Head of Industry Office at Jihlava IDFF. Contact details: Jihlava International Documentary Film Festival | Jana Masaryka 16 | 586 01 | Jihlava T: 00420 775 864 981 | jarmila@dokument-festival.cz | www.dokument-festival.com

Czech Republic

Pavel Jech

FAMU

Masha Markovic

Jarmila Outratová

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Sirena Film

MIDPOINT is an international script development training program for students and young film professionals. It was conceived at FAMU Prague with the ambition to strengthen creative collaboration between writer, director and producer in the development process. The main program consists of 2 week-long residential workshops. Other activities include Training the Trainers workshop for script doctors and young teachers of screen writing and Dramaturgy in the Editing Room workshop for projects in the rough-cut stage. In 2015, MIDPOINT launches a new training program aimed at development of high-content ongoing episodic TV series.

Sirena Film is an independent production company with over 20 years of experience in film and commercial production. Founded in 1994 by Artemio Benki, nowadays the company has several areas of operation – film production services & film development, TV & alternative media production and production services (commercials and music videos). Under keen care of four head producers A.Benki, R. Finger, K.Hejdukova and P. Muller we are developing original production and European co-productions and also providing professional services for international productions, while putting strong emphasis on creative skills, integrity and excellence. Together we have completed around 25 feature films (ex. The Royal Affair /2012 – Silver Berlinale Bear) and over 800 of commercials and music videos. Year 2014 was extremely successful for us: three of our co-productions received Eurimages support (Shamer’s Daughter, Torstenkoold, Marguerite) and our documentary project Confidential was awarded by Creative Europe MEDIA Development Support.

Czech Republic

Barbora Struss

MIDPOINT Central European Script Center

Artemio Benki

Helena Zajicova

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ESTONIA

Amrion

Riina Sildos

AMRION Production is a production company founded by Riina Sildos in 2003 to produce high quality feature films and documentaries for local and international cinema and TV markets. The main aim is to make international co-productions with young promising talents and already acclaimed directors. What all the projects have in common is filmmakers’ personal vision, both with regard to subject matter as well as visual aspects. Besides applying creative criteria, Amrion develops projects with clear audience profile. Amrion offers filmmakers an emphasis on development and international financing and distribution of the projects. As a former head of Estonian Film Foundation Riina Sildos has extensive knowledge and experience in international financing and marketing and is one of the most recognized persons in Baltic film industry. She established the Baltic Films, the promotional body for marketing Baltic films and the Baltic Event – the international co-production market. She has also acted as the member of the Media Committee of the European Council. In Berlinale 2007, Riina Sildos was a member of the Short Film Jury. She is the national representative of EAVE and EMPA, and a member of ACE and European Film Academy.

YOU ARE A DOCUMENTARY FILMMAKER FROM THE BALKANS, OR YOU WANT TO WORK WITH THE REGION?

Amrion has produced four documentary films, „Wounds of Afghanistan” (2005), „Is the Best Enough” (2005), „Lieutenant, Von and the Manor of Leetse“ (2006), „Viru. The Embassy of Freedom“ (2013) and eight feature films, box office hits „Mat the Cat” (2005), multi-award winning youth drama „The Class” (2007), „I Was Here“ (Estonia, Finland 2008), „The Poll Diaries“ (Estonia, Germany, Austria 2010), „Hella W“ (Finland, Estonia 2011), „Une Estonienne à Paris ” (Estonia, France, Belgium 2012), “Kertu. Love is Blind” (2013) and „I Won’t Come Back“ (co-produced by CTB Film Company (Russia), Amrion (Estonia), Helsinki-filmi OY (Finland), Belarusfilm (Belarus), Kazakhfilm (Kazakhstan) 2014).

APPLY WITH YOUR PROJECT IN DEVELOPMENT TO BDC DISCOVERIES 2015 TRAINING PROGRAM!

Riina Sildos also produced the animation feature „Lotte from Gadgetville” (Estonia, Latvia 2006) with Eesti Joonisfilm, an international co-production, which was chosen to Berlin Film Festival Generations Kplus competition programme in 2007 and sold to more than 50 countries. The sequel, „Lotte and the Moonstone Secret“, premiered in August 2011 and has already become the fifth largest Estonian domestic film launch in 10 years and was selected again to Berlin Film Festival Generations Kplus competition programme in 2012. The other international co-productions: documentary "Snow in Krasnaja Poljana" (in production) and psychological drama “Pretenders” (in pre-production). In development are „Afterwar”, “The Little Comrade” and “Erik the Stoneheart”.

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submissions deadline: MARCH 6, 2015 with the support of

WWW.BDCWEBSITE.COM facebook: Balkan Documentary Center

Arte France

Arizona Productions, Paris based, is led by Guillaume de Seille, Bénédicte Thomas and Rémi Roy to mainly produce art-house feature films directed by non-French emerging talents. Bénédicte Thomas is handling domestic theatrical French distribution for the coproduced titles. To kill a man, Alejandro Fernandez Almendras, 2014, 84, Chile-France, Sundance IFF, World Narrative Grand Prize Corn Island, George Ovashvili, 2014, 98, Georgia-Germany-France-Czech Rep-Kazakhstan-Hungary, Karlovy Vary IFF, Crystal Globe & Trieste 2015 Song of my mother, Erol Mintas, 2014, 103, Turkey-France-Germany, Sarajevo IFF, Heart for Best feature Magic Mountain, Anca Damian, 2015, 85, Romania-Poland-France

ARTE’s policy is to broadcast high-quality national and international film co-productions as well as documentaries, news, live and performing arts programmes airing simultaneously in French and German all around Europe. The exceptional originality and the high quality of its output are the foundation for ARTE’s success and uniqueness. Contact details: Arte France | 8 Rue Marceau | 92785 Cedex 9 | Issy-Les- Moulineaux T: +33 6 82 90 24 08 | a-lodato@artefrance.fr | www.arte.tv

FRANCE

Guillaume De Seille

Arizona Productions

Annamaria Lodato

Ilann Girard

Arsam

ASAp films

Founded by Ilann Girard in 2002, ARSAM is an integrated group of corporations based in Paris. ARSAM offers business affairs consultancy and finance packaging services to the film and television production community and ARSAM INTERNATIONAL is an international sales agent and has developed over the years production and co-production activities for international feature film projects. Former Senior Vice President of Pandora Cinema Ilann Girard, a former lawyer with a masters degree in management, has executively produced Christian Volckman’s acclaimed animated feature film RENAISSANCE, Luc Jacquet’s award-winning feature documentary MARCH OF THE PENGUINS as well as PLASTIC PLANET Werner Boote multi-awarded documentary. He has produced Bille August’s GOODBYE BAFANA (Cinema for Peace Award at the Berlinale in 2007), Samuel Maoz’s LEBANON (Golden Lion in 2009 Venice Mostra and Best European New film at EFA 2010), I, ANNA by Barnaby Southcombe (Berlinale Specials 2012), OMBLINE by Stéphane Cazes (Cannes Junior Prize 2012) and WHEN DAY BREAKS Goran Paskaljevik’s last opus (Toronto 2012 – Academy Award 2013 Candidate). Ilann Girard is founding partner of OLFFI (Online Film Financing) the web portal voted as one of the top 10 professional websites of the future which is offers a one stop data base for producers looking to finance their films. OLFFI is supported by the European Union and several film funds.

ASAP Films is an independent film production company established in 2003 in Paris and is run by the producers Cedomir Kolar and Marc Baschet and the director Danis Tanovic. ASAP Films produced over 15 feature films among which the acclaimed and award winning films as "An Episode In The Life An Iron Picker" by Danis Tanovic, "The Lunchbox" by Ritesh Batra, "The Light Thief" by Aktan Arym Kubat. Contact details: ASAP Films | 4 rue de Saintonge | 75003 | Paris T: +33677196328 | F: +33142778680 | ckolar@noos.fr

Cedomir Kolar

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CNC

CAT&Docs is a Paris based international sales agent company specialized in promoting and distributing internationally documentaries from all over the world. CAT&Docs is looking for original documentaries, investigative documentaries, always associated with a high standard of content and form. Pertinent and impertinent films on topical questions and timeless subjects; documentaries that are carefully researched; documentaries that rigorously explore the subject matter, that are audacious, open to the diversity of the world and that have their place on the international scene; documentaries that question the world and propose new ways of looking at it. Rigor, respect, curiosity, diversity and innovation: the editorial choices of CAT&Docs must meet the demands of international markets. CAT&Docs represent: Of Men and War, Tea Time, The Storm Makers, The Optimists, My Love don’t cross that River, The Shelter, 5 Broken Cameras, Side by Side, Planet of Snail, Last Train Home, China Heavyweight, to name a few.

The principal missions of the CNC are regulatory, support for the film, broadcast, video, multimedia and technical industries, promotion of film and television for distribution to all audiences, preservation and development of the film heritage. The fund “Aide aux cinémas du Monde” is a selective aid scheme established for foreign filmmakers. Created in 2012, it is co-managed by the CNC (Centre national du cinéma et de l’image animée) and the Institut français. Open to feature-length films by filmmakers all over the world, its purpose is to allow and encourage international co-productions and the creation of works that help promote cultural diversity. The aid is a « pre-filming » subsidy of up to €250,000, awarded to the French production company to cover production and post-production costs. Projects that are not selected to receive pre-filming subsidies can also be represented after editing, to request a maximum of €50,000 in « post-production» aid.The projects are selected by a committee of professionals, which meets 4 times a year. The fund is open to first and second feature-length films and more experienced filmmakers.The criteria are artistic quality and the ability to present different views and new ways of looking at things. In 2014, the World Cinema Support budget totaled €6 M. It supports about 50 projects annually.

FRANCE

Catherine Le Clef

CAT&Docs

Emmanuelle Déprats

Contact details: CNC | 3 rue Boissière | 75116 | Paris T: +33 1 44 34 38 82 | emmanuelle.deprats@cnc.fr

Adriana Ferrarese

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Ceresa Films

Cosmographe Productions

Ceresa Films was created in 2013 with the main aim of producing creative documentaries on an international scale. The first Production “American Dreamer” by Thomas Haley (32 minutes) won the award of the Best Short Documentary in Visions du réel 2013 and was selected and awarded internationally since then. Among its currents projects Ceresa Films has produced “Karst” a creative documentary by Vladimir Todorovic (Docu Rough Cut Boutique –Sarajevo Film Festival-75 minutes), and it’s developing the long feature documentaries “Preacher Man” by Thomas Haley (presented at Visions du réel- Pitching du réel 2014), “Prelude and Aftermath”, an archive footage film on World War II by Pim Zwier.

Cosmographe Productions is a production company located in the South of France in Montpellier. Created by Nathalie Combe in 2007, it operates independently, with an editorial policy focused on creative documentaries and fictions that have been broadcast on European television (ARTE, WDR, RTBF, FRANCE TV) and on Al AL JAZEERA DOCUMENTARY. Cosmographe’s productions were screened and awarded prizes in numerous festivals throughout the world (DokLeipzig, Dubai, DocPoint Helsinki, Clermont- Ferrand, Alternativa Festival in Barcelona, DOCSDF Mexico, Stockholm French Film Festivals, Zinebi Bilbao, IndieLisboa, RIDM Montréal…).

Contact details: Ceresa Films | 8 Rue Meynadier | 75019 | Paris T: +33611308645 | adriana@ceresa-films.com

Contact details: Cosmographe Productions | 7, rue alexandre cabanel | 34000 | Montpellier T: +33607745015 | nathalie.cosmographe@gmail.com

Nathalie Combe

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Festival Scope

EURIMAGES is the cultural support fund of the Council of Europe. It currently numbers 36 of the 47 member states of the Strasbourg-based Organisation. With a budget of 25 million Euros, Eurimages provides financial support to feature films, animations and documentaries produced in Europe. Eurimages has three support schemes: cinema co-production, theatrical distribution & exhibition. Eurimages support takes the form of soft loans (co-production support) or subsidies (theatrical distribution and exhibition). Soft loans are repaid on the basis of revenues generated by the projects supported. Since it was set up in 1988, EURIMAGES has supported 1619 European co-productions for a total amount of approximately 492 million euros.

Festival Scope (www.festivalscope.com) is the B2B platform for film professionals only, allowing programming of the most prestigious festivals around the world to be viewed online.

Festival International du Film de La Rochelle

Arnaud Dumatin

La Rochelle International Film Festival aims to screen 250 films (160 features) to an audience of 80 000 over 11 days. More than four fifths of the films are European. A total of 20 European countries are represented. This is a non-competitive festival. The programme includes tributes, screenings of films made by unknown directors, retrospectives and cine-concerts. The highlights include a selection of recent EU short and feature films, a selection of rare, old or restored films, special screenings for children, documentaries, thematic all-night sessions followed by breakfast, special evenings, cinema and music classes, open air screenings and screenings in other French cities. Contact details: Festival International du Film de La Rochelle | 16 rue Saint Sabin | 75011 | Paris T: 33(1) 48 06 16 66 | F: 33(1)1 48 06 15 40 | arnaud.dumatin@festival-larochelle.org | www.festival-larochelle.org

FRANCE

Anne Iris Cadoux

EURIMAGES

Alessandro Raja

Les Arcs European Film Festival Besides a selection of about 70 feature films, Les Arcs European Film Festival organizes and industry platform ARC 1950 COPRODUCTION VILLAGE. During 4 days, it aims to present 25 European film projects in development to key film industry representatives. The participants with the projects have the possibility to meet potential co-producers, sales agents, French and European distributors, regional funds and banks, equity partners, etc. Conferences on various issues concerning production, sales and distribution of European films are also organized. Alongside the project market, the Coproduction Village presents a selection of European films in post-production looking for complementary financing and/or distributors, sales agents. About 350 participants from all over Europe are participating in the event every year.

Vanja Kaludjercic

LOCOFILMS LOCOFILMS is a production and sales company. Contact details: LOCOFILMS | 10 passage Piver | 75011 | Paris T: +33664209160 | laurent.danielou@loco-films.com

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Ormières Jean Luc

Born in 1978, Benjamin was trained as a building engineer and a finance specialist. But his interest for arthouse cinema soon leads him to short film directing, feature film editing and making trailers for foreign films for distributors and sales agents as Coproduction Office. In 2005, he created MÔMERADE with Lucie Kalmar to produce his short film THE DEAD HEAR NOT THE BELLS. He was involved in the editing of feature films at different stages of the postproduction. His first and very strong experience was with Carlos Reygadas on BATALLA EN EL CIELO, which competed in Cannes 2005. He consulted on LES HOMMES by French artist Ariane Michel (Grand Prix of the French Competition at FID Marseille in 2006). More recently, he provided some additionnal editing on HAIL by Australian director Amiel Courtin-Wilson. In 2010 and 2011, he dedicated himself to programming with Frederic Boyer, being part of the selection commitee for Directors’ Fortnight. In 2011, he also collaborated with CPH:DOX Copenhagen Documentary Film Festival programming team. He was most recently a consulting editor for METEORA, Spiros Stathoulopoulos’ second feature film which premieres in Competition at the 62nd Berlinale.

Jean-Luc Ormieres shares his time between his Production activities, his activities as European film consultant,and his activities in the international development of the VoD portal of the French independent cinema Universcine.com. He has produced over forty feature films as of today. His first feature, Rue Cases Negres (Sugarcane Alley), won a Silver Lion at the Venice Film Festival, and went on to be honoured with the 1984 French Cesar for Best First Feature Film. He has been often represented in international festivals where his films were awarded several prizes. He dedicated a substantial part of his activities to first-time directors such as Euzhan Palcy (Sugar Cane Alley), Patricia Mazuy (Peaux de Vaches), Dai Si Jie (ChIna, my Sorrow), Yolande Zauberman (Moi Ivan, toi Abraham). While General Manager for Les Films Balenciaga (1993-2001), he produced over ten features, among which A Couch in New York, directed by Chantal Akerman and starring Juliette Binoche and William Hurt, and The reconstruction of the 1942 unfinished film by Orson Welles, It’s all true directed by Richard Wilson, Bill Krohn and Myron Meisel, and the adaptation of the novel by Arthur Miller, Plain Girl/Eden, directed by Amos Gitai. His last feature film Dark Touch, by French Writer/Director Marina De Van (an Ex Nihilo/Element Pictures/ Filmgate & Film I Väst coproduction, a Wild Bunch International sales) Film has premiered at the 2013 TrIBeCa Film Festival, since then won several awards in festivals in Europe, and will open in France at the end of the first quarter 2014 (distribution by KMBO). He’s currently producing Claire Simon’ s new feature length documentary Le Bien, and is coproducing Mitko Panov’s Wait For Me, with Tipi’mages in Switzerland. He has co-written/co-directed with Aleksandra Szczepanowska two short films: Naked Soles in 2011, and Let It Ring that premiered in the 2013 Montreal Film Festival.

Contact details: Momerade | 8 rue d enghien | 75010 | Paris T: +33 6 09093231 | benjamin@momerade.fr

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FRANCE

Benjamin Mirguet

momerade

Jean-Luc Ormières

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Reisen Christine

Premium Films is a sales agent and theatrical distribution company based in France. The company was created in 1998, and initially specialised in short film distribution. We represent many internationally acclaimed Academy Award and Palme d'Or winning shorts films. The privileged relationships we have developed with talented young directors and producers encouraged us to create a feature film department in 2012. With our films we want to defend unique, daring and engaging cinematic visions of various genres and bring them to audiences around the world.

Qualified as a librarian/researcher, an intercultural training manager/consultant and a therapist in sophrology, Christine Reisen has an extensive working experience of over 35 years in France and in Germany, with a focus on profiling and fueling developing processes on an individual, collective or project level in a diversity of environments. After 21 years of commissioning, coproducing and programing documentaries with the French-German TV channel ARTE France, she decided to leave her position in the network in 2013 to become an independent consultant. Regularely invited member of selection committees, training workshops, pitchings, juries and panels, she is currently acting as a mentor/expert/consultant for international producers and institutions and as a sophrologist. Since april 2013, she has been collaborating as a freelancer with about 15 production compagnies in the UK, Ireland, Italy, Poland, Australia and France and with Sheffield DocFest / Documentary Campus, Sheffield; WEMW when east meets west, Trieste; INA sup, Paris; DocFest Leipzig / Coproduction Meeting, Leipzig,; AFO International Festival of Scientific Films, Camp4Science, Olomouc; IDFA / Forum, Amsterdam; Conseil Régional Midi-Pyrénées, Comité de lecture, Toulouse.

List of recently acquired films FLAPPING IN THE MIDDLE OF NOWHERE by Diep Nguyen Hoang NUOC 2030 by Ngiem Minh THE WAY OUT by Petr Vaclav JUDGMENT by Stephan Komandarev I AM YOURS by Iram Haq WHITE SHADOW by Noaz Deshe SOLDATE JEANNETTE by Daniel Hoesl DIE WELT by Alex Pitstra LEONES by Jazmin Lopez BOY EATING THE BIRDS FOOD by Ektoras Lygizos Contact details: Premium Films | 6 rue Desargues | 75011 | Paris T: 0668986973 (+33) | kasia.karwan@premium-films.com | www.premium-films.com

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FRANCE

Katarzyna Karwan

Premium Films

Christine Reisen

Contact details: Chatou - France | T: +33 7 61 01 11 53 | christine.reisen@gmail.com

Semaine De La Critique Parallel section of the Cannes Film Festival, la Semaine de la Critique has steadfastly remained true to its tradition of discovering new talents. Ever since it was conceived by the French Union of Film Critics in 1962, the objective of la Semaine de la Critique has been to showcase short films as well as first and second feature films by directors from all over the world. A reflection of a mix of demand and curiosity, which distinguished film critic, la Semaine de la Critique intends to explore and reveal the new creation through a selective programme of 10 short and 10 feature films. Chris Marker, Bernardo Bertolucci, Jean Eustache, Philippe Garel, Carlos Diegues, Barbet Schroeder, Ken Loach, Leos Carax, Amos Gitai, Wong Kar Wai, Arnaud Desplechin, Guillermo del Toro, Jacques Audiard, François Ozon, Alejandro Gonzalez Iñarritu or even Gaspar Noé : they all started at La Semaine de la Critique. In the recent years, being a true discoverer of new talents helped La Semaine bringing to light and awarding films like The Orphanage by Juan Antonio Bayona, Rubber by Quentin Dupieux, Las Acacias by Pablo Giorgelli, Declaration of war by Valérie Donzelli, Take Shelter by Jeff Nichols, Salvo by A. Piazza and F. Grassadonia, The Lunchbox by Ritesh Batra, The Kindergartenteacher by Nadav Lapid or The Tribe by Myroslav Slaboshpytskiy. Contact details: Semaine De La Critique | 17 rue des Jeûneurs | 75002 | Paris T: 01 45 08 14 54 | contact@semainedelacritique.com | www.semainedelacritique.com

Rémi Bonhomme

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Alamdary

Founded in 2011 by Frédéric Corvez and Clément Duboin, Urban Factory is UDI (Urban Distribution International) production arm. Its producer's credits include films such as MOBILE HOME by François Pirot (Locarno 2012 - Young Jury Prize), EL MUDO by Daniel & Diego Vega (Silver Leopard for Best Actor in Locarno 2013, Toronto IFF 2013), musical documentary VIRAMUNDO by Pierre-Yves Borgeaud and ONCE UPON A TIME, VERONICA by Marcelo Gomes (Special Mention in San Sebastian 2012, Toronto IFF 2012). Clement Duboin is currently preproducing genre film GOOD MANNERS by Juliana Rojas and Marco Dutra. He is a member of the EAVE Network.

Independent Production company Alamdary LLC was founded in 2002 in Tbilisi, Georgia, by Georgian film director and producer George Ovashvili and producer Nino Devdariani. Till today company produced few shorts and two long feature films THE OTHER BANK (got around 50 international prizes at more then 80 film festivals) and CORN ISLAND (won Karlovy Vary FF Grand Prix - Crystal Globe and is shortlisted for this year’s Oscar nomination in the foreign language film category). Currently Alamdary works on its new project KHIBULA - long feature drama.

Elise Cochin

Contact details: Alamdary | 2a Aghmashenebeli str. Apt. 12| 0131 | Tbilisi T: +995591010911 | thunder_finder@yahoo.com

WIDE

Caucasian Filmodrom

Founded by Loïc Magneron, WIDE is a leading independent sales company currently representing more than 20 new features films a year and a library of more than 400 fiction titles. Our catalogue contains a variety of movies from internationally acclaimed directors (restored classics by Max Ophuls LOLA MONTES, J-L Godard VIVRE SA VIE among others) but also a selection of genre/ horror and erotic dramas from around the world.

Caucasian FILMODROM is a relatively young company based in Tbilisi, Georgia, established as an independent film company, aimed to support projects and films of young Caucasian filmmakers. The company develops and produces short, documentary and feature films, trying to cooperate with international partners both in creative and executive respect. The company provides services to foreign film productions interested to shoot in Georgia.

GEORGIA

FRANCE

Clément Duboin

Urban Factory

George Ovashvili

Rusudan Pirveli

Wild Bunch Wild Bunch is one of the world’s leading players in the field of international sales, its position strengthened by both a wealth of experience recognized by foreign distributors world-wide, and a broad, artistically diverse selection of the best of director-led international cinema.

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Contact details: Wild Bunch | 99 rue de la Verrerie | 75004 | Paris T: +33 6 12 49 48 62 | mpvalle@wildbunch.eu

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Filmallee

MDR is a public service channel of the ARD Network, based in Leipzig. It runs a 24/7 channel being broadcast by cable, satellite, terrestrial network and internet. The station also delivers program to the national ARD network as well as to ARTE and 3sat. This department is responsible for the Factual program History, Science, Wildlife, Arts and Religion producing documentaries, features, magazines and live broadcast of cultural events.

FILMALLEE specialises in producing sophisticated narrative and documentary films. In doing so, a number of projects were shot inland and abroad and produced within the framework of international coproductions. In the past five years FILMALLEE productions received invitations to over 500 festivals and were awarded over 100 awards.

GERMANY

Claudia Schreiner

ARD/ Mitteldeutscher Rundfunk

Anca M. Lazarescu

Connecting Cottbus East West Co-production market at the FilmFestival Cottbus. Contact details: Connecting Cottbus hello@rebekkagarrido.com | www.connecting-cottbus.de

David Lindner

Rebekka Garrido

Dan Olteanu

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Gabor Greiner

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Parabellum film

The FilmFestival Cottbus, founded in 1991, is dedicated to feature films from Eastern and Central Europe, including South Eastern Europe. In three competition sections for feature, short and Polish-German Youth Films and several sidebar programmes, it presents twenty awards, which are endowed with a total value of almost € 74, 000. Sidebars explore current socio-political issues (“Focus”), the Eastern European traces in international cinema (“globalEAST”), Lusitian Serbian issues (“Domownja”), current children’s films from Eastern Europe et. al..

Established at the end of 2010, our focus is mainly on young talents and internationally-appealing stories (no matter how local the setting). We tend to favour characters and stories which we feel passionate about over fast-lived trends and rigid formats. We have to date (co-)produced the documentaries “Status of Life” (Hof Intnl. Film Festival) and the award-winning “The Incredibles” (San Sebastián Film Festival, DocAviv, Guadalajara Film Festival, finalist at Power to the Pixel's Pixel Pitch, Net Lab participant at Dok Leipzig, etc.). Besides “Four Passports”, which is in production right now, we currently have several nonfiction projects at different stages in the making.

Contact details: Karl – Marx – Str. 69 | 03044 | Cottbus T: + 49 355 43107 0 / + 49 30 432 07779 | b.buder@filmfestivalcottbus.de | www.filmfestivalcottbus.de

Natalia Imaz

Films Boutique

Picture Tree International

Films Boutique is an independent Berlin-based international sales company specialized in distribution of innovative feature films by filmmakers from all over the world. Only seven to ten new titles are added to our line-up per year as we are going back to basics: treat films as works of art and concentrate ourselves on a limited number of high profile titles. We are proud to serve our producers and distributors, who trust us in building up long lasting relationships and a repute of new and confirmed talents.

Picture Tree International GmbH is an integrated world sales & production company with headquarters in Berlin. The core business of Picture Tree International is the worldwide licensing of film rights and the co-production of international feature films in an integrated business model. The company handles an overall international sales line-up of up to eight films per year including two coproduction projects. Next to in-house co-productions and projects from its strategic partners, Picture Tree International secures its film portfolio by 3rd party acquisitions from independent production companies worldwide.

GERMANY

Bernd Buder

FilmFestival Cottbus

Rickard Olsson

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View Master Films

Rise and Shine World Sales markets and sells outstanding documentary films to broadcasters and distribution channels around the world. We operate on a boutique size level, taking a maximum of 15 films per year. Often, these documentaries are debut films by talented directors & usually features that can target clearly identifiable audiences. We love to be moved, and we are interested in films that dare to be different. Strong storylines with a clear handwriting and purpose. Discoveries from all over the world. Universal topics seen from a personal or local perspective.

View Master Films is an independent film production company founded in 2010 by George Kiriakos. View aspires to produce and co-produce features for the cinema and TV. Also to produce challenging and unique films and projects of various budgets and standards. With the help of a talented and vibrant development and production team, VMF seeks to establish itself as one of the leading companies in Greece.

GREECE

GERMANY

Diana Karklin

Rise and Shine World Sales

Effie Skrobola

Screen International

Martin Blaney

Screen International is the international voice of the film business. From offices in London and LA and with correspondents around the world, it covers the global business of film development, finance, production and distribution. Screen is published as a daily web-based news service - www.screendaily.com -, a monthly magazine, and as daily editions at all of the world's major film events. Based in Munich and Berlin since 1988, Martin Blaney has been working in the European film industry as a journalist (for Screen International since 1990) and a moderator for panel discussions and pitching forums throughout Europe and beyond. He studied German and Russian at the University of Durham and received a doctorate from the University of Bath (UK) for a dissertation on the relationship between the film industry and television in West Germany from 1950 to 1985. Contact details: Screen International | Krumme Str. 31 | 10627 | Berlin T: +49 30 318 063 91 | screen.berlin@googlemail.com | www.screendaily.com

SOFA - School of Film Agents In its 2nd edition SOFA â&#x20AC;&#x201C; School of Film Agents invites eight young professionals for an intense workshop during August 2014 to Wroclaw, Poland. The programâ&#x20AC;&#x2122;s special quality is build upon its unique target group consisting of film culture managers from Middle and Eastern Europe, the republics of the Caucasus and the Balkan States. Nikolaj Nikitin 170

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Éclipse Film, Café Film

Campfilm was established in 2007 by Sára László, Marcell Gero and Tamás Dobos. Since it’s inception, the company has mainly produced documentaries with various national and international partners (HBO Europe, Duna Television, European Integration Fund, European Refugee Fund, ARTE France, Radio Television Suisse etc). The films produced by Campfilm address social issues and have a strong cinematic demand. Films completed so far have participated and gained recognition at both national and international festivals, such as the 45th Directors’ Fortnight in Cannes, the 43rd Rotterdam IFF, the 54th Krakow IFF or the 62th San Sebastian IFF. In 2012 Két világ közt/Caught Between Two Worlds, in 2014 Másik Magyarország/ Another Hungary received the “Hungarian Film Critics Best Documentary Award”.

Éclipse Film is a Budapest-based independent film production company, founded by Julianna Ugrin in 2011. The company’s focus is on high-quality productions with relevant, particular or artistic content. Éclipse Film develops and produces mainly documentaries, but also author fiction films, commercials and corporate films on an international level. The main focus is on creative documentaries. Since it’s foundation Éclipse Film established connections among young, talented Hungarian filmmakers and experienced members of the industry.

Café Film is the film production partner company of Café Communication. Its first all-night feature film, ’Kontroll’ has set the gage high: it became the most popular Hungarian movie in the year of its first run, won a special prize in Cannes and numerous other festival awards, while the integrated campaign for its first run brought a Golden and a Platinum Effie for Café. Café Film uses its free resources to realize independent TV, web-video and film projects. These productions keep the creators’ minds fresh and give them the opportunity to try out the newest, cutting-edge film and post-production technologies. Café Film puts extra emphasis on being the Hungarian partner of international productions. Thus they provide location scouts, equipment and crew rentals, prepping and executing all stages of film and photo shoots. They are ready to meet the highest international expectations, as their filmography justifies. Selected filmography: Terápia (Therapy) – HBO TV-series (2012), Fehér Nyíl (White Arrow) – TV-drama (2011), Hangyatérkép (Ant Map) – TV-drama (2011), Ivanovék karácsonya (Christmas at Ivanov’s) – TV-theatre (2011), A repülés története (History of Aviation) – short movie (2009), Kontroll – feature film (2003).

hungary

Marcell Gero

Campfilm Production

Klara Trencsényi

Julianna Ugrin

Contact details: Éclipse Film, Café Film | Bem rkp. 6. | 1011 | Budapest T: +36 20 319 44 48 / +36 20 212 86 36 | klaritat@yahoo.com - julianna.ugrin@eclipsefilm.hu www.facebook.com/eclipsefilmHU

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Hungarian National Film Fund

FocusFox Post Production Studio has been serving clients effectively and thoroughly for 20 years with a continuous technical and infrastructural leadership. To keep up with global trends in picture post production, we use the most up-to-date equipments for video and film post. Our production managers supervise the films through the post-production process: we make digital dailies or in case of film based shooting films are developed in our lab, we make one-light or best-light telecine transfer, online editing, final grading, 3D animation, VFX, compositing, subtitling, sound design, foley, final mix, DCP, release prints, recording and dubbing. Since 2002 Focus Fox was running Kodak Cinelabs Hungary (motion picture laboratory). In 2012 Cinelabs Hungary has become part of Focus Fox. This way we can offer every element needed for a modern post production: film, audio, video with our experienced team. Since 2011 FocusFox also acts as a Production Company marked by Gábor Ferenczy, András Muhi, Attila Tozsér. Its first independent movie „What Ever Happened to Timi” became a real blockbuster and the most successful comedy in 2014.

The Hungarian National Film Fund was established in 2011 and started receiving applications in October that year. During the first 2 years 21 feature films and two documentaries were made and more than 60 scripts developed with the contribution of the HNFF. The first 4 films have already been released in the movie theatres, among which Coming Out a Hungarian comedy had already 75 000 viewers. The latest Hungarian success is that The Notebook, the World War II feature film directed by Janos Szasz got to the shortlist of 9 foreign films for the Academy Awards. The film produced in an organic European co-production: Hungary-Germany-Austria-France, won subsidy of the HNFF and received the support of Eurimages. The film also won the Crystal Globe (Grand Prize) of the Karlovy Vary International Film Festival. One of the 2 documentaries, Love Stream by Agnes Sos was selected for IDFA and Heavenly Shift a black comedy of the first filmmaker Mark Bodzsar was competing in international competition at the Warsaw Film Festival. At the Cannes Film Festival Hungary was represented by the short film Soft Rain in the Directors’ Fortnight, directed by Dénes Nagy. Next year about 15 films will start production supported by the Film Fund, and internationally acclaimed Hungarian film directors like György Palfi, Ferenc Török and Bence Fliegauf will shoot or finish their new films. The HNFF started its sales operations and has been selling Hungarian films successfully worldwide. In 2013 Mafilm the company that owns sound stages and a backlot merged with the HNNF, and so did The Hungarian Film Lab. To find the source for the tax incentive has become easier in 2013 since a deposit account operates to reserve taxpayers’ money for film productions. From this account film productions can get their 20% tax rebate, when they submit the National Film Office’s certificate for eligibility. This takes place on a first come first served basis. More and more productions come to Hungary to shoot their films. European production companies, please come to Hungary as a filming destination!

HBO Europe HBO Europe currently provides basic and premium channels to fifteen countries: Hungary, the Czech Republic, Slovakia, Poland, Romania, Bulgaria, Moldova, Slovenia, Croatia, Serbia, Kosovo, Montenegro, Macedonia and Bosnia and Herzegovina and the Netherlands. HBO Europe offers five high quality movie channels (HBO, HBO2, HBO Comedy, Cinemax and Cinemax2); HBO Europe also offers the latest on demand services with HBO On Demand, the subscription video-on-demand service, and HBO GO, the broadband subscription service that gives the subscriber unparalleled flexibility and program choice. Hanka Kastelicová

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hungary

András Muhi

FocusFox Studio

Agnes Havas

Balazs Zachar

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Judit Ujvari

Pannon Tv

Inforg-M&M Film is a Budapest-based independent film production company. The company’s aim is to provide space for art movies and commercial feature films, also gives and opportunity for documentaries, short films, animations and any kind of extreme genres, and it’s also open for any kind of international production services. Inforg Studio was founded in 1999 by producer Andras Muhi. During the past ten years the company produced 17 feature films, such as the so called „Hungarian new wave’s” brightest directors movies (MILKY WAY, WOMB, and in 2011 the Berlinale winner JUST THE WIND).

Our television is a largest regional television of Hungary. We are opening to film markets, cooproductions and other bordercrossing tv – and film productions, film festivals.

Magdolna Csikos

JVP Media

Szilánkok Film

The company has two main activities: international film sales and international relations on production side. Due to the present situation, we are focusing on co-productions and service works offered to foreign production companies at the moment.

Szilánkok Film Ltd. is the project company established for the production of Afterglow – a feature length documentary by Noémi Veronika Szakonyi.

Laokoon Filmgroup

Judit Stalter

hungary

Klára Muhi

Inforg M&M Film

Contact details: Szilánkok Film | Seregély u. 3-5. | 1037 | Budapest T: +36 30 299 47 80 | szf.noemi@gmail.com

Noémi Veronika Szakonyi

Laokoon Filmgroup is a 10-year-old production company focusing on the development and production of high- quality auteur feature films, creative documentaries and shorts. Laokoon concentrates on coproductions with both international and Hungarian partners. Gabor Sipos is a participant of ACE 19 with THE NECROMANCER and Judit Stalter is a graduate of MegaPlus. Laokoon’s selected filmography: 2007 New Life by Árpád Bogdán - Panorama Berlinale, Special Mention, 2010 Tender Son - The Frankenstein Project by Kornél Mundruczó – Cannes competition 2011 Beast by Attila Till - Directors' Fortnight Cannes, nominated for EFA Best Short Film 2013 Men with Balls by Kristóf Kovács – IDFA First Appearance, ZagrebDox, Sarajevo FF etc. Contact details: Laokoon Filmgroup | Balzac str. 36 | 1137 | Budapest T: +3613540491 | F: +3613540492 | stalter@laokoonfilm.com | www.laokoonfilm.com

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Katie Holly

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Creative Europe Desk Galway

Established in 1989, Bandit Films is the development and production vehicle for Irish film-maker Johnny Gogan. The company has produced almost twenty films for Johnny including a range of short films, tv documentaries and four feature films including the recent theatrical release Black Ice. The company's new IrishGerman documentary Generate The State will broadcast Spring 2015. The company is currently developing a 4 Part Environmental Drama with the support of Creative Europe as well as the Irish-Croat story Witness To The Future, the story of human rights activist and celebrated Irish and European essayist Hubert Butler.

The Creative Europe Desk MEDIA Office Galway is an information office of the Creative Europe Programme. In particular the MEDIA Office Galway offers advice and assistance regarding the MEDIA Sub-Programme of Creative Europe.

IRELAND

Johnny Gogan

Bandit Films

Eibhlín Ní Mhunghaile

Blinder Films

Duckling Development

Founded in 2006, Bl!nder Films have screened at numerous international festivals including Palm Springs, Toronto, SXSW, London, Edinburgh, Seattle, Slamdance, London and Rotterdam. Feature Films include One Hundred Mornings, (Special Jury Award at the 2010 Slamdance Film Festival), Sensation, written and directed by Tom Hall starring Domhnall Gleeson which premiered at Toronto International Film Festival 2010, and Come on Eileen which stars Jackie Howe, Keith Allen, Julia Davis and Noel Fielding, Jump, directed by Kieron J. Walsh, which also premiered at Toronto International Film Festival and won the Cinema Without Borders 2013 Bridging the Borders Award at Palm Springs, Sophie Fienne’s documentary The Perverts Guide to Ideology, featuring Slavoj Zizek; and Citadel, a psychological horror from writer/director Ciarán Foy which premiered at SXSW (Midnighters Audience Award), and has since won awards at festivals including Galway, PiFan, Celluloid Screams, and Neuchatel. It was released in the US by Cinedigm, in the UK by Metrodome and Ireland by WildCard. They are currently in post production with Moscow Never Sleeps, a sprawling multi-narrative set on one day in Moscow, directed by Johnny O’Reilly and co-produced by Snapshot Films in Russia. Blinder Films has also produced numerous television shows including Ar Intinn Eile, a three part documentary series on the history of mental health treatment in Ireland for TG4, Striapacha, a three part documentary series on prostitution in Ireland for TG4, four series of the award-winning show The Savage Eye and topical satire series Irish Pictorial Weekly for RTÉ. The company, which seeks to make unique stories across film and television that will provoke, move and entertain, is backed by slate support from the Irish Film Board. Company principals are producer and director Kieron J. Walsh and producer and managing director Katie Holly, who was selected as the Irish “Producer on the Move” at the 2010 Cannes Film Festival and is currently on the Irish Film Board.

Duckling Development Ltd is an Irish production company registered in Dublin and based in Paris. It is run by writer-producer Séamas McSwiney. Duckling Development is essentially a project development company that focuses particularly on European stories that cross borders and juxtapose cultures. It initiates, writes and develops projects to a level where they are sufficiently interesting for co-production partnerships, in particular with stronger companies that have international perspectives and aspirations, especially in countries with richer audiovisual markets, larger audiences and stronger production infrastructures, particularly France, Italy and other European countries.

Contact details: Blinder Films | 71 Dame Street | Dublin 2 T: 01 6768540 | info@blinderfilms.com | www.blinderfilms.com

Contact details: Duckling Development | 28 rue Lacepede | 75005 | Paris, France T: +33 1 45 87 12 38 | smsparis@hotmail.com

Séamas McSwiney

EGG Post Production Egg is a VFX and Post Production company based in the heart of Dublin City Centre. Celebrating 10 years of business Egg has established itself as one of Irelands leading post and VFX houses and is a founder member of the VFXAI (VFX Association of Ireland). We have vast knowledge of all aspects of Visual Effects, picture and sound post production and tons of experience in overseas coproductions that take advantage of Irelands generous tax breaks for film and television. Egg boasts a young and talented team of artists and technicians driven by a passion for combining creativity with technology. We pride ourselves on bringing this passion to every stage of the post or VFX process from tailoring exacting workflows to final delivery of perfect picture and sound.

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Galway Film Fleadh & Fair

Enterprise Ireland is the government organisation responsible for the development and growth of Irish enterprises in world markets. We work in partnership with Irish enterprises to help them start, grow, innovate and win export sales on global markets. In this way, we support sustainable economic growth, regional development and secure employment. Ireland has a powerful base of world-class exporting companies focused on innovation and internationali sation. Irish companies compete and win business all over the world because they are an excellent source of world-class products and services, created by innovative and talented people. Enterprise Ireland supports Irish Media & Entertainment companies by providing expertise, strategic advice, financial supports and access to international markets and funding.

The Galway Film Fleadh (7th-12th July 2015) – Ireland’s leading film festival, is a six day international film event held every July and welcomes a mad diversity of filmmaking from around the world. The Fleadh is very much a film lovers’ festival, and attracts directors, actors, cinematographers and artists of all generations and cultural backgrounds. Now in its 27th year, the central goal of the Galway Film Fleadh remains unchanged: to bring together audiences and filmmakers within an intimate environment, and share a common experience – the wonder of cinema. The Fleadh’s diverse audience is made up of the general cinema going public, film buffs, industry professionals and invited guests. The Galway Film Fair (9th-11th July 2015) is an annual film market that takes place during the Galway Film Fleadh (Festival). The purpose of the 3-day-event is to: - foster co-production at a European and International level; - provide filmmakers with valuable market research and feedback on their projects; - speed up financial arrangements; - finalise distribution and pre-sale agreements; - improve networking between professionals from the film and television industries; - provide training elements; - platform new Irish & European films.

Contact details: Enterprise Ireland | Via De Amicis 53 | 20123 | Milan, Italy T: 0039 02 8800991 | sara.bonomi@enterprise-ireland.com - paul.maguire@enterprise-ireland.com www.enterprise-ireland.com

Paul Maguire

Fastnet Films is the production company of Macdara Kelleher, Morgan Bushe & director Lance Daly. Fastnet has produced and co-produced feature films and drama series with cumulative budgets of over $100 million for domestic and international markets. The company has been nominated for over 28 Irish Film & Television Awards. Previous films have premiered at Cannes, Toronto, Berlin, Locarno, Sundance, Tribeca & London Film Festivals as well as being nominated for the European Film Awards. Integral to our ethos is a bold and dynamic approach to filmmaking. Seeking out original, challenging and cutting edge films, we aim to nurture, develop and creatively exploit the radical, the innovative, the visionary, the truly extraordinary in cinema worldwide. Our only criteria are excellence, singularity of vision and that each new project offers a new challenge. We believe that these values and aspirations of the company attract distinctive cinematic voices, both emerging and established, and we provide them a supportive and stimulating environment in which to work.

The Galway Film Fair encompasses: The Marketplace - where invited decision-makers can meet other professionals and participants with projects to develop and co-produce, as well as acquire finished works for distribution. Real Deal - a full day conference activity presented in association with the Irish Film Board and Ateliers du Cinéma Européen. Market Screenings - provides access to Fair delegates to see new Irish and European cinema in addition to festival screenings. Galway Film Lab - incorporates further training elements around talent development presenting an Actors, Directors, Producers and Screenwriters Masterclass. Pitching Award - recognises the important role of the screenwriter and offers a starting point within the Fair for the freshest of projects. Creative Europe Co-Production Dinner - an opportunity for European producers to have access to financiers in an informal and relaxed environment ahead of all other Fair activities.

Contact details: Galway Film Fleadh & Fair | 36D Merchants Dock, Merchants Road | Galway T: +353 91 562200 | miriam@galwayfilmfleadh.com | www.galwayfilmfleadh.com

Fastnet Films

Aoife McGonigal

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IRELAND

Sara Bonomi

Enterprise Ireland

Miriam Allen

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Mammoth films

Bord Scannán na hÉireann/the Irish Film Board (IFB) is the national agency for the Irish film industry investing in talent, creativity and enterprise. The agency supports and promotes Irish filmmaking and the use of Ireland as a location for international production. The IFB invests in the development, production and distribution of feature films, animation, documentaries, TV drama and short films. Recent credits include Lenny Abrahamson’s What Richard Did and Frank, John Michael McDonagh’s The Guard and Calvary, John Carney’s Once, John Crowley’s Brooklyn, Gerard Barrett’s Pilgrim Hill and Glassland, Neil Jordan’s Byzantium and Lance Daly’s Kisses. Creative co-productions include Paolo Sorrentino’s This Must be the Place, Ken Loach’s Jimmy’s Hall, Erik Poppe’s A Thousand Times Goodnight and John Boorman’s Queen and Country. Feature documentaries supported by the IFB include Ian Palmer’s Knuckle, Nick Ryan’s The Summit and Ken Wardrop’s His n Hers and animated features include Tomm Moore’s The Secret of Kells and the Song of the Sea. Projects in post include, Sing Street (John Carney), The Lobster (Yorgos Lanthimos), Strangerland (Kim Farrant) and Room (Lenny Abrahamson).

Established in Ireland by Jane Doolan, producer and distributor of feature films with over 30 years experience in the film industry. Her credits as producer include Into The West Director Mike Newell and In The Border Country Director Thaddeus O'Sullivan. As an independent distributor her company Clarence Pictures distributed over 300 films in Ireland including classics such as Trainspotting, The Usual Suspects and Secrets and Lies. Mammoth Films is focused on the production of creative and original feature films. We also engage in co-production using Irish tax incentives and supports. In addition we offer advice on sales, distribution and gap financing.

IRELAND

Keith Potter

Irish Film Board

Contact details: Mammoth films | 26 glenabbey road mount merrion co | Dublin T: + 353 86 3496706 | info@mammothfilms.com | www.mammothfilms.com

Niamh Fagan

Lunar Pictures

Planet Korda Picture

Niamh Fagan was the co-owner and development producer at Great Western Films, a small independent production company based in Ireland, she has produced primetime television drama; Rasaí na Gaillimhe Series 1 & Series 2, Trouble in Paradise, The Last Furlong and Camera Cafe for national broadcasters RTE and TG4. Niamh has now set up her own company, LUNAR PICTURES to develop and produce feature films at home and abroad. LUNAR PICTURES has recently completed a feature documentary, about a novice sailing crew’s voyage ‘From Galway to Greenland’ which has just been broadcast at primetime on TG4. Niamh was a participant on the EAVE Producers Workshop in 2013 and currently has three other feature films in development as well as two documentaries.

Planet Korda Pictures is a small but dedicated Irish production company, co-founded in 2005 by Irish director Jeremiah Cullinane (EAVE 2000) and Italian writer and producer Bartolomeo Dibenedetto (EURODOC 2012), focusing mainly on international creative feature-length documentary films.

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Almost always working in co-production, the company tends to look beyond the borders of Ireland for material. Often, there is some kind of inter-cultural aspect to our projects. The company is happy to focus on productions it believes strongly in and which correspond to its artistic direction: visually engaging and provocative documentaries offering a different perspective and challenging accepted ideas; well crafted, artistically and intellectually strong films, perhaps provocative, perhaps humorous, appealing to a thinking and sensitive audience.

Jeremiah Cullinane

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Screentime Shinawil

RIPPLE WORLD PICTURES was founded in Ireland by Jacqueline Kerrin and Dominic Wright in 2007. Ripple is currently in post production on live action/animation family movie GHOSTHUNTERS – ON ICY TRAILS for Warner Bros. set for release in 2015, and the comedy HAPPY HOUR for WDR Germany. Ripple’s recent credits include supernatural thriller CONTRORA by Rossella de Venuto, sci fi comedy EARTHBOUND by Alan Brennan starring Rafe Spall and David Morrissey, thriller RETREAT by Carl Tibbetts starring Cillian Murphy and Jamie Bell, drama ISZTAMBUL by Ferenc Török, comedy drama PARKED by Darragh Byrne starring Colm Meaney and Colin Morgan and comedy LAPLAND ODYSSEY by Dome Karukoski. Forthcoming theatrical features include JP Siili’s thriller THE BEACON, Ivan Kavanagh’s western NEVER GROW OLD and Colin McIvor’s ZOO. Scripted series in the pipeline include period spy thriller RATLINES and comedy drama HAPPINESS.

Set up in 1999 specialising in entertainment, factual entertainment, live event programming and now scripted drama, Screentime ShinAwiL is one of the largest and most successful independent production companies in Ireland. In 2009 Screentime ShinAwiL Ltd. opened its first UK office and 2012 saw its first BBC NI commission, Undercover NI. 2014 will see Screentime ShinAwiL consolidate its UK base by opening a London office. Screentime ShinAwiL is the production powerhouse behind some of Ireland’s biggest entertainment series’ including The Apprentice, Dragons’ Den, MasterChef Ireland and most recently The Voice of Ireland. The latest development is the move into original Drama production to mirror Screentime in Australia’s massive success in Drama. As well as dominating the Irish market by producing large-scale international formats, Screentime ShinAwiL has also created original formats. "Soccastars" was licensed in Portugal, Turkey, Malaysia and 7 Middle Eastern States while "Rising Stars" has been licensed to 8 countries in the Caribbean Basin. Screentime ShinAwiL is currently in development on original factual entertainment series’ for the UK and US markets.

Dominic Wright

Larry Bass

TG4 TG4, the Irish language television channel is an independent statutory entity (Teilifís na Gaeilge). The channel has been on-air since late 1996. TG4 is a free-to-air channel, available across all the viewing platforms, with a strong viewer base throughout the island of Ireland. An average of 650,000 viewers a day watch TG4 in the Republic of Ireland. This daily figure exceeds 1 million people on major viewing days like Christmas Day and St. Patrick’s Day. TG4 is the 8th most popular channel in Ireland with an average share of 2%. This is a very creditable performance in what is one of Europe’s most competitive national television markets, with a very high percentage of homes subscribing to satellite, cable or IP platforms that make available scores of TV channels and Players that offer a wide choice of content. TG4 invests over €20m annually in original Irish programming from the independent production sector in Ireland. This investment supports 350 posts in small private sector companies throughout the island. TG4 is a public service broadcaster. The functions and duties of TG4 (Teilifís na Gaeilge) are set out in the Broadcasting Act 2009. The entity has a twelve member board, currently chaired by Siún Ní Raghallaigh. TG4 receives a programme supply of 365 hours of Irish language programming annually from RTÉ, at no cost to TG4, as specified in the Broadcasting Act 2009.

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IRELAND

Jacqueline Kerrin

Ripple World Pictures

Contact details: TG4 | Baile na hAbhann | Co na Gaillimhe T: +353 91 505046 | maire.ni.chonlain@tg4.ie | www.tg4.ie

Maire Ni Chonlain

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IRELAND

Vico Films

Cormac Fox

Cormac Fox, Peter Foott and Michael Doherty established Vico Films in 2003 with the aim of producing innovative and critically acclaimed films for the international market. The company’s films have been accepted into over 100 international film festivals and have won over 20 awards to date including at the Venice Film Festival, Los Angeles Short Film Festival and the BBC New Talent Awards. The company was nominated for Best Digital Post-Production Company at the Digital Media Awards in 2005. Focused on feature-length film and theatrical documentary projects, the company’s recent feature film credits include King of the Travellers and Dark By Noon. The company have recently wrapped shooting on History’s Future (dir. Fiona Tan) – a co-production between Vico Films, FamilyAffair Films (Netherlands) and RohFilm (Germany). Contact details: Vico Films | Unit D, Glencormack Business Park | Co. Wicklow | Kilmacanogue T: +353 87 646 0406 | F: +353 1 201 4999 | cormac@vicofilms.com | www.vicofilms.com

Windmill Lane Pictures Ireland’s largest post production and VFX company for feature film and high quality television drama with a 30 year track record offering full service post production and visual effects combined with Irish tax based co-funding incentives. Contact details: Windmill Lane Pictures | 29 Herbert Street | 2 | Dublin T: +353 1 6713444 | F: +353 1 6718413 | info@windmilllane.com | www.windmilllane.com

CMY

Tim Morris

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Alpis

I’m a freelance sound editor and sound designer . My areas of expertise include feature films, TV drama, documentary, animation and screen advertising. I’ve been working for several years in a sound post production studio (A-lab) based in Trieste as a sound editor and location recordist. I’m a protools certified post operator and I attended my pro tools certification courses in the Alchemea college in London.

italy

Havir Gergolet

A-lab

Laura Cattaneo

AGHEROSE

Dorino Minigutti

Agherose is an independent production company located in Udine (I). Agherose has always been involved in social communication, by realising innovative projects with the aim of raising awareness and promoting health, in network with local governments and private firms. Agherose develops and produces creative documentaries in co-production with national and international production companies and broadcasters, with the support of Italian and European film funds. Agherose is specialised in the production of documentaries regarding historical and current topics, characterised by a strong creative spirit and by social commitment.

Marina Rosso

Carlo Zoratti

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Controra Film

Altreforme is an arts company that organizes and produces cultural events. Over the past few years it has become involved in the production of art documentaries and has produced two documentary series.

Controra Film is an indipendent company recently founded by Alessandra Grilli and Serena Sostegni. They both have been working in the international cinema industry for more then ten years. Alessandra was executive producer of ”Alì blue eyes”, directed by Claudio Giovannesi, winner of the Jury Award and Award of Best first and second feature film at Rome International Film Festival 2012 and “Into Paradiso” directed by Paola Randi, selected at Venice International Film Festival 2010. Among Controra Film projects, in pre-production, “2night”, remake of the homonymous Israeli film and directed by Ivan Silvestrini; in development “The T Factor”, directed by Francesco Costabile.

Augusta Eniti

italy

Altreforme

Francesco Costabile

Contact details: Controra Film | Via Machiavelli 11 | 00185 | Rome T: 3408688481 - 3283114246 | costabile05@hotmail.com - alessandra@controrafilm.it

Augustus Color Augustuscolor was founded by the family fur as a laboratory processing of the film in 1975. Today, it offers advanced audio and image processing in a series of resolutions and formats, offering services for advertising, fiction, film, and television markets .

Alessandra Grilli

Vittorio Bonini

Creative Europe Desk Italy - Turin MEDIA Office

Pasquale Cozzupoli

Creative Europe Desks for the Media Sub-programme. The EU Programme CREATIVE EUROPE (20142020) with a budget of 1,46 includes a Media Sub-Programme which provides funding for the cinema and audiovisual sector and a Culture Sub-Programme, supporting performing and visual arts, heritage and other areas. The role of the Creative Europe Desks is to help filmmakers and all audiovisual industry professionals understand and apply to the Media’s funding schemes and benefit from the support system. Contact details: Creative Europe Desk Italy - Turin MEDIA Office | Via Cagliari 42 | 10153 | Torino T: 011 539853 | F: 011 531490 | silvia.sandrone@media-italia.eu | www.media-italia.eu

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Silvia Sandrone

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Echofilm

Dmovie is a production company of documentaries, commercials and corporate videos . Emotion, dream, passion in transmitting values are our vision, in the name of the Italian Style. Dmovie is a well mixed team of people with different approaches, from classic to innovative. We believe in being dynamic and cutting edge . Our flexibility and quality are appreciated by some of the most relevant companies in the Italian Industry and prestigious advertising agencies rely on our experience to carry out their projects. The Documentary Department writes and produces medium-length documentaries and feature films with a special focus on the present and the past.

ECHO FILM GmbH was founded in January 2012 by four producers: Karl Baumgartner, Andreas Pichler, Georg Tschurtschenthaler, and Philipp Moravetz. In autumn 2012 Maja Wieser joined the company as silent partner. The company is based in Bozen/Bolzano. ECHO FILM works in two business fields: the development and production of films (fiction and documentary) with themes connected to the region for the international market as lead producers or as co- producers; and service production for films to be shot in South Tyrol and/or Northern Italy. With Italy being our main territory we also focus on the alpine regions, consisting of parts of Germany, Austria and Switzerland. Not only because of the similarity of the landscapes but also because we deal with the same themes in these regions. The story we tell, the issues we have to deal with, they all bear a certain similarity. The key to the company’s success in both business fields on the international market is the working experience of the founders and the dense network of contacts with broadcasters, co-producers, film funds, distributors etc. The “Film Production” business field is intended to contribute in the medium and long term to the economic development of the company. We have been developing film projects since the beginning of 2012, and will start our productions in 2015, with the first films being ready by end of 2015. Part of our strategy is also to build a strategic catalogue of rights that hopefully will be of long-term value to the company. ECHO FILM GmbH develops both fiction and documentary with an audience-driven tone, rooted firmly in the local culture.

Contact details: Dmovie | Via G. Carducci, 49 | 33037 | Pasian di Prato (Ud) T: +39 349 1860084 | diegoclericuzio@dmovie.it - campardoroberta@gmail.com - matteo.lena@gmail.com www.dmovie.it

Matteo Lena

Emanuela Barbano

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DUE MONETE

Due Monete is a young production company run by a scriptwriter\director and a producer. Natural born digital. Social oriented. Transmedia devoted. Our passion for storytelling leads us in defining integrated campaigns as well as contents for cinema and new media with no conceptual boundaries, keeping our mind wide open. In those years Due Monete produced over six shorts, one documentary, one web documentary, several commercials, videos for web, integrated adv campaigns using social media marketing approach, short films and interactive works. www.duemonete.it

EUFRASIA

italy

Roberta Campardo

Dmovie

Philipp Moravetz

Pasqualino Suppa 193

Film Commission Torino Piemonte

Fandango is a Film Production, Distribution and Sales company. More, Fandango is a Publishing House and and a Music Label. During its 24 years of life, Fandango has established itself as an independent and unconventional cultural reality, defined by many as a “factory” where the arts of cinema, literature and music live together and contaminate each other. Fandango has unveiled many of the greatest Italian talents of the last decade: Gabriele Muccino, Emanuele Crialese, Matteo Garrone, whose two last movies Gomorrah and Reality have won the Grand Prix in Cannes and numerous awards. Among others Fandango also produced The Consequence Of Love by Paolo Sorrentino and in these past years some of the most important Italian successes: Loose Cannons and Magnificent Presence by the acclaimed movie director Ferzan Ozpetek; Habemus Papam, Nanni Moretti’s last movie, starring Michel Piccoli and Moretti himself; Diaz- Dont’t Clean up This Blood by Daniele Vicari which premiered at the Berlin International Film Festival and won the 2nd Panorama Audience Award Panorama. 2014 Fandango will present several titles of awarded directors among whom “I can quit whenever I want” by Sidney Sibilia.

Operating since September 2000, Film Commission Torino Piemonte has set as its main goal the promotion of Piedmont and its capital city, Turin, as an excellence film location and working place for film and television productions, thus attracting to the area Italian and foreign productions while supporting the local film and television industry, creating therefore new working opportunities for professionals involved in this sector. Contact details: Film Commission Torino Piemonte | Via Cagliari 42 | 10153 | Torino T: 347 2639018 | cantisani@fctp.it | www.fctp.it

italy

Stefano Basso

Fandango

Angelica Cantisani

Federica D'Urso

Fondazione Sistema Toscana

Media analyst

FST si occupa per la Regione Toscana dell’attuazione delle politiche relative all’audiovisivo per l’area di cui sono dirigente; svolge attività di Film Commission perla Regione Toscana e per tutti i comuni del territorio. Attualmente Toscana Film Commission ha la presidenza dell’Associazione delle Film Commission Italiane. La Fondazione si occupa anche di comunicazione sul web e di promozione turistica. FST, is a Tuscany Region’s foundation; our core business is the audiovisual field: Mediateca/ Education and Training/ Festivals/ Events/ Film Commission. We coordinate the Italian Film Commission Association. FST has a communication and promotion branch.

Stefania Ippoliti

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Genova - Liguria Film Commission

The FVG Film Commission gives technical support to the production industries that choose to shoot in Friuli-Venezia Giulia. It manages also the FVG FILM FUND that provides grants of up to 200.000 euros to audiovisual productions filming in Friuli Venezia Giulia. Assistance to production companies

Genova-Liguria Film Commission is a non-profit entity (technically, a Foundation) created by the Region Liguria, the City of Genoa and other smaller local governments with a territorial marketing goal: to attract to Liguria investments in the field of audio-visual production (commercials, television and cinema) to create jobs and to support the creation and the development of local service companies and suppliers. The second goal is to give regional locations a greater visibility thanks to more exposure on small and big screens. Genova-Liguria Film Commission provides free services to production companies (Italian and foreign) in all stages of the production process (development, pre-production, preparation, production) assisting them in during recces, research of location images, relationships with local professionals and authorities. Genova-Liguria Film Commissions offers very competitive fares for hotel, restaurants and other services. During the shooting we set up a one-stop office for permits. Our Videoporto (LINK) is another resource available for production companies in need of parking facilities, production offices, sound stages, dressing and make-up room. On selected projects, Genova-Liguria Film Commissions helps production companies to find local financial support.

Friuli Venezia Giulia Film Commission offers its collaboration, and provides the following free services to movie, TV, advertising and multimedia companies: • • • • • • • •

welcome and lodgings direct liaison with local Public Officers introductory information about technical, logistical and bureaucratic matters assistance with bureaucratic proceedings general information about production resources visits to the locations detected by the production location scouting regarding other possible shooting sets liaison with resident professionals offering production services

italy

Federico Poillucci

FVG Film Commission

Fabio Canepa

Gagarin We believe in presenting quality film to the audience in order to make it more exigent and less subordinate to the commercial market.In this perspective Gagarin tries to renovate the genre giving an author point of view to the genre’s language. In this way, any project that Gagarin takes in consideration becomes a real challenge for a new audience and new markets.

Fabrizio Cerato 196

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PIetro Jona

Hiq productions

Founded in 2004 in Torino by three partners, GraffitiDoc rapidly gained a solid reputation even across the Italian borders as a refined and high-level production company, both in terms of the quality of its authors and directors and in terms of subjects and issues engaged. Already since its first works, mainly creative documentaries on relevant subjects, GraffitiDoc developed projects alongside some of the best production companies on the European market, destined for the main international tv channels (the cooperation with the French-German cultural channel ARTE has been continuous for the past 10 years), and selected at prestigious festivals. Graffitidoc’s capability to work on the international market was repeatedly recognized and rewarded by the EU MEDIA Programme, with the support granted to two of the company’s ‘Slate of Projects’ (in 2009 and 2012). Amongst GraffitiDoc’s latest works, “The Toxic Burden” (2014), by Patrizia Marani, about the contemporary boom of allergies, has been aired in prime time on many European public channels; ‘Europe for Sale’ (2014), by Andreas Pichler, an overview on the current sales of natural and cultural assets under the push of the public debt, was co-produced by ARTE France and RAI Cinema; “Dust – The Great Asbestos Trial” (2012) by Niccolo Bruna and Andrea Prandstraller, a film about the deadly legacy of the asbestos industry on a small community, was shortlisted for Best Feature Documentary at the David di Donatello 2012. Furthermore it won various prizes in international festivals like the Baghdad Film Festival 2012 (Best Film), Rio de Janeiro FilmAmbiente 2012 (Best Feature Documentary) and won the Jury Prize at the Cinemambiente International Film Festival in 2011.

HiQ productions is an audiovisual production company based in Rome and Valle Aurina (BZ). Its main activity is the production of documentaries and factual programmes for the international market. Our first feature doc, "Suddenly Last Winter" had its premiere at the Berlinale in 2008, earning a Special Mention. The film went to over 200 festivals, winning 20 awards, and was broadcast in different EU countries and the US. "Italy Love it or Leave it” (2011), our second feature doc, was co-produced by NDR-Arte and WDR in association with Rai 3, with the support of MEDIA Development and Broadcasting. It was sold to Denmark, Finland, Canada, Australia, Austria, Poland, South Africa, Greece and has participated in over 200 festivals. Our 3rd doc “What is Left ?” (2013) was supported by BLS , Rai 3 and Media Development and was released theatrically in Italy in December 2013. We sold the theatrical rights in Germany, Austria, Switzerland, Aus/NZ. HiQ is a member of Doc/it. "What is Left?" is our third film and after cinema release and tv broadcast in Italy, it premiered at Hotdocs Toronto, Minneapolis International Film Festival and Munich Dok.fest. The film will be released in Germany, Austria and Switzerland. Contact details: Hiq productions | Via Macerata 56 | 00176 | Rome T: +39 348 8800 9671 / +39 3886172254 | gustavhofer@gmail.com - lucaragazzi@hotmail.com www.hiq-productions.com

italy

Enrica Capra

GraffitiDoc

Gustav Hofer

Luca Ragazzi

Danilo Guidarelli 198

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Ideatrucco Productions

Hyphae is a visual communication firm founded in Trieste, Italy, in 2012 with the goal of realizing visual projects through a multi-disciplinary perspective. Since then Hyphae has realized many visual projects and documentary films on different topics, mainly focusing on science in collaboration with the World Academy of Sciences and the Abdus Salam International Centre for Theoretical Physics. Hyphae are long and thin cellules of fungi, permitting communication between the roots of very far trees, creating a Wood Wide Web. Similar to hyphae, we want to connect diverse means of visual communication, faraway worlds, different people, distant knowledge, creating a widespread net of exchange which could be of great value for the creation of effective visual messages.

Makeup & STtorytelling: as a technical services and training company specialized in professional makeup Ideatrucco Productions is based in Bologna from the ’80. Ale Santanera starts to work inside the audiovisual domain through storytelling and authorial/editor’s collaborations in 2008. In the same year the company opens the second office in Udine. Ideatrucco Productions in 2001 has been a founder partner of Consorzio Digicitt in Bologna and in 2013 has been co-founder of Alpe Adria Audiovisual, a cross – border cluster of audiovisual companies between Friuli Venezia Giulia and Slovenja. Ideatrucco Productions is involved to develop managements skills for film festivals organization, to provide contents for press and audiovisual products, to increase coaching and fund-raising, to enable for indipendent fiction and factual projects. The company is focused on unpublished project, especially intercultural stories and biographies, with the aim of co-production networks where find the skills and creativity that meets on its cultural and professional growth. Recently Ale Santanera, with other four collegues has founded ’Artura Factory’, a no profit association with the mission to support women’s projects and work in the global qudiovisual market.

italy

Nicole Leghissa

Hyphae

Alessandra Santanera

Linda Beath

Ideal Filmworks

Il Gigante

Linda Beath set up Ideal Filmworks in Canada 20 years ago to raise development and production financing for international co-productions of high quality feature films and television programmes. It was incorporated in Italy in 2000 adding Business and Strategic Planning to its core business of entertainment industry financing. Linda Beath works with producers to find funding for five or six projects which range from features to documentaries, animated features and primetime television drama. She trains producers and other practioners in Europe and the South Mediterranean in project financing and strategic business planning for their companies. She consults to public funders on policy issues, at this time especially with respect to the industry's need for a new business model.

Marta Bifano

Massimo D’orzi 200

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Italia LHG

Established in Bologna – Italy, Imago Orbis since 1996 has been developing, producing and marketing fiction projects, documentaries, current affair reporting, formats for television series, corporate and educational videos. Our main focus is on creative documentary on social issues, art, ethnology, history, geography and culture. Each project is taken from development to sale, always looking for the most suitable formulas, more creative, more attentive to what the world offers us.

Directing, editing and scriptwriting historical movie productions.

JoLEFILM

Incandenza film is an indipendent production company particularly aimed at the post-production side.

Jolefilm is a cinema, documentary and theatre production company founded in Padua (IT) in 1999. Its productions have always aimed to develop public awareness of current topics tied to Italian and European territories. Jolefilm produces famous Italian actor Marco Paolini’s theatre and broadcast works as well as documentaries, short films and feature films by emerging talented authors. In 2011 the company produced Andrea Segre’s first feature film Shun Li and the Poet which was screened in many international festivals and received numerous awards (i.e. LUX prize, David di Donatello). The film has been released in more than 30 countries. In 2013 Jolefilm produced Segre’s second feature film, First Snowfall, which premiered at 70. Venice Film Festival - Orizzonti Competition.

Intramovies Intramovies is an independent company established over forty years ago by Paola Corvino as the helping arm for creative producers and new directors. During all this time it has remained mainly and foremost an International distributor of quality movies from all over the world, particularly focused on first and second features directed by talent directors. Our wide catalogue also includes some of the most prestigious Italian classics directed by acclaimed authors like Fellini, Antonioni, Visconti, Argento and many others.

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Giovanni Buongirolami

Incandenza film

Giuseppe Leonetti

Marco Valerio Fusco

italy

Gabriella Ziraldo

Imago Orbis

Francesco Bonsembiante

Antonio Tibaldi

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La Fournaise

Jump Cut is an independent film production company. Its objective is to produce Arthouse films that are experimental in theme, style and type. It was founded in Trento in May 2011 from the experience gained in producing the mediumalength film “Dafni e Cloe”. The founder, Luigi Pepe, went to the ZeLIG, school for documentaries, television and new media in Bolzano. His attention to the new media led him to produce content that is well suited to the changes undergone by the distribution market in the digital age able to combine innovation and onagoing relationships with the territory and its professionalism.

La Fournaise is a late-eighteen-century industrial building in Vallée d’Aoste, now being restored in order to host artistic and cultural projects. It was built in 1885 as a lime furnace, and it used to perfectly combine a technologically advanced industrial production and a careful exploitation of the local resources. The modern La Fournaise sticks to its origin by preserving the fruitful combination of a vanguard production and an innovative proposal of ideas. Nowadays the production is artistic and it is carried out by artists, filmmakers, photographers and experts in territory development.La Fournaise is the perfect place in which an exceptional artistic staff can work together to create something original. This is due to the different attitudes of each member. The heterogeneous staff of La Fournaise collaborates and shares ideas and experiences and is therefore able to carry out and promote brand new cultural projects and activities aiming at the dissemination of knowledge. These all revolve around: - The territory and the local development - Video and photographic images as means of narrating and describing reality. La Fournaise is currently active with its staff in two offices: in Jovençan, in the Alpine region Valle d’Aosta in San Giorgio di Nogaro, in the southern part of Friuli Venezia Giulia La Fournaise project is entirely privately funded and is a non-profit cultural organization.

Luigi Pepe

italy

Katia Bernardi

Jump Cut

Eleonora Mastropietro

Laura Pellicciari

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Kineofilm

Les Voleurs Films

Kineofilm was founded in 2009 and it comes from thirty years on research in audiovisual communication from which few experimental approaches became strenghthened techniques. We’re committed in the produciton of feature film with cultural and social value, for a more democratic communication.

Author, researcher, director for documentary films.

Contact details: Les Voleurs Films | vicolo carlessi, 11 | 36060 | Romano d’Ezzelino T: 3285346186 | toninimau@gmail.com

Mauro Tonini

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Maia Workshops

Luca Ciut provides original music for movies, documentaries and commercials and offers music supervision for national and international productions. After receiving his BA in Italy, Luca moved to Los Angeles to attend the Film Scoring Program at UCLA Extension and to pursuit his career in film scoring. In Fall 2012, he got selected among a few other composers for the SCL Mentorship Program. In 2013 he released ’Seventeen Million Lonely Angels’, his first solo album which was well received and it was awarded as Best of Show at the Global Music Awards. As a film composer he worked with Emmy winner director Rudy Poe, with Emmy winner concept designer and director Daniele Auber and with Italian Golden Globe winner Davide Del Degan. He also worked with directors Ivan Gergolet, Stéphane Dumonceau, Chiara Sambuchi and Sonejuhi Sinha. Among other projects, in 2014 Luca Ciut composed the music for ’Dancing with Maria’, feature documentary directed by Ivan Gergolet and produced by Igor Princic (’Zoran, My Nephew the Idiot’). The film was premiered and awarded at the International Film Critics Week at the Venice Film Festival.

Maia Workshops is an advanced training and coaching programme for emerging producers. We see the producer as central to the complex process of developing, producing, marketing and distributing an audiovisual work and we work together, with a hands-on participative and creative approach, to provide our participants with the fundamental skills they need to steer their projects through all these phases to their audience. Under the guidance of some of the best industry experts from all around the world, Maia has a steady hold on the state of the art in the global audiovisual market. We are keen to explore new and innovative ways of making and marketing films with low budgets. We also look forward into transmedia storytelling and building crossmedia projects for different platforms as much as we insist on consolidating our knowledge of the crafts and the skills of classical film production.

italy

Luca Ciut

Graziella Bildesheim

Contact details: Maia Workshops | Via Muratori 9 | 16152 | Genoa Graziella Bildesheim: T: +39 339 335 13 82 | graziella@maiaworkshops.org Alejandro de la Fuente: alejandro@maiaworkshops.org Alessandra Pastore: T: +39 349 144 53 22 | alessandra@maiaworkshops.org www.maiaworkshops.org

Alejandro de la Fuente

Alessandra Pastore

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Mibact

Independent writer/director/producer with training and experience in Trieste, Bologna and Berlin.

The Italian Directorate General for Cinema of the Italian Ministry of Cultural Heritage, Activities and Tourism is in charge of public functions and duties related to the Film Industry, its mandate entails the promotion, the development, the production, the protection and the dissemination of Italian Cinema.This mission is deeply connected to the nature of one of the most innovative forms of Italian cultural expression – motion picture – based on the need of consolidating the paramount role of.

Contact details: Maschietto Lorenzo | Località Contovell | 34151 | Trieste T: 0039 349 4116291 | lorenzo.maschietto@gmail.com

Lorenzo Maschietto

italy

Maschietto Lorenzo

Chiara Fortuna

Mattatoio Scenico Mattatoio Scenico is a cultural organization promoting contemporary theatre and digital arts in the Isonzo territory. Mariella Troccoli

Alfio Dilena

Enrico Ballarin 208

Mestiere Cinema

Michelangelo film

Primary Italian Production Service Company with large experience in international Feature Films, TV Movies, TV Shows. Acting as Executive Production/Producer in Italy has provided full production service for several important international productions including rebates due to Italian Tax Credit.

Michelangelo Film is an Italian Production Company set in 2003. Based in Milan, the Company is managed by Michelangelo Pastore, director of the Company, who manages with his wife Pepi Romagnoli, film director.

Pepi Romagnoli

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NACNE

Mood Film is an Italian independent production company. In ten years of activities it produced six awarded live action short films (100 awards all over the world), one feature documentary, Hit The Road, Nonna (Hit The Road, Granny) by Duccio Chiarini (premiered at the Venice Film Festival 2011-Venice Days, winner in 3 festivals, 3 more awards), one feature film, Aquadro (Asquared) by Stefano Lodovichi (premiered at the Cinequest International Film Festival-Usa 2014, winner of 4 festivals, 1 more award) and one international co-production, the feature mockumentary El Hombre Que Quiso Ser Segundo (The Man Who Would Be Second) by Ramón Alòs, (not yet released). Mood Film is now developing and financing three feature films. All of them are European co-productions.

The Company comes from the 10 years’ experience of SUTTVUESS, that produced over the last years social, historical, feature documentaries, reportage for the main Italian channels (RAI, LA7, History Channel, NAT GEO, Current TV) and international networks (NHK, SVT, RTP, ESPN e RTS). Currently in production: Blank Lands, a film by Blank Lands Collective, 52, 75', supported by Media and Università La Sapienza di Roma, in co-production with AVRO, Mandarin Film and HLJTV (Heilongjiang Television Station - China). THE REMNANTS by Paolo Barberi and Riccardo Russo, 52'-75', supported by MEDIA. THE WHITE WAR – a four episodes series on the WWI, co-produced with RAI Storia and ORF. Nacne SAS has recently produced ‘Angels of Rugby’ by Marco Silvestri in co-production with RAI Cinema; Pontif-EX, an instant documentary on the Conclave and the election of the new Pope Francis I; Togliatti(grad) in co-production with RAI Cinema, directed by Federico Schiavi and Gian Piero Palombini, Turin Film Festival 2014, Trieste Film Festival 2015. Among the last productions: ‘The Lion from Orvieto’, 70’ by Aureliano Amadei (in co-production with RAI), Rome International FF 2012; “Nada màs que eso” by Giovanna Massimetti and Paolo Serbandini for RAI3, 2012; “The Well” by Riccardo Russo and Paolo Barberi broadcasted by RAI 3 and ARTE in 2012, winner of the Italian price for the most selected documentary in International Film Festivals 2012. "I Racconti della Drina" (by Andrea Foschi and Marco Neri, 52'/95', 2010) Turin International FF 2010 . "Tiberio Mitri" (by Gian Piero Palombini, 52‘ 2010) in co-production with Cinecittà Luce, Rai Educational, Motoproduzion.“I Racconti della lixeira” (by Marco Pasquini, 52’, 2010) screened by Rai3, RTP (TV Portoghese), DOK Leipzig 2010. “Gaza Hospital” (by Marco Pasquini, 84’, 2009), DOK Leipzig 2009, Al-Jazeera FF 2010, recognized as a film of cultural interest by the ministry of Culture (MiBAC), Globo D’Oro 2010 as the best Italian documentary. "La Minaccia" (by Silvia Luzi and Luca Bellino, 86', 2008), selected in more than 50 international festivals; "I Promessi Sposi" ( by Massimo D'Anolfi and Martina Parenti, 73', 2007) winner as the Best Documentary at the Filmmakerfilmfestival, special mention at the Festival dei Popoli, selected for the Locarno FF.

Movimenta

Claudia Tosi

Movimenta is a production company based in Carpi, Italy, which was founded in 2004. Our core business is developing and producing creative documentaries and our horizon is the International market. We privilege social issues, stories of human interest, mainly character driven, which reflect a universal meaning. During the last years we have attended EAVE and Eurodoc to enlarge our network and realize our films as International co-productions. We have established very successful and lasting cooperation with Italian and international production companies, in order to bring awarded creative key members into our films. Contact details: Movimenta | Via Lama 64 | 41012 | Carpi (MO) T: +39 328 6511536 | claudia.tox@libero.it | www.movimenta.it

italy

Tommaso Arrighi

Mood Film

Federico Schiavi

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Nikam

Nefertiti Film is an independent production company, located in North East of Italy, which operates at both the national and international level. It creates research projects with a strong autorial orientation for the cinema, but not only, all based on an artisan philosophy.

NIKAM is a company founded by Paolo Comuzzi, visual artist and filmmaker, in 2000. Based on a long lasting experience in the field of visual art, NIKAM is aimed at developing and producing projects of creative documentaries, characterized by an original and unconventional approach to images. Over the last few years, NIKAM has authored and realized several multimedia products and documentaries, focusing on socio-anthropological and artistic topics. In order to better address the subjects covered by NIKAMâ&#x20AC;&#x2122;s projects, a synergy with some experts has been developed by Paolo, NIKAMâ&#x20AC;&#x2122;s founder and owner, who has continued working as a director, director of photography, and editor. The creation of a teamwork resulted in NIKAM widening its field of research, growing and developing into a stimulating working environment, able to efficiently handle and successfully realize a richer series of products. Andrea Trangoni, theatre and film director, and Sabrina Tonutti, PhD, Cultural Anthropologist are the current more active team members of NIKAM.

italy

Alberto Fasulo

Nefertiti Film

Paolo Comuzzi

Chiara Santo

Notorious Pictures Notorious Pictures spa is an independent Italian production and distribution company founded in 2012 and listed on the AIM Italia in Milan. Nadia Trevisan

Andrea Borella

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Lucio Linaro

OH!PEN Italia

Obiettivo Cinema is a new production and distribution society in Italy born in 2012. In 2014 we won the F.I.C.E. Prize (Italian Federation Cinema Essai) for the BEST INDEPENDENT FILM of the YEAR for our first film production: the feature film E FU SERA E FU MATTINA (AND THERE WAS EVENING AND THERE WAS MORNING) made with a budget of 70.000 Euro in crowdfunding and crowd equity. We also distributed it solding in theaters over 40.000 tickets collecting at the box office over 250.000 Euro. The film became a cinematic event in Italy.

OH!PEN Italia Srl (www.ohpenproductions.com) is a production company operating in the Italian and international circuits since 2012. It collaborates with skilled and valued professionals, each with an extensive experience in the film, television and advertizing industries. It boasts a long-standing relationship with writer Erri De Luca. OH!PEN Italiaâ&#x20AC;&#x2122;s goal is to contribute to the development and diffusion of Italian cinema in Italy and abroad through a wide range of projects including feature films, shorts, documentaries and web series. Its exclusive and privileged relationship with OH!PEN USA, allows it to enhance every project with the benefits of a continuous, reciprocal exchange of ideas, approaches and perspectives between Europe and the USA. Some of its recent work includes: "A Musical Imprinting" (2014) a documentary directed by Emanuele Sana and written by Erri De Luca and Emanuele Sana. "One way" (2014) Videoclip of Canzoniere Grecanico Salentino on a text by Erri De Luca, directed by Alessandro Gassman. "Stop Torture" (2014) Campaign against torture for Amnesty International, directed by Riccardo Grandi. "Trees That Walk" (2014) documentary directed by Mattia Colombo, original screenplay by Erri De Luca selected for the 55th Festival dei popoli, winner of the second prize at Kathmandu International Film Festival and selected for the Slamdance Film Festival 2015. "The Human Voice" (2013) directed by Edoardo Ponti, starring Sophia Loren and with photography by Rodrigo Prieto, Film produced by Masi and co-produced by OH!PEN; selected for the Tribeca and Cannes Film Festivals. "The Night Shift Belongs To The Stars" (2012); Written by Erri de Luca, directed by Edoardo Ponti and interpreted by Julian Sands, Nastassja Kinski and Enrico Lo Verso. The film was selected for the 2012 Oscar shortlist and won of the Tribeca Film Festival 2013 in New York as the best short film.

italy

Emanuele Caruso

Obiettivo Cinema

Mario Lanti

eleonora oleotto photography Architect and photographer with a deep passion for art and photography, mainly about reportage, street photography and portraits. Since a few years the focus of my works has shifted on myself, on what I live and what I feel, and I represent it with my images. Contact details: Eleonora Oleotto photography | Viale G. Matteotti 17 | 33052 | Cervignano del Friuli, Udine T: +393407977409 | o_e.fotografia@yahoo.it; info@eleonoraoleotto.com | www.eleonoraoleotto.com

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Eleonora Oleotto 215

Paulillo & Teti law firm

Hi, I’m a freelance Italian director with a solid international experience. I love to direct actors creating new imaginary worlds. “If you want to build a ship, don’t drum up the men to gather wood, divide the work, and give orders. Instead, teach them to yearn for the vast and endless sea.” A. de Saint-Exupéry

Leonardo Paulillo is the founder of the Boutique Law Firm “Paulillo & Teti”. He has over 15 years’ experience dealing with intellectual property and copyrights, working and negotiating contracts with many of the top companies in the entertainment industries and a deep commitment to providing the highest level of service to every client he works with. His practice focuses on entertainment, intellectual property, fine arts, digital, communications and media transactional issues but he also handles corporate, LLC and other business matters, intellectual property agreements, and various general legal matters and transactions in the field of business and law. As part of his duties, Mr. Paulillo is responsible for structuring, analyzing, preparing and revising business proposals for acquisitions, strategic partnerships, co-financing, film library acquisitions, production financing matters, non-disclosure agreements and related transactions. Additionally, he prepared and negotiated international output agreements covering theatrical, home video, pay television, free television, airline and other rights in company motion pictures. He attend worldwide film markets and festivals for the law firm or its clients, including Cannes, Ventana Sur, TIFF and Berlin. Its first experience was in the Organization for Security and Cooperation, working in most of the Countries of Eastern Europe (from Armenia to Kosovo).Mr. Paulillo earned his ll.m from Amsterdam School of international Relations in 1996. He also studied in Paris at the Ecole Supérieure de Echange Internationale. He has been admitted to practice law in Italy since the 1998 and he has been admitted in the Bar of the European adviser for intellectual Property since 2002. He is a lecturer and moderator in international seminars. During 2013 he has been appointed as legal advisor for the PADIGLIONE ITALIA during the current Biennale di Arte Contemporanea di Venezia and as project expert for Creative Industries from Provincia di Torino in ALCOTRA multinational EU project. He has been moderator several conferences and seminars, and in particular some international business meeting (BLS – INCONTRI #2; ENTREPRISE IRLAND; etc.)

Partner Media Investment

Andrea Pallaoro

Andrea Stucovitz

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Partner Media Investment was created in 2006 by Lucia Lo Russo and Andrea Stucovitz, with the aim of giving continuity to the independent television distribution already made in recent years with television productions of some major company like CBS Broadcasting International, Paramount Television, Samuel Goldwyn Company, as well as various independent. PMI Srl inherited a client portfolio and the knowhow of its associates, and is currently active in the sectors of distribution, independent production and other business services. 2014 THE WHALE by Andrea Pallaoro (In development) NESSUNO MI TROVERA’...(Ettore Majorana) by Egidio Eronico (In Production) BOTA by Iris Elezi and Thomas Logoreci 2012 ADHD RUSH HOUR by Stella Savino MICHEL PETRUCCIANI BODY AND SOUL by Michael Radford 2010 JU TARRAMUTU by Paolo Pisanelli

italy

Paolo Giacomo Marino

Orizzonti

Leonardo Paulillo

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Gianpaolo Smiraglia

Polittico

Pilgrim Film was founded in 2008 by film professionals coming from different experiences and with different skills, who share a common vision of a new way of making films and audiovisual works. Our attention is particulary focused on international co-productions of feature-films: this is extremely important to confront ideas, cultures, authors and different ways of filmmaking, in order to realize original projects, opened to the new technological, artistic and cultural challenges. Pilgrim Film production company mixes different skills and expertises, different job experiences and different ideas to culturally emphasize an area filled with cues and potential. The propitious conjuncture of space and time for Trieste, that opens up a wide range of possibilities in Central and Eeastern Europe, is only one of the reasons at the origin of Pilgrim. Besides members Andrea Magnani, Diego Cenetiempo and Giovanni Barbo, the inclusion, in the company, of cultural association La Cappella Underground reflects the double aim of giving room to the value of the local area and opening up to wider international horizons. The rootage in the region is proved by the history of the association, which is one of the first film clubs to have been founded in Italy, in 1968, and has been a reference point for Trieste ever since. On the other hand, La Cappella Underground also organises Science+Fiction, the International Science Fiction Festival of Trieste, an unmissable event for the fans, which is becoming increasingly popular in Europe and in the world. For these reasons, the focus is on the production of documentaries and genre movies, answering to the historical and cultural richness of these regions and to the availability of a variety of settings in a limited range of kilometres, plus the international credibility ensured by Science+Fiction. A non-stop pilgrimage from Trieste to Europe, and beyond.

POLITTICO was born in Messina (Italy) on March 28, 2013, and was immediately engaged in the production of the feature film Second Spring, directed by Francesco Calogero, whose principal photography took place in Sicily between 1 and 26 September of the same year. While the whole post production process ended, Polittico intervened, with Rai (Italian State Television) show Fuori Orario - cose (mai) viste, in the production of the documentary Mise en ScĂ¨ne with Arthur Penn (A Conversation), shoot by the Iranian director Amir Naderi, and produced in New York City by Alphaville Film. This documentary was screened for the first time in the "Classics" of the 71st Venice Film Festival, while Second Spring had its world premiere at the Trieste Film Festival 2015, section Corso Salani Prize-Italian Screenings.

italy

Andrea Magnani

Pilgrim

Mia Arfuso

Francesco Calogero

Quasar Multimedia Quasar Multimedia was set in 2001, it produces high quality documentaries for the television market, mainly for society and history slots. It works in Italy with RAI, SKY, and co-produces internationally documentaries that have a distribution on the main European broadcasters. Contact details: Quasar Multimedia | Str. dei Colli, 6 | 33030 | Moruzzo T: +39 348 5657194 | marta@quasarmultimedia.it | www.quasarmultimedia.it

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Marta Zaccaron 219

Federico Pedroni

Revolver

Rai Cinema is a Rai Group Company established with the specific purpose of strengthening the Italian cinematographic industry. The obligation to invest in Italian cinema productions, originally provided for by the law, turned over time into an opportunity for developing the cultural industry of the country. Rai Cinema offers its ideational, productive and financial contribution to independent producers who intend to implement projects in the cinematographic field. Important films, bought in the international markets, back up this quality production, creating a list that succeeds in attaining mutual synergic effects. With a view to ensuring the maximum visibility to its own titles, Rai Cinema is operating in the film distribution and home video sector through 01 Distribution that, in just a few years, has achieved an important position in the domestic film distribution, ensuring a previously unknown support to Italy's new quality cinema. Just as important is Rai Cinema's commitment with respect to the acquisition of audio-visual products both in Italy and abroad, to ensure that the Rai Networks might meet all their programming requirements in terms of films, TV-movies, TV-series and cartoons.

From early stage, 2002, Revolver has been involved in international coproductions and domestic projects, arthouse features, TV movies and even documentaries. We are always scouting scripts and directors’ proposals with coherent, recognizable style. We also organize production services for foreign companies in Italy and other surrounding countries. Revolver is also active in Italian distribution since 2003. We have already acquired several titles in main European markets for the theatrical release straight- to – TV /Homevideo/DVD and Internet rights. We are mainly interested on arthouse features produced in any continent with commercial potential, lately from 2005 also in other genre films (but horror). With our acquired experience, we also organize distribution services on Italian theatres. Revolver always looks for contents for the Italian TV broadcasters. After twelve years of activity, Revolver can offer a wide range of audio-visual products for worldwide broadcast and distributors. Last Productions: “Come il Vento” by Marco Puccioni, “Foreign Body” by Krzysztof Zanussi, “L’Esilio dell’Aquila” by Stefano Muti.

Reassemblage Produzioni Audiovisive

Settimana internazionale della Critica di Venezia

Reassemblage Produzione Audiovisivi is a small company born in 2013 in order to develop and produce documentaries and audiovisual stories with a social interest that can promote original ideas and point of views. Reassemblage is the name of a seminal documentary made by american-vietnamese author Trin T Min Ha.

The Venice International Film Critics' Week (SIC) is an independent section of the Venice International Film Festival. It is promoted and organised by the Union of Italian Film Critics (SNCCI), in association with la Biennale di Venezia. Every year, the Venice International Film Critics' Week presents a competition of seven first time director's full-length films, and two films out of competition.

Christian Nicoletta 220

italy

Gabriele Genuino

Rai Cinema

Paolo Spina

Francesco Di Pace 221

Start

Sky Arte HD is the only 360°entertaining and educational channel of Italian and international art. It’s the reference point for every lover and operator of art and culture in Italy. It’s the international display to enhance the present and past Italian culture and to promote new talents. Sky Arte HD is dedicated to every art (painting, sculpture, literature, music, theatre, dance, photography, architecture, design, cinema, comics…) It tells stories about the world of art from a new point of view, with an innovative and contemporary language, far from the didactic approach. Versatile schedule, new formats and unexpected testimonials will share with our subs their passion for Art.

Start is a film production and post-production company, based in Milan and Beijing. We manage all the Digital Intermediate process: editing, vfx, conforming, color grading and DCP mastering. We are currently producing the documentary "Voglio dormire con te" by M. Colombo winner of "Premio Salani 2014". Past collaborations: Io sto con la sposa di A. Augugliaro, G. Del Grande, K.S. Al Nassiry - Lullaby To My Father by A. Gitai, Agav Film - Poesia che mi guardi by M. Spada, Mirò Film - Quartieri cinesi by B. Oliviero, Indigo Film, Rai Cinema - Un paese diverso by S. Soldini and G. Garini, Achab Film.

italy

Roberto Pisoni

Sky Italia - Sky Arte HD

Riccardo Annoni

Slingshot Films

Manuela Buono

Michela Pascolo

Slingshot Films is a sales agency based in Trieste (Italy), and specialized in creative documentaries and arthouse fiction films. Founded in 2013, the company soon became recognized in the worldwide market after the great success of its first title, ZORAN MY NEPHEW THE IDIOT, the winner of Venice International Film Critics' Week that was afterward sold to more than 20 territories worldwide. Other titles in the catalogue include the following documentaries: Dancing With Maria, by Ivan Gergolet, Italy/Argentina/Slovenia, 2014, in competition at the 29. International Critics Week. 13 Doors, by David Rubio, Argentina, 2014 (Bafici 2014) Maximum Pleasure, by Kasia Trsaska, Poland, 2014 (Visions du Réel 2014) From the Depths, by Valentina Pedicini, Italy, 2013 (Winner of Documentary Competition at Rome International Film Festival 2013, Visions du Réel 2014) The Train to Moscow, by Federico Ferrone and Michele Manzolini, Italy/UK, in Competition at Torino Film Festival and Karlovy Vary International Film Festival The Last Shepherd, by Marco Bonfanti, Italy, 2012 (more than 100 festivals around the world) Our inputs include: project development, financing strategies, traditional and digital distribution, rights negotiation, promotion marketing and exploitation, project packaging.

Mattia Colombo

Raffaella Milazzo

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Anders Kristensson

Tico Film Company

Stefilm is one of the leading documentary production companies in Italy. It is committed to creating and distributing documentary films which bring new talent and stories with an exciting approach to the world. We produce one-offs and documentary series on historical, social and cultural issues. Award winning films include PORTO MARGHERA – VENICE 59th Mostra del Cinema di Venezia 2002, SORRISO AMARO (RICE GIRLS) 60th Mostra del Cinema di Venezia 2003 and MoMA New York, International Documentary Fortnight; CITIZEN BERLUSCONI, nominated for the German Grimme Award in the year 2004; MOSTAR UNITED (IDFA 2009), VINYLMANIA (Goteburg Int. Film Festival 2012 and IFF Rotterdam 2013) and CHAR, NO MAN’S ISLAND (selected at Berlinale Forum 2013 and winner of 23 awards in various international festivals. The doc series FOOD MARKETS – IN THE BELLY OF THE CITY (5 X 52’) has just received the US.TASTE AWARD as ‘Best Foreign Language Program’. Co-producer of THE QUEEN OF SILENCE (Int. Doc Competition IDFA 2014).

Tico Film Company S.r.l. was founded as an independent production company for film and television in 2005 by father and daughter Gino and Sarah Pennacchi, who both bring significant experience from the field of international finance. We have a love of strong and authentic stories, no matter from which part of the world. We have worked in Africa, India, Argentina, the US and Europe. We are used to taking risks and managing these within the limits of our capabilities. This approach has allowed us to to sail successfully in these difficult years of public money cuts and general financial difficulties. Contact details: Tico Film Company | Via Torrebianca, 26 | 34122 | Trieste T: 00447531029340 | sarah.pennacchi@ticofilm.com | www.ticofilm.com

TIEFILM, seated in Genoa, is an organization that produces short films and documentaries. The main aim for Tiefilm is to build an artistic and technical platform in order to produce films in the region of Liguria and in the north of Italy.

THE KENNEDY MARSHALL COMPANY

Contact details: TIEFilm | Via Tolemaide 9/1 | 16100 | Genova T: 010 8609989 | info@tiefilm.com

Luca Franco

Torino Film Lab TorinoFilmLab is a year-round, international laboratory that supports emerging talents from all over the world, through training, development and funding activities. The training initiatives Script&Pitch, Audience Design, Writers' Room, and AdaptLab, as well as the development-focused FrameWork programme run parallel during the year. They all reach their conclusive moment at the TorinoFilmLab Meeting Event in November during the Torino Film Festival, with the exception of the Interchange programme that ends during the Dubai Film Festival. Contact details: Torino Film Lab matthieu.darras@torinofilmlab.it | www.torinofilmlab.it

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Sarah Pennacchi

TIEFilm

Contact details: Stefilm | Via B. Galliari 5B | 10125 | Torino T: +39 0116680017 | www.stefilm.it

The Kennedy/Marshall Company has been nominated for six Academy Awards for producing the following films: Lincoln, War Horse, The Curious Case of Benjamin Button, Munich, Seabiscuit and The Sixth Sense. Prior to the company’s beginning, Kennedy and Marshall, along with filmmaker Steven Spielberg, were the founding partners of Amblin Entertainment. Kennedy/Marshall services a wide range of entertainment opportunities, encompassing documentary films, digital media, a TV department for broadcast and cable platforms, as well as the development of stage plays. The Kennedy/Marshall Company is located in Santa Monica, California, and have a Producers Representative office in Rome.

italy

Stefano Tealdi

Stefilm

Matthieu Darras 225

Tucker Film

Trentino Film Commission & Fund was opened in 2011 to promote and support film, television and documentary companies to shoot in our province. TFC offers logistical support such as location scouting, contacts with local professionals, institutions, public administration and law enforcement, facilitation of permit processes, hospitality and accommodation, production facilities and support in locating logistical and technical solutions. For 2015, the total amount of the Film Fund is EUR 1.200.000

Despite being a young company, set up in 2008, Tucker Film has already managed to become a point of reference in Italian independent production and distribution. The company focuses on two main fields of interest: projects related to the territory and culture of Friuli Venezia Giulia and the distribution of Asian films. Among the movies distributed by Tucker Film are: Rumore Bianco by Alberto Fasulo (2008), Departures by Takita Yojiro (2010 - Oscar Award 2009 for Best Foreign Movie), Poetry by Lee Chang-dong (2011), A Simple Life by Ann Hui (2012), L’Estate di Giacomo by Alessandro Comodin (2012 - Premio Pardo d’oro Cineasti del presente and Premio George Foundation at Locarno Film Festival 2011), In Another Country by Hong Sang-soo (2012) and Zoran, Il mio nipote scemo by Matteo Oleotto (2013 – International Critics’ Week Award at Venice Film festival 2013). Recent and future distribution projects bear witness to Tucker Film’s stature: TIR by Alberto Fasulo (Marc’Aurelio d’oro at the Festival internazionale del film di Roma, 2013), Class Enemy by Rok Bicek and Parole povere by the well-known Italian director Francesca Archibugi, a documentary on Italian poet Pierlugi Cappello.

italy

Laura Zumiani

Trentino Film Commission

Sabrina Baracetti

Thomas Bertacche

Samantha Faccio

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Videoest

We are a little production company working in the audiovisual. Our aim is to watch with different eyes what surround us.

Videoest was founded in 1990 by five members already engaged in the professional video industry. After an initial start-up phase it gave rise to investments to enhance the productive capacity of society and bring the standard in broadcast production. The company deals with institutional documentaries, video advertising, promotional and product videos for trade fairs and exhibitions, educational videos, press releases, audio-visual documentation for the company archives. Advertising campaigns, integrated communications Its strength is the production of documentaries. In recent years Videoest has increased its productions of documentary about contemporary art and architecture. Its latest productions, MEMORY OF FLUIDS – GIUSEPPE PENONE SCULPTOR and WHY A FILM ABOUT MICHELE DE LUCCHI have been both selected in 2013 and 2014 for the International Festival of Films on Art in Montreal.

italy

Giovanni Chiarot

Uponadream Studios

Alessio Bozzer

Giulio Venier

Salvatore Allocca

Vega’s Project

Vivo film

Vega’s Project srl was founded in 2006 by Salvatore Allocca and Daniele Esposito in Rome (Italy). It is a professional production company with an intensive experience in all aspects of audiovisual production, a dynamic company in rapid growth and expansion. Vega’s Project is committed to developing and consolidating its mission of producing for TV and cinema with the ambition of combining a high standard quality with the interests of general public. In this context, Vega’s Project can be considered as a strategic partner towards major retailers and national networks and it’s also an active partner in international projects.

Vivo film, established at the beginning of 2004 by Gregorio Paonessa and Marta Donzelli, is an independent production company for award winning art-house films and documentaries. With a catalogue of more than 30 titles, Vivo film productions include works by Guido Chiesa, Jean Louis Comolli, Emma Dante, Michelangelo Frammartino, Chiara Malta, Pippo Mezzapesa, Susanna Nicchiarelli, Claudio Giovannesi, Nelo Risi, Corso Salani, Daniele Vicari and Laura Bispuri. Contact details: Vivo film | Via Giovanni Antonelli, 41 | 00197 | Rome T: +39 06 8078002 | F: +39 06 80693483 | martadonzelli@vivofilm.it | www.vivofilm.it

Marta Donzelli

Maya Gili 228

Susanna Nicchiarelli 229

Mistrus Media

The cultural association Young for Fun was funded in 2005 in Gorizia, Italy, in order to create projects addressed to and organised by young people, focusing on photography, cinema, music and the web. Among the various films produced by YFF, in 2011 the documentary "Attores: 20 years after the Wall of the Berlin Wall" was nominated for the "David di Donatello" Award. In 2012 the association made the documentary "Per mano ignota - Peteano, una strage dimenticata" directed by Cristian Natoli, who was selected by numerous national and international film festivals and competed for the "David di Donatello" Award. Cristian Natoli is currently producing the documentary "Figli di Maria", co-produced by Mansarda Production srl.

Production company Mistrus Media was established in 2000 and has since become one of leading production companies in Latvia. Mistrus Media develops, produces and co-produces documentaries and feature films, TV programs as well as provides full production services for foreign production companies. Mistrus Media brings together authors and film professionals of different creative profile, attracting the best Latvian and international film directors, cinematographers and sound designers. Productions of Mistrus Media have received several national and international festival awards and they have been broadcasted on various TV channels.

Contact details: Young For Fun | via Maniaco 10 | 34170 | Gorizia T: +393477628840 | cristiannatoli@yahoo.it

Cristian Natoli

LATVIA

italy

Andrea Badin

Young For Fun

Antra Gaile

Latest releases include: Escaping Riga, dir. Davis Simanis, ’70, b/w, 8mm, 2014. (Screened at CPH:DOX, Copenhagen, Denmark, 2014; IDFA, Amsterdam, Netherlands, 2014). Larger than Life, dir. Gints Grube,’50, HD, 2014. Over The Roads, Over The River, dir. Sergei Loznitsa, Jon Bang Carlsen, Audrius Stonys, Jaak Kilmi, Ivars Seleckis, Rainer Komers, Bettina Henkel, ‘140, b/w/color, HD/16mm, 2014. Mistrus Media is currently involved in the production of feature drama “Chronicles of Melanie” by Viesturs Kairišs, co-produced by Inland Film Company (Finland), feature documentary “Dangerous liaisons. Russia’s soft power” and development of feature film “Boy with dog” by Davis Simanis.

Jaak Kilmi

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EAVE

Established in 2003, today Artbox is one of the leading production companies in the Baltics producing feature films, documentaries and commercial ads. Artbox works with upcoming talent and already established directors aiming to produce and co-produce films of wide international appeal. Films produced by Artbox have been screened and have received awards in numerous international film festivals. Artbox has coproduced with Finland, Latvia, UK, Italy and Armenia.

EAVE is a professional training, project development and networking organisation for producers. Working with a worldwide network of partners we are involved in programmes in Europe, Russia (B’EST), Latin America (PUENTES), the Arab World, Asia (TIES THAT BIND) and Africa. At the heart of our programmes is the EAVE Producers Workshop which has created a unique co-producing network in Europe. The EAVE Marketing Workshop and EAVE+ complete our core programmes. EAVE also offers various tailor-made 'EAVE on DEMAND' workshops.

LUXEMBURG

Lithuania

Kestutis Drazdauskas

Artbox

Kristina Trapp

Gianluca Sodaro

Just a moment Just a moment is Vilnius – based independent production company developing projects with young and more experienced filmmakers and involved in international co-productions. Films (co)produced by “Just a moment” have been selected to such festivals as Venice IFF (IT), Vision du Reel (CH), Sheffield Doc/Fest (UK), Moscow IFF (RU), Warsaw IFF (PL), Krakow IFF (PL), DocPoint (FI, EE), Belgrade Documentary and Short Film Festival (RS), Trieste IFF (IT) etc. and to all film festivals held in Lithuania. Dagne Vildziunaite

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Koi Studio

Iron Films Ltd is a special purpose vehicle, established by Krzysztof Szpetmanski who also own Monternia.pl Ltd., to handle film production challenge. Company focus on feature films production. For now we are developing three scripts, all of them meant for international coproductions. Two of them have already secured partial financing. We cooperate with polish and non polish directors including Michael Rowe awarded with golden camera in Cannes in 2010. Production activity/filmography by Krzysztof Szpetmanski and Monternia.pl (which was handling production tasks before establishing Iron Films Ltd.) : Coproductions: “Life Feels Good” dir. Maciek Pieprzyca. 2013. Time 105 min. Awards: 2013 - Grand Prix and Audience Award on MFF Montreal, 2013 – Silver Lion and Audience Award on Polish Film Festival in Gdynia, meny others “Father’s Day” dir. Kacper Lisowski. 2013. Short. “30 minut” . Awards: 2014 – Young Jury Award on International Short Film Festival Clermont-Ferrand 2014 – Silver Lajkonik on Krakow Film Festival

The company was established in 2012 by producer Agnieszka Dziedzic and DOP Jakub Burakiewicz. Our debut production was well-received feature film "Little Crushes" by Aleksandra Gowin and Ireneusz Grzyb, which premiered at the Rotterdam IFF and has been distributed in Polish theatres since autumn 2014. We are now working on new projects, including film "Whatever Happens Next" co-financed by the Polish-German Co-Development Fund, as well as a Polish-Danish psychological thriller "Days with Barbra" and the adventure film for children “The Gang”. In Koi Studio we believe that films should be made with the audience in mind. We are open to all genres. We would like to make both: artistic projects intended for festivals and the audience looking for new solutions in films, as well as ambitious popular films providing entertainment, reflection and aesthetic satisfaction.

“Grand Street” dir. Lex Sidon. 2012. Time 85 min. USA – Polish coproduction, Sold to USA, Italy, Poland. “Now, Forager” dir Julia Helperin. 2012. Time 100 min. USA – Polish coproduction, Sold to USA, Italy, Belgium, Luxemburg, Australia, Poland. Awards: 1.Rotterdam Iff, 2012, Bright Future 2.Gotham In Progress, 2011, Special Mention Contact details: Iron Films | Zdrojowa 42 | 02-927 | Warsaw T: +48 601 335386 | krzysiek@monternia.pl | www.monternia.pl

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POLAND

Krzysztof Szpetmanski

Iron Films

Agnieszka Dziedzic

MX35 MX35 is mainly a rental house based in Warsaw,Poland. Besides supplying film equipement to various film and TV productions it has also produced and co-produced award winning shorts, documentaries and fiction films. Contact details: MX35 | Szlenkierow 1/85 | 01-181 | Warsaw T: +48605353596 | jaksalitwin@gmail.com | www. mx35.eu

Piotr Litwin

New Europe Film Sales Boutique world sales company based in Warsaw, Poland working with international content across the world. Founded in 2010 by Jan Naszewski, EAVE and Creative Europe expert and Head of Industry for the T-Mobile New Horizons IFF. Company has a leading position in the short film market, where it works with directors such as Ruben Östlund, and Tomek Baginski and represents 4 Oscar® shortlisters. In 2012, it opened the catalogue to carefully picked feature films as well. Out of the 13 feature films from the catalogue, 6 had their world or international premiere at the Berlinale (Including Generation winners VIOLET and MOTHER I LOVE YOU), 2 at Rotterdam IFF, and 3 in Karlovy Vary FF (Including Latvia’s 2014 Oscar candidate ROCKS IN MY POCKETS). Contact details: New Europe Film Sales | Czerniakowska 73/79 | 00 718 | Warsaw T: + 48 698 900 936 | kat@neweuropefilmsales.com | www.neweuropefilmsales.com

Katarzyna Siniarska 235

Tak Film

Established in early 2005, the POLISH FILM INSTITUTE (PISF) has the aim to support national film industry in Poland. His comprehensive system enables support for a film project at all stages of film production, and helps promote Polish films in Poland and abroad. With a budget of 22 M EUR for production it subsidies about 40 feature films par year, including minority co-productions. Among recently co-financed production there are: Body by Małgorzata Szumowska, The Here After by Magnus von Horn, Ida by Paweł Pawlikowski, Gods by Łukasz Palkowski, Warsaw 44 by Jan Komasa, The Cut by Fatih Akin, The Innocent by Anne Fontaine.

TAK FILM is a Warsaw-based production company, established by Dariusz Gajewski and Kuba Kosma. The main goal of the company is to develop and produce Polish films with the potential to cross borders and intrigue European audiences. TAK FILM is open for minority co-productions, which could engage Polish talents (e.g. prominent DOPs) or have potential for local financing bodies.

POLAND

Robert Balinski

POLISH FILM INSTITUTE

Dariusz Gajewski

Staron Film STARON-FILM was set up in 2005 by Małgorzata Staron and Wojciech Staron, and is based in Warsaw. Our principal aim is to produce author driven, ambitious fiction films and creative documentaries, sometimes in difficult shooting conditions. Besides international co-productions, we focus on discovering new emerging directors in Poland.

Malgorzata Staron

Kuba Kosma

Wojciech Staron

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Saga Film

Alien Film Production is a well-established film and advertising production company based in Bucharest. The compny covers a wide range of development, production and postproduction services for cinema, TV and commercials, including consultancy and management for film, television and other AV productions. More recently, Alien Film Production has concentrated its efforts towards developing its own projects (feature films, short films, animation and new media). The most recent one is a feature film “Do you love me?” (2014), a co-production between Just a moment (Lithuania) and Alien Film Production (Romania) whose producers, Dagne Vildziunaite and Iuliana Tarnovetchi both graduated EAVE Producers Workshop 2012. Alien Film Production is able to work across all media platforms, providing a multitude of services to accommodate the production needs, form assembling the crew to location scouting, set construction and visual effects. We are dedicated to discovering new talents, writers and directors. The main goal of the company is to develop and produce high quality projects both for the local and international markets, where their talent can be put in value. Alien Film Production aims at servicing the clients at a high standard, by fully understanding their needs and expectations and providing the best solution for location, casting, sets in pre/during/post production.

Saga Film is one of the biggest production companies in Romania. In 2007, it co- produced the Palme d'Or winner, "4 MONTHS, 3 WEEKS and 2 DAYS", directed by Cristian Mungiu. In 2010, Saga Film produced the debut feature "OUTBOUND", directed by Bogdan Apetri, after a story by Cristian Mungiu and Ioana Uricaru. The film premiered at Locarno IFF. In 2013, Saga Film produced "THE UNSAVED", directed by Moldovian director Igor Cobileanski, with a script by Corneliu Porumboiu. The film was nominated for 11 awards by the Romanian Film Industry and was Moldova’s proposal for “Best Foreign Language Film” Oscar category in 2014. Saga Film presently develops 4 debut features - 2 documentaries and 2 fiction films, all of them having received state funding from the Romanian CNC in 2011, 2013 and 2014.

ROMANIA

Silvia Stefanescu

Alien Film

Raluca Manescu

Eliza Zdru

Steppenwolf Film/Transilvania IFF Steppenwolf Film it is an independent production company, Bucharest based and established in 2006 . It is active in discovering new European voices with a focus on developing micro budget productions and promoting indie works. Latest project La mezza stagione/Late Season the Italian indie debut of Danilo Caputo (Taratata Film) in co-production with Romania and Greece (Graal Films) had its World Premiere at Karlovy Vary IFF 2014. Transilvania International Film Festival (TIFF) is presented by Romanian Film Promotion. Founded in 2002, Transilvania IFF is the first international feature film festival in Romania. The industry activities are focused on discovering and promoting new filmmakers form Romania and the Republic of Moldova. Alex Traila is currently the Head of Industry at Transilvania IFF, Coordinator of CineLink -Work in Progress at Sarajevo FF and International Coordinator at First Cut Lab at WEMW.

Alex Traila

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REFLEXION FILMS

Aquarium Films is a production company based in Moscow, Russia and Berlin, Germany. Aquarium Films is strongly focused on independent full-length feature, documentary and animation films with strong international potential, both in Western Europe and Eastern Europe. Aquarium Films has also a television department for tv series. Recent Titles- "THE VOICE OF SOKUROV", by Leena Kilpeläinen, 78 min ( World Premier Film Festival LOCARNO 2014), sales Film Boutiques, 2014

Reflexion Films is a world sales company based in Moscow, focused on selling various types of film content overseas. One of the company’s goals is to discover and promote emerging promising authors from Russia, Ukraine, Kyrgyzstan, Armenia, Georgia and CIS worldwide. It is one the leading Russian sales companies representing documentary content in international market. Its line-up introduces many new titles on Arts & Culture, Social Life, Nature, Ethnography and Science. Reflexion Films also presents new Russian Art-house, Independent, Parallel and Experimental Films and makes special programs for galleries, art centers and independent theaters. It presents the unique film program about Russian Contemporary Art to the world market. Its collection is dedicated to Russian contemporary art history, the leading artists' bios, legendary places, experimental works and unique performances. There are a variety of formats of such content available in the library. Reflexion Films team is professionals with years of experience in international film industry. Among many activities, they have organized Moscow Business Square, Russian largest international business platform for the film industry representatives.

Contact details: Aquarium Films | Kuusinena 6-9 | Moscow T: +79153251794 / +79219814493 | nas-pavlovich@yandex.ru | www.aquriumfilms.com

Moscow Business Square Moscow Business Square – the main business event of the Moscow International Film Festival will take place in June 2015 for the 7th time. The traditional focus – film industry of CIS and Baltic countries and Georgia. Special focus of business program 2015 – film industry of the Middle East.

Olga Kolegaeva

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RUSSIA

Sergey Kupriyanov

Aquarium Films

Konstantin Nafikov

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Belgrade Documentary and short film festival

During nine years' experience, Art&Popcorn produced 10 feature films which ranked the company among the most productive Serbian film producers. Art&Popcorn films have been presented at more than five hundred film festivals on six continents and won numerous international awards. Art&Popcorn authors' team consists of distinguished filmmakers as well as young talents whose professional career is still in its early and promising stage. Development, improvement, challenges and continuous presence in the European audio-visual scene is the basic strategic principle of Art&Popcorn, as well as commitment to the development and production of each film.

62nd edition of the Belgrade Documentary and Short Film Festival, one of the oldest in Europe, will be held on March 23-29, 2015. and it will be considerably different from the previous events regarding its contents and goals. The main idea is to reintegrate all forms of documentary film â&#x20AC;&#x201C; primarily feature length documentaries and mid-length documentaries. Our sincere intention is to bring back once rightfully deserved status to this legendary festival â&#x20AC;&#x201C; a major regional festival of documentary and short film. We also want to provide a gathering place for Serbian, regional and international filmmakers, where they will exchange experiences, socialize and feel at home.

Since 2011, company Art&Popcorn has been very active in the field of executive production of European films and co-productions in Serbia. As the time passes, this field of activities developed more and more and in 2013 Art&Popcorn was Serbian partner and in charge for executive production of 4 feature films with more than 120 shooting days.

Beside film production, A&P has been very active in organisation of film festivals, being exclusive Partner for European Film Festival Palic, which celebrated its 20th edition in 2013. Co-founder and CEO of A&P, Miroslav Mogorovic has been Programme Director of this festival since its establishment and he hosted and celebrated numerous European well recognized authors like Theo Angelopoulos, Ken Loach, Jim Sheridan, Ken Russel, Nikita Mikhalkov, Jean-Marc Barr among many, many others. As a result of good presentation of European cinematography, Palic Film Festival hosted EFA's A Sunday in the Country Programme in the summer 2013.

Film Center Serbia

Since 2012, Art&Popcorn has also been in charge of management of Cinema Fontana, exclusively dedicated to promotion of the European and Children Films. Completely renovated and fully equipped, this cinema became favourite place for all Belgrade's cinema lovers, bringing back the hope that single screen art-house cinema still has a bright future. Cinema Fontana became a member of Europa Cinemas Network. Contact details: Art&Popcorn | Pariske komune 13 | 11070 | Belgrade T: +381 11 26 72 004 | F: +381 11 26 94 152 | mogorovic@artandpopcorn.com - info@artandpopcorn.com www.artandpopcorn.com

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serbia

Serbia

Miroslav Mogorovic

Art&Popcorn

Igor Toholj

Film Center Serbia, under the patronage of the Ministry of Culture, supports development, production, distribution and promotion of Serbian film and manages the strategic development of film industry in Serbia. Contact details: Film Center Serbia | Koce Popovica (Zagrebacka) 9/III | 11000 | Belgrade T: +381 11 262 51 31 | F: +381 11 263 42 53 | fcs.office@fcs.rs | www.fcs.rs

Una Domazetoski

Snezana Maric

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West End Productions

“Film The World” acts as a non-profit organization and producing company. The company seeks to establish itself as a hub for young filmmakers in the Balkan region and is primarily interested in creative small budget projects. It also runs screenwriting / directing workshops for first-time filmmakers.

Mihajlo Jevtic

WAKE UP Films

Biljana Tutorov

WAKE UP Films is an independant production house founded in 2010 in Novi Sad by Biljana Tutorov, art historian, director and producer. It’s predominant activity is the production of cinematographical, audiovisual and TV program and regional co-production. With passion, WAKE UP Films defends stories which question our humanity and our deep sense of being. Our ambition is to send a wake up call in different ways: awakening of creativity and filmmaking in the Vojvodina region where we are established, awakening of our younger audience, emerging questions that need attention and giving sense to everyday life through a cinematographic artwork. Actually, there are several cross-media, documentary TV series and films in the WAKE UP Film’s awakening hub. Contact details: Wake Up Films | Milete Jakšica 12 | 21000 | Novi Sad T: +381628919186 | F: +38121523921 | biljana.tutorov@wakeupfilms.net | www.wakeupfilms.net

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serbia

Serbia

Film The World

Uliks Fehmiu

Contact details: West End Productions | Stanslava Sremcevica 5 | 11000 | Belgrade T: +16462477361 | artisanpa@yahoo.com

Milena Garfield

Miroslav Terzic

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Adamik Hrycova Wanda

At WideWall Studio, we dance to any music just to experience life. Founded in late 2013, under the creative direction of Nelson Yeo, Ghazi Alqudcy and Linh Duong. WideWall is a platform for young filmmakers in the region to source for International grants and support for their films.

Wandal production focuses on multi-genre productions. The company is quiet young, however its owner is an experienced producer. Wanda Adamik Hrycova has started as a director in Slovak musical theatre – Nová scéna, in years 2001-2006. During this period, the theatre has produced 14 big musical plays. After that, her private company has produced famous musical The Producers. She was also involved as a producer in several popular TV shows and series (Dancing with the Stars, Pop Idol, Come dine with me, etc.). Her last project as a film producer was feature film Colette, where she participated as a producer and her company Wandal Production was a co-producer of the film with such partners as Czech TV, Barrandov Studios, UPP and Happy Celluloid. The film was the second most viewed local movie in Slovakia in 2013.

SLOVAKIA

singapore

Ghazi Alqudcy

WideWall Studio

Wanda Adamik Hrycova

Slovak Film Institute The Slovak Film Institute (Slovenský filmový ústav - SFU), established in 1963, member of FIAF and European Film Promotion, is the sole national institution in the field of cinema and audiovisual industry in Slovakia. It consists of the National Film Archive and the National Cinematographic Centre. SFU handles producers rights to Slovak films produced by Slovak national studios in 1895 - 1991 and highly supports their international presentation. The National Cinematographic Centre serves as the national film promotion centre, providing complex information and documentation services related to Slovak cinema, organizing film events in Slovakia and abroad. At the same time, it represents and promotes Slovak films and Slovak filmmakers in the international context.

Alexandra Strelkova

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Bela film

Arsmedia Production Company was established in 1990 with a view of realization of fiction, documentaries, animated films and films of all genres and lengths. In the last 20 years Arsmedia created many feature, documentary and short films. Best documentaries: "Kocbek” and "Children from Petricek Hill" directed by Miran Zupanic, who won “Prešeren Award" (the highest recognition an author can receive in Slovenia) in 2008. Best feature films: "Rooster's Breakfast" (2nd most viewed film ever in SLO); “Shanghai Gypsy” which won an award for best screenplay at World Film Festival in Montreal. Co-production films: "A night too Young", feature film co-produced with Czech/SLO author Olmo Omerzu. The film was in competition program in Berlinale 2012 and won an award for best film at Neisse film festival, Voices Volgda best director, and best film in Prague in 2012. Produce SLO feature film “Chefurs raus!” directed by Goran Vojnovic. Film is our last big success by distribution.

Bela film was established in 1998 by Ida and Maja Weiss. Track record: “NAHRANI ME Z BESEDAMI” by Martin Turk, feature film, 2012, 35mm/DCP, 88 min., "NIGHT BOATS" by Igor Mirkovic, feature film, 2012, DCP, 101 min. (minority coproduction) "BOY, BLOODBROTHER OF DEATH, Part 2" by Maja Weiss, documentary, 2012 "THINGS WE'VE NEVER DONE TOGETHER" by Martin Turk, short fiction, 2011, HD Cam, 10 min. "WHERE HAS THE WORKING CLASS GONE?" by Maja Weiss, documentary, 2010, HD Cam, 54 min. "STEALING THE CORN", short film by Martin Turk, 2009, 35mm, 11 min. "EVERY DAY IS NOT THE SAME", short film by Martin Turk, 2008, 35mm, 12 min., "DAR FUR – WAR FOR WATER" feature documentary by Tomo Kriznar & Maja Weiss, 2008, 35mm/Digital Beta, 89 min.; "A FEEL FOR WIND" TV documentary by Maja Weiss, 2008, Digital Beta, 54 min. "INSTALLATION OF LOVE" feature film by Maja Weiss, 2007, 35mm, 97 min. "MARIJA VERA" by Maja Weiss, documentary, 2006, Digital Beta, 53 min. "DEVIL’S COLONY" by Boris Petkovic, documentary, 2006, Digital Beta, 48 min., in co-production with TV Slovenia "CHILD IN TIME" by Maja Weiss, short fiction, 2004, 35mm, 16 min. "UNDER PRESEREN’S HEAD - EUROPE’S OLD NEW FACES" by Maja Weiss, documentary series for ARTE, Digital Beta, 26 min. "GUARDIAN OF THE FRONTIER" by Maja Weiss, full length fiction, 35mm, 2002, 100 min. "NUBA – THE PURE PEOPLE" by Tomo Kriznar & Maja Weiss, documentary, Beta SP, 2000, 50 min. "STEKLARSKI BLUES" by Peter Braatz, experimental documentary, 2001, 35mm, 10 min. "THE ROAD OF FRATERNITY AND UNITY" by Maja Weiss, documentary, 1999, Beta SP, 104 min. & 50 min.

Boštjan Ikovic

AVI film Production company AVI FILM, is a new born production company. At the moment we have in production a documetary film called “Coffe time”, directed by Jurij Gruden. A documentary “The cold war for informatiuon technology” is in development.

Gruden

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Contact details: AVI film | Kogojeva 1 | 1000 | Ljubljana T: 00386 41 939367 | tanjakov@yahoo.com

SLOVENIA

Amela Ikovic

Arsmedia

Ida Weiss

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Fabula

Casablanca is a boutique motion picture development and production company with a mandate to deliver high-quality entertainment for worldwide sales. We seek internationally accessible stories with commercial potential for sales both domestically and beyond our borders. We started production with advertising in 1989; today we are oriented to the production of animated, documentary and feature films. We made 11 documentaries for TV and theatrical release, 7 theatrical features films, 2 short feature films, 160 minute of serial animation. Mostly with national and international coproduction and with Media or Eurimage support. With a lot of awards, most important is Oscar Winner for No Man’s Land.

Fabula is an independent Slovenian production company founded in 2000, producer and co-producer of feature films and documentary films for Slovenian and International market. Our aim is the production of films with good idea and artistic potential and unique value. Owner of the company Radovan Mišic studied film production at FAMU in Prague. After collaborating with film director Andrej Košak on his feature film “Headnoise” and David Ondricek feature film “Loners” he produced his first feature-length film “L...Like Love” and a number of creative documentaries about famous Slovenian painter Ivana Kobilca, about world known psyhoanalist Paul Parin, about brown bears who escape to the west from the bloody war in Bosnia, about Slovenian painter Tugo Šušnik, etc. Currently he is involved in preproduction of the documentary “Kino Volta” about a daring venture of a group of Triest businesmen who together with James Joyce opened the first cinema in Dublin.

SLOVENIA

Igor Pedicek

Casablanca

Radovan Mišic

Sabina Briški

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Creative Europe Desk Slovenia

Monoo

The Creative Europe Desk Slovenia (CED Slovenia), established in January 2014, is the national information and advice service to promote Creative Europe (2014-2020), the EU programme for the cultural and creative sector in Slovenia. CED Slovenia operates within Motovila, Centre for the promotion of cooperation in the cultural and creative sectors and is a member of the European network of CED offices in more than 30 European countries. Besides offering in-depth information and tailored guidance on various Creative Europe funding schemes offered by MEDIA and Culture sub-programmes, CED Slovenia organises various events to promote the programme as well as to facilitate cultural and creative projects with European added value in Slovenia and abroad.

MONOO is a Slovenia based small but growing production company. We have devoted our first two producing years -from 2012 on- to putting together a slate of films that entered production one after another. Our awarded short film Morning (2013) was bought for broadcasting in 31 countries after its festival run, and in the following year the biggest project untill now, a feature The Tree was completed. It was developed in cooperation with EAVE and Baltic Event, with world premiere in in Karlovy Vary 2014; till now it received several awards, among them FIPRESCI Award (FSF 2014). We love films that employ unique film language and expression, and try to create a safe environment where young directors could realise their distinctive visions.

Rok Secen

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Petra Pan Film

Ljubljana-based independent film production company NOSOROGI was created in 2008 by a group of young film directors as a creative alliance to enable emerging Slovenian filmmakers to launch their first cinematic visions. In 2012, the management of the company was taken over by the producer Marina Gumzi. Since then, the company's primary goal is to establish a recognizable platform for developing and producing highly personalized and daring visually driven filmic handwritings, from documentaries to fiction shorts and feature films, and expose them beyond the national borders. High attention is paid to discovering and supporting emerging authors as well as to creating grounds for international collaborations and co-productions. Currently in pre/production: Playing Men - creative documentary by Matjaž Ivanišin Stories From the Chestnut Woods – first feature by Gregor Božic

Petra Pan Film is located in Ljubljana (Slovenia). It was founded in 2003 by the film director Petra Seliškar and the director of photography Brand Ferro. Together, they have produced and coproduced several films for cinema and TV in Slovenia, Macedonia and beyond. In 2008 PPFP Macedonia was established. Both companies produce creative documentaries and art house fiction films for the Balkans and the international market. The films that Petra Pan Film produces are not only strongly committed to cinema form and content but also related to well-thought-out topics. Moreover, the films that Petra Pan Film stands behind display an individual vision and authorship. We initiate ideas and collaborate with authors, distributors and co-producers by supporting their objectives and contributing to their success. In 2010 Petra Pan has established the MAKEDOX FILM FESTIVAL, a creative documentary film festival in Skopje, Macedonia.Our production policy is to work internationally. Therefore, we are part of the BALKAN DOCUMENTARY DISTRIBUTION NETWORK that focuses on high-quality films from the region as well as on films that aim to create better world for the next generations.

Sinisa Juricic

Petra Seliškar

Nukleus film Slovenia

Sever&Sever

In the past 10 years, Nukleus has become the regional production company who’s films crossed the regional borders, and were shown at important festivals and TV stations. In 2012 together with director Miha Knific we established Nukleus film Slovenia as our new outpost. In 2013 we also established Jaako dobra produkcija (JDP), as a company specialized for co-productions. The intent when establishing JDP was to have a co- production/ production service house to fully use Tax Incentive in Croatia for international projects, first of those being films ”Full Contact” directed by David Verbeek, in co-production with Lemming film from The Netherlands and BAC France and ”Stage Fright”, directed by Yorgos Zois, in co-production with Pan Entertainment from Greece and EZ Films France.

Production of short and feature documentaries, fiction short and feature films: 2009 - Elena, documentary feature film - Festival of Slovenian film 2010, Trieste Film Festival 2011 Hoja po vodi / Walking on water - documentary feature film, 2011/2012 - Nekoc je bila dežela pridnih /There once was a land of hard-working people - documentary feature film - Festival of Slovenian film 2012, Zagrebdox 2013, Underhill Podgorica 2013, See a Paris 2013 - Adagio - short documentary film - Festival of Slovenian film 2013, Cannes Short Film Corner, CEE Vienna 2014 - Bum, bum, bis - short feature film 2014 - Pot v raj (Sailing to paradise) - feature film - audience award at Slovenian Film Festival 2014 What about Mojca - documentary film - critics award - Slovenian Film Festival

Nina Jeglic

Jani Sever

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SLOVENIA

Marina Gumzi

Nosorogi

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Staragara

Slovenian Film Centre, a public agency of the Republic of Slovenia, was established in 2011 as a successor of the Slovenian film fund – a public fund. The goal of Slovenian Film Centre is to encourage creativity in the film and audiovisual field in Slovenia by creating suitable conditions for film, audiovisual and cinematographic activities. It is co‑financing all programmes dealing with development, production, promotion and distribution of films. Besides that it also supports film festivals, industry associations, promotion of film locations, film literacy and other. In 2014 Slovenian Film Centre supported 5 feature films, 2 first time feature films, 4 short films (2 feature, 2 animation), 1 documentary feature length film and 3 minority co-productions (1 fiction, 2 documentaries), as well as 11 documentary and 4 animation projects produced primarily for television broadcasting.

Staragara institute with its film production label Staragara Production is mainly an arthouse company, dedicated to work with proclaimed inhouse film directors Janez Burger and Jan Cvitkovič as well as some carefully selected new film talents in Slovenia. We are developing stories with strong artistic and personal note, using as form the presence of universal film language. Our recent film productions are both non dialogue films, where visual pictures, music and sounds are used as core elements of story telling (Archeo and Circus Fantasticus). During the period of the last two years we finished a few short films and minority coproductions with Italy (Zoran – my nephew an idiot), Croatia, Serbia and Monte Negro (Life like a Trumpet). We are developing two new features, Ivan and Mercedes – fire horse. While developing the films we go back to the classic film form (dialogues) and narration (genre film). Since our last feature film we made three shorts and two documentaries.

SLOVENIA

Ana Lampret

Slovenian Film Centre

Miha Cernec

Jožko Rutar

Studio Virc Studio Virc is a family-run company for video, film and TV production that was established in 1992. After our director, Ziga Virc, was nominated for the Academy Award (“Oscar”) for best short foreign student film in 2010, we have continued to take bold steps into the international arena. Nerina T.Kocjancic

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Bostjan Virc

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Festival del Film Locarno

Vertigo is a Ljubljana based Slovenian production company with distinctive track record. They produced or co-produced more than 40 feature films including • An Episode in a Life of an Iron Picker (2013) by Danis Tanovic´ / Berlinale Competition 2013: Silver Bear – Jury Grand Prix and Silver Bear for the Best Actor, Shortlisted for Foreign Language Academy Award – Oscar for 2013; • Circles (2013) by Srdan Golubovic´ / Sundance FF – World Dramatic Competition: Special Jury Prize, Berlin IFF Forum: Prize of Ecumenical Jury, with over 40 international awards; • Slovenian Girl (2009) / Sarajevo FF Competition, Toronto IFF, Pusan IFF (with over 30 territories sold) and Spare parts (2003) / Berlin IFF Competition, Sarajevo FF Competition: Special Jury Award, Toronto IFF, Pusan IFF, both directed by Damjan Kozole; • Bread and milk (2001) by Jan Cvitkovic´ / Venice FF: Lion of the Future Award; • The world is big and salvation lurks around the corner (2008) by Stephan Komandarev / Moscow IFF Gala, Short listed for Foreign Language Film Academy Award – Oscar for 2009, more than 30 international awards, sold to more than 40 territories; • Alexandrians (2011) by Metod Pevec / Festival of Slovene Films,– Best documentary, Trieste FF – Best Doc and Estrellita (2007) by Metod Pevec / Mannheim Heidelberg IFF – Special Award, Cottbus FF – Dialog Award). Other film credits include • Women who brushed off her tears (2012) / Berlin IFF Panorama Special and I am from Titov Veles (2007) / Sarajevo FF Competition: Special Jury Award, Berlin IFF Panorama, Toronto IFF, Pusan IFF), both directed by Teona Mitevska; • Border post (2006) by Rajko Grlic´ / San Sebastian IFF Competition; • Suburbs (2004) by Vinko Moederndorfer / Venice Days, Montreal World Film Festival Competition; • Besa - Solemn promise (2009) by Srdan Karanovic´/Moscow IFF Competition, Trieste FF - Grand Prix; • Idle running (1999) by Janez Burger/Karlovy Vary IFF Competition, Cottbus FF Grand Prix; Danijel Hocˇevar, the producer and managing director of Vertigo has been selected among Variety’s Ten Producers To Watch in 2001. He is a voting member of European Film Academy, a member of the selection jury of Nipkow Program (www.nipkow.de) from 2005, and a member of the pedagogical team (group leader) of EAVE – European AudioVisual Entrepreneurs (www.eave.org) from 2009 and MidPoint (www.midpoint-center.eu) from 2013.

Throughout its 67 year history, the Festival del film Locarno has occupied a unique position in the landscape of the major film festivals. Every August, for eleven days the Swiss-Italian town of Locarno, right in the heart of Europe, becomes the world capital of auteur cinema. At Locarno they find a quality programme, rich, eclectic, surprising, and where emerging talent rubs shoulders with prestigious guests. Locarno is, precisely because of its enormous and multi-cultural audience, a unique launch platform for new films from all over the world. Contact details: Festival del Film Locarno | Via Ciseri, 23 | CH-6601 | Locarno T: +41 (0)91 756 21 21 | F: +41 (0)91 756 21 49 | lorenzo.esposito@pardo.ch | www.pardolive.ch

Switzerland

SLOVENIA

Danijel Hocˇevar

Vertigo

Lorenzo Esposito

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Ksenia Volochkovskaya

Amérique Film

Amadeus Entertainment is a London-based company, offering a range of services within the entertainment industry: • International Sales and Distribution: We acquire and sell International film rights. Our catalogue boosts over US$70m worth of new film productions. We mainly specialize in such genres as 3D animations, action, thriller, biography fiction, fantasy, fairy-tales and, sometimes, drama with very strong artistic but also commercial potential. We are also very proud of representing one of the most unique award-winning Italian Classics catalogue of over 240 titles, from the 50s through the 90s including such films as "Divorce Italian Style" and "Cinema Paradiso". Our policy is to acquire only few titles a year that we feel passionate about. By saying that, we intend to give each title we acquire the necessary care and attention it deserves. Amadeus Entertainment is also involved in co-productions and consulting for several production companies worldwide. • Music – Music Production, Licensing and Sound Design

Amérique Film is a company focused on the developing, financing and producing innovative feature films. Recent productions and projects include: Productions The Kind Words by Shemi Zarhin, Israel-Canada (2015) Buddha’s Little Finger by Tony Pemberton, Germany-Canada (2015) Stay by Wiebke von Carolsfeld, Canada-Ireland (2014) Les interdits by P. Kotlarski & A.Weil, France-Germany-Russia-Canada (2014) 2 temps, 3 mouvements by Christophe Cousin, Canada-France (2014) Development The Road Beyond by Douglas Buck, France-Canada At Sunset by Dan Weldon De l’amour pour Noël by Catherine Léger and Sophie Lorain

Contact details: Amadeus Entertainment | Riverbank House - One, Putney Bridge Approach - London | SW6 3JD T: +44 7958 3671 159 | ivo@amadeus-ent.com - ksenia@amadeus-ent.com | www.amadeus-ent.com

Dan Weldon

united kingdom

Ivo Fiorenza

Amadeus Entertainment

Contact details: Amérique Film | 8 Katherine St | BD18 4LZ | London T: +447930 358 115 | dan@tallstories.net

Blue Horizon Productions London based company developing a slate of narrative fiction and documentary features, and high-end TV drama. Current projects range include a US set conspiracy thriller by Jeffrey Caine (Oscar nominated for The Constant Gardener), an English-language adaptation of Georges Simenon’s classic psychological thriller The Engagement of Monsieur Hire, and an English-language Scandinavian crime series, based on Jan Costin Wagner’s “Kimmo Joentaa” novels, developed by Channel 4. Contact details: Blue Horizon Productions | 7 Old Pye Street | SW1P 2LD | London T: +44 7802 853 263 | info@bhprods.com

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Andrew Bendel

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Crazy Horse Pictures

Braidmade Films was set up by Monika Braid in 2006 in order to develop and produce independent films. Based in London we are keen to work with international talent to produce films of high quality: fiction, documentaries, and experimental; films that relate to a universal human experience and appeal to viewers from various cultural backgrounds. In 2012 Braidmade Films opened its outlet in Krakow, Poland. It acts as advisory body to Polish and British filmmakers wishing to form co-productions. The recent credits include Arte/ZDF film Waking Under Water (2014), BBC documentary productions Wojtek – the Bear that Went to War (2011), Mind the Gap (2010), A Sikh’s Journey Home (2008) and Dad Went Fishing (2011, TVP). Walking Under Water, was selected in competition for the HotDocs Film Festival 2014 and it won the ‘Special Jury Prize’. Since then it has been officially selected by the BFI London International Film Festival, DOK Leipzig Film Festival, Planet+Doc Film Festival in Warsaw (Honourable Mention), Zurich Film Festival, Margaret Mead Film Festival in New York, the Los Angeles Film Festival (Honourable Mention), Palm Springs Festival and more.

Crazy Horse Pictures, founded in 2011 by Michele Fiascaris and Marco Cainero, specialises in feature films and documentaries. It has produced the Award Winning feature Fat Cat starring Lorenzo Richelmy (Marco Polo from Netflix original series). Recently the company has co produced the documentary ”Indagine in Carnia” directed by Dante Spinotti and ”Alpino Riccardo Giusto”. New feature ”Made in Italy” is currently in development.

British Film Institute

Isabel Davis

The BFI was founded in 1933. We are a charity governed by a Royal Charter. We combine cultural, creative and industrial roles, bringing together the BFI National Archive and BFI Reuben Library, film distribution, exhibition and education at BFI Southbank and BFI IMAX, publishing and festivals. The BFI Film Fund is the production heart of the BFI, and the largest public film fund in the UK. Each year we invest over £26m of UK Lottery funds to support film development, production and distribution activity in the UK and the budget is set to rise to £30m by 2017. The BFI Film Fund supports around 25 films at the production stage each year, of which c30% are co-productions. For minority co-productions, the BFI Film Fund has committed up to £1m per annum to encourage creative excellence in co-production where the majority of the creative input comes from one of the UK’s partner countries. Priority is given to projects where: A world-class, non-British filmmaker wishes to engage with UK talent or cultural content; UK involvement enhances the international appeal of an exceptional project that has been originated outside of the UK; an international project gives an opportunity to an outstanding, emerging talent from the UK. Contact details: British Film Institute | 21 Stephen St | W1T 1LN | London T: +44 20 7173 3228 | isabel.davis@bfi.org.uk | www.bfi.org.uk

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Michele Fiascaris

united kingdom

Monika Agnieszka Braid

Braidmade Films

Ffilm Cymru Wales Established in 2006 and formerly known as the Film Agency for Wales, we have a remit to help to develop a film sector in Wales and maximise the economic, educational and cultural benefits of film. Ffilm Cymru Wales supports Welsh or Wales-based writers, directors and producers with development and production funding, industry assistance and mentoring opportunities. We aim to bring film makers and audiences together by encouraging more people to see more films in more venues. We also promote the use of film in education and community regeneration, producing educational resources in conjunction with teachers to aid literacy and general learning. Contact details: Ffilm Cymru Wales | S4C Media Centre, Parc Ty Glas | CF14 5JA | Llanishen, Cardiff T: +44 (0) 2920 766 931 | adam@ffilmcymruwales.com | www.ffilmcymruwales.com

Adam Partridge

Film London Film London is the capital’s screen industries agency. We connect ideas, talent and finance to develop a pioneering creative culture in the city that delivers success in film, television, animation, games and beyond. We work to sustain, promote and develop London as a global content production hub, support the development of the city’s new and emerging filmmaking talent and invest in a diverse and rich film culture. Contact details: Film London | Suite 6.10 The Tea Building, 56 Shoreditch High Street | E1 6JJ | London T: 020 7613 7676 | helena.mackenzie@filmlondon.org.uk | www.filmlondon.org.uk

Helena Mackenzie

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Lord Dinah

Launched in 2012 at the Rotterdam Film Festival, Film Republic is a London based world sales agency specialising in art house fiction and cinematic documentaries. Our line up includes titles from veteran production houses as well as emerging and first time filmmakers, with a focus on intelligent, cinematic and non-mainstream titles. We are committed to embracing new windows of distribution and taking on risky and daring titles by the next generation of master filmmakers.

Dinah Lord is a BAFTA award-winning Executive Producer of factual programming for international broadcasters across science, arts and history, observational documentaries and investigative and current affairs output. Recent programmes include the Grayson Perry series ‘Who Are You?’ And ‘All in the Best Possible Taste’ (Channel 4, BAFTA Best Factual Series); When Bjork met Attenborough’ (Channel 4); ‘Alfie Boe – Freddie Mercury Saved my Life’ (ITV) ‘Murdoch’ (SBS and Screen Australia/BBCWW); ‘Christian Louboutin’ and ‘Extreme Brat Camp’ (Channel 4); ‘Hiroshima’ (Channel5/NHK Japan/ARTE); ‘Space Back to the Future’, (The Smithsonian Channel). Over 27 years at BBC, beginning in the BBC World Service and latterly as Creative Executive Producer in TV Factual Programming, including award winning ‘Can Gerry Robinson Save the NHS?’ And ‘Can Gerry Robinson Save Dementia Care Homes?’ ‘Child of our Time’; ‘Olympic Dreams’ ‘Obsessions'; Richard Wilson’s exploration of the death industry ’Two Feet in the Grave’; the BAFTA winning investigative ‘Rough Justice’ series, and Robert Winston’s ‘Superhuman’ series after a decade making foreign affairs films and covering domestic politics on Newsnight and in Current Affairs. Among her awards and nominations are BAFTA Specialist Factual Programme; Grierson Awards; Royal Television Society Awards; Broadcast Awards; Cable Ace Awards(USA); Digital International Emmy; Broadcast Digital Awards; Wincott Press and Broadcasting Award ISDD Award, Deafest, RADAR Human Rights Award.

Film4 Film4 Productions is a British film production company owned by Channel Four Television Corporation. The company has been responsible for backing a large number of films made in the United Kingdom. Film4 Productions is Channel 4 Television’s feature film division. The company develops and co-finances films and is known for working with the most innovative talent in the UK, whether new or established.

Celine Coulson

Ingenious Media

Simon Williams

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Simon is an Investment Manager within Ingenious Investments, responsible for the sourcing, financial modelling, and analysis of investments within the media and entertainment industries. Prior to joining Ingenious in 2012, Simon was at The RP Capital Group, an Emerging Markets focused Hedge Fund where he worked on investments in sectors such as Real Estate, Film studios, and E-commerce, as well as heading up the finance functions of the Funds and Companies side of the business. Simon has a Master’s degree in Mathematics (MMath Hons) from the University of Exeter, is a member of the Association of Certified Chartered Accountants and passed the final stage of the CFA exams in August 2013. Contact details: Ingenious Media | 15 Golden Square | WJF 9JG | London T: 020 7319 4263 | simon.williams@ingeniousinvestment.co.uk

Dinah Lord

united kingdom

Ines Skrbic

Film Republic

Contact details: Lord Dinah | 65 Eden Street | CB1 1EL | Cambridge T: +44 7809 587642 | dinah@dinahlord.co.uk

Memento Films International Founded in 2005, MFI is a select arthouse international sales company, tracking and accompanying director-driven independent films. Contact details: Memento Films International | 9 Cite Paradis (Paris Office) / Great London House (London Office) | 75010 (Paris Office) / NW1 7QY (London Office) | Paris/London T: +44 7731611461 | naima@memento-films.com | http://international.memento-films.com/

Naima Abed

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Roast Beef Productions

Red and Black Films is run by award winning film makers John Giwa-Amu and Caradog James. The company currently has the Brit List winning Sci-Fi THE CALL UP in Post-Production. The film is being Produced alongside Stigma Films and was directed by award winning commercials director, Charles Barker. THE CALL UP is being sold by Altitude, distributed by E1 and is set to be released in cinemas autumn/winter 2015. The company has just co-produced THE SILENT STORM starring Damian Lewis (Homeland) and Andrea Riseborough (Oblivion) with Neon Films, Barbara Broccoli's Eon Films, New Sparta, The British Film Company and Ffilm Cymru Wales. Sci-Fi Thriller, THE MACHINE was released in cinemas March 2014 and hit number 2 in the UK iTunes charts and number 5 in USA and Germany. The film won a British Independent Film Award, Best Sci-Fi and Best Actress at Toronto After Dark, Three British Academy Awards Cymru including Best Film and Best UK Feature of the Raindance Film Festival. John has been nominated for the Screen Nation Award twice, is an honouree of the UKFC initiative, Breakthrough Brits.

Roast Beef Productions make non-fiction films and series for cinema and TV. We are based in London and New York and make films for BBC, Channel 4, BFI, HBO, PBS, and Discovery. We have won a number of industry awards including, Academy Award Nomination for Best Documentary Feature 2012, 6 Sundance Awards (Grand Jury, Special Jury, Best Director, Audience, Cinematography), EMMY Nomination for Best Documentary, 2 Grierson Awards for Best Documentary, Prix Italia, The Alfred DuPont Award and the BFI Vision Award. Contact details: Roast Beef Productions | 28 Denmark Street | WC2H 8NJ | London T: 07800866229 | aleks@roastbeeftv.com | www.roastbeeftv.com

Aleksandra Bilic

united kingdom

John Giwa-Amu

Red and Black Films

Redbird

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Hilary Durman

Redbird is an independent production company specialising in documentaries, drama and features for cinema, television and radio. The company was set up over 20 years ago and has a track record in prizewinning work, with three BAFTA awards for its films made with young people, along with Royal Television Society, Prix Jeunesse, Japan Prize, and One World Media awards. Redbird’s films explore challenging areas of human experience for a variety of audiences from the margins to the mainstream. In 2008 we began producing feature documentaries for cinema and television. Feature documentaries include Donor Unknown (screened at Sheffield, IDFA and around 20 festivals worldwide, audience awards at Tribeca Film Festival and Silverdocs), The Time of Their Lives (BBC Storyville/UKFC, screened at Sheffield, SXSW, Silverdocs and major film festivals around the world). In 2014, Redbird released two feature documentaries made in Morocco. Casablanca Calling explores the work of Morocco’s first female Muslim leaders in a quiet social revolution, and Pirates of Salé follows four young performers in Morocco’s first professional circus in pursuit of creative freedom as they journey from the streets to the international stage. We are currently developing Wrong Planet which explores the world from the experience of young people with autistic spectrum disorder, ADHD and dyslexia and is scheduled for production in summer 2015.

Beryl Richards

Havana Marking

SAMPOMEDIA Experienced analyst, journalist and consultant with particular expertise in film and digital media. Author of numerous studies and reports on changing media markets, with particular emphasis on consumer behaviour, including four editions of Digital Revolution: The Active Audience, commissioned by European film funds body Cine Regio. Editor of major magazines covering film (Screen International), music (Music Week) and business technology (Computing), giving him a rare overview of the transformation of consumer behaviour in a number of creative industries. A respected speaker and chair of film industry events around Europe, and chair of national film body, the Film Agency for Wales.

Michael Gubbins

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Dave Evans

Sideways Film

Sentinel Entertainment, based in Kent and London, was set up in 2003 by former actor Ben Pullen and former McCann Erikson executive William Pullen. The company began its life with two series for mobile phones with The Horror Channel in 2007 and 2008 before completing 4 short films for Screen South/UK Film Council/BFI bewteen 2009 and 2012. The company has 2 feature films in development and a trans media project “ Killer App” which is based on its award winning Mobisode series Walker Stalker.

Sideways Film is a global documentary sales agency company specialising in worldwide broadcast sales, followed by education, online, DVD and Inflight markets. We work closely with our producers to ensure that every title offers a unique perspective and gets the attention it deserves. By focusing only the very best new films available, we can offer our producers an open, transparent and co-operative relationship and our buyers a fantastic catalogue and a friendly, professional and efficient service. Our films have been selected at every major festival and licensed to every major broadcaster. We are now also exec producing a very limited number of projects and looking for partners in this arena.

Shoot From The Hip Films

Soda Pictures

Shoot From The Hip Films is a film and TV production company dedicated to developing film projects with a particular focus on strong drama and documentary ideas that bring together the best of UK and Balkan talent. Shoot From The Hip Films is a new company formed by a partnership between experienced film maker Dave Evans and his colleagues Aleksandra Nikolajev-Jones, Cai Howells and Sarah Greenhalgh. The company has already produced a recently completed feature documentary, Pretty Village, currently at market and festivals (IDFA, Tirana 2014). The company has a further two feature documentaries in production, Blacklisted and My Grandfather The Spy which has received development finance from BBC Films/BFI/Film Wales/Soda Pictures. Pretty Village and My Grandfather The Spy both have Balkan settings and these projects have led to the development of creative and business relationships in The Balkan region.

Soda Pictures is a UK-based film distributor of art house, independent and world cinema. Established in 2002 by Eve Gabereau and Edward Fletcher, the company releases 20+ films a year and has a library of over 300 films from all corners of the world. Soda Pictures recently merged with the Canadian production company Thunderbird bringing UK expansion and set up of theatrical distribution in Canada, specialising in high-end British films.

Contact details: Shoot From The Hip Films | 38 Marion Street | CF24 2DJ | Cardiff T: +44(0)7904524475 / 07970 816248 | shootfromthehipfilms@gmail.com - martin@martinscanlan.com www.shootfromthehipfilms.com

Martin Scanlan

Kazz Basma

united kingdom

Ben Pullen

Sentinel Entertainment

Emily Morgan

The Hollywood Reporter Leading Los Angeles-based international film industry trade magazine; weekly in print and daily online for all the latest, top international news from your region. Contact details: The Hollywood Reporter | THR Wilshire Blvd | Los Angeles T: + 7 965 411 38 99 /+ 44 774 8686571 | nhfilmbiz@gmail.com | www.hollywoodreporter.com

Nick Holdsworth 266

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Docudays Ua

The Works Film Group is a leading all rights distribution, international sales and production company with a proud history of quality, excellence and reliability. For over 25 years we have provided the market with award-winning, critically acclaimed product, worked with leading actors and filmmakers, developed powerful partnerships and delivered innovative campaigns. We have a passion for film and remain committed as a company to compete, create and collaborate in order to achieve the best possible results.

Docudays UA IDFF is held since 2013 during the last week of spring. It is the Ukraine's only international documentary film festival. More than 30 thousand people come to see the best documentaries from all over the world. That week in spring, Kyiv hosts recognized film artists, as well as talented young screenwriters, film-directors and producers from Europe, America, Asia and Africa. Following the main festival in Kyiv, Docudays UA then tours the country. Every year, the touring Docudays UA festival visits to about a hundred Ukrainian cities and towns.

The Works International has been associated with a wide range of films including five titles from Michael Winterbottom, Gurinder Chadha’s Bend It Like Beckham, Niki Caro’s Whale Rider, Pawel Pawlikowski’s My Summer of Love, and Shane Meadows’ This is England. It has also enjoyed a multi-picture history with Ken Loach and scored consecutive Best Documentary Oscars with Man On Wire and The Cove. The Works UK Distribution specialises in independent feature films and documentaries. The company has enjoyed success with John Cameron Mitchell’s Shortbus, Sergei Bodrov’s Mongol, Julie Delpy’s Two Days in Paris,Jeff Nichols’ Take Shelter, Richard Linklater’s Bernie and John Krokidas’ Kill Your Darlings. Contact details: The Works Film Group | 5th Floor Fairgate House, 78 New Oxford Street | WC1A 1HB | London T: 0044 207612 1080 | assistant@theworksfilmgroup.com | www.theworksfilmgroup.com

Contact details: Docudays Ua | 11 Mala Zhytomyrska str., office 10 | 01001 | Kiev T: +380 67 240 21 39 j yulia.serdyukova@gmail.com | www.docudays.org.ua

Tanel Toom

Yuliya Serdyukova

Odessa International Film Festival Odessa International Film Festival is one of the biggest audience film festivals in Eastern Europe and CIS countries, with attendance of 105 thousand people. The program includes international competition, Ukrainian competition and non-competitive programs of art mainstream cinema as well as Film Industry Office, Film Market and Summer Film School. Contact details: Odessa International Film Festival | 30 S. Petlyury St | 01032 | Kiev T: +38 044 58438 24 | j info@oiff.com.ua | oiff.com.ua

Toom tanel

Ukraine

united kingdom

Laurence Gornall

The Works Film Group

Julia Sinkevych

268

269

IFP

Character Brigade is an independent film production companyfounded by Ryan O'Nan. It's focus is finding and creating memorable projects with unique characters at the center. Whether it's Jim, the eccentric, baby toy playing, mad scientist musician in the award winning feature, "Brooklyn Brothers Beat the Best" (TIFF '11, Oscilloscope Laboratories), or the gentle, Korean giant, carving his path towards his own artistic truth and freedom in "Chu and Blossom" (SBFF '14, Gravitas Ventures), Character Brigade is dedicated to the voice of the uncommon. Character Brigade is thrilled about its latest venture "Keep Them From the Wolves". Starring Jason Ritter, Brittany Snow, Chace Crawford and Adam Brody.

The Independent Filmmaker Project (IFP) champions the future of storytelling by connecting artists with essential resources at all stages of development and distribution. IFP fosters a vibrant and sustainable independent storytelling community, represents a growing network of 10,000 storytellers around the world, and plays a key role in developing 350 new feature and documentary works each year. During its 35-year history, IFP has supported over 8,000 projects and offered resources to more than 20,000 filmmakers, including Debra Granik, Miranda July, Michael Moore, Dee Rees, and Benh Zeitlin. Julie La’Bassiere

Mike S. Ryan

Greyshack Films

Mustard & Co

Greyshack Films is a development and production company committed to creative, thought-provoking, energetic new cinema designed within a low-budget model. Company president Mike S. Ryan is a veteran member of the independent film community. He started out in the industry’s 1990's heydey with films like Ang Lee’s THE ICE STORM and Todd Haynes’ FAR FROM HEAVEN. As a film producer, Mike has worked with some of America’s most significant Indie/Art house writer/directors. They include Todd Solondz, Hal Hartley, Kelly Reichardt and Ira Sachs. This experience qualifies Mike to interact with the film writer/director on many levels, ranging from script and casting through production and editing. Many film producers focus primarily on casting, finance, and sales. Mike is unique in that he can address the challenges that a film artist faces at every stage of the creative journey. Mike also offers line producing and co-Production services for European Co-productions in the US. Greyshack Production Services (GPS) includes development work, casting, location scouting, line producing and post production supervising.

Named as one of Variety’s Top 10 Producers in 2014, Katie Mustard is CEO of her recently formed production company “Mustard & Company.” As an independent Producer, Katie has an expertise in finance and production, overseeing 35 movies in under a decade. In 2014, Katie produced four feature films including Simon Helberg’s WE’LL NEVER HAVE PARIS (SXSW 2014 with Alfred Molina and Maggie Grace) and Paul Bettany’s directorial debut SHELTER (TIFF 2014 with Jennifer Connelly and Anthony Mackie). In January, Katie had her ninth film premiere at the Sundance Film Festival with Desiree Akhavan's debut APPROPRIATE BEHAVIOR. Other Sundance premieres include critically acclaimed Andrew Dosunmu’s RESTLESS CITY; THE MISSING PERSON (Michael Shannon & Amy Ryan); THE GREATEST (Pierce Brosnan, Carey Mulligan, Susan Sarandon); SPECIAL (Michael Rappaport); THE SON OF NO ONE (Al Pacino, Katie Holmes, Ray Liotta, & Channing Tatum) and NIGHT CATCHES US (Kerry Washington and Anthony Mackie) which was nominated for an Independent Spirit Award. Katie has also worked in the studio space with Paramount Pictures on films such as THE DEVIL INSIDE. Currently, Ms. Mustard is producing DAUGHTER OF GOD with Keanu Reeves and Mira Sorvino. An honors graduate of USC film school, Katie is represented by UTA.

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UNITED STATEs OF AMERICA

Ryan O'Nan

Character Brigade

Katie Mustard

271

Tribeca Film Institute

New School Media Inc, founded in 2008, provides artists with a full range of production and post-production film services. The New School studio provides a creative space with multiple editing bays, a fully-functioning analog recording studio, cutting floor for musicians, dialogue recording booth, green screen production and a 5.1 surround room armed with ProTools HD for sound mixing and score composition. Ryan Watt joined as the Director of Development to cultivate relationships with upcoming directors and screenwriters. Ryan has produced five feature-length films working with emerging artists to shepherd their projects from development through production and distribution. FORTY YEARS FROM YESTERDAY by Robert Machoian and Rodrigo Ojeda-Beck premiered at the 2013 Los Angeles Film Festival and the 2013 Locarno International Film Festival. PILGRIM SONG by Martha Stephens premiered at the 2012 SXSW Film Festival and was awarded ‘Best Southern Film’ by Oxford American Magazine. THE ROMANCE OF LONELINESS by Matteo Servente and Sarah Ledbetter premiered at the 2012 Nashville Film Festival. OPEN FIVE by Kentucker Audley was named one of the ‘Top 25 Films of 2010’ by The New Yorker and received critical acclaim by The New York Times, Wall Street Journal and Variety. DAYLIGHT FADES by Brad Ellis FilmBuff distributes the film on VOD including Hulu and Lionsgate Home Entertainment released the film in the UK.

Tribeca Film Institute champions storytellers to be catalysts for change in their communities and around the world with over $2.2 million in annual grants for documentary, scripted and interactive projects; and professional development workshops, hackathons and labs around the world. TFI supports a diverse, exceptional group of ﬁlmmakers and media artists, providing them resources needed to fully realize their stories and connect with audiences. Contact details: Tribeca Film Institute | 32 Avenue of the Americas, 27th floor | 10013 | New York T: +12122748080 | rharrington@tribecafilminstitute.org | www.tribecafilminstitute.org

Ryan Harrington

UNITED STATEs OF AMERICA

Ryan Watt

New School Media

Roundtrip Roundtrip is a Memphis based company and we are at WEMW to promote and find co-production opportunities for two feature films: Nessun Dorma (No One Sleeps) - the film has already been part of 2013 Biennale Cinema College, 2014 IFP No Borders and 2014 Torino Film Lab Meeting Event. Untitled - a feature film in development to be shot in the UK or Ireland, as a USA/UK/Irish co-production. Matteo Servente

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Contact details: Roundtrip | Memphis, TN T: +1 (901) 488-4200 | matteo.servente@gmail.com

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WEMW PARTNERS

The 2015 edition of When East Meets West has several strategic industry partners. Each one of them has a key role in planning, promoting and organizing the co-production forum.

EAVE

276

members of the EAVE network at WEMW 2015

PROFILE

EAVE is a professional training, project development and networking organisation for producers. Working with a worldwide network of partners, we are involved in programmes in Europe, Russia, Latin America, the Arab World, Asia and Africa. At the heart of our programmes is the EAVE Producers Workshop which has created a unique co-producing network in Europe. The EAVE Marketing Workshop and EAVE+ complete our core programmes. EAVE also offers various tailor-made 'EAVE on DEMAND' workshops.

PARTNERSHIP

Since its foundation, the Trieste festival’s professional platform dedicated to co-producing with Eastern Europe – WHEN EAST MEETS WEST – has established itself as an important reference for European professionals. EAVE, one of the leading European training and development providers, is proud to have been a partner from the very beginning. In the framework of this partnership, EAVE is advising on the strategic planning and programming of the event and promoting WEMW among the members of our thriving network. EAVE is also involved in the project selection (EAVE group leader Danijel Hocevar is part of the selection committee), the preparation day of the selected project representative (EAVE graduate Stefano Tealdi is one of the tutors), the plenary session If you don't put your film on the internet, someone else will. By EAVE expert Linda Beath and Jean-Luc Ormières and the award ceremony (EAVE CEO Kristina Trapp and EAVE graduate Nikolaj Nikitin are members of the international jury selecting the best project/ producer). Furthermore, we are delighted that the EAVE network has a significant presence at WEMW with 7 projects produced and/or co-produced by EAVE producers in the official selection, 1 project in the work in progress section Last Stop Trieste and 2 projects in the new workshop First Cut Lab as well as 36 EAVE network members attending the event.

CONTACTS

2013 EAVE | 238c, rue de Luxembourg | 8077 Bertrange, Luxembourg T: +352 44 52 10 1 | F: ++352 44 52 10 70 | eave@eave.org

Amra Baksic Camo Jules Debrock Marija Ratkovic Vidakovic Artemio Benki Riina Sildos Iris Cadoux Guillaume De Seille Clément Duboin David Lindner Nikolaj Nikitin Larry Bass Niamh Fagan Cormac Fox Katie Holly Jacqueline Kerrin Jeremiah Cullinane Sarah Pennacchi Enrica Capra Marta Donzelli Mario Lanti Philipp Moravetz Stefano Tealdi Marta Zaccaron Dagne Vildziunaite Kuba Kosma Katarzyna Siniarska Malgorzata Staron Alex Traila Ulikis Fehmiu Miroslav Mogorovic Miha Cernec Danijel Hocevar Sinisa Juricic Jozko Rutar Ida Weiss Monika Agnieszka Braid

SCCA/pro.ba Bosnia Herzegovina Flow Postproduction Belgium Croatian Film Association Croatia Sirena Film Czech Republic AMRION Estonia Eurimages France Arizona Productions France Urban Factory France Filmallee GmbH Germany SOFA - School of Sales Agents Germany Screentime Shinawil Ireland Lunar Pictures Ireland Vico Films Ireland Blinder Films Ireland Ripple World Pictures Ireland Planet Korda Pictures Ireland Tico Film Italy GraffitiDoc SRL Italy Vivo Film Italy Oh!Pen Italia Italy Echofilm Italy Stefilm Italy Quasar Multimedia Italy Just a Moment Lithuania Tak Film Poland New Europe Film Sales Poland STARON-FILM Poland Cinelink Work in Progress Romania West End Productions Serbia Art&Popcorn Serbia Staragara Slovenia Vertigo Slovenia Nukleus Film Slovenia Slovenian Film Center - Filmski Sklad Slovenia Bela Film Slovenia Braidmade Films United Kingdom

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MAIA Workshops PROFILE

MAIA is a training and coaching programme specifically designed for emerging international producers. It aims at giving them the tools and instruments to improve and widen their daily working praxis. As a result they will be able to assert their ground as producers, master their work load, speed up their process of decision making, team up with the right partners and wire themselves to the changing audiovisual market as active players while affirming their own full potentialities. The programme is closely concerned with the professional development of each individual participant. The three workshops are an intense learning and exchange process where the producers are active protagonists sitting at the same table with the international professional trainers and tutors. Plenary sessions, group work, case studies and opportunities for individual consultancies are articulated in such a way that participants bring their own contribution while taking advantage of the experience of peers and experts. The producersâ&#x20AC;&#x2122; participation to the programme begins with the application, goes on between workshops and does not end after its completion: the alumni enter the MAIA community of participants and tutors and will be entitled to benefit of its meetings at major International Film Festivals, Master training and dedicated activities. Maia is promoted by the Genova Liguria Film Commission and supported since 2006 by the Media Programme.

CONTACTS

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Maia Workshops c/o Genova-Liguria Film Commission Villa Bombrini, Via L. A. Muratori, 9 | 16152 Genova - Italy T: +39 010 86 81 459 | info@maiaworkshops.org

Elisa Bordon

Anette Dujisin

Alessandro Gropplero

Masha Markovic

Sara Pagliaro

Vittoria Rusalen

Cristina Sain

Luka Venturin

Paolo Vidali

STAFF

Alessandro Gropplero

Paolo Vidali

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TRIESTE FILM FESTIVAL

The aim of the Friuli Venezia Giulia Audiovisual Fund is to support the development of local film companies and promote the regional audiovisual works in national and international markets, proudly being the first such experience in the Italian panorama. The Fund operates in three main sectors: Training: encouraging the participation of local audiovisual professionals in national and international training courses for directors, scriptwriters, producers, editors, camera operators, and sound engineers. Development: covering all the levels between the idea and the production phase, that is, from script-writing and research, to casting, fund raising and presentation of a teaser. Production: this last action includes financial support to cover production expenses, together with the promotion of the project as to create a more competitive product. Along with the day-to-day management of the fund, the FVG Audiovisual Fund has organized several international events â&#x20AC;&#x201C; such as Ties That Bind - Asia Europe Producers Workshop, Eurodoc Transregional Workshop and When East Meets West - aimed at creating platforms for film professionals from all around the world as well as developing the local audiovisual industry. The main purpose is to offer new training possibilities and set up new market places, where professionals can meet, share experiences and collaborate.

In more than 25 years of activity the Association Alpe Adria and its main project, the Trieste Film Festival, have always stood out for the originality of their initiatives. The festival has explored and brought into light films and directors that had been forgotten for many years, as well as discovering new talents. In these years, the Trieste Film Festival has acquired increasing national and international importance, becoming a unique point of reference, for the cinema of the Central and Eastern European countries. At a national level, the festival plays a leading role, being for years the only festival to focus on the cinematography of these countries and doing so with scrupulous attention. Nor is it a coincidence that the initiative was founded in Trieste, a Central European but above all multiethnic and multi-cultural city that has always provided a gateway to the East. The public has always supported the event enthusiastically. In recent years, the venue had to change in order to increase the number of screenings and the number of seats for a demanding public that is constantly growing in numbers. The Trieste Film Festival is currently followed by the most important printed press, television, radio and webmagazines.

italy

Elisa Bordon

FRIULI VENEZIA GIULIA AUDIOVISUAL FUND

Anette Dujisin

Vittoria Rusalen

Cristina Sain

283

index participants

Abed Naima Adamik Hrycova Wanda Alqudcy Ghazi Allen Miriam Allocca Salvatore Annoni Riccardo Arfuso Mia Arrighi Tommaso Badin Andrea Baksic Camo Amra Balinski Robert Ballarin Enrico Baracetti Sabrina Barbano Emanuela Basma Kazz Bass Larry Basso Stefano Beath Linda Bendel Andrew Benki Artemio Bernardi Katia Bertacche Thomas Bifano Marta Bildesheim Graziella Bilic Aleksandra Blaney Martin Bonhomme Rémi Bonini Vittorio Bonomi Sara Bonsembiante Francesco Borella Andrea

263 247 246 181 228 223 219 210 230 132 236 208 227 192 267 185 194 200 259 151 204 227 201 207 265 170 163 190 180 203 213

Bozhilova Martichka Bozzer Alessio Braid Monika Agnieszka Briški Sabina Buder Bernd Buongirolami Giovanni Buono Manuela Buttignol Rudy Cadoux Anne Iris Calogero Francesco Campardo Roberta Canepa Fabio Cantisani Angelica Capra Enrica Caruso Emanuele Cattaneo Laura Cerato Fabrizio Cernec Miha Chiarot Giovanni Ciut Luca Clermont Nathalie Cochin Elise Colombo Mattia Combe Nathalie Comuzzi Paolo Costabile Francesco Coulson Celine Cozzupoli Pasquale Csikos Magdolna Cullinane Jeremiah D’Orzi Massimo

133 229 260 250 168 203 222 136 158 219 192 197 195 198 214 189 196 255 228 206 137 164 223 157 213 191 262 190 177 183 201 285

Danielou Laurent Darras Matthieu Davis Isabel de la Fuente Alejandro de Seille Guillaume Debrock Jules Dedic Lejla Déprats Emmanuelle Di Pace Francesco Dilena Alfio Domazetoski Una Donzelli Marta Doolan Jane Doran Barbara Drazdauskas Kestutis Duboin Clément Dumatin Arnaud Durman Hilary D’Urso Federica Dziedzic Agnieszka Eniti Augusta Esposito Lorenzo Evans Dave Faccio Samantha Fagan Niamh Fasulo Alberto Fehmiu Uliks Ferrarese Adriana Fiascaris Michele Finotto Paolo Fiorenza Ivo Fortuna Chiara 286

159 225 260 207 154 129 130 157 221 208 243 229 183 140 232 164 158 264 194 235 190 257 266 227 182 212 245 156 261 129 258 209

Fox Cormac Franco Luca Fusco Marco Valerio Gaile Antra Gajewski Dariusz Galic´ Dominik Garfield Milena Garrido Rebekka Genuino Gabriele Gergolet Havir Gero Marcell Gili Maya Girard Ilann Giwa-Amu John Gogan Johnny Gornall Laurence Greiner Gabor Grilli Alessandra Gruden Jurij Gubbins Michael Guidarelli Danilo Gumzi Marina Hajon Tina Harrington Ryan Havas Agnes Hocevar Danijel Hofer Gustav Holdsworth Nicholas Holly Katie Hribar Hrvoje Ikovic Amela Ikovic Bostjan

186 225 202 231 237 146 245 166 220 188 172 228 154 264 178 268 168 191 248 265 198 252 144 273 175 256 199 267 178 144 248 248

Imaz Natalia Ippoliti Stefania Janke Daniel Jaye Naomi Jach Pavel Jakob Enrico Jeglic Nina Jevtic Mihajlo Jona Pietro Jukopila Barbara Juricic Sinisa Kalousdian Jeff Kaludjercic Vanja Karklin Diana Karwan Kasia Kastelikova Hanka Kenovic Ademir Kerrin Jacqueline Kilmi Jaak Kiryakova Veselka Kolar Cedomir Kolegaeva Olga Kosma Kuba Kristensson Anders Kupriyanov Sergey La Bassiere Julie Lampret Ana Lanti Mario Lazarescu Anca M. Lazarov Milko Le Clef Catherine Leghissa Nicole

169 195 142 142 148 127 253 244 198 145 252 126 159 170 162 174 130 184 231 134 155 240 237 224 240 271 254 215 167 134 156 200

Lena Matteo Leonetti Giuseppe Linaro Lucio Lindner Leporda David Litwin Piotr Lodato Annamaria Lord Dinah Mackenzie Helena Magnani Andrea Maguire Paul Manescu Raluca Maric Snezana Marino Paolo Giacomo Marking Havana Markovic Masha Maschietto Lorenzo Mastropietro Eleonora McGonigal Aoife McSwiney Séamas Mihajlo Jevtic Milazzo Raffaella Minigutti Dorino Mirguet Benjamin Mišicˇ Radovan Mogorovic Miroslav Moloney Malcom Moravetz Philipp Morgan Emily Morris Tim Muhi Andras Muhi Klara Mustard Katie

192 202 214 167 235 155 263 261 218 180 239 243 216 265 149 208 205 180 179 244 223 188 160 251 242 179 193 267 186 174 176 271 287

Nafikov Konstantin Natoli Cristian Nicoletta Christian Nicchiarelli Susanna Ní Chonláin Máire Ní Mhunghaile Eibhlín Nikitin Nikolaj Noble Andrew O’Nan Ryan Oleotto Eleonora Olsson Rickard Olteanu Dan Oplatkova Petra Ormières Jean -Luc Outratova Jarmila Ovashvili George Pallaoro Andrea Partridge Adam Pascolo Michela Pastore Alessandra Paul-Hus Martin Paulillo Leonardo Pavlovic´ Jure Pedicˇek Igor Pedoth Ines Pedroni Federico Pellicciari Laura Pennacchi Sarah Pepe Luigi Pirveli Rusudan Pisoni Roberto 288

241 230 220 229 185 179 170 138 270 215 169 167 148 161 149 165 216 261 222 207 136 217 146 250 128 220 204 225 204 165 222

Poillucci Federico Potter Keith Pullen Ben Radman Goran Ragazzi Luca Raja Alessandro Ratkovic´ Vidakovic´ Marija Ravlic Sanja Reisen Christine Richards Beryl Ripley Amber Romagnoli Pepi Rosso Marina Rowe Dorian Rutar Jozko Ryan Mike S. Saakyan Maria Sandrone Silvia Santanera Alessandra Santo Chiara Scanlan Martin Schiavi Federico Schreiner Claudia Secen Rok Seliškar Petra Serdyukova Yulia Servente Matteo Sesic Rada Sever Jani Sildos Riina Siniarska Katarzyna

196 182 266 145 199 159 145 144 163 264 139 209 189 141 254 270 126 191 201 212 266 211 166 251 253 269 272 131 253 152 235

Sinkevych Julia Skrbic Ines Skrobola Effie Smiraglia Giampaolo Sodaro Gianluca Soukup Katarina Spiehs Gerhard Spina Paolo Stalter Judit Staron Malgorzata Staron Wojciech Stefanescu Silvia Strelkova Alexandra Struss Barbora Stucovitz Andrea Suppa Pasqualino Szakonyi Noémi Veronika Szpetmanski Krzysztof T. Kocjancic Nerina Tataragic Elma Tealdi Stefano Terzic Miroslav Tibaldi Antonio Toholj Igor Tonini Mauro Toom Tanel Tosi Claudia Traila Alex Trapp Kristina Trencsenyi Klara Trevisan Nadia

269 262 171 218 232 138 128 221 176 236 236 238 247 150 216 193 177 234 254 131 224 245 203 243 205 268 210 239 233 173 212

Troccoli Mariella Tutorov Biljana Ugrin Julianna Ujvari Judit Vaas Susanne Vallé Marie-Pierre Venier Giulio Venturin Luka Veselka Kiryakova Vildziunaite Dagne Virc Bostjan Vitkova Maya Volochkovskaya Ksenia Vorskanyan Ani Watt Ryan Weiss Ida Weldon Dan Wieser Sasha Williams Simon Wright Dominic Zaccaron Marta Zachar Balazs Zajicova Helena Zdru Eliza Ziraldo Gabriella Zoratti Carlo Zuber Robert Zumiani Laura

209 244 173 176 137 164 228 146 134 232 255 135 258 126 272 249 259 127 262 184 219 175 150 239 202 189 145 226

289