Katalog LIFFe 2017 by Cankarjev dom

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Delo d.o.o., Dunajska 5, SI 1509 Ljubljana Podatek 1,2 milijona se nanaša na tedensko število bralcev in uporabnikov Delovih tiskanih in spletnih medijev. Vir: Ipsos Mediapuls 2016, MOSS 2016. Foto: Jože Suhadolnik, Delo

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Poletje 2018

Avgust 2018

5. – 28. julij 2018 Ljubljanski grad

Najbolj potujoč kino v mestu.

Kinodvor. Mobilni kino. www.kinodvor.org

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Uvodnik Foreword

Liffov krog 2017 The 2017 Circle of Liffe Simon Popek V Melvillovem Rde~em krogu, klasiki francoske kriminalke, ki bo letos zaznamovala retrospektivni del festivala, se na za~etku pojavi epigram. Buda je s ko{~kom rde~e krede narisal krog in dejal: "ê je ljudem, ~etudi nevede, dolo~eno, da se bodo nekega dne sre~ali, se bodo – kar koli se jim bo vmes pripetilo in ne glede na to, kako se bodo njihove poti razhajale – na dolo~en dan neizogibno sestali v rde~em krogu" Melville je kot avtorja izreka podpisal Budo, ~eprav si je – ne prvi~ – vse skupaj izmislil sam. Bil je prvak poeti~ne licence, ljubitelj vzhodnja{ke filozofije, prepri~an, da bodo tovrstne misli "poglobile" pomen njegovih del. V resnici so dobro in natan~no definirale usode njegovih junakov, ve~nih antagonistov in na prekletstvo obsojenih obstrancev. ê se ljudje morajo sre~ati, se sre~ajo, to je temeljna "resnica" realnosti in fikcije, ki se bosta na leto{njem Liffu bodisi prepletali bodisi izklju~evali. Najlep{i filmi so seveda tisti, pri katerih ne ve{, kdaj in kako zelo se avtor poigrava z gledal~evo percepcijo. Obenem imamo kot gledalci vedno velika pri~akovanja, ko se skupina junakov – zavestno ali naklju~no – znajde na skupnem, omejenem prostoru. Bo "obra~un" realisti~en, nadrealisti~en, operetno-teatralen, bole~, katarzi~en? Pribli`no sto filmov, ki jih bo predstavil leto{nji festival, ponuja presti`no pahlja~o variacij na "rde~i krog", od bole~e kontemplativnih sre~anj (Mo{ki ne jo~ejo) do anarhi~nega ànrskega divjanja na skrajnih robovih (Naj trupla porjavijo), vmes pa tudi obe{enja{ko komedijo (Zabava), zasanjano metaforiko (O telesu in du{i), satiri~ni preìvetveni delirij (Bar) ali politi~ni triler (Ka~a s tiso~ urezi). Da sta najbolj `lahtna primerka prav francoski kriminalki – prva je klasi~na, eskapisti~na, druga sodobna, z dru`beno kriti~nim robom –, je lepa ilustracija neusahljive mo~i ànrskega izraza, ki ga Liffe letos predstavlja v vsej gloriji.

The title of Le cercle rouge or The Red Circle by Jean-Pierre Melville, a classic example of French crime film that is presented in Liffe's Retrospective section this year, refers to the film's epigraph that translates as: Buddha drew a circle with a piece of red chalk and said, "When men, even unknowingly, are to meet one day, whatever may befall each, whatever the diverging paths, on the said day, they will inevitably come together in the red circle." Although Melville assigned the epigraph to Buddha, he actually made it up himself – and not for the first time. He was a champion at poetic licence, and espoused Eastern philosophy in the belief that these thoughts would 'deepen' the meaning of his films. In point of fact, they actually served to clearly and precisely define the fate of his characters, eternal antagonists and outcasts destined for damnation. If people are bound to meet, they will meet, this is the absolute 'truth' that applies both to real life and fiction – the reality and imagination that will be either mutually complementary or exclusive at Liffe. Naturally, the best films are the ones where the viewer is unaware when and to what extent the director is playing with his perception. At the same time, the viewers always have high expectations when a group of characters – whether by accident or design – find themselves in a limited space. Will the 'face-off' be realistic, surrealistic, dramatically-theatrical, painful, cathartic? Approximately one hundred films that comprise the programme of this year's festival represent a broad spectrum of variations on 'the red circle,' from painfully contemplative meetings (Men Don't Cry) to anarchic genre-stretching (Let the Corpses Tan), and for good measure a comedy riddled with gallows humour (The Party), dreamy symbolism (On Body and Soul), a satirical battle for survival (The Bar) and a political thriller (Thousand Cuts). The fact that the finest pieces in our selection are the French crime films – the first one a classical, escapist example, and the other a contemporary, socially-critical work – nicely illustrates the inexhaustible power of the genre that is featured at Liffe in all its glory.

@irije, nagrade Juries, Awards

Nagrada vodomec (sklop Perspektive) – mednarodna ìrija Kingfisher Award (the Perspectives section) – International Jury Dragan Rube{a Hrva{ki filmski kritik, kurator in selektor. Objavlja ~lanke v re{kih ~asniku Novi list in dnevniku v italijan{~ini La voce del popolo. Pi{e za Hrvatski filmski ljetopis in knjiìco Kina Tu{kanac Zagreb ter objavlja na spletnem portalu dokumentarni.net. Je kurator Artkina v Reki in selektor Festivala subverzivnega filma v Zagrebu. Objavil je knjigo esejev Govor tijela: Bilje{ke o neholivudskom filmu. Leta 2002 mu je Hrva{ko zdruènje filmskih kritikov podelilo nagrado Vladimirja Vukovi}a za filmsko kritiko. Jessica Kiang Filmska kriti~arka iz Berlina pri publikacijah Variety in The Playlist objavlja ~lanke na spletnih portalih ter v tiskovinah Sight & Sound, Little White Lies in BBC Culture. Damjan Kozole Reìser, scenarist, ~lan Evropske filmske akademije. Njegov film Rezervni deli je bil leta 2003 nominiran za berlinskega zlatega medveda, revija Sight & Sound pa ga je leta 2008 uvrstila med deset najpomembnej{ih filmov nove Evrope. Za No~no ìvljenje je prejel kristalni globus za najbolj{o reìjo na festivalu v Karlovih Varih 2016. Je avtor celove~ernih igranih filmov Usodni telefon (1987), Remington (1988), Stereotip (1997), Porno film (2000), Rezervni deli (2003), Delo osvobaja (2005), Za vedno (2008) in Slovenka (2009).

Nagrada FIPRESCI mednarodna `irija FIPRESCI Prize International Jury

Dragan Rube{a Croatian film critic, curator and programmer. Writes for Novi list and La voce del popolo, Italian-language daily newspaper, both from Rijeka (Croatia). Writes for Hrvatski filmski ljetopis (Croatian Film Chronicle) and the booklet of Tu{kanac Cinema in Zagreb, plus the doc website dokumentarni.net. Curator of Art-kino in Rijeka. Programmer of the Subversive Film Festival in Zagreb. Author of a book of essays, Govor tijela: Bilje{ke o neholivudskom filmu (Body Language: Notes on Non-Hollywood Film). In 2002, he was awarded the Vladimir Vukovic Prize for film criticism by the Croatian Society of Film Critics. Jessica Kiang Berlin-based film critic with Variety and The Playlist, whose work has also appeared online and in print for Sight & Sound, Little White Lies and BBC Culture. Damjan Kozole Film director, screenwriter, member of the European Film Academy. In 2003, Spare Parts was nominated for the Golden Bear Award at the Berlin FF, and was in 2008 ranked by the Sight & Sound magazine among the ten most important films of new Europe. Nightlife won the Chrystal Globe Award for Best Director at the 2016 Karlovy Vary FF. He has made several features, including The Fatal Telephone (1987), Remington (1988), Stereotype (1997), Porno Film (2000), Spare Parts (2003), Work Liberates (2005), Forever (2008) and Slovenian Girl (2009).

Zmaj – nagrada ob~instva Dragon – Audience Award

@irije, nagrade Juries, Awards

Nagrada za najbolj{i kratki film – mednarodna ìrija Best Short Film Award – International Jury Daniel Ebner Soustanovitelj in umetni{ki vodja avstrijskega festivala kratkega in animiranega filma in glasbenih spotov VIS Vienna Shorts. Magistriral je iz politi~nih ved ter {tudiral kulturne in filmske {tudije na Dunaju in v Berlinu. Ve~ let je kulturni urednik in filmski kritik avstrijske novinarske agencije APA. Je soproducent kratkega filma o nogometu Eleven Minutes (A/CH 2008), filmski svetovalec za mesto Dunaj in avstrijsko zvezno deèlo Vorarlberg, predstavnik Zdruènja avstrijskih filmskih festivalov ter deluje kot filmski in likovni kurator.

Daniel Ebner Co-founder and Artistic Director of VIS Vienna Shorts, Austria's festival of short film, animation and music video. He holds a master's degree in political science, and studied cultural studies and film studies in Vienna and Berlin. Daniel has been cultural editor and film critic or the APA Austrian Press Agency for many years. He is the co-producer of the football short-film reel Eleven Minutes (A/CH 2008), a film advisor for the city of Vienna and the state of Vorarlberg, spokesman for the Association of Austrian Film Festivals, and also works as a film and art curator.

Hana Ju{i} Napisala in reìrala je ve~ kratkih igranih in dokumentarnih filmov, prikazanih na {tudentskem, pa tudi na pomembnih evropskih festivalih. Podpisala se je pod kratka filma Zimica, Mu{ice, krpelji i p~ele, nagrajen z oktavijanom in nagrado Jelene Rajkovi}, ter Terarij, nagrajen z oktavijanom za igrani film in nagrado zlati kolut v okviru ZFF. Napisala je scenarij za dolgometra`ni igrani film Zagonetni dje~ak reìserja Draèna @arkovi}a. Ne glej mi v kro`nik je njen prvi dolgometra`ni igrani film kot soscenaristke in soreìserke. Projekt je nastal v okviru ugledne scenaristi~ne delavnice TorinoFilmLab (programi Script & Pitch in TFLFrameWork), premierno je bil prikazan v okviru Mednarodnega filmskega festivala v Benetkah, kjer je nato osvojil nagrado FEDEORA za najbolj{i evropski film.

Hana Ju{i} Wrote and directed several short and documentary films that screened at student film festivals as well as major European film festivals. Some of her shorts include Zimica, Mu{ice, krpelji i p~ele (Oktavijan Award, Jelena Rajkovi} Award) and Terarij (Oktavijan Award and Zlatna kolica Award at the Zagreb FF). She wrote the script for Mysterious Boy, a full-length film by Dra`en @arkovi}. Ne gledaj mi u pijat is the first feature film she wrote and directed. The project was developed within the context of a screenwriting workshop, TorinoFilmLab (Script & Pitch and TFL-FrameWork), and premiered at the Venice International Film Festival, winning the FEDEORA Award for Best European Film.

[pela ^ade` Po diplomi iz grafi~nega oblikovanja leta 2002 je {tudij nadaljevala na Akademiji za medijsko umetnost v Kölnu, Nem~ija. @e med {tudijem je z lutkovnima animacijama Zasukanec (2004) in Liebeskrank (2007) pridobila mednarodno prepoznavnost. Od leta 2008 deluje kot neodvisna re`iserka in producentka animiranega filma. Njena zadnja filma Boles (2013) in No~na ptica (2016) sta bila predvajana po vsem svetu ter sta prejela ve~ kot petdeset nagrad, priznanj in nominacij.

[pela ^ade` After graduating in graphic design in 2002, she continued her studies at the Academy of Media Arts Cologne, Germany. During her studies, she made two puppet animations that gained international recognition; Mate to Measure (2004) and Lovesick (2007). Since 2008 [pela ^ade` has been working as an independent animation film director and producer. Her latest films, Boles (2013) and Nighthawk (2016), have screened worldwide, receiving more than 50 awards, distinctions and nominations.

Mladinska žirija Kinotrip Kinotrip Youth Jury

Perspektive Perspectives

Arábia Araby Arabija Brazilija Brazil 2017

João Dumans, Affonso Uchoa reìja/directed by João Dumans, Affonso Uchoa scenarij/screenplay João Dumans, Affonso Uchoa fotografija/cinematography Leonardo Feliciano glasba/music Francisco César montaà/editing Rodrigo Lima, Luiz Pretti producent/producer Vitor Graize igrajo/cast Aristides de Sousa (Cristiano), Murilo Caliari (Andre), Renata Cabral (Ana), Gláucia Vandeveld (Márcia) produkcija/production Katásia Filmes Rua Marquês de Maricá, 345, Santo Antônio, 30.359-070, Belo Horizonte, Brasil E katasiafilmes�gmail.com format/format DCP, barvni/colour dolìna/running time 96' festivali/festivals Rotterdam 2017, IndieLisboa 2017, Buenos Aires 2017

Zagonetno strukturiran ve~plasten film o ìvljenju tovarni{kega delavca Cristiana je portret sodobnega brazilskega delavskega razreda z izrazito dru`beno angaìrano noto. V brazilskem industrijskem mestu Ouro Preto nedale~ od tovarne aluminija radovedni de~ek Andre v hi{i delavca Cristiana, ki je izgubil ìvljenje v nesre~i pri delu, najde dnevni{ke zapise pokojnika. Film se kmalu prelevi v film ceste, v katerem smo pri~e dinami~ni vizualizaciji Cristianove prvoosebne izpovedi o zadnjem desetletju njegovega burnega ìvljenja. "Obi~ajno bi tega delavca videli za pet minut, potem pa naprej ìveli. Vendar v tem filmu po nekem naklju~ju vstopimo v njegovo ìvljenje in ob poglobitvi vanj ugotovimo, da je brezmejno. Vsi ljudje, ki jih vsakodnevno videvamo, se zde zelo nepomembni ali obi~ajni; ko pa pogledamo vanje, se nam razkrije celovit svet." (João Dumans, Affonso Uchoa)

prodaja/world sales Katásia Filmes Rua Marquês de Maricá, 345, Santo Antônio, 30.359-070, Belo Horizonte, Brasil E vitorgraize�gmail.com

The enigmatically structured, multilayered portrayal of a factory worker Cristiano is a critical, socially engaged examination of the contemporary Brazilian working class. Andre, a curious young boy, is growing up close to an aluminium factory in the industrial town of Ouro Preto. Following a fatal accident in the factory, he is sent to the house of the dead factory worker, Cristiano. Next to clean clothing for the deceased, he finds a diary describing the last twenty years in the life of this hard-working man. The film soon turns into a road movie and a dynamic visualisation of Cristiano's first-person account about the last decade of his tumultuous life. "Usually, you would see this worker for five minutes and then your life would go on. But here, in the film, by some chance, you fall into this life and when you go deep inside it, you see it is bottomless. All these people we see in our daily lives, they seem very unimportant or common, but if you go inside, a whole world opens." (João Dumans, Affonso Uchoa)

Affonso Uchoa, João Dumans

filmografija/filmography

A. U.: Rojen leta 1984 v mestu Contagem, Brazilija. Za svoje filme je prejel {tevilne nagrade, mednarodno prepoznavnost pa mu je prinesel A vizinhança do tigre. Born in 1984 in Contagem, Brazil. The award-winning director achieved international recognition with his second film, The Hidden Tiger.

A. U.: 2009 Desígnio (kratki/short) 2010 Afternoon Woman 2014 A Vizinhança do Tigre (The Hidden Tiger) 2017 Arábia (Araby/Arabija)

J. D.: Rojen v mestu Belo Horizonte, Brazilija. Kot producent, monta`er in scenarist je sodeloval pri {tevilnih celove~ernih filmih, med drugim je napisal tudi scenarij za film A Vizinhança do Tigre Affonsa Uchoe. Born in Belo Horizonte, Brazil. He has participated in various feature films as a producer, editor and screenwriter. He wrote the script for Affonso Uchoa's The Hidden Tiger.

J. D.: 2014 Todo mundo tem sua cachaça (Everybody Has Its Own Way) (kratki/short) 2017 Arábia (Araby/Arabija)

Perspektive Perspectives

Columbus Columbus Columbus ZDA USA 2017

Kogonada

Celove~erni prvenec priznanega video esejista Kogonade je prefinjena {tudija oseb, v kateri ima posebno vlogo arhitektura â&#x20AC;&#x201C; film je namre~ ume{~en v okolje ameri{kega mesta Columbus, ki velja za meko modernisti~ne arhitekture.

Architecture plays a prominent role in Columbus, a subtle character study. The feature-film debut by acknowledged video essayist Kogonada is set in Columbus, Indiana, the Mecca of Modernist architecture.

Devetnajstletna Casey se je po maturi odrekla svojim sanjam, da bi skrbela za mater, ki se bori z odvisnostjo od metamfetamina in destruktivnih intimnih odnosov. Nekega dne spozna Jina, sedemintridesetletnega prevajalca korejskega rodu, ki je pri{el v Columbus, da bi poskrbel za svojega o~eta, priznanega arhitekta, ki je po kapi oble`al v komi. Casey in Jin za~neta prijateljevati in njun odnos se z vsakim dnem poglablja. V igrivih, inteligentnih pogovorih skupaj ugotavljata, zakaj ju je `ivljenje privedlo v slepo ulico.

Recent nineteen-year-old graduate Casey has given up her dreams in order to care for her mother, who is recovering from an addiction to meth and bad men. Then she runs into thirty-threeyear-old Jin, an architect's son born in Korea who has become a translator and come here because his father is in a coma. As everyday life carries on Casey and Jin tentatively start to open up to one another. In playful, intelligent and ever more serious discussions they start to examine how their lives have become stuck.

"Pri su{iju je pomemben vsak rez. Prav tako sestavine. Ti izbiri sta klju~ni. Kaj izbere{ in kako to sestavino razre`e{. Menim, da enako velja za umetni{ka dela, ki jih ustvarjam." (Kogonada)

"With sushi, every cut matters. And so do the ingredients. Those two ongoing choices are the difference. What you select, and how you cut it. I think the same applies to the pieces I'm trying to make." (Kogonada)

Kogonada

filmografija/filmography

Rojen v Seulu, Ju`na Koreja. @e kot otrok se je s star{i preselil v ZDA, {ir{o prepoznavnost v filmskem svetu pa so mu prinesli video eseji o delu svetovno znanih re`iserjev, kot sta Vince Gilligan in Stanley Kubrick. Kot pisec redno sodeluje s filmsko revijo Sight & Sound. Film Columbus je njegov celove~erni prvenec.

2017 Columbus

reìja/directed by Kogonada scenarij/screenplay Kogonada fotografija/cinematography Elisha Christian glasba/music Hammock montaà/editing Kogonada producenti/producers Danielle Renfrew Behrens, Aaron Boyd, Giulia Caruso, Ki Jin Kim, Andrew Miano, Chris Weitz igrajo/cast John Cho (Jin), Parker Posey (Eleanor), Haley Lu Richardson (Caley), Michelle Forbes (Caseyina mama/Casey's mother), Rory Culkin (Caseyjin prijatelj/Casey's friend) produkcija/production Nonetheless Productions 5201 Monte Vista St. Los Angeles, CA 90042, USA E giulia.carusoďż˝ nonethelessproductions.com format/format DCP, barvni/colour dolìna/running time 100' festivali/festivals Rotterdam 2017, Sundance 2017, Seattle 2017

prodaja/world sales Visit Films 173 Richardson Street Brooklyn, NY, 11222, USA E infoďż˝visitfilms.com

Born in Seoul, South Korea. Moved to the United States as a child, and became famous for his video essays about the work of well-known directors like Vince Gilligan and Stanley Kubrick. He also regularly contributes to the Sight & Sound magazine. Columbus marks his feature-film debut.

Perspektive Perspectives

Quality Time Quality Time Fino se imamo Daan Bakker

Nizozemska The Netherlands 2017

reìja/directed by Daan Bakker scenarij/screenplay Daan Bakker fotografija/cinematography Robbie van Brussel glasba/music Bram Meindersma, Christiaan Verbeek montaà/editing Sander Vos igrajo/cast Noël Keulen (Stefaan), Giulio D'Anna (Karel), Thomas Aske Berg (Kjell), Steve Aernouts (Jef), Anneke Blok (Baukje), Michiel Romeijn (Lucas) producenti/producers Iris Otten, Sander van Meurs, Pieter Kuijpers, David Leader produkcija/production Pupkin Film Weesperzijde 4 1091 EA Amsterdam The Netherlands E info�pupkin.com format/format DCP, barvni/colour dolìna/running time 85' festivali, nagrade (izbor)/ festivals, awards (selection) Rotterdam 2017, Karlovi Vari/Karlovy Vary 2017, Moskva/Moscow 2017

prodaja/world sales m-appeal Prinzessinnenstr. 16 10969 Berlin, Germany E berlinoffice�m-appeal.com

V vizualno od{tekanem satiri~nem prvencu, preètem z montypythonovskim humorjem, reìser Daan Bakker gledalcu v petih epizodah predstavi pet mo{kih, ki se znajdejo v absurdnih, a {e kako "ìvljenjskih" okoli{~inah.

Containing a hefty dose of Monty Pythonesque humour, Daan Bakker’s visually surreal debut feature shows the struggle of five young men who find themselves in absurd yet highly lifelike situations.

Koen prisostvuje dru`inskemu sre~anju, na katerem se pretvarja, da je {e vedno – kot neko~ – nor na {unko in mleko. Stefaan se po hudi du{evni krizi preseli nazaj k star{em in se za~ne ukvarjati s fotografijo. Kjell bi si rad izbolj{al samopodobo, zato se odpravi na potovanje v preteklost. Karla so {e kot otroka ugrabili vesoljci, zdaj pa se vrne k star{em v novi podobi. Jef pa se odlo~i, da bo o~aral sorodnike svojega novega dekleta.

Koen attends a family reunion and pretends to be as crazy about ham and milk as he once was. Amateur photographer Stefaan wants to record childhood memories and moves back with his parents. Kjell, to recover his sense of self-worth, travels back in time. Karel, who was kidnapped by aliens as a child, returns to his loving parents in a wondrous new form. Jef faces the challenge of pleasing his new in-laws.

"Humor uporabljam, da stvari postavim v pravo lu~, tako zase kot posledi~no tudi za gledalce. Nagib me vodi, da se nor~ujem iz stvari, ki me te`ijo, kot so negotovost, depresija ali anksioznost, ker jih `elim s tem omiliti. Uporaba humorja ali absurda sploh ni bila vpra{anje, vendar si tega filma ne bi znal predstavljati brez njiju." (Daan Bakker)

"I use humour to put things into perspective for myself and, consequently, for the audience. I have an urge to ridicule things that bother me, like insecurity, depression or anxiety, because I want to make them less powerful. Using humour or absurdism wasn't really a choice, but I can't imagine this film without them." (Daan Bakker)

Daan Bakker

filmografija (izbor)/filmography (selection)

Rojen 1979 v kraju Hardewijk, Nizozemska. Ko je leta 1995 ob dnevu odprtih vrat obiskal Nizozemsko filmsko in televizijsko akademijo, je vedel, da je na{el svoj sanjski {tudij. @e pred vpisom na {tudij filmske re`ije se je preizkusil v gledali{ki in televizijski igri. Leta 2009 je diplomiral s filmom Jacco's Film, ki je bil uvr{~en v program Berlinala. Film Fino se imamo je njegov celove~erni prvenec.

2009 Jacco's Film (kratki/short) 2010 Bukowski (kratki/short) 2017 Quality Time (Fino se imamo)

Born in 1979 in Harderwijk, the Netherlands. After visiting an open day in 1995, he decided to attend The Netherlands Film and TV Academy. Before enrolling in the directing course he played in various TV series and in theatre. In 2009, he graduated with Jacco's Film, which was selected for the Berlinale. Quality Time is his debut feature film.

Perspektive Perspectives

Ba yue The Summer Is Gone Konec poletja Kitajska China 2016

Zhang Dalei

reìja/directed by Zhang Dalei scenarij/screenplay Zhang Dalei fotografija/cinematography Lv Songye montaà/editing Zhang Dalei producent/producer Zhang Jian igrajo/cast Kong Weiyi (Dàng [jaolej), Zhang Chen (o~e/dad), Guo Yanyun (mama/mom) produkcija/production Beijing Mailis Pictures & Beijing YoShow Film & TV Production Co. & Beijing Transcend Picture Co. format/format DCP, ~b/b&w dolìna/running time 108'

Avtobiografski prvenec osvetljuje kontrast med melanholi~nim ozra~jem kitajskih privatizacijskih reform z za~etka devetdesetih let ter neobremenjenim otro{kim svetom, polnim filmskih podob in brezskrbnosti.

Zhang Dalei's autobiographic feature debut highlights the contrast between melancholic atmosphere of Chinese privatisation reforms of the early 1990s and carefree childhood replete with cinematic images.

Zaspano podeèlsko mesto na severu Kitajske v zgodnjih devetdesetih letih prej{njega stoletja. [jaolej je pravkar kon~al osnovno {olo. âka ga dolgo, vro~e poletje, ki ga namerava preìveti med obiski tamkaj{njega kina in oprezanjem za dekleti. A v zraku so drasti~ne politi~no-gospodarske spremembe, zaradi katerih lahko brez slu`be ostane tudi [jaolejev o~e. Mama pa {e vedno na~rtuje, da se bo njen sin vpisal na presti`no srednjo {olo ...

A quiet rural town in north China, early 1990s. Xiaolei has just finished primary school. He is looking forward to the long, hot summer. As he daydreams, spies on the girl next door and visits the cinema, Chinese political reforms play out in the background: a lot of state companies are being privatised. This means that Xiaolei's father, who works at a film studio, could lose his job. In the meantime, his mother wants her son to attend a prestigious secondary school.

"O tem filmu nikoli nisem razmi{ljal kot o realisti~nem. Pravzaprav se kot sanjarija odli~no prilega mojemu spominu, {e zlasti do`ivetjem iz osemdesetih in devetdesetih let. Pravi ali varljivi, virtualni ali resni~ni, vedno jih je te`ko lo~evati. Dokler nisem dokon~al filma, jih nisem mogel videti lo~eno. Vendar sem `elel oblikovati prav to â&#x20AC;&#x201C; zabrisano, brezmejno ob~utje." (Zhang Dalei)

"I never thought of this movie as realism. It's actually like a daydream that particularly matches my memory, especially memories of my experience in the '80s and '90s. True or false, virtual or real, these are always hard to distinguish. So until I finished the film, I had no way to set these things apart. Its type of hazy, boundary-less sense was just what I wanted, though." (Zhang Dalei)

Zhang Dalei

filmografija/filmography

Rojen leta 1982 na Kitajskem. Odra{~al je tesno povezan s filmom, saj je bil njegov o~e zaposlen kot montaèr v filmskem studiu. Filmsko reìjo je {tudiral na dràvni univerzi v Sankt Peterburgu, kjer se je pozneje zaposlil kot pomo~nik reìserja in posnel nekaj kratkih filmov. Konec poletja je njegov celove~erni prvenec, ki je bil letos nagrajen z zlatim konjem za najbolj{i film v kitajskem jeziku.

2011 The Scoundrels (kratki/short) 2016 Ba yue (The Summer Is Gone/Konec poletja)

festivali, nagrade (izbor)/ festivals, awards (selection) zlati konji Tajpej/Golden Horses Taipei 2017 (najbolj{i celove~erec/ Best Feature, najbolj{i igralec novinec/Best New Performer, nagrada FIPRESCI/FIPRESCI Prize), Rotterdam 2017

prodaja/world sales PAD International T +852 6053 1605 E padinternationalďż˝163.com

Born in 1982, in China. Grew up near the film studio where his father worked as a film editor. He studied film directing at the Saint Petersburg State University, after which he worked as an assistant director and made several short films. His feature length film, The Summer Is Gone, was awarded Best Film at the Golden Horse Film Festival in Taipei.

Perspektive Perspectives

Rey King Kralj Niles Atallah

^ile, Francija Chile, France 2017

reìja/directed by Niles Atallah scenarij/screenplay Niles Atallah fotografija/cinematography Benjamín Echazarreta glasba/music Sebastián Jatz montaà/editing Benjamin Mirguet igrajo/cast Claudio Riveros (Juan Bautista Rosales), Rodrigo Lisboa (Orélie-Antoine de Tounens) producentka/producer Lucie Kalmar produkcija/production Mômerade 8 rue d'Enghien 75010 Paris, France E lucie�momerade.fr & Diluvio (Chile) format/format DCP, barvni/colour dolìna/running time 90' festivali, nagrade (izbor)/ festivals, awards (selection) Rotterdam 2017 (posebna omemba ìrije/Special Mention), Touluse 2017 (nagrada francoskih kritikov/French Critics Discovery Prize)

prodaja/world sales Mômerade 8 rue d'Enghien 75010 Paris, France E lucie�momerade.fr

Eksperimentalno navdahnjena priredba zgodbe o francoskem popotniku iz 19. stoletja, ki je trdil, da je patagonski kralj, je drzna me{anica zgodovinskih dejstev in domi{ljije ter uporabe razli~nih filmskih formatov, animacije in lutk.

The experimental take on the story of a nineteenth-century French adventurer who claimed to be King of Patagonia boldly blends historical facts and fictionalised account, employing various formats, animation and puppets.

Orélie-Antoine de Tounens je bil francoski odvetnik, ki se je leta 1860 odpravil na popotovanje v Ju`no Ameriko, v pravkar osamosvojeno dràvo île. Trdil je, da ga je tamkaj{nje ljudstvo Mapu~a izvolilo za kralja pokrajin Aravkanija in Patagonija. V Attalahovi filmski priredbi, ki je nastajala sedem let, je de Tounensa spremljal vodnik Rosales in ga po dobrem letu vladanja izdal ~ilenskim oblastem, ki so si è dolgo prizadevale prisvojiti ozemlje Mapu~ev. Nesojenega kralja so razglasile za nepri{tevnega ...

Orélie-Antoine de Tounens was a French lawyer who went to South America in1860, claiming that the Mapuche natives elected him ruler of Araucanía and Patagonia. In the version Atallah chooses to relate, which took seven years in the making, de Tounens was a semi-delusional adventurer who travelled with his guide, Rosales, to Mapuche territory, long at war with the Chilean government. Fourteen months later Rosales betrayed OrélieAntoine to the Chilean authorities, who declared him insane after interrogation.

"Ravno dovolj konkretnih dokazov o tem mo`u in njegovem kraljestvu je bilo pokopanih pod plastmi mitov in legend, da nista oba zdrsnila v popolno pozabo. Vendar je bilo v zgodbi toliko vrzeli, da je bilo mogo~e v najbolj{em primeru izoblikovati samo razdrobljeno vizijo. Kralj se je izlu{~il s presejanjem {tevilnih del~kov njegove zgodbe. Zamislil sem si film, ki je v gledalcu vzbudil analogno izku{njo: popotovanje skozi pokrajine pozabljenih sanj, razkrajajo~ih se spominov in fantazij duha." (Niles Atallah)

"Buried under layers of myths and legends, there was just enough concrete evidence of this man and his kingdom to prevent them both from slipping into total oblivion. However, there were so many holes in the story that only a fragmented vision could be pieced together at best. King came into being as I sifted through the many pieces of this king's story. I imagined a film that evoked an analogous experience in the spectator: a journey through a realm of forgotten dreams, the decaying memories and fantasies of a ghost." (Niles Atallah)

Niles Atallah

filmografija (izbor)/filmography (selection)

Rojen leta 1978 v Kaliforniji. Na tamkaj{nji univerzi je {tudiral umetnost, danes pa je priznan avtor glasbenih spotov in video instalacij ter reìser in scenarist {tevilnih kratkih in celove~ernih filmov, pri katerih se ob~asno pojavlja tudi v vlogi snemalca oziroma direktorja fotografije. Danes ìvi in ustvarja v Santiagu v îlu, kjer je ustanovil produkcijsko hi{o Diluvio.

2006 Memoria desierta (kratki dok./doc. short) 2007 Lucía, Luis y el lobo (Lucía, Luis and the Wolf) (kratki anim./ anim. short) 2010 Lucía 2014 La isla (The Island) (kratki/short) 2017 Rey (King/Kralj)

Born in 1978 in California. He has a BA in art from the University of California at Santa Cruz. Niles is an acknowledged writer and director of features, music videos, video art work, installations and short films. He is based in Santiago, Chile, where he founded Diluvio, a film production company, and also works as a director of photography.

Perspektive Perspectives

Menashe Menashe Menashe ZDA, Izrael USA, Israel 2017

Joshua Z Weinstein

Zgodbo o mladem o~etu, ki sku{a v ortodoksnem judovskem okolju ubrati svojo pot ter se pri tem spopada s strogimi hasidskimi pravili, prevevata `ivljenjska toplina in woodyallenovska ekscentri~na lahkotnost.

Featuring a young widower straying from the designated path while bending strict Hasidic rules in a Jewish enclave, Menashe is an orthodox take on the typical Woody Allenesque eccentricity.

Vsakdanje ìvljenje v ortodoksni judovski soseski v Brooklynu zaznamujeta religija in tradicija. A mladi vdovec Menashe je druga~en. Ne nosi enakega ~rnega klobuka in ~rnega pla{~a kot drugi mo`je, pa tudi ponovni poroki, v katero ga sili skupnost, se upira na vse pretege. Preprosto si ne predstavlja ìvljenja z drugo ènsko, zato se uspe{no brani potencialnih nevest. A ker ne zasluì dovolj denarja, se njegov stric odlo~i prevzeti skrb za njegovega desetletnega sina Rievena. S tem pa se Menashe, tu in tam podoben bibli~nemu trpinu Jobu, seveda te`ko sprijazni ...

Religion and tradition continue to determine everyday life in an orthodox Jewish neighbourhood in Brooklyn. But the young widower Menashe is different. His appearance alone makes him stand out. His ten-year-old son Rieven asks why he doesn't wear the same tall black hat and black coat as the other men. The community wants him to remarry as fast as possible. But he can't imagine a future with another woman and snubs all the prospective brides sent his way. Since he doesn't earn enough money, an uncle decides to take over the job of raising his son. Coming off like an unorthodox rendering of the biblical Job, Menashe will have a hard time coming to grips with that.

"Skupnost je obi~ajno predstavljena glede na perspektivo ljudi od zunaj ter je pogosto videti hladna in na splo{no brez radosti. Vendar pa je hasidska kultura, kot sem jo izkusil sam, zabavna, lepa in globoko duhovna. Ko sem pred snemanjem raziskoval ozadje filma, sem se sprehajal po okoli{u Borough Parka in se odkrito pogovarjal z ljudmi, ki sem jih sre~al. [tevilni od njih so bili ~udoviti in nadvse radovedni glede zunanjega sveta. S filmom sem `elel po~love~iti te ljudi za ob~instvo zunaj njihovega kroga in deliti redko videne trenutke njihovega vsakdana." (Joshua Z Weinstein)

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2017 – Forum, Sundance 2017, Cleveland 2017, Edinburg/ Edinburgh 2017, Sarasota 2017 (nagrada Terry Porter/Terry Porter Visionary Award), Nashville 2017 (ekumenska nagrada/Ecumenical Prize)

"The community is usually depicted according to the views of outsiders and frequently appears cold and generally without joy. Yet the Hasidic culture that I have experienced is one that is funny, beautiful and deeply spiritual. While I was researching the film I would walk the streets of Borough Park and have frank conversations with the people I encountered, many of whom were wonderful and exceedingly curious about the outside world. My goal with the film was to humanise these people to an audience of outsiders and share moments of their everyday lives that are rarely seen." (Joshua Z Weinstein)

Joshua Z Weinstein

filmografija/filmography

Rojen leta 1983 v New Yorku. [tudiral je film na univerzi v Bostonu. Doslej je zreìral è tri dokumentarne filme, Menashe pa je njegov igrani celove~erni prvenec. Poleg reìje se s filmom ukvarja tudi kot direktor fotografije.

2008 2009 2012 2013 2016 2017

Born in 1983 in New York City. He studied film at Boston University. Following three documentaries, Menashe is his first full-length feature film. In addition to directing his own films, he also works as a director of photography.

reìja/directed by Joshua Z Weinstein scenarij/screenplay Joshua Z Weinstein, Alex Lipschultz, Musa Syeed fotografija/cinematography Yoni Brook, Joshua Z Weinstein glasba/music Dag Rosenkvist, Aaron Martin montaà/editing Scott Cummings producenti/producers Alex Lipschultz, Traci Carlson, Joshua Z Weinstein, Danny Finkelman, Yoni Brook igrajo/cast Menashe Lustig (Menashe), Ruben Niborski (Rieven) produkcija/production Shtick Film New York, USA E tracicarlson1�gmail.com & Maiden Voyage & Where's Eve & Sparks Productions & Autumn Productions & Green Productions format/format DCP, barvni/colour dolìna/running time 81'

prodaja/world sales Mongrel International 1352 Dundas St. West M6J 1Y2 Toronto, Ontario, Canada E chantal�mongrelmedia.com

Flying on One Engine (dok./doc.) Reds (kratki/short) Drivers Wanted (dok./doc.) I Beat Mike Tyson (kratki/short) True New York – segment Taxi Garage (dok./doc.) Menashe

Perspektive Perspectives

Jeune femme Montparnasse Bienvenue Mlada `enska Francija France 2017

Léonor Serraille reìja/directed by Léonor Serraille scenarij/screenplay Léonor Serraille fotografija/cinematography Emilie Noblet glasba/music Julie Roué montaà/editing Clémence Carré igrajo/cast Laetitia Dosch (Paula Simonian), Souleymane Seye Ndiaye (Ousmane), Grégoire Monsaingeon (Joachim Deloche), Nathalie Richard (Paulina mati/Paula's mother), LilasRose Gilberti-Poisot (Lila), Léonie Simaga (Yuki), Erika Sainte (Lilina mati/Lila's mother), Audrey Bonnet (zdravnica/doctor), Marie Rémond, Jean-Christophe Folly, Jean-René Lemoine, Bélinda Saligo producentka/producer Sandra da Fonseca produkcija/production Blue Monday Productions 224 rue Saint-Denis 75002 Paris, France E bluemonday�bluemonday.fr format/format DCP, barvni/colour dolìna/running time 97' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2017 (zlata kamera/Golden Camera), Karlovi Vari/Karlovy Vary 2017

Izvrstni debitantski film je mladi francoski re`iserki Léonor Serraille prinesel nagrado za najbolj{i prvenec na leto{njem festivalu v Cannesu.

The exquisite film debut by Léonor Serraille earned the young French director Camera d'Or for best first feature at Cannes 2017.

Paula se po dolgem bivanju v tujini vrne v Pariz. Brez denarja, na~rtov in z ni~imer drugim kot z ma~ko v naro~ju mora znova za~eti iz ni~. Za~asno domovanje posku{a poiskati pri Joachimu, nekdanjem ljubimcu in fotografu, ki je zaslovel prav s fotografiranjem Paule pred veliko leti. Joachim ne ~uti, da ji zdaj karkoli dolguje, to pa je za Paulo le eno v vrsti sre~anj z ljudmi, ki razli~no vidijo to, kaj je prav in kaj ni. Paula ne ve, kam jo vodi pot, a nekaj je gotovo: novega za~etka se bo lotila s stilom.

Broke, with nothing but her cat to her name and doors closing in her face, Paula is back in Paris after a long absence. She's at the end of her rope after discovering that she won't be able to crash at the home of an old flame, Joachim, a photographer who built his fame on an early picture of her but who clearly doesn't feel he still owes her anything. Paula encounters a lot of people that seem to have very different ideas about what's wrong and what’s right, but she's determined to make a new start and she’ll do it with style and panache!

"Zelo sem introvertirana in èlela sem se posvetiti ljudem, ki se odprejo, kot npr. tistim, ki te nenadoma ogovorijo na podzemni èleznici, kar se mi je vedno zdelo ~udno. @elela sem upodobiti popolnoma ~uda{ki lik, vendar katerega odzivi bi bili trezni, popolnoma normalni v okoli{~inah, kot je npr. prihod v mesto s pe{~ico denarja. Poleg tega so me zaznamovali filmi, ki portretirajo samske in dostojanstvene ènske, npr. Claire Dolan Lodgea Kerrigana ali Sue Amosa Kollka." (Léonor Serraille)

prodaja/world sales Be For Films Avenue des Villas, 28 (boite 0A) 1060 Brussels, Belgium E info�beforfilms.com

Léonor Serraille

filmografija/filmography

Francoska scenaristka in reìserka. Na filmski {oli La Fémis je {tudirala scenaristiko. Svoj prvi kratki film Body je posnela leta 2016, s celove~ernim prvencem Mlada ènska pa se je uvrstila na filmski festival v Cannesu in tam z njim kot {ele druga ènska reìserka v zgodovini festivala osvojila zlato kamero, nagrado za najbolj{i debitantski film.

2016 Body (kratki/short) 2017 Jeune femme (Montparnasse Bienvenue/Mlada `enska)

French writer and director. She studied screenwriting at La Fémis. She made her directorial debut, Body, in 2016. Her debut feature film, Montparnasse Bienvenue, was selected for the 2017 Cannes Film Festival, screening as part of the Un Certain Regard, where she was the second ever female director to win the Camera d'Or prize for best debut feature.

"I'm very introverted and I wanted to pay tribute to those people who 'open up', like those who suddenly start talking to you on the subway, which I always thought strange. I wanted to portray a completely quirky character, but one whose reactions would be sane, quite normal when faced with a situation when you arrive in a town and you don't have much money. Also, I've been influenced by movies that are portraits of single and dignified women, including Claire Dolan by Lodge Kerrigan or Sue Lost in Manhattan by Amos Kollek." (Léonor Serraille)

Perspektive Perspectives

Mu{karci ne pla~u Men Donâ&#x20AC;&#x2122;t Cry Mo{ki ne jo~ejo Alen Drljevi}

BiH, Slovenija, Hrva{ka, Nem~ija Bosnia and Herzegovina, Slovenia, Croatia, Germany 2017 reìja/directed by Alen Drljevi} scenarij/screenplay Alen Drljevi}, Zoran Solomun fotografija/cinematography Erol Zub~evi} glasba/music Dado Jehan montaà/editing Vladimir Gojun igrajo/cast Boris Isakovi} (Miki), Leon Lu~ev (Valentin), Emir Hadìhafizbegovi} (Merim), Sebastian Cavazza (Ivan), Boris Ker (Jasmin), Ermin Bravo, Ivo Gregurevi} producenta/producers Damir Ibrahimovi}, Jasmila @bani} produkcija/production Deblokada Kranjceviceva 43 71000, Sarajevo Bosnia and Herzegovina E deblokďż˝bih.net.ba format/format DCP, barvni/colour dolìna/running time 100'

Skoraj dve desetletji po koncu vojn v nekdanji Jugoslaviji se skupina vojnih veteranov razli~nih narodnosti in veroizpovedi zbere v odro~nem gorskem hotelu, kjer naj bi se s pomo~jo terapije soo~ili s travmami in premagali sovra{tvo.

Almost two decades after the Yugoslav Wars a group of war veterans of different nationalities and religions gathers in a remote mountain hotel to recover from their traumas and resolve their feelings of hate.

Skupina vojnih veteranov iz nekdanje Jugoslavije se udele`i terapevtske delavnice v odmaknjenem gorskem hotelu. Seveda nih~e ne pri~akuje, da bodo delavnice potekale v umirjenem in ubranem ozra~ju in prav res vsaka nepremi{ljena beseda in vsak ~emeren pogled med soudele`enci izzoveta sumni~avost in jezo. Nekdanji vojaki le ste`ka razbijejo okove svojega mo{kega ega in predsodkov ter se soo~ijo z nehumanostjo nekaterih dogodkov in dejanj, ne glede na to, ali so jih zagre{ili sami ali pa kdo drug.

When a group of veterans assembles at a secluded mountain hotel less than two decades since the war ended to undergo days of therapy, it's hard to expect absolute harmony. On the contrary, each unthinking word spoken or just a seemingly dirty look can suddenly ignite the dangerously explosive admixture. That's because the former soldiers, obstinately holding on to their fundamental masculinity and their prejudices, refuse to expose the inhumanity of the events, whether perpetrated by them or by someone else.

"Med poletjem 2010 sem se prijavil na izobra`evanje, ki ga je mirovna organizacija ponudila vojnim veteranom iz nekdanje Jugoslavije. (...) Mislil sem, da sem svoje osebne izku{nje vojne `e davno pustil za seboj. Vendar me je delavnica popolnoma prevzela. Sedel sem z ljudmi, ki so se zares streljali. V zraku je bila napetost, vendar se je ob~utje nezaupljivosti in nelagodja s~asoma spreobrnilo v nadvse nenavadno razmerje razumevanja in so~utja. (...) Zaradi katarze, ki sem jo izkusil na delavnici, sem se odlo~il, da o temi posnamem celove~erec." (Alen Drljevi})

festivali, nagrade (izbor)/ festivals, awards (selection) Karlovi Vari/Karlovy Vary 2017, Sarajevo 2017

"In the summer of 2010, I signed up for a training event that a peace organisation offered to war veterans from former Yugoslavia. (...) As for my personal experience of the war, I believed I had long since left it behind. But the workshop captured me completely. I was sitting with people who had literally fired shots at each other. There was tension, yes, but what started in an atmosphere of mistrust and discomfort eventually turned into a quite uncommon relationship of understanding and compassion. (...) The catharsis experienced in the workshop made me decide to make a feature film on the subject." (Alen Drljevi})

Alen Drljevi}

filmografija/filmography

Rojen leta 1968 v Sarajevu. Diplomiral je na Akademiji za dramske umetnosti v Sarajevu, njegov diplomski film Prva plata pa je bil nominiran za evropsko nagrado za najbolj{i kratki film. Ve~krat je sodeloval kot asistent re`ije, med drugim tudi pri z zlatim berlinskim medvedom nagrajenem filmu Grbavica Jasmile @bani}. Film Mo{ki ne jo~ejo je njegov celove~erni prvenec.

2005 2008 2011 2017

prodaja/world sales Picture Tree International Husemannstr. 7 10435 Berlin, Germany E yuanďż˝picturetree-international.com

Prva Plata (Paycheck) (kratki/short) [oping (Shopping) (kratki/short) Pun(a) (Loaded) (kratki dok./doc. short) Mu{karci ne pla~u (Men Don't Cry/Mo{ki ne jo~ejo)

Born in 1968 in Sarajevo. He graduated from the Academy of Performing Arts in Sarajevo with the picture The Paycheck, which was nominated for a European Film Award for Best Short Film. He worked on a variety of successful films as assistant director, including Grbavica by Jasmila @bani}, which won the Golden Bear Award at the Berlin Film Festival. Men Don't Cry is Drljevi}'s feature debut.

Perspektive Perspectives

I Am Not a Witch I Am Not a Witch Nisem ~arovnica Rungano Nyoni

reìja/directed by Rungano Nyoni scenarij/screenplay Rungano Nyoni fotografija/cinematography David Gallego glasba/music Matthew James Kelly montaà/editing George Cragg, Yann Dedet, Thibault Hague igrajo/cast Margaret Mulubwa (Shula), Gloria Huwiler (turistka/turist), Chileshe Kalimamukwento (pri~a/witness), Travers Merrill (kmet/farmer), Ritah Mubanga (~arovnica/witch), Dyna Mafuni (vodja/leader), Nellie Munamonga (policistka/police officer) producentki/producers Juliette Grandmont, Emily Morgan produkcija/production Clandestine Films 10 bis rue Bisson 75020 Paris, France E jgďż˝clandestine-films.fr format/format DCP, barvni/colour dolìna/running time 98'

Zgodba o devetletni zambijski deklici, ki jo sova{~ani obdol`ijo ~arovni{tva, je tu pa tam satiri~en antropolo{ki portret dru`be, v kateri je vra`everje {e dandanes nemalokrat mo~nej{e od zakonov.

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2017 â&#x20AC;&#x201C; [tirinajst dni re`iserjev/Directors' Fortnight, Toronto 2017, London 2017, Busan 2017

Zaradi manj{e nezgode in posledi~nega nesporazuma s starej{o ènsko v doma~i vasi devetletno siroto [ulo sova{~ani obtoìjo ~arovni{tva in jo izènejo v potujo~i "~arovni{ki tabor". Tamkaj{nje starej{e prebivalke jo posvarijo, naj nikar ne posku{a pobegniti, saj jo bodo sicer z urokom spremenile v belo kozo. [ula se znajde pred te`ko odlo~itvijo: naj se sprijazni s svojo absurdno usodo ali pa naj tvega hude posledice in vendarle poskusi najti pot na svobodo? "Za mesec dni sem od{la v Gano in obiskala ~arovni{ki tabor (...). Ko smo se malce bolje spoznale, sem se pogovarjala z ènskami, da bi ugotovila razloge za njihove obto`be. Ve~ina jih je bila starej{ih. Postale so breme svojim druìnam ali so jih zavrgli mo`je, veljale so za ekscentri~ne ali brez dlake na jeziku. ârovni{tvo je bil pripraven razlog za njihovo odstranitev iz dru`be." (Rungano Nyoni)

prodaja/world sales Kinology 30 rue Moret 75011 Paris, France E gmelinďż˝kinology.eu

The story about a nine-year-old Zambian girl accused of witchcraft draws a stark anthropological portrait of a society dominated by superstition. After a minor incident in her village and the resultant misunderstanding with an older woman, 9-year-old Shula is exiled to a travelling witch camp where she is told that if she tries to escape she will be transformed into a white goat. As she navigates through her new life, she must decide whether to accept her fate or risk the consequences of seeking freedom. "I went to Ghana for a month and stayed in a witch camp (...) I interviewed the women, once we got to know each other a bit, to find out why they were accused. Most were elderly. They'd become a burden to their families, or were cast off by their spouses, deemed eccentric or outspoken. Witchcraft was a convenient way to remove them from society." (Rungano Nyoni)

Rungano Nyoni

filmografija (izbor)/filmography (selection)

Rojena leta 1982 v Lusaki, Zambija. Otro{tvo je pre`ivela v Walesu, nato pa je na univerzi Central St. Martin's kon~ala {tudij igre. Trenutno se ukvarja predvsem s filmsko re`ijo in scenaristiko. Posnela je ve~ kratkih filmov in zanje prejela {tevilne ugledne nagrade, Nisem ~arovnica pa je njen celove~erni prvenec.

2009 2011 2014 2017

Born in 1982, in Lusaka, Zambia and raised in Wales. She graduated from Central Saint Martins with an MA in acting. Currently engaged in filmmaking and screenwriting, she has made several award-winning shorts. I Am Not a Witch is her first feature film.

Velika Britanija, Francija Great Britain, France 2017

7 Questions (kratki/short) Mwansa the Great (kratki/short) Listen (kratki/short) I Am Not a Witch (Nisem ~arovnica)

Perspektive Perspectives

Hjartasteinn Heartstone Ognji{~e Islandija, Danska Iceland, Denmark 2016

Guðmundur Arnar Guðmundsson

Odra{~anje dveh de~kov, ki v majhni pode`elski skupnosti okusita prvo zaljubljenost, je, tako kot islandska pokrajina, polno kontrastov.

Facing adulthood and experiencing first love in a small rural community is as full of contrasts as the harsh nature of Iceland.

Thor in Christian sta nerazdru`ljiva prijatelja, ki odra{~ata v ne najbolj idealnih razmerah. Thor je pogosto tar~a posmeha starej{e sestre, mama pa ne skriva, da se je zaradi otrok morala marsi~emu odre~i. Nad Christianom se pogosto zna{a njegov o~e alkoholik. Nekega poletja je njuno prijateljstvo, zaznamovano s prebujajo~o se spolnostjo in novo odkritimi romanti~nimi ~ustvi do deklet, postavljeno na veliko preizku{njo ...

In a small village in rural Iceland, Thor and Christian are best friends whose home lives are unsatisfactory, to say the least. Thor is ruthlessly mocked by his elder sisters, while his mother can't be bothered to hide her frustration at having to sacrifice her pleasure for the sake of her children. Christian has a drunken and abusive father. When the two friends strike up romantic relationships with a pair of girls, the events that follow threaten to destroy the longest and most meaningful relationship either has ever had.

"Pokrajina, polna kontrastov, kjer je dnevna svetloba poleti najdalj{a in pozimi najkraj{a; kraj, kjer mladina spozna ìvali in pogosto ugotovi, kako sta tako narava kot ~lovek lahko osupljivo lepa in neverjetno kruta obenem. Kot otrok in najstnik sem si èlel, da bi odraslim lahko prikazal, kak{en je v resnici svet. Danes si kot filmski ustvarjalec prizadevam to storiti – upodobiti mlade verodostojno, saj to obdobje zelo jasno, lepo in v~asih ostro zrcali na{e ìvljenje." (Guðmundur Arnar Guðmundsson)

reìja/directed by Guðmundur Arnar Guðmundsson scenarij/screenplay Guðmundur Arnar Guðmundsson fotografija/cinematography Sturla Brandth Grøvlen glasba/music Kristian Eidnes Andersen montaà/editing Janus Billeskov Jansen, Anne Østerud igrajo/cast Baldur Einarsson (Thor), Blær Hinriksson (Kristján), Diljá Valsdóttir (Beta), Katla Njálsdóttir (Hanna), Jónína Þórdís Karlsdóttir (Rakel), Rán Ragnarsdóttir (Hafdís), Nína Dögg Filippusdóttir (Hulda), Sveinn Ólafur Gunnarsson (Sigurðu) producenti/producers Jesper Morthorst, Lise Orheim Stender, Anton Máni Svansson, Guðmundur Arnar Guðmundsson produkcija/production Join Motion Pictures Ingólfsstræti 5 101 Reykjavík, Iceland E info�joinmotionpictures.com & SF Studios Production Wildersgade 8 1408 Copenhagen, Denmark E production�sfstudios.dk format/format DCP, barvni/colour dolìna/running time 129' festivali, nagrade (izbor)/ festivals, awards (selection) Toronto 2016, Benetke/Venice 2016 (najbolj{i gejevski film/Queer Lion), Chicago 2016, (najbolj{i gejevski film/Q Hugo Award), Solun/ Thessaloniki 2016 (posebna nagrada ìrije/Special Jury Award), Dallas 2017 (posebna nagrada ìrije/Special Jury Prize)

"A place full of contrast, where the sun shines for the longest time in the country over the summer and the shortest time over the winter; a place where young kids come to know animals, and often discover how nature and people can be both amazingly beautiful and incredibly cruel. As a kid and a teenager, I used to wish that I could show the grown-ups around me how our world really was. Now, as a filmmaker, I want to do that – portray youth in a truthful way, as these years reflect our lives in a very clear, beautiful and sometimes harsh manner." (Guðmundur Arnar Guðmundsson)

Guðmundur Arnar Guðmundsson

filmografija/filmography

Rojen leta 1982 v Reykjaviku. Po diplomi na Islandski umetnostni akademiji se je preselil na Dansko in za~el {tudirati scenaristiko. Njegovi kratki filmi so bili prikazani na {tevilnih mednarodnih festivalih in si prislu`ili ve~ kot petdeset nagrad. Njegov re`ijski celove~erni prvenec Ognji{~e je dobitnik devetih islandskih filmskih nagrad edda.

2005 2009 2013 2014 2016

prodaja/world sales Films Boutique Köpenicker Str. 184 10997 Berlin, Germany E contact�filmsboutique.com

Þröng sýn (kratki/short) Jeffrey & Beth (kratki/short) Hvalfjörður (Whale Valley) (kratki/short) Ártún (kratki/short) Hjartasteinn (Heartstone/Ognji{~e)

Born in 1982 in Reykjavik. Graduated from the Icelandic Art Academy. After graduation he moved to Denmark and studied screenwriting. His short films have been selected for more than 200 festivals and won over 50 international awards. His directorial feature debut, Heartstone, has won as many as nine Edda Awards bestowed by The Icelandic Film and Television Academy.

Perspektive Perspectives

Rekvijem za gospo|u J. Requiem for Mrs. J Rekvijem za gospo J. Bojan Vuleti}

Srbija, Bolgarija, Makedonija, Rusija, Francija Serbia, Bulgaria, Macedonia, Russia, France 2017

reìja/directed by Bojan Vuleti} scenarij/screenplay Bojan Vuleti} fotografija/cinematography Jelena Stankovi} montaà/editing Vladimir Pavlovski producent/producer Nenad Duki} igrajo/cast Mirjana Karanovi} (ga. J./Mrs. J), Jovana Gavrilovi} (Ana), Danica Nedeljkovi} (Koviljka), Vu~i} Perovi} (Milance), Mira Banjac (Desanka), Boris Isakovi} (\or|e), Sr|an Todorovi} (nori Gaja/crazy Gaja) produkcija/production SEE Film Pro Omladinskih brigada 224 11000 Belgrade, Serbia E ndukic�EUnet.rs format/format DCP, barvni/colour dolìna/running time 94' festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2017, Sofija/Sofia 2017 (nagrada FIPRESCI/FIPRESCI Prize)

Osebna stiska osamljene vdove, ki potihem na~rtuje svojo smrt, je kljub kafkovski resnobnosti prikazana z dobro mero zna~ilnega balkanskega ~rnega humorja. Jelena je bolj ali manj è obupala nad ìvljenjem. Vdova srednjih let se kljub h~erama in ta{~i, s katerimi si deli majhno stanovanje, po~uti osamljeno in odve~no. Ob obletnici moève smrti skrivaj na~rtuje samomor in si v ta namen priskrbi pi{tolo, uredi ìvljenjsko zavarovanje in celo naro~i napis na nagrobniku. A bolj ko se pribliùje ta usodni dan, bolj ji postaja jasno, da je v svetu depresivne tranzicije, v katerem se je zna{la, umreti morda {e bolj zapleteno kot ìveti ... "Zamisel izvira iz mojega intimnega poznanstva z ènsko, ki dozdevno pooseblja tipi~no `rtev tranzicijskega procesa v Srbiji. Je skromna, tiha ènska, ki ne èli nikogar nadlegovati, brez moà, slu`be ali nadomestila za odve~no delovno silo. Film se ukvarja z enim od bole~ih in neizogibnih vpra{anj Vzhodne Evrope – dru`beno tranzicijo in gospodarsko krizo. Novi politi~ni in gospodarski sistemi spreminjajo staro podobo socializma in korenito preobra~ajo sistem vrednot, kar neizogibno vodi, kot v tem primeru, v popolno krizo identitete." (Bojan Vuleti})

prodaja/world sales Soul Food Majke Jevrosime 39 11000 Belgrade, Serbia E mogorovic�artandpopcorn.com

Jelena has had enough of life. Her husband died a year ago, and she feels tired and lonely – in spite of her two daughters and her mother-in-law who all share her flat. She has decided that on the anniversary of her husband’s death she will commit suicide. She has a pistol ready for the job. She has taken out her life insurance policy and got a mason to put her portrait photograph on her gravestone. Gradually, this quiet, humble woman begins to realise that nothing's simple in a country that’s constantly swinging back and forth between torment and transition. "The idea originates from my intimate acquaintance with a woman who, it seems, embodies a typical victim of the transition process in Serbia. She is a modest, quiet woman, who does not want to bother anyone, without a husband, job or redundancy pay. The film deals with one of the painful and unavoidable issues of Eastern Europe – social transition and economic crisis. The new political and economic systems are altering the old face of socialism, bringing big changes in the value system, which inevitably leads, as in this case, to a total identity crisis." (Bojan Vuleti})

Bojan Vuleti}

filmografija/filmography

Rojen leta 1977 v Beogradu, kjer je na Fakulteti za dramske umetnosti {tudiral filmsko in televizijsko reìjo. Njegov celove~erni reìjski prvenec Prakti~an vodi~ kroz Beograd sa pevanjem i plakanjem je poèl {tevilne nagrade. S Stefanom Arsenijevi}em je kot scenarist sodeloval pri filmih Izgubljeno in najdeno ter Ljubezen in drugi zlo~ini.

2004 Goblen na srpsko-hrvatskom (Tapestry in Serbo-Croatian) (dok./doc.) 2006 Moje srce i ja (My Heart and I/Moje srce in jaz) (kratki/short) 2011 Prakti~an vodi~ kroz Beograd sa pevanjem i plakanjem (Practical Guide to Belgrade with Singing and Crying) 2015 Zlatno doba Leskovca (dok./doc.) 2017 Rekvijem za gospo|u J. (Requiem for Mrs. J/Rekvijem za gospo J.)

Born in Belgrade in 1977, Vuleti} studied film and television directing at the Faculty of Dramatic Arts in Belgrade. His feature film debut, Practical Guide to Belgrade with Singing and Crying, won a number of awards. He collaborated as a co-writer with Stefan Arsenijevi} on Lost and Found and Love and Other Crimes.

Dissecting with Kafkaesque sombreness the mental anguish of a lonely widow who is secretly planning her death, Requiem for Mrs. J nevertheless contains a hefty dose of dark humour typical of the Balkans.

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120 battements par minute 120 Beats Per Minute 120 utripov na minuto Francija France 2017

Robin Campillo reìja/directed by Robin Campillo scenarij/screenplay Robin Campillo, Philippe Mangeot fotografija/cinematography Jeanne Lapoirie glasba/music Arnaud Rebotini montaà/editing Robin Campillo, Stephanie Leger, Anita Roth igrajo/cast Nahuel Pérez Biscayart (Sean Dalmazo), Arnaud Valois (Nathan), Adèle Haenel (Sophie), Antoine Reinartz (Thibault), Félix Maritaud (Max), Ariel Borenstein (Jérémie), Aloïse Sauvage (Eva), Simon Bourgade (Luc), Médhi Touré (Germain), Simon Guélat (Markus), Coralie Russier (Muriel), Catherine Vinatier (Hélène), Théophile Ray (Marco), Jérôme Clément-Wilz (Etienne) producenta/producers Hugues Charbonneau, Marie-Ange Luciani produkcija/production Les Films de Pierre 9 Cité de Trévise 75009 Paris, France E florence�lesfilmsdepierre.com & France 3 Cinéma (France) & Page 114 (France) & Memento Films Production (France) & FD Production (France) format/format DCP, barvni/colour dolìna/running time 140'

Po resni~nih dogodkih posneta zgodba o pravih junakih boja proti aidsu – uli~nih aktivistih, ki so se ob izvajanju pritiska na politiko morali soo~ati {e z dru`benimi predsodki glede njihove bolezni. Velika nagrada ìrije v Cannesu. Zgodnja devetdeseta v Franciji. Aids è celo desetletje jemlje ìvljenja mladih po vsem svetu, a si javnost in politika {e vedno zatiskata o~i pred to smrtonosno boleznijo. Pod imenom Act Up v Parizu deluje skupina aktivistov, ki si prizadeva spremeniti prevladujo~e mi{ljenje o tej temi ter s tem oblast prisiliti, da bi intenzivneje spodbujala medicinske raziskave in sistemati~no ozave{~anje mladih o varni spolnosti. Ker pa so {tevilni ~lani skupine Act Up tudi sami oboleli za virusom HIV in aidsom, ima njihov boj izrazito ~ustven naboj – zavedajo se, da bodo zadnje dni ìvljenja namenili prizadevanjem za dru`bene spremembe, ki jih bodo ob~utile {ele naslednje generacije obolelih.

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2017 (velika nagrada `irije/ Grand Prize of the Jury, nagrada FIPRESCI/FIPRESCI Prize), Moskva/ Moscow 2017

"Ko sem se pridru`il aktivistom Act Up, (... ) sem nenehno mislil, da smo v vojni. Imeli smo zastave z ro`natimi trikotniki, kot bi bili vpleteni v neprestane boje. Oblikovali smo tudi estetiko, katere namen je bil prav to, da smo retori~na podoba na{ega nazora. Zato sem hotel prikazati aktiviste, ki se borijo, ustvarjajo retoriko in iz aidsa naredijo politi~ni cilj." (Robin Campillo)

prodaja/world sales Films Distribution 5 rue Nicolas Flamel 75004 Paris, France E bef�filmsdistribution.com distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Early 1990s, France. With AIDS having already claimed countless lives for nearly ten years, Act up-Paris activists multiply actions to fight general indifference and force the authorities to fund medical research more intensively and systematically raise awareness among the young people about safe sex. As many members of Act Up are HIV-positive, their fight carries an extremely emotional tone – knowing that their last bits of strength will be invested into the struggle for social justice, which only the coming generations of AIDS victims will benefit from. "When I was in ACT UP, (...) I always thought that we were at war. We had flags with these pink triangles as if we were engaged in perpetual battles. So we developed an aesthetic that was thought as such, a rhetorical vehicle for expressing our principles. That's why I wanted to show activists who struggle, create a rhetoric and make AIDS a political goal." (Robin Campillo)

Robin Campillo

filmografija/filmography

Rojen leta 1962 v Maroku. 1983 je za~el {tudirati na filmski {oli La Fémis v Parizu, kjer je spoznal Laurenta Canteta, s katerim od devetdesetih let sodeluje kot soscenarist in monta`er. Leta 2004 je posnel svoj igrani prvenec Les revenants, njegov drugi film Eastern Boys pa je prejel nagrado za najbolj{i film v sklopu Obzorja na filmskem festivalu v Benetkah.

2004 Les revenants (They Came Back) 2013 Eastern Boys 2017 120 battements par minute (120 Beats Per Minute/120 utripov na minuto)

Born in Morocco, in 1962. In 1983, he entered the La Femis Film School in Paris, where he met Laurent Cantet, with whom he has collaborated since the late 1990s as editor and co-screenwriter. In 2004, he directed his first feature film, They Came Back. Eastern Boys, his second feature film, received the Orizzonti Prize for Best Film at the Venice Film Festival.

Based on actual events about the real heroes of the fight against AIDS, 120 Beats Per Minute focuses on street activists using pressure tactics against politicians and suffering prejudices about AIDS victims. Grand Prize of the Jury at Cannes.

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Neljubov Loveless Brez ljubezni Andrej Zvjagincev

Rusija, Francija, Belgija Russia, France, Belgium 2017

Ve~krat nagrajeni ruski cineast Andrej Zvjagincev skozi metaforo propadlega zakona v svet po{ilja kriti~en pogled na Rusijo, ki pozablja na svoje lastne otroke.

Through the metaphor of a failed marriage, award-winning Russian auteur Andrey Zvyagintsev meditates on the corruption of Russia, a country forgetting her own children.

@enja in Boris prestajata burno lo~itev, polno zamer, frustracij in medsebojnih obtoèvanj. Vzporedno s tem è za~enjata ìveti z novima partnerjema in komaj ~akata, da obrneta nov list v ìvljenju, pa ~eprav to pomeni, da morata zapustiti svojega dvanajstletnega sina Aljo{o. Vse skupaj pa se nenadoma spremeni, ko po enem od {tevilnih prepirov prizadeti Aljo{a preprosto izgine.

Zhenya and Boris are going through a vicious divorce marked by resentment, frustration and recriminations. Already embarking on new lives, each with a new partner, they are impatient to start again, to turn the page – even if it means threatening to abandon their 12-year-old son Alyosha. Until, after witnessing one of their fights, Alyosha disappears...

"'Spremenil se bom; ne bom ponavljal napak, ki so me vodile v to razo~aranje. Za~el bom znova.' To so misli ljudi, ki krivijo druge za svoj poraz. Na koncu lahko zares spremeni{ samo sebe. Samo tedaj bo svet okoli tebe vnovi~ zasijal; morda lahko to omogo~i samo tragi~na izguba." (Andrej Zvjagincev)

"'I'll change; I won't repeat the mistakes that led me to this disillusionment; I will begin anew.' These are the thoughts of people who blame others for their fiascos. In the end, the only thing you can really change is yourself. Only then will the world around you glow once more; perhaps only a terrible loss can allow this to happen." (Andrey Zvyagintsev)

Andrej Zvjagincev

filmografija/filmography

Rojen leta 1964 v Novosibirsku, Rusija. Na tamkaj{nji akademiji je diplomiral iz igre, nato pa {tudij nadaljeval na Ruski akademiji za gledali{ke umetnosti v Moskvi. Poleg igre se je ukvarjal tudi z re`ijo televizijskih nadaljevank, zaslovel pa je s filmom Vrnitev, ki mu je leta 2003 na bene{kem festivalu prinesel zlatega leva.

2000 2003 2007 2009 2011 2011 2014 2017

Born in 1964 in Novosibirsk, Siberia, Zvyagintsev graduated from the Novosibirsk Drama School as an actor. He continued his studies at the Russian Academy of Theatre Arts in Moscow. Apart from acting, he also directed television series. He was brought to international fame with The Return, which won the Golden Lion Award at the 2003 Venice Film Festival.

reìja/directed by Andrej Zvjagincev scenarij/screenplay Oleg Negin, Andrej Zvjagincev fotografija/cinematography Mihail Kri{man glasba/music Evgenij Galperin montaà/editing Anna Mass igrajo/cast Marjana Spivak (@enja), Aleksej Rozin (Boris), Matvej Novikov (Aljo{a), Marina Vasiljeva (Ma{a), Andris Kei{s (Anton), Aleksej Fatejev (koordinator/the coordinator), Varvara [mikova (Lena) producenta/producers Aleksander Rodnjanski, Sergej Melkumov produkcija/production Non-stop Production Office 503, 3rd block 1 bld, Mosfilmovskaya Str. 119991, Moscow, Russia E office�nonstop-kino.ru & Why Not Productions (France) & Arte France Cinéma (France) & Les Films du Fleuve (Belgium) & Fetisoff Illusion (Russia) format/format DCP, barvni/colour dolìna/running time 127' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2017 (nagrada ìrije/Jury Prize), München/Munich 2017

prodaja/world sales Wild Bunch 65 rue de Dunkerque 75009 Paris, France E ediederix�wildbunch.eu

^jornaja komnata (The Black Room) (TV-nadaljevanka/TV series) Vozvra{~enje (The Return/Vrnitev) Izgnanje (The Banishment/Izgnanje) Apocrypha (kratki/short) Elena Tijana (kratki/short) Leviafan (Leviathan/Leviatan) Neljubov (Loveless/Brez ljubezni)

distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net

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Good Time Good Time Dobri ~asi ZDA USA 2017

Ben Safdie, Joshua Safdie reìja/directed by Ben Safdie, Joshua Safdie scenarij/screenplay Joshua Safdie, Ronald Bronstein fotografija/cinematography Sean Price Williams glasba/music Daniel Lopatin montaà/editing Ben Safdie, Ronald Bronstein igrajo/cast Robert Pattinson (Connie Nikas), Ben Safdie (Nick Nikas), Jennifer Jason Leigh (Corey), Buddy Duress (Ray), Barkhad Abdi (Dash), Taliah Webster (Crystal), Souleymane Sy Savane (voznik Uberja/Uber Driver), Mahadeo Shivraj (voznik Uberja/Uber Driver), Cliff Moylan (policist Patrick/ officer Patrick), Phil Cappadora (policist pod krinko/undercover cop), Rose Gregorio (Loren) producenta/producers Oscar Boyson, Sebastian BearMcClard produkcija/production Elara Pictures 325 W. 38th Street Suite 1502 10018 New York, USA E o.boyson�gmail.com & Rhea Films (USA) format/format DCP, barvni/colour dolìna/running time 100' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2017, Sydney 2017, Karlovi Vari/Karlovy Vary 2017

prodaja/world sales Memento Films 9 cité Paradis 75010 Paris, France E sales�memento-films.com distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Adrenalinska kriminalka bratov Safdie se ob prepri~ljivem daru newyor{kemu filmu sedemdesetih let po besedah kritikov pona{a tudi z najbolj{o vlogo na uspe{ni poti Roberta Pattinsona.

A convincing tribute to the 1970s New York cinema, the adrenaline-ridden thriller by brothers Safdie is a career reinvention for Robert Pattinson who gives his most commanding performance to date.

Connie Nikas je nepomemben nepridiprav, ki se na umazanih newyor{kih ulicah preìvlja z majhnimi kriminalnimi podvigi. Njegovo edino bogastvo je umsko zaostali brat Nick, s katerim je odra{~al v teàvnem okro`ju druìne gr{kih priseljencev. Brata se v enem od svojih podvigov lotita ropa banke, a se njun poskus izjalovi. Medtem ko Connieju uspe pobegniti, Nicka pahnejo v je~o, kjer je ne`ni velikan v prenatrpani celici podvrèn nenehnemu nasilju. Connie se brez pomisleka spusti v obupan poskus, da bi re{il svojega brata, pri ~emer bo uporabil vsa razpolo`ljiva sredstva in re{itve, ki mu bodo na voljo na njegovi brezumni poti po kriminalnem podzemlju.

Connie Nikas is a small-time crook who makes a living by dishonest methods on the dirty streets of New York. The only thing he values in life is his mentally challenged brother Nick, with whom he shared a difficult childhood in a family of Greek immigrants. After a botched bank robbery lands his brother in prison, Connie embarks on a twisted odyssey through the city's underworld in an increasingly desperate attempt to get his brother Nick out of jail. Over the course of one adrenalized night, Connie finds himself on a mad descent into violence and mayhem as he races against the clock to save his brother and himself.

"Tega ne bi opisal kot igro; ~e bi film pokazali nekomu, ki nima pojma, kdo je Robert Pattinson, bi samo domneval, da sva pa~ na{la nekega tipa. Njegovo igro bi lahko primerjal samo s tistimi Ala Pacina v Pasjem popoldnevu ali Tommyja Leeja Jonesa v Krvnikovi pesmi ali Roberta De Nira v Taksistu. Navajam ikone svojega filmskega spomina. Ljudje bodo njegovo igro ena~ili z njihovimi, gre za preobrazbo." (Joshua Safdie)

"I wouldn't even call it a performance, if you were to show the film to someone who has no idea who Robert Pattinson is, they would just assume that we found this guy. The only performances that I could liken what he did to would be Al Pacino in Dog Day Afternoon or Tommy Lee Jones in The Executioner's Song or Robert De Niro in Taxi Driver. I'm mentioning icons of my filmic mind. This is what people will liken this to, it’s a transformation." (Joshua Safdie)

Ben Safdie, Joshua Safdie

skupna filmografija/joint filmography

Rojena v New Yorku, kjer sta tudi odra{~ala. @e od rojstva je o~e njuno `ivljenje snemal s super 8-milimetrsko kamero in tako sta tudi sama kmalu postala obsedena s filmom. Vpisala sta se na filmski {tudij na Univerzo v Bostonu. Soustanovila sta kolektiv Red Bucket Films in za~ela snemati. Joshua je svoj prvi celove~erec The Pleasure of Being Robbed posnel leta 2008, naslednje leto pa sta brata ustvarila prvi skupni celove~erec Prinesi mi ro`marin.

2009 2013 2014 2017

Born and grew up in New York. Ever since their birth their lives have been recorded on a Super 8 by their father, inspiring in them the love of filmmaking. They studied film at the Boston University. They established the Red Bucket Films collective and started making films. Joshua made his first feature film, The Pleasure of Being Robbed, in 2008, while in 2009 the brothers' feature debut, Go Get Some Rosemary, was released.

Go Get Some Rosemary (Prinesi mi ro`marin) Lenny Cooke (dok./doc.) Heaven Knows What Good Time (Dobri ~asi)

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Dru`ina The Family Dru`ina Slovenija, Avstrija Slovenia, Austria 2017

Rok Bi~ek

Opazovalni dokumentarec o ìvljenju mladeni~a, ki je odra{~al v sila nenavadni druìni, reìser Rok Bi~ek pa ga je s kamero spremljal celo desetletje.

An observational documentary chronicling ten years in the life of a young man who grew up in a highly unusual family, as seen through director Rok Bi~ek's camera lens.

Matej je bil rojen v odro~ni slovenski vasici v druìni oseb s posebnimi potrebami. Dolga leta je skrbel za svoja umsko zaostala star{a in starej{ega brata, zato se nikoli ni zares vklopil med vrstnike. Druga~en je tako v druìni kot tudi v odnosu do {ir{e okolice. Ko pri dvajsetih postane o~e, se za trenutek zdi, da mu je uspelo prese~i druìnske dolo~nice, a kmalu se izkaè, da njegove osebnostne poteze in vedenjski vzorci v ìvljenje mlade druìne vna{ajo razdiralen nemir ...

Matej was born in a remote Slovenian village to mentally challenged parents. Having to take care of his parents and his older brother, he spent an isolated youth among his peers. A misfit, he is not suited to his local and wider social environment. As he becomes a father himself at the age of 20, it seems as if he is able to transcend life patterns and create a family on his own. However, his behavioural and personality patterns disturb the young family's peace.

"Prepri~an sem, da bi moral dokumentarni film prikazati dejstva, ki odsevajo na{o dru`bo tako, da ne manipulira niti z nastopajo~imi niti z gledalcem. Najmo~nej{e je zavedanje, ob katerem spoznamo, da so se dogodki, ki jih opazujemo z varnega sedeà kinodvorane, resni~no nekomu zgodili. In ta posameznik, tako podoben nam samim, se mora z njimi sprijazniti. Doìvljanje sveta prikazujem skozi svojo poetiko s pripovedovanjem zgodbo, ki se ne trudi izogniti problemati~nim temam. So~asno pa je zraven {e ~ustvena zgodba, ki naslavlja/zaobjema ve~en koncept staranja in ìvljenja nasploh." (Rok Bi~ek)

"I believe a documentary should show elements that reflect our society in a way that manipulates neither the actors nor the viewer. What's most significant is to be aware that the situations we watch from a safe seat in a cinema actually happened to someone. And this specific individual, who is just like us, had to deal with them. I show my perception of the world through my own artistic vision and tell a story which is not evading difficult topics. At the same time, there's an emotional story that addresses the eternal concepts of getting old and life in general." (Rok Bi~ek)

Rok Bi~ek

filmografija (izbor)/filmography (selection)

Rojen leta 1985 v Novem mestu. Na ljubljanski AGRFT je diplomiral iz filmske reìje. @e med {tudijem je posnel kratki dokumentarni film Druìna, na podlagi katerega je nastal istoimenski celove~erec. S celove~ernim reìjskim prvencem Razredni sovra`nik je dosegel prepoznavnost v tujini ter si prisluìl {tevilna doma~a in mednarodna odli~ja.

2008 2009 2010 2013 2017

reìja/directed by Rok Bi~ek scenarij/screenplay Rok Bi~ek fotografija/cinematography Rok Bi~ek montaà/editing Rok Bi~ek, Yulia Roschina nastopajo/with Matej Rajk, Barbara Kastelec, Nia Kastelec, Alenka Rajk, Boris Rajk, Mitja Rajk, Ivka Gruden, Emanoela Skulj, Robert Krese, Aleksej Kastelec, Estera Dvornik, Gabrijela Simetinger producenta/producers Erna Gor{e Bi~ek, Rok Bi~ek produkcija/production Cvinger Films Dunajska cesta 156 1000 Ljubljana, Slovenia E infoďż˝cvinger-film.si & Zwinger Film & RTV Slovenija format/format DCP, barvni/colour dolìna/running time 107' festivali, nagrade (izbor)/ festivals, awards (selection) Locarno 2017 â&#x20AC;&#x201C; Teden kritike/ Critics Week (nagrada Tedna kritike/ Critics Week Award), Sarajevo 2017, Portoro` 2017 (najbolj{i film/Best Picture)

distribucija/distribution Cvinger Films Dunajska cesta 156 1000 Ljubljana, Slovenia E infoďż˝cvinger-film.si

Dru`ina (kratki dok./doc. short) Dan v Benetkah (Day in Venice) (kratki/short) Lov na race (Duck Hunting) (kratki/short) Razredni sovra`nik (Class Enemy) Dru`ina (The Family)

Born in 1985 in Novo mesto. Graduated in film directing from the Academy of Theatre, Radio, Film and Television Ljubljana. During his studies, he made The Family, a documentary short that served as the basis for the eponymous full-length film. His feature debut, Class Enemy, attracted international attention and won numerous national and international awards.

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Foxtrot Foxtrot Foxtrot Izrael, Nem~ija, Francija, [vica Israel, Germany, France, Switzerland 2017

Samuel Maoz reìja/directed by Samuel Maoz scenarij/screenplay Samuel Maoz fotografija/cinematography Giora Bejach glasba/music Ophir Leibovitch, Amit Poznansky montaà/editing Arik Leibovitch, Guy Nemesh igrajo/cast Lior Ashkenazi (Michael Feldmann), Sarah Adler (Daphna Feldmann), Yonaton Shiray (Jonathan), Gefen Barkai (komandant/commander), Dekel Adin (vojak/soldier), Shaul Amir (vojak s slu{alkami/soldier with headphones), Itay Exlroad (ple{o~i vojak/dancing soldier), Danny Isserles (oficir/officer), Itamar Rotschild (verski oficir/religion officer), Roi Miller (voja{ki zdravnik/ military M.D.) producenti/producers Michael Weber, Viola Fügen, Eitan Mansuri, êdomir Kolar, Marc Baschet, Michel Merkt produkcija/production Spiro Films (Israel) E info�spiro-films.com & Pola Pandora Filmproduktions GmbH (Germany) & A.S.A.P. Films (France) & KNM (Switzerland) format/format DCP, barvni/colour dolìna/running time 113' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2017 (velika nagrada ìrije/Grand Jury Prize), Telluride 2017, Toronto 2017

prodaja/world sales The Match Factory Balthasarstrasse 79–81 50670 Köln, Germany E sales�matchfactory.de distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Z bene{ko veliko nagrado `irije oven~ana zgodba o naklju~jih in usodi, skozi katero re`iser Samuel Maoz ori{e ves absurd voja{ke usmerjenosti dana{njega Izraela.

Samuel Maoz's Foxtrot, a story about life's coincidences and fate, illustrates all the absurdities of the military-oriented Israel. Venice 2017 Grand Jury Prize.

Zakonca Michaela in Dafno nekega dne nepri~akovo obi{~ejo predstavniki vojske. Sporo~ijo jima, da je njun sin Jonathan padel med opravljanjem voja{ke dol`nosti. Po za~etnem {oku za~nejo Michaela jeziti preve~ zagnano àlujo~i sorodniki in pretirano prijazni voja{ki birokrati, ki zakoncema dajejo podporo. Medtem ko se Michaelova èna predaja omami, on po~asi drsi v vrtinec jeze, ta pa ga privede do nedoumljivega ìvljenjskega obrata, ki se povsem enakovredno kosa z nadrealisti~no izku{njo njegovega sina v izraelski vojski.

Married couple Michael and Daphna are devastated when army officials show up at their home to announce the death of their son Jonathan in the line of duty. Michael becomes increasingly frustrated by overzealous mourning relatives and well-meaning army bureaucrats. While his sedated wife rests, Michael spirals into a whirlwind of anger only to experience one of life's unfathomable twists, which rival the surreal military experiences of his son.

"Einstein je dejal, da je naklju~je bo`ji na~in ostati anonimen. Fokstrot je ples mo{kega z lastno usodo. Gre za filozofsko priliko, ki posku{a z zgodbo o o~etu in sinu razbiti nejasen koncept po imenu 'usoda'. Dale~ vsak k sebi sta, vendar navkljub razdalji in popolni lo~itvi med njima spremenita usodo drug drugega in svojo lastno. Izziv, ki sem si ga zadal, je bil prou~iti vrzel med stvarmi, na katere lahko vplivamo, in tistimi, na katere ne moremo." (Samuel Maoz)

"Einstein said that coincidence is God's way of remaining anonymous. Foxtrot is a dance of a man with his fate. It's a philosophical parable trying to deconstruct this vague concept called 'fate' through a story about father and son. They are far from each other, but despite the distance and the total separation between them they change each other's fates, and of course their own. The challenge I set for myself was to deal with the gap between the things we control and those that are beyond our control." (Samuel Maoz)

Samuel Maoz

filmografija/filmography

Rojen leta 1961 v Tel Avivu, Izrael. Svojo prvo kamero je dobil pri trinajstih letih. Medtem ko je slu`il voja{ki rok, se je leta 1982 za~ela libanonska vojna, ki je mladega Samuela mo~no zaznamovala. Po vrnitvi v Izrael je kon~al {tudij filma, nato pa je potreboval celih dvajset let, da se je vrnil domov in posnel film Libanon, s katerim je v Benetkah osvojil zlatega leva.

2000 2009 2013 2013 2017

Born in 1961 in Tel Aviv. Received his first camera at the age of thirteen. While serving in the army, the Lebanon War broke out in 1982, scarring young Samuel for life. When he returned to Israel, he obtained a BA in film. Maoz confesses that it took him 20 years before he had the strength to return home and shoot Lebanon, which won the Golden Lion Award at the Venice FF.

Total Eclipse (dok./doc.) Lebanon (Lebanon/Libanon) Manybuy (kratki/short) Venice 70: Future Reloaded (omnibus) Foxtrot

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Ivan Ivan Ivan Slovenija, Hrva{ka Slovenia, Croatia 2017

Janez Burger

Neprizanesljiva in zelo osebna drama o posledicah korupcije in sprejemanju napa~nih odlo~itev. V glavni vlogi nastopa Maru{a Majer, leto{nja slovenska predstavnica v programu Vzhajajo~e zvezde na berlinskem festivalu. Takoj potem ko mlada Mara rodi Ivana, se za~ne njena najhuj{a no~na mora. Ivanov o~e Rok, poro~en poslovne`, ki ga Mara obsedeno ljubi, skrivnostno izgine. Ko Mara ugotovi, da je obtoèn gospodarskega kriminala, jo brutalno pretepejo sodelavci njegove ène, zaradi ~esar kon~a v varni hi{i. Roku kon~no uspe z njo navezati stik, vendar se Mara znajde pred nemogo~o izbiro med svojo ljubeznijo in svojim otrokom ... "Ivan je zgodba o mladi punci, ki je imela te`ko otro{tvo, odra{~ala je v rejni{kih druìnah. Pozneje se obsedeno zaljubi v precej starej{ega mo{kega, ki zanjo predstavlja o~etovsko figuro, kakr{ne nikoli ni imela. Z njim tudi zanosi in film se z rojstvom tega otroka za~ne. Ivan je zgodba o tem, kako se Mara spopade s svojo novo odgovornostjo in s ~ustvi, ki so ji popolnoma neznana. Skozi arhetipsko zgodbo sprejetja otroka sem sku{al zarezati v mentalno in dru`beno strukturo slovenske in posttranzicijske dru`be na splo{no." (Janez Burger)

An uncompromising and intensely personal drama about the consequences of corruption and making bad choices. Starring Maru{a Majer, who was selected for the 2017 Berlin Film Festival's Shooting Stars project that singles out talented young European actors. Soon after young Mara gives birth to an illegitimate child, Ivan, her worst nightmare comes true. Ivan's father Rok, a married businessman whom she loves obsessively, mysteriously disappears. When Mara finds out that Rok is accused of whitecollar crime, she gets beaten up by Rok's wife's cronies and ends up in a safe house. Rok finally establishes contact with her. On the run from the police, he forces Mara to make the worst sacrifice imaginable – leave her baby. "Ivan is a story about a young woman who's had a very troubled childhood, growing up in foster homes. She passionately falls in love with a quite older man, a father figure she's never had. She gets pregnant by him and the film begins with the birth of this child. Ivan is a story about Mara shouldering her new responsibilities and experiencing emotions she's never felt before. Through the archetypal story about accepting a child I aimed to cut into the mental and social structure of Slovenian and post-transitional society at large." (Janez Burger)

Janez Burger

filmografija (izbor)/filmography (selection)

Rojen leta 1965 v Kranju. [tudiral je na Ekonomski fakulteti v Ljubljani in FAMU v Pragi, kjer je leta 1996 diplomiral iz filmske in televizijske re`ije. Njegovi celove~erni filmi so bili prikazani na {tevilnih mednarodnih festivalih in prejeli ugledne nagrade, vklju~no s prvencem V leru, ki je bil leta 1999 premierno prikazan v tekmovalnem programu festivala v Karlovih Varih.

1998 1999 2004 2007 2007 2010 2013 2014 2014 2017

Born in 1965 in Kranj, Slovenia. He studied at the Faculty of Economics in Ljubljana and the FAMU in Prague, where he graduated in 1996 from film and TV directing. His award-winning features have screened at various international festivals. His debut film, Idle Running, received its premiere in 1999 in the competitive section of the Karlovy Vary Festival.

reìja/directed by Janez Burger scenarij/screenplay Janez Burger, Srdjan Koljevi}, Melina Pota, Ale{ âr fotografija/cinematography Marko Brdar glasba/music Damir Avdi} montaà/editing Milo{ Kalusek igrajo/cast Maru{a Majer (Mara), Matja` Tribu{on (Rok), Nata{a Barbara Gra~ner (socialna delavka/social worker), Polona Juh (Karmen), Branko [turbej (odvetnik/lawyer), Leon Lu~ev (Bane), Mojca Funkl (prostovoljka/volunteer), Mateja Pucko (Kata), Vlado Vla{kali~ (Franc), Uro{ Furst (zdravnik/doctor), Peter Musevski (taksist/taxi driver), Silva û{in (psihologinja/psychologist), Ana Faccini (Ana), Iona Osredkar (Anina h~i/Ana's daughter), Damjana êrne (Radmila) producent/producer Miha êrnec produkcija/production Staragara Majaronova ulica 16 1000 Ljubljana, Slovenija E office�staragara.com & Propeler Film & RTV Slovenija & Tramal Films format/format DCP, barvni/colour dolìna/running time 94'

prodaja/world sales Staragara Majaronova 16 1000 Ljubljana E office�staragara.com

Sladka hi{ica (dok./doc.) V leru (Idle Running) Ru{evine (Ruins) Na son~ni strani Alp (On the Sunny Side of the Alps) (kratki/short) Sonja Circus Fantasticus Priletni parazit ali kdo je Marko Brecelj (dok./doc.) Avto{ola Pogovori o Vitomilu Zupanu (dok./doc.) Ivan

distribucija/distribution Fivia Prelo`nikova 1 3212 Vojnik E cenex�siol.net

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Wonderstruck Wonderstruck Kabinet ~udes ZDA USA 2017

Todd Haynes reìja/directed by Todd Haynes scenarij/screenplay Todd Haynes, Brian Selznick (knjiga/book) fotografija/cinematography Edward Lachman glasba/music Carter Burwell montaà/editing Affonso Gonçalves igrajo/cast Julianne Moore (Lillian Mayhew), Millicent Simmonds (Rose), Oakes Fegley (Ben), Cory Michael Smith (Walter), Jaden Michael (Jamie), James Urbaniak (dr. Kincaid, Rosin o~e/Dr. Kincaid, Rose's father), Damian Young (Otto), Lauren Ridloff (Pearl) producenti/producers Pamela Koffler, John Sloss, Christine Vachon produkcija/production Cinetic Media 555 West 25th Stn 4th Fl 10001 New York, USA E info�cineticmedia.com format/format DCP, barvni/colour dolìna/running time 117' festivali, nagrade/ festivals, awards Cannes 2017

V filmu, posnetem po literarni predlogi istoimenske knji`ne uspe{nice Briana Selznicka, se prepletata zgodbi deklice in de~ka, ki ju pot v razli~nih zgodovinskih obdobjih zanese na iste kraje, kljub ~asovni oddaljenosti pa si postavljata enaka vpra{anja in se spopadata z enakimi strahovi.

Based on the eponymous bestselling novel by Brian Selznick, Wonderstruck blends the stories of a girl and a boy whose adventures lead them to same places, and who face the same questions and fears despite inhabiting two different time periods.

Leta 1927 gluhonema deklica Rose pobegne od doma v New Jerseyju in se odpravi na Manhattan v upanju, da bo tam spoznala svojo vzornico, slavno igralko Lillian Mayhew. Petdeset let pozneje se gluhonemi de~ek Ben po materini smrti iz rodne Minnesote odpravi v New York, da bi tam poiskal svojega o~eta. Re`iser spretno vzporeja zgodbi dveh gluhonemih otrok iz dveh razli~nih zgodovinskih obdobij ter ju tako spoji v simetri~no celoto – v ~arobno in brez~asno zgodbo o odra{~anju.

In 1927, a deaf-and-dumb young girl, Rose, runs away from home in New Jersey and makes her way to Manhattan, hoping to meet her role model, the famous actress Lillian Mayhew. Fifty years later, a deaf boy, Ben, befallen by personal tragedy, his mother's death, finds a clue about his father that leads him from rural Minnesota to New York. The director skilfully juxtaposes the stories about two deaf-and-dumb children, reaching across years of silence and regret, and culminating in a mesmerising symmetry driven by wonder and hope.

"Skorajda vsi moji filmi so zgodovinski, ta pa je dvakrat zgodovinski film. To me je prevzelo, – na~ini, kako zoperstaviti ideje in podobe Manhattna iz dvajsetih let New Yorka v enem njegovih najhuj{ih, gospodarsko nazadujo~ih obdobij poznih sedemdesetih. Najbolj pri vsem pa mi je v{e~, da deluje kot klasi~na kriminalka." (Todd Haynes)

prodaja/world sales Filmnation Entertainment 150 West 22nd Street, 9th Floor 10011 New York, USA E nyoffice�filmnation.com distribucija/distribution Cinemania Roj~eva 1 1000 Ljubljana E info�cinemania-group.si

Todd Haynes

filmografija (izbor)/filmography (selection)

Rojen leta 1961 v Los Angelesu. Re`iser filmskih uspe{nic, kot so @ametne no~i, Dale~ od nebes in Carol, je svoj celove~erni prvenec z naslovom Strup posnel leta 1991 ter zanj na festivalu Sundance prejel nagrado `irije. V svojih filmih pogosto obravnava gejevsko tematiko in velja za za~etnika gibanja New Queer Cinema.

1991 1995 1998 2002 2007 2011 2014 2017

Born in 1961 in Los Angeles. An acclaimed director of Velvet Goldmine, Far from Heaven and Carol, Haynes' first feature, Poison, won the 1991 Sundance Festival Jury Prize. Often addressing homosexual issues, Haynes is considered to be the pioneer of New Queer Cinema.

"Although almost all my films have been period films, this was a double-period film, so that was exciting – the ways that one could jam ideas and images of 1920s Manhattan against New York in one of its most difficult, economically declining eras in the later '70s. But what I really love about this: It functions like a classic mystery." (Todd Haynes)

Poison (Strup) Safe (Na varnem) Velvet Goldmine (@ametne no~i) Far from Heaven (Dale~ od nebes) I'm not There (Bob Dylan: 7 obrazov) Mildred Pierce (miniserija/mini-series) Carol Wonderstruck (Kabinet ~udes)

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Jusqu'à la garde Custody Ko izgubi{ vse Xavier Legrand

Francija France 2017 reìja/directed by Xavier Legrand scenarij/screenplay Xavier Legrand fotografija/cinematography Nathalie Durand montaà/editing Yorgos Lamprinos igrajo/cast Denis Ménochet (Antoine Besson), Léa Drucker (Miriam Besson), Thomas Gioria (Julien Besson), Mathilde Auneveux (Joséphine Besson), Saadia Bentaïeb (sodnik/judge), Mathieu Saikaly (Samuel) producent/producer Alexandre Gavras produkcija/production KG Productions 36 Rue Lebour 93100 Montreuil, France E kg�kgproductions.fr format/format DCP, barvni/colour dolìna/running time 93’

Trpka, realisti~no prikazana sodna bitka za skrbni{tvo nad mladoletnim sinom razkriva ozadje in posledice ~ustvene zlorabe in nasilja v dru`ini.

A broken marriage leads to a bitter custody battle in this intense drama, a marital nightmare that reveals an inventory of emotional abuse and domestic violence.

Miriam in Antoine sta se nedavno lo~ila in ~aka ju sodna dolo~itev skrbni{tva nad mladoletnim sinom Julienom. Medtem ko Miriam trdi, da deljeno skrbni{tvo zaradi mo`evega nasilnega vedenja ni primerno, se on trudi dokazati, da se mu godi krivica. Ko sodnik dolo~i deljeno skrbni{tvo, se spori med lo~enima zakoncema stopnjujejo, ~ustveno razpeti Julien pa samo nemo~no opazuje razplet dogodkov in upa, da se ne bo zgodilo najhuj{e ...

Miriam and Antoine have divorced, and Miriam seeks sole custody of their son Julien to protect him from a father she claims is violent. Antoine pleads his case as a scorned dad and the appointed judge rules in favour of joint custody. Held hostage to the escalating conflict between his parents, Julien is pushed to the edge to prevent the worst from happening.

"Na tiso~e ljudi vsak dan ìvi v tak{nih razmerah. Iz teh navidezno obi~ajnih dogodkov film razkriva globoko zakopano nasilje, stra{ljivo zamol~an strah, neznosno udu{eno, tiho gro`njo. Lo~itve Bessonsovih nisem èlel prikazati kot druìnske ali dru`bene drame, temve~ kot politi~ni, vojni film, morda celo grozljivko." (Xavier Legrand)

festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2017 (najbolj{a re`ija/Best Director), Toronto 2017

"Thousands of people live this situation every day. From these seemingly ordinary events, the film reveals the deeply buried violence, the terribly silent fear, the unbearably hushed, quiet menace. Rather than making the Bessons' separation the subject of a family or social drama, I wanted to make a political film, a war film, maybe even a horror film." (Xavier Legrand)

Xavier Legrand

filmografija (izbor)/filmography (selection)

Rojen leta 1979. Francoski igralec, scenarist in reìser, ki se je izobraèval na Dràvnem pari{kem konservatoriju. Njegov kratki film Avant que de tout perdre je bil nagrajen na mednarodnih festivalih in leta 2013 nominiran za oskarja. Skrbni{tvo je njegov celove~erni prvenec.

2013 Avant que de tout perdre (Just Before Losing Everything) (kratki/short) 2017 Jusqu'à la garde (Custody/Ko izgubi{ vse)

prodaja/world sales Celluloid Dreams 2 rue Turgot 75009 Paris, France E info�celluloid-dreams.com distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Born in 1979, Legrand is a French actor, writer, and director who received his training at the National Conservatory of Paris. His short film, Just Before Losing Everything, was nominated for the 2013 Academy Award for Best Live Action Short. Custody is his debut feature film.

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Testro˝l és lélekro˝l On Body and Soul O telesu in du{i Ildikó Enyedi

reìja/directed by Ildikó Enyedi scenarij/screenplay Ildikó Enyedi fotografija/cinematography Máté Herbai glasba/music Ádám Balázs montaà/editing Károly Szalai igrajo/cast Alexandra Borbély (Mária), Géza Morcsányi (Endre), Réka Tenki (Klára), Zoltán Schneider (Jeno), Ervin Nagy (Sándor), Itala Békés (~istilka Zsóka/Zsóka, cleaning lady), Éva Bata (Jenova èna/Jeno's wife), Pál Mácsai (detektiv/detective) producenti/producers Monika Mécs, András Muhi, Erno Mesterházy produkcija/production Inforg – M&M Film KFT Kinizsi Street 11. 1092 Budapest, Hungary E mecsmonika�hotmail.com format/format DCP, barvni/colour dolìna/running time 116'

V klavnico govedi postavljena ljubezenska zgodba z izrazitim vizualnim pe~atom raziskuje povezavo med telesno in ~ustveno odtujenostjo. Zmagovalec Berlinala 2017.

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2017 (zlati medved/Golden Bear, nagrada FIPRESCI/FIPRESCI Prize), Sydney 2017 (najbolj{i film/ Best Film)

Ko se mlada Maria zaposli v klavnici kot nadzornica kakovosti, jo ljudje takoj razglasijo za ~udakinjo. V jedilnici vedno sedi sama in se tudi sicer ne druì s sodelavci, pri delu prisega na sterilnost, je zelo natan~na in se za vsako ceno drì pravil. Njen precej starej{i {ef Endre, ki boleha za la`jo telesno hibo, je prav tako samotarska du{a, a spozna, da ga nova sodelavka nerazumno privla~i. [e posebej ko nekega dne ugotovita, da imata vsako no~ iste sanje ... "Toliko znakov obstaja, da si moramo ìvljenje spremeniti v o`jem in {ir{em pogledu. Zasebno ìvljenje je zelo povezano z dru`benim ustrojem, kot da bi bila medsebojno odvisna. Ko razmi{ljamo o zasebnem ìvljenju, moramo pomisliti tudi na dru`beno organiziranost. ê ìvi{ v okoli{~inah, ki ne dopu{~ajo polnega ìvljenja, nekako zboli{. Dru`ba za to poskrbi. Morda obi{~e{ terapevta, ali za~ne{ piti, ali pretepa{ svoje bli`nje, kar koli. To so znaki, da ni vse v redu! Moja protagonista se v svoji koì ne po~utita dobro, zato se zapreta vase." (Ildikó Enyedi)

prodaja/world sales Films Boutique Köpenicker Str. 184 10997 Berlin, Germany E contact�filmsboutique.com distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net

A love story set in a slaughterhouse, the visually stunning On Body and Soul explores the connection between physical and emotional estrangement. 2017 Berlin Film Festival Golden Bear Award. No sooner does Mária start work as the new quality controller than the rumours begin. At lunch the young woman always chooses a table on her own in the canteen where she sits in silence. She takes her job seriously and adheres strictly to the rules. Her quite older boss Endre is also the quiet type. Tentatively, they begin to get to know each other. Recognising their spiritual kinship, they are amazed to discover that they even have the same dreams at night. "I think there are so many signs that we have to reinvent our lives on both a small and a large scale. Private lives are so much about how society is constructed, like they're interdependent. So if we think about private lives, we have to think about how society is organised. So if you live in conditions that are against living a full life, then you get sick in a way. Society sees to that. And maybe you go to a therapist, or you start drinking, or you beat your family, or whatever. These are the signs that not everything is OK! So, my two heroes don't feel right in their skin, and they close themselves off." (Ildikó Enyedi)

Ildikó Enyedi

filmografija (izbor)/filmography (selection)

Rojena v Budimpe{ti leta 1955. Preden se je posvetila filmu, se je ukvarjala s konceptualno in medijsko umetnostjo. Za svoja dela je prejela ve~ kot {tirideset mednarodnih nagrad, njena komi~na drama Moje 20. stoletje pa je bila razgla{ena za enega od dvanajstih najbolj{ih mad`arskih filmov vseh ~asov. Je ~lanica Evropske filmske akademije in pou~uje na budimpe{ki akademiji za gledali{~e in filmsko umetnost.

1981 Flirt (kratki/short) 1983 The Viewer (kratki/short) 1989 Az én XX. századom (My 20th Century/Moje 20. stoletje) 1995 Büvös vadász (Magic Hunter) 1997 Tamás es Juli (Tamás and Juli) 1999 Simon Magus (Simon, the Magician) 2008 Elsö szerelem (First Love) (kratki/short) 2012–2014 Terápia (TV-serija/TV series) 2017 Testro ˝l és lélekro ˝l (On Body and Soul/O telesu in du{i)

Born in Budapest in 1955, she began her career as a concept and media artist before turning to filmmaking. She has received more than 40 international awards for her work. My 20th Century was ranked among the twelve best Hungarian films of all time. She teaches at the University of Theatre and Film Arts, Budapest, and is member of the European Film Academy.

Mad`arska Hungary 2017

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The Shape of Water The Shape of Water Oblika vode ZDA USA 2017

Guillermo del Toro

Z bene{kim zlatim levom nagrajeni film Guillerma del Tora so kritiki ozna~ili za re`iserjevo najbolj{e delo od Favnovega labirinta iz leta 2006 naprej.

According to the critics, The Shape of Water is Guillermo del Toro's best work since Pan's Labyrinth. 2017 Venice FF Golden Lion Award.

Baltimore, leto 1962. Elisa je nemo, vase zaprto dekle, ki dela kot ~istilka v skritem, mo~no varovanem vladnem laboratoriju. Njeno `ivljenje se za vedno spremeni, ko v poslopju odkrije strogo zaupno skrivnost: luskasto bitje iz ju`ne Amerike, ki ga je oblast zaprla v akvarij dale~ od o~i javnosti. Elisa s svojim novim prijateljem postopoma razvije tesno vez, kar pa jo izpostavi veliki nevarnosti. Njena usoda je zdaj v rokah zlonamernega vladnega agenta in sumljivega morskega biologa.

Baltimore, 1962. Elisa is a mute, isolated woman who works as a cleaning lady in a hidden, high-security government laboratory. Her life changes forever when she discovers the lab's classified secret – a mysterious, scaled creature from South America that lives in a water tank. As Elisa develops a unique bond with her new friend, she soon learns that its fate and very survival lie in the hands of a hostile government agent and a marine biologist.

"Voda obliko prilagodi prostoru, in ~eprav je lahko blaga, je tudi najbolj mogo~na in voljna sila vesolja. Tak{na je tudi ljubezen, kajne? Vseeno je, v kak{en kalup ljubezen vlijemo, oblikuje se po njem, pa najsi bo mo{ki, `enska ali bitje." (Guillermo del Toro)

"Water takes the shape of whatever is holding it at the time and although water can be so gentle, it's also the most powerful and malleable force in the universe. That's also love, isn't it? It doesn't matter what shape we put love into, it becomes that, whether it’s man, woman or creature." (Guillermo del Toro)

Guillermo del Toro

filmografija (izbor)/filmography (selection)

Rojen leta 1964 v Guadalajari, Mehika. Filme je za~el ustvarjati `e kot najstnik, umetnosti posebnih efektov in filmske maske pa se je u~il od legendarnega Dicka Smitha. Po desetletnem poklicu maskerja, ve~ posnetih kratkih filmih in delu na mehi{ki televiziji je dosegel preboj s prvim celove~ercem Cronos, ki ga je popeljal v Hollywood. Z nadaljnjimi filmi se je proslavil kot veliko ime ameri{kega umi{ljenega filma.

1985 1993 1997 2001 2002 2004 2006 2008 2013 2015 2016 2017

Born in 1964 in Guadalajara, Mexico, del Toro developed an interest in filmmaking in his early teens. Later, he learned about makeup from the legendary Dick Smith and spent almost ten years as a makeup artist. After making short films, and producing and directing Mexican television programs, de Toro got his big break with Cronos, his first feature that paved the way for a career in Hollywood. His subsequent films established him as a major American fantasy film director.

reìja/directed by Guillermo del Toro scenarij/screenplay Guillermo del Toro, Vanessa Taylor fotografija/cinematography Dan Laustsen glasba/music Alexandre Desplat montaà/editing Sidney Wolinsky igrajo/cast Sally Hawkins (Eliza Esposito), Michael Shannon (Strickland), Richard Jenkins (Giles), Octavia Spencer (Zelda), Michael Stuhlbarg (Robert Hoffstetler), Doug Jones (bitje/creature), David Hewlett (Fleming), Nick Searcy (general Hoyt), Stewart Arnott (Bernard), Nigel Bennett (Mihalkov), Lauren Lee Smith (Elaine Strickland), Martin Roach (Brewster Fuller), Allegra Fulton (Yolanda) producenta/producers J. Miles Dale, Guillermo del Toro produkcija/production Double Dare You Production (USA) & Bull Productions (USA) & Fox Searchlight Pictures (USA) format/format DCP, barvni/colour dolìna/running time 119' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2017 (zlati lev/ Golden Lion), Telluride 2017, Toronto 2017, Sitges 2017, London 2017, Busan 2017, Chicago 2017

prodaja/world sales Fox Searchlight Pictures (USA)

Doña Lupe (kratki/short) Cronos Mimic (Mimik) El espinazo del diablo (The Devil's Backbone/Hudi~eva hrbtenica) Blade II (Rezilo II) Hellboy El laberinto del Fauno (Pan's Labyrinth/Favnov labirint) Hellboy II: The Golden Army (Hellboy II: Zlata armada) Pacific Rim (Ognjeni obro~) Crimson Peak ([krlatni vrh) Trollhunters (TV-serija/TV series) The Shape of Water (Oblika vode)

distribucija/distribution Blitz film & video distribution d.o.o. Dolenjska cesta 258 1291 [kofljica E marketing�blitz-film.com

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Aus dem Nichts In the Fade Obupana Nem~ija, Francija Germany, France 2017

Fatih Akin reìja/directed by Fatih Akin scenarij/screenplay Fatih Akin, Hark Bohm fotografija/cinematography Rainer Klausmann glasba/music Josh Homme montaà/editing Andrew Bird igrajo/cast Diane Kruger (Katja Sekerci), Denis Moschitto (Danilo Fava), Numan Acar (Nuri), Samia Muriel Chancrin (Birgit), Johannes Krisch (Haberbeck), Ulrich Tukur (Jürgen Möller), Ulrich Brandhoff (André Möller), Hanna Hilsdorf (Edda Möller), Yannis Economides, Siir Eloglu, Jessica McIntyre producenti/producers Fatih Akin, Ann-Kristin Hofmann, Nurhan Sekerci-Porst, Herman Weigel produkcija/production Bombero International Borselstr. 16 D–22765 Hamburg, Germany E mail�bombero-int.de & Warner Bros. Film Productions Germany & Macassar Productions (France) & Pathé (France) format/format DCP, barvni/colour dolìna/running time 106' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2017 (najbolj{a igralka/Best Actress), Sydney 2017, Moskva/ Moscow 2017, Karlovi Vari/Karlovy Vary 2017

Nem{ki reìser Fatih Akin je film o druìnski tragediji posnel v odgovor neonacisti~nim napadom na etni~ne manj{ine v Nem~iji, izjemen portret glavne protagonistke pa je Diane Kruger prinesel nagrado za najbolj{o ènsko vlogo na leto{njem festivalu v Cannesu.

German director Fatih Akin made his revenge drama in response to the attacks of the neo-Nazis on ethnic minorities in Germany. Diane Kruger's powerhouse performance as a woman seeking justice following the murder of her husband and son won her the 2017 Best Actress Award at Cannes.

@ivljenje Katje se v trenutku popolnoma spremeni, ko njenega moà tur{kega porekla in njenega sina ubijejo v bombnem teroristi~nem napadu. Ker nem{ki organi pregona zatajijo pri iskanju resni~nih storilcev, moèva druìna pa se v njihovo delo no~e vme{avati, strta vdova vzame zadevo v svoje roke in se sama odpravi na pot iskanja pravice.

Katja's life changes irrevocably when her Turkish husband is killed, along with their young son, by a terrorist bomb-blast. When the criminal justice system fails to convict the unrepentant culprits, she resolves to take matters into her own hands; her late husband's extended family having apparently fallen silent on the subject of legal or illegal means of redress. They are written out of the story, leaving the field clear for the blonde avenger.

"V tej dr`avi sem s svojim poreklom nekako 'druga~en'. Imam ~rne lase, moji star{i prihajajo iz Tur~ije. Za te ksenofobe napade sem idealna tar~a. Pred nekaj leti je bil sestavljen seznam, na spletni strani Nuremburg 2.0, na katerega so uvrstili politike, umetnike. Na seznam so uvrstili moje ime kot potencialno tar~o neonacistov. To me je motiviralo k pisanju scenarija in ustvarjanju tega filma, ker sem potencialna tar~a teh skupin. S tem filmom sem nekako vrnil udarec." (Fatih Akin)

prodaja/world sales The Match Factory Balthasarstrasse 79–81 50670 Köln, Germany E info�matchfactory.de distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Fatih Akin

filmografija (izbor)/filmography (selection)

Rojen leta 1973 v Hamburgu, Nem~ija, kot sin tur{kih priseljencev. Na hambur{ki Akademiji lepih umetnosti je {tudiral vizualno komuniciranje. Leta 1994 je za~el sodelovati s produkcijsko hi{o Wueste Film, za katero je leta 1995 posnel prvi kratki film. Njegovi filmi so osvojili {tevilne vidne mednarodne nagrade, med njimi berlinskega zlatega medveda in nagrado za najbolj{i scenarij v Cannesu.

1995 1998 2000 2002 2004 2004 2005 2007 2009 2014 2016 2017

Born in 1973 in Hamburg, Germany. Of Turkish descent, he studied visual communications at the College of Fine Arts in Hamburg. In 1994, he started working for the Wueste Film production company and made his first short film in 1995. His films have won several major international awards, including the Golden Bear in Berlin and Best Screenplay Award in Cannes.

"I am somehow 'the other' in this country with my background. I have black hair, my parents are from Turkey. Somehow, I'm the perfect target for these xenophobic attacks. A couple of years ago there was a list, a website called Nuremburg 2.0, and they listed politicians, artists. My name was on the list as a target for neo-Nazis. That's what drove me to write it and shoot it because I am a possible target for these groups. What I did with this film was kind of like a strike back." (Fatih Akin)

Sensin – Du bist es! (Sensin... You're the One!) (kratki/short) Kurz und schmerzlos (Short Sharp Shock) Im Juli. (In July) Solino Gegen die Wand (Head-On/Z glavo ob zid) Visions of Europe (Vizije Evrope) (omnibus) Crossing the Bridge: The Sound of Istanbul (Zvok Istanbula) (dok./doc.) Auf der anderen Seite (The Edge of Heaven/Z druge strani) Soul Kitchen (Kuhinja z du{o) The Cut Tschick (Goodbye Berlin) Aus dem Nichts (In the Fade/Obupana)

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Call Me by Your Name Call Me by Your Name Pokli~i me po svojem imenu Luca Guadagnino

Italija, Francija, Brazilija, ZDA Italy, France, Brazil, USA 2017

Luca Guadagnino nas po Nemirni obali {e enkrat vr`e v srce poletne vro~ine, tokrat z ljubezensko zgodbo med fantoma na idili~nem italijanskem pode`elju.

After A Bigger Splash, Luca Guadagnino's latest offering is again set against the backdrop of scorching Italian summer, this time featuring a love story between two young boys.

Poletje leta 1983. Sedemnajstletni Elio s star{i preìvlja po~itnice v druìnski hi{i na severu Italije. Skozi vro~e dni se prebija s poslu{anjem glasbe, branjem knjig in plavanjem. Nekega dne njegov o~e v vilo pripelje novega asistenta, postavnega Ameri~ana Oliverja. Elio je sprva hladen do gosta, a za~ne hitro preìvljati vse ve~ ~asa z njim. Elio in Oliver postopoma razvijeta vse bolj intimen odnos, ~eprav slednji vseskozi pravi, da "se o teh stvareh ne govori". Kmalu postane jasno, da bolj kot gre poletje h koncu, mo~nej{a je privla~nost med mladeni~ema ...

It's the hot, sun-drenched summer of 1983 and seventeen-yearold Elio is at his parents' country seat in northern Italy. He idles away the time listening to music, reading books and swimming until one day his father's new American assistant, Oliver, arrives at their large villa. At first Elio is somewhat cold and distant towards the young man but before long the two begin going out together on excursions. Elio begins to make tentative overtures towards Oliver that become increasingly intimate – even if, as Oliver says, 'one can't talk about such things'. As the short summer progresses, the pair's mutual attraction grows more intense.

"Gre za film o razcvetu ljubezni in po`elenja, ne glede na to, od kod prihajata in v kaj sta usmerjena. (...) Menim, da so ljudje kot bitja tako lepi in celoviti, da mi je kljub navdu{enosti nad teorijo spolov – dolgo sem prou~eval Judith Butler – veliko ljub{e svojih igralcev ne raziskovati ali jih kakor koli kategorizirati. Za filme anga`iram samo igralce, v katere se zaljubim (...) in verjamem, da se zaradi mojega ~ustvenega zaupanja vanje ustvarja kemija." (Luca Guadagnino)

festivali, nagrade (izbor)/ festivals, awards (selection) Sundance 2017, Berlinale 2017, Sydney 2017

"This film is about the blossoming of love and desire, no matter where it comes from and toward what. (...) I think people are so beautiful and complex as creatures that as much as I am fascinated with gender theory – I've studied Judith Butler for so long – I prefer much more never to investigate or label my performers in any way. I only cast the actors and actresses I fall in love with (...) and I believe that my emotional confidence in them blends into chemistry.” (Luca Guadagnino)

Luca Guadagnino

filmografija (izbor)/filmography (selection)

Rojen leta 1971 v Palermu, Italija. Otro{tvo je pre`ivel v Etiopiji. Z diplomskim delom o Jonathanu Demmu je na rimski univerzi La Sapienza diplomiral iz zgodovine in filmske kritike. Njegov celove~erni prvenec The Protagonists je bil predvajan na filmskem festivalu v Benetkah. Od tedaj so njegove filme zaznamovala pogosta sodelovanja z britansko igralko Tildo Swinton.

1999 2002 2003 2005 2009 2013 2015 2017

Born in 1971 in Palermo, Italy, Guadagnino spent his childhood in Ethiopia. He graduated in history and critics of cinema from Rome's University La Sapienza, with a thesis on film director Jonathan Demme. His feature debut, The Protagonists, screened at the Venice Film Festival. Since then his films have often featured British actress Tilda Swinton.

reìja/directed by Luca Guadagnino scenarij/screenplay James Ivory, André Aciman (roman/novel) fotografija/cinematography Sayombhu Mukdeeprom montaà/editing Walter Fasano igrajo/cast Armie Hammer (Oliver), Timothée Chalamet (Elio Perlman), Michael Stuhlbarg (g./Mr. Perlman), Amira Casar (Annella Perlman), Esther Garrel (Marzia), Victoire Du Bois (Chiara), Vanda Capriolo (Mafalda), Elena Bucci, Antonio Rimoldi, Marco Sgrosso producenti/producers Peter Spears, Luca Guadagnino, Emilie Georges, Rodrigo Teixeira, Marco Morabito, James Ivory, Howard Rosenman produkcija/production Frenesy Film Piazza Premoli 3 26013 Crema, Italy E office�frenesyfilm.com & La Cinéfacture (France) & RT Features (Brazil) & Water's End Productions (USA) & M.Y.R.A. Entertainment (USA) format/format DCP, barvni/colour dolìna/running time 130'

prodaja/world sales Memento Films 9 cité Paradis 75010 Paris, France E sales�memento-films.com

The Protagonists Tilda Swinton: The Love Factory (kratki dok./doc. short) Mundo civilizado (dok./doc.) Melissa P. Io sono l'amore (I Am Love) Bertolucci on Bertolucci A Bigger Splash (Nemirna obala) Call Me By Your Name (Pokli~i me po svojem imenu)

distribucija/distribution Continental film d.o.o. Cvetkova ulica 1 1000 Ljubljana E video�continentalfilm.si

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Suburbicon Suburbicon Pokvarjeno predmestje ZDA, Velika Britanija USA, Great Britain 2017

George Clooney reìja/directed by George Clooney scenarij/screenplay Joel Coen, Ethan Coen, George Clooney, Grant Heslov fotografija/cinematography Robert Elswit glasba/music Alexandre Desplat montaà/editing Stephen Mirrione igrajo/cast Matt Damon (Gardner), Julianne Moore (Rose, Margaret), Oscar Isaac (Roger), Glenn Fleshler (Ira Sloan), Sonia Gascón (nose~a dama/ pregnant lady), Noah Jupe (Nicky), Megan Ferguson (June), Michael D. Cohen (Stretch), Gary Basaraba (stric/uncle Mitch), Jack Conley, Tim Neff, Inbal Amirav, Steve Monroe, Dash Williams, Emily Goss, Marah Fairclough, Ellen Crawford producenti/producers George Clooney, Grant Heslov, Teddy Schwarzman produkcija/production Smokehouse Pictures (USA) & Black Bear Pictures (USA) & Silver Pictures (USA) format/format DCP, barvni/colour dolìna/running time 104' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2017, Toronto 2017

prodaja/world sales Bloom Media 400 S. Beverly Drive, Suite 300 Beverly Hills, CA 90212, USA E info�bloom-media.com distribucija/distribution Blitz film & video distribution d.o.o. Dolenjska cesta 258 1291 [kofljica E marketing�blitz-film.com

George Clooney se vra~a za re`isersko krmilo s satiro ameri{kega predmestja, posneto po scenariju bratov Coen. Film kljub umestitvi v petdeseta leta 20. stoletja ponuja neverjetno aktualen prikaz Trumpove rasisti~ne Amerike.

George Clooney is back behind the camera with an American suburban satire, based on the script by the Coen brothers. Despite being set in the 1950s, Suburbicon lends a keenly relevant insight into Trump's racist America.

Suburbicon je mirna, idili~na predmestna skupnost s skrbno urejenimi vrstnimi hi{ami. Tam ìvi druìna Lodge, v kateri o~e Garder z invalidno èno Rose vzgaja sina Nickyja. Nekega ve~era v njihovo hi{o vdreta nasilneà in druìno uspavata s kloroformom. Ko se Nicky zbudi, mu povedo, da je njegova mati umrla. Takoj po smrti se v njihovo hi{o priseli Rosina navidez skoraj identi~na sestra Margaret, kar vzbudi sum pri druìnskem zavarovalni{kem agentu. V sosednjo hi{o se medtem vseli druìna Meyers, ki s tem postanejo prvi temnopolti prebivalci v Suburbiconu. To sproì proteste belske ve~ine, ki pa svoje spletke zgolj skriva za zidovi na videz urejenih domov.

Suburbicon is a peaceful, idyllic suburban community with affordable homes. Across the back yard, the main action is happening in the home of Gardner Lodge, his wife Rose and their preteen son Nicky. Violence abruptly intrudes during a home invasion by two sleazy thugs, who knock out the family with chloroform. Nicky wakes up to learn that his mother has died, and Aunt Maggie moves in right after the funeral, ostensibly to provide stability in the wake of tragedy. Meanwhile, the Meyers move in next door, the first African American family in Suburbicon. This leads to protests by the white community, an angry mob with a dark underbelly of betrayal, deceit and violence.

"Zakon o podpori za vojne veterane, GI Bill, je vsem vojnim povratnikom omogo~il nakup lepe hi{e z garaò in dvori{~em. Dobili so lahko dobro slu`bo, ìveli v lepem okoli{u in si ustvarili druìno, ~e so le bili bele rase. Zabavno je lu{~iti zunanji lak popolnega druìnskega doma in opazovati, kako grde lahko postanejo stvari." (George Clooney)

"The GI Bill helped everybody coming back from the war to buy a nice house with a garage and a yard. You could get a good job, live in a nice neighbourhood and start a family, as long as you were white. What's fun is peeling back that veneer of the perfect home life, and seeing how ugly things can get." (George Clooney)

George Clooney

filmografija/filmography

Rojen leta 1961 v Lexingtonu (Kentucky, ZDA). V mladosti je bil dejaven {portnik, bil je celo na preizku{nji pri bejzbol ekipi Cincinnati Reds, a mu niso ponudili pogodbe. Ko mu je bratranec priskrbel vlogo v filmu And They're Off (1982), se je preusmeril v igralstvo. Njegova prva velika vloga je bila v TVseriji Urgenca (1984). Od leta 2002 je tudi re`iser, ime si je ustvaril predvsem s filmom Lahko no~ in sre~no.

2002 2005 2005 2008 2011 2014 2017

Born in 1961 in Lexington, Kentucky, USA. He was very active in sports such as baseball, and tried out for the Cincinnati Reds, but was not offered a contract. After his cousin got him a small part in a feature film, And They're Off, Clooney began to pursue acting. His first major role was on the sitcom E/R (1984). He has been making films since 2002, and has gained renown with Good Night, and Good Luck.

Confessions of a Dangerous Mind (Izpovedi nevarnega uma) Unscripted (TV-serija/TV series) Good Night, and Good Luck. (Lahko no~ in sre~no) Leatherheads (Umazana igra) The Ides of March (Mar~eve ide) The Monuments Men (Varuhi zapu{~ine) Suburbicon (Pokvarjeno predmestje)

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Sweet Country Sweet Country Prijazna de`ela Avstralija Australia 2017

Warwick Thornton

Zamol~ano poglavje iz zgodovine avstralskih staroselcev razkriva zgodbo o nena~rtovanem zlo~inu, ki postane povod za iskanje pravice onkraj rasnega in etni~nega zatiranja. Sam je domorodec v srednjih letih, ki dela za pridigarja v divjini Severnega teritorija v Avstraliji. Ko se v sosednje opori{~e priseli zagrenjeni vojni veteran Harry, po{lje pridigar k njemu Sama in njegovo druìno, da bi mu pomagali pri vzreji ìvine. Vendar pa se odnos med mo{kima hitro poslab{a, dokler naposled ne izbruhne nasilen obra~un, v katerem Sam v samoobrambi ubije Harryja. Domorodec tako postane iskan kriminalec, ki ga bremeni umor belca, zato z èno zbeì v divjino – v ~udovito, a izjemno kruto pu{~avsko pokrajino. Narednik Fletcher dobi nalogo, da Sama izsledi, a ko za~nejo prihajati na dan podrobnosti obra~una, se pri okoli{kih prebivalcih vse bolj poraja vpra{anje, ali lov za domnevnim storilcem res sluì pravici. "Prizori{~e filma Prijazna deèla je osrednja Avstralija, kjer sva s scenaristom Davidom Tranterjem odra{~ala. (...) V dvajsetih letih mi, avstralski staroselci, nismo bili uradno su`nji, vendar smo delali brezpla~no, za obroke hrane, pod oblastjo pravnega predpisa, imenovanega Zakon o staroselskih zadevah. Tako so te druìnske zgodbe tudi moja dedi{~ina – osebni del te zgodovine, ki pripada vsem nam." (Warwick Thornton)

reìja/directed by Warwick Thornton scenarij/screenplay Steven McGregor, David Tranter fotografija/cinematography Dylan River, Warwick Thornton montaà/editing Nick Meyers igrajo/cast Sam Neill (Fred Smith), Bryan Brown (narednik/sergeant Fletcher), Hamilton Morris (Sam Kelly), Thomas M. Wright (Mick Kennedy), Ewen Leslie (Harry March), Gibson John (Archie), Natassia Gorey Furber (Lizzie), Matt Day (sodnik/ judge Taylor), Anni Finsterer (Nell), Tremayne Doolan (Philomac) producenta/producers David Jowsey, Greer Simpkin produkcija/production Bunya Productions P.O. Box 7237 Bondi Beach, Sydney NSW 2026, Australia E greer.simpkin�icloud.com & Sweet Country Films (Australia) format/format DCP, barvni/colour dolìna/running time 110'

Addressing a suppressed chapter in the history of Australian Aborigines, Sweet Country discloses the story about an unpremeditated crime that prompted a search for justice beyond racial and ethnic discrimination.

festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2017 (posebna nagrada `irije/Special Jury Prize), Toronto 2017, London 2017

Sam, a middle-aged Aboriginal man, works for a preacher in the outback of Australia's Northern Territory. When Harry, a bitter war veteran, moves into a neighbouring outpost, the preacher sends Sam and his family to help Harry renovate his cattle yards. But Sam's relationship with the cruel and ill-tempered Harry quickly deteriorates, culminating in a violent shootout in which Sam kills Harry in self-defence. As a result, Sam becomes a wanted criminal for the murder of a white man, and is forced to flee with his wife across the deadly outback, through glorious but harsh desert country. A hunting party led by the local lawman Sergeant Fletcher is formed to track Sam down. But as the true details of the killing start to surface, the community begins to question whether justice is really being served. "Sweet Country is set in Central Australia, where both writer David Tranter and I grew up. (...) In the 1920's we indigenous Australians weren't technically slaves but we worked for free, worked for rations, under the authority imposed by a law called the Native Affairs Act. So these family stories are also my inheritance – a personal part of this history that belongs to all of us." (Warwick Thornton)

Warwick Thornton

filmografija/filmography

Rojen leta 1970 v Alice Springsu, Avstralija. Pozneje se je preselil v Sydney, da bi {tudiral filmsko fotografijo na presti`ni {oli AFTRS. Njegovi kratki filmi, v katerih se je osredoto~al na zgodbe avstralskih staroselcev, so osvojili ve~ mednarodnih nagrad. V podobnem duhu je posnel tudi svoj prvenec Samson & Delilah, ki je leta 2009 v Cannesu osvojil zlato kamero za najbolj{i prvenec. Ob re`iserskem delu je zelo cenjen tudi kot direktor fotografije.

2009 2013 2017 2017

prodaja/world sales Memento Films 9 cité Paradis 75010 Paris, France E sales�memento-films.com

Samson & Delilah The Darkside We Don't Need a Map (dok./doc.) Sweet Country (Prijazna de`ela)

distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Born in 1970 in Alice Springs, Australia, Warwick moved to Sydney to study cinematography at Australia's prestigious film school AFTRS. Warwick's short films, focusing on contemporary Indigenous Australian stories, have won a number of international awards. Made in a similar vein, his first feature, Samson & Delilah, won the 2009 Cannes Film Festival's Caméra d'Or for Best Debut Film. An acclaimed director and screenwriter, he is also widely regarded for his work as a cinematographer.

Predpremiere Avantpremieres

Slovenija, Avstralija in jutri ves svet Slovenia, Australia and Tomorrow the World Slovenija, Avstralija in jutri ves svet Marko Naber{nik

reìja/directed by Marko Naber{nik scenarij/screenplay Marko Naber{nik fotografija/cinematography Milo{ Srdi} glasba/music Igor Vasilev Novogradska montaà/editing Jan Lov{e igrajo/cast Jure Ivanu{i~ (Boris Jenko), Minca Lorenci (Vesna Jenko), Aljo{a Ternov{ek (Igor Breznik), Mojca Simoni~ (Petra), Milada Kalezi} (Katarina Breznik), Vlado Novak (Mirko Breznik), Tadej To{ (Luka), Simon [erbinek (Logar), Primo` Ekart (Simon), Jernej Kuntner (Sa{o Plani~) producenta/producers Ale{ Pavlin, Andrej [tritof produkcija/production Perfo d.o.o. Trg mladinskih delovnih brigad 4 1000 Ljubljana, Slovenija E info�perfo.si & RTV Slovenija & Kino Oko format/format DCP, barvni/colour dolìna/running time 118'

V Maribor postavljena zgodba o preprostem delavcu, ki upa, da si bo s popoldanskim delom v mre`nem marketingu izbolj{al finan~ni poloàj. Pripoved o generaciji srednjih let, ki se spra{uje, ali je ìvljenje {e vedno mogo~e zastaviti na novo. Boris, poro~en z Vesno in o~e dveh otrok, dela kot vzdrèvalec strojev v tovarni ter upa, da bodo delodajalci cenili njegovo delo in trud. Ko ugotovi, da ni tako, se naivno oklene prijateljevega nasveta in se odpravi na seminar, ki obljublja lahek dodatni zasluèk. A zavajajo~e motivacijsko prepri~evanje podjetja Cosmica, ki se ukvarja z akvizitersko prodajo, svetovanjem in nalo`bami v vrednostne papirje, je polno pasti in àl ne rodi obljubljenih sadov. Ob vsem tem se Boris zaplete {e v ljubezensko afero, kar zamaje temelje njegove druìne ... "Zgodbo bi tokrat lahko ozna~il za malo sme{no in malo àlostno. Gre za zmes drame in komedije, bistvo pa je nedvomno bitka za lep{i jutri. Nekdo najde izpolnitev v delu, nekdo v druìni, drugega osre~ujejo hobiji. Prizadevanje za sre~o in osebno izpolnjenost sta motor vsega, kar po~nemo. Eni to po~nejo tako, da pri tem bogatijo sebe in okolico, drugi so pri tem po~etju lahko tudi destruktivni in mislijo samo nase. Zagotovo pa je film tudi posvetilo mestu, v katerem sem se rodil. Na Maribor me veè veliko spominov in za dolo~en del zgodbe ~rpam navdih iz izku{enj." (Marko Naber{nik)

prodaja/world sales Perfo d.o.o. Trg MDB 4 1000 Ljubljana, Slovenia E info�perfo.si distribucija/distribution Fivia Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Set in Maribor, Slovenia, Australia and Tomorrow the World deals with a low-skilled worker aiming to improve his economic situation by pyramid selling. A story about middleaged generation wondering whether life can still be redefined. Boris, a father of two, is married to Vesna. He works as an electricity technician in a large manufacturing company, still hoping that his employers will appreciate his dedication and hard work. Boris dreams of providing for his family and giving them a life free of worry. He finds incentive in the business model of Cosmica, a new kind of company dealing with sales, consulting and investments in securities. The company promises its members a chance to make some money on the side and a new hope sparks in Boris's heart. Furthermore, Boris starts an affair that puts even more strain on his life, jeopardising his marriage. "The story could be described as partly humorous and partly sad. A blend of drama and comedy whose essence is the struggle for a better future. Some find fulfilment in work, some in family, and some find happiness in hobbies. Striving for happiness and personal fulfilment are the driving force of everything we do. In doing so, some enrich their own lives and those of their loved ones and their community, while others can be destructive and think only of themselves. The film is also a tribute to my hometown. I have many memories of Maribor and I partly drew inspiration from my personal experiences in writing the script." (Marko Naber{nik)

Marko Naber{nik

filmografija/filmography

Rojen leta 1973 v Mariboru. Diplomiral iz televizijske in filmske re`ije na ljubljanski AGRFT, kjer danes pou~uje kot izredni profesor. Deluje kot re`iser TV-oddaj ter igranih in dokumentarnih filmov. Njegov Petelinji zajtrk je tretji najbolj gledan slovenski film, za [anghaj pa je leta 2012 prejel nagrado za najbolj{i scenarij na festivalu v Montrealu.

2000 2000 2004 2006 2007 2009 2012 2014

Born in 1973 in Maribor. Graduated in TV and film directing from the Academy of Theatre, Radio, Film and Television Ljubljana, where he currently serves as Associate Professor. He directs TV shows as well as fiction and documentary films. Rooster's Breakfast was the third most popular Slovenian film, and Shanghai received the Best Script Award at the 2012 Montreal Film Festival.

Slovenija, Makedonija Slovenia, Macedonia 2017

Deseti planet (kratki/short) Z ljubeznijo (kratki/short) Izku{nja razlike (dok./doc.) Sen kresne no~i Petelinji zajtrk (Rooster's Breakfast) Hodnik [anghaj Die Wälder sind noch grün (The Woods Are Still Green/Gozdovi so {e vedno zeleni) 2015 Matija Vertovec (dok./doc.) 2016 Slovenija, Avstralija in jutri ves svet (Slovenia, Australia and Tomorrow the World)

Predpremiere Avantpremieres

Happy End Happy End Sre~en konec Michael Haneke

Francija, Avstrija, Nem~ija France, Austria, Germany 2017

Cini~en portret bogate francoske dru`ine, v katerem se Michael Haneke znova loti prefinjenega seciranja potla~enih problemov sodobne Evrope.

Michael Haneke's cynical portrayal of a wealthy French family, Happy End closely scrutinises the sidestepped problems of contemporary Europe.

Druìna Laurent iz Calaisa na severu Francije ima v lasti uspe{no gradbeno podjetje, ki ga je ustanovil druìnski patriarh George. Ker je ta è mo~no v letih in trpi za demenco, posle prevzame njegova hladna, deloholi~na h~erka Anne, ki ima, prav tako kot njen brat Thomas, za povrh obilico teàv v zasebnem ìvljenju. Anne ne najde pravega stika s sinom Pierrom, Thomas pa posku{a na pravo pot spraviti trinajstletno h~er Eve, ki na svet kljub vsemu materialnemu obilju gleda z vse ve~jim gnusom. Haneke nam po~asi razkriva vsakdan disfunkcionalne druìne, da bi z razli~nih zornih kotov osvetlil patologijo, ki se kot bolezen prena{a z generacijami.

The fragmented drama revolves around the affluent Laurent family, which runs a successful construction business founded by now-senile patriarch George. These days, the business is run by his icy daughter Anne, an obsessive workaholic, who is also dealing with mounting private concerns. She has lost patience with her reckless grown son Pierre. Anne's brother Thomas's alienated 13-year-old daughter Eve looks on at the disaffected people around her in disgust. Haneke slowly immerses the viewer in this bleak network of concerns, assembling multiple perspectives to encompass the range of antagonism that seems to pass through the generations like a disease.

"Ne glede na pretresljivost je ta Hanekejev film tudi njegovo najbolj humorno delo, posnetki s pametnim telefonom – po impresivnem uvodnem prizoru jih {e nekajkrat naniza – pa film trdno ume{~ajo v sodobni kontekst na{ega, s tehnologijo obsedenega sveta. Kot s ~rnim humorjem preèta rezka druìnska drama in kriti~ni komentar sveta, v katerem ìvijo na{i otroci, je Sre~en konec osupljiv filmski doseèk." (Nikola Grozdanovi}, The Playlist)

"As disturbing as it is, it also happens to be Haneke's funniest movie to date and the Smartphone aspect ratio, which makes a few comebacks after the impressive opening shots, firmly places the film in the contemporary context of our technologyobsessed world. As an austere and darkly comic family drama, and a scathing commentary about the kind of world our children are living in, Happy End is stunning cinema." (Nikola Grozdanovi}, The Playlist)

Michael Haneke

filmografija (izbor)/filmography (selection)

Rojen leta 1942 v Münchnu. Na Dunaju je {tudiral filozofijo, psihologijo in gledali{ko umetnost. Med letoma 1967 in 1970 je pisal gledali{ka dela za dunajsko Südwestfunk, v gledali{~u {e vedno ob~asno dela. Je eden najuspe{nej{ih in najve~krat nagrajenih evropskih re`iserjev. Za svoja zaporedna filma Beli trak in Ljubezen je prejel dve zlati palmi na filmskem festivalu v Cannesu.

1989 Der siebente Kontinent (The Seventh Continent/Sedmi kontinent) 1992 Benny's Video (Bennyev video) 1994 71 Fragmente einer Chronologie des Zufalls (71 Fragments of a Chronology of Chance/71 fragmentov kronologije naklju~ja) 1997 Das Schloß (The Castle/Grad) 1997 Funny Games (Sme{ne igre) 2000 Code inconnu: Récit incomplet de divers voyages (Code Unknown: Incomplete Tales of Several Journeys/Neznana koda) 2001 La pianiste (The Piano Teacher/U~iteljica klavirja) 2003 Le temps du loup (The Time of the Wolf) 2005 Caché (Hidden/Skrito) 2009 Das weiße Band (A White Ribbon/Beli trak) 2012 Amour (Love/Ljubezen) 2017 Happy End (Sre~en konec)

Born in 1942 in Munich. Studied philosophy, psychology and theatre in Vienna. Between 1967 and 1970 Haneke wrote plays for the Südwestfunk Vienna. He still occasionally works in theatre. One of the most distinctive and award-winning European auteurs, Haneke has won two prestigious Golden Palm Awards for his two consecutive films, A White Ribbon and Love.

reìja/directed by Michael Haneke scenarij/screenplay Michael Haneke fotografija/cinematography Christian Berger montaà/editing Monika Willi igrajo/cast Isabelle Huppert (Anne Laurent), Jean-Louis Trintignant (Georges Laurent), Mathieu Kassovitz (Thomas Laurent), Fantine Harduin (Eve Laurent), Franz Rogowski (Pierre Laurent), Toby Jones (Lawrence Bradshaw), Loubna Abidar, Nabiha Akkari, Franck Andrieux, Dominique Besnehard, Sophie Bourdon, Jack Claudany, David El Hakim, Hassam Ghancy, Jackee Toto, Laura Verlinden producentka/producer Margaret Ménégoz produkcija/production Les Films Du Losange Avenue Pierre Ier de Serbie 22 75116 Paris, France E info�filmsdulosange.fr & X-Filme Creative Pool (Germany) & Wega Film (Austria) format/format DCP, barvni/colour dolìna/running time 107' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2017, Sydney 2017, München/Munich 2017, Karlovi Vari/ Karlovy Vary 2017

prodaja/world sales Les Films Du Losange Avenue Pierre Ier de Serbie 22 75116 Paris, France E b.vincent�filmsdulosange.fr distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Predpremiere Avantpremieres

Thelma Thelma Thelma Norve{ka, [vedska, Francija, Danska Norway, Sweden, France, Denmark 2017

Joachim Trier reìja/directed by Joachim Trier scenarij/screenplay Joachim Trier, Eskil Vogt fotografija/cinematography Jakob Ihre glasba/music Ola Fløttum montaà/editing Olivier Bugge Coutté igrajo/cast Eili Harboe (Thelma), Kaya Wilkins (Anja), Henrik Rafaelsen (Trond), Ellen Dorrit Petersen (Unni), Ludvig Algeback (mali bratec/little brother), Isabel Christine Andreasen ({tudentka/student), Camilla Belsvik (medicinska sestra/nurse), Lars Berge (re{evalec/lifeguard), Vanessa Borgli (Anjina mati/Anja's mother), Sigve Bøe (mo{ki pri avtu/man outside car) producent/producer Thomas Robsahm produkcija/production Motlys AS Sagveien 18 0459 Oslo, Norway E motlys�motlys.com & Film i Väst (Sweden) & Le Pacte (France) & Filmpool Nord (Norway) & Snowglobe (Denmark) & B-Reel Films (Sweden) & Don't Look Now (Norway) format/format DCP, barvni/colour dolìna/running time 116' festivali, nagrade (izbor)/ festivals, awards (selection) Toronto 2017, Vancouver 2017, New York 2017, Sitges 2017, London 2017, Chicago 2017

V domi{ljijskem trilerju norve{kega re`iserja Joachima Trierja mlado dekle ob za~etku {tudija odkrije, da ima nevarne nadnaravne sposobnosti.

A young Norwegian student discovers that she possesses terrifying powers, in this supernatural thriller from acclaimed Norwegian director Joachim Trier.

Thelma je srame`ljivo dekle, ki je pravkar zapustilo svojo verno druìno v mestecu na zahodni obali Norve{ke in se odpravilo v Oslo {tudirat na tamkaj{nji univerzi. Nekega dne med obiskom knji`nice doìvi nasilen, nepri~akovan napad. Kmalu zatem jo za~ne mo~no privla~iti lepa {tudentka Anja. Bolj ko se semester blià koncu, bolj je Thelma prevzeta nad svojimi ob~utki do Anje, ~eprav si jih nikoli zares ne prizna. Ob tem postajajo njeni napadi vse huj{i in izkaè se, da je to del njenih nerazlo`ljivih, pogosto nevarnih nadnaravnih sposobnosti. Dekle se mora soo~iti z grozljivimi posledicami svoje neverjetne mo~i, a tudi s tragi~nimi skrivnostmi iz lastne preteklosti.

Thelma, a shy young student, has just left her religious family in a small town on the west coast of Norway to study at a university in Oslo. While at the library one day, she experiences a violent, unexpected seizure. Soon after, she finds herself intensely drawn toward Anja, a beautiful young student. As the semester continues, Thelma becomes increasingly overwhelmed by her intense feelings for Anja – feelings she doesn't dare acknowledge, even to herself – while at the same time experiencing even more extreme seizures. As it becomes clearer that the seizures are a symptom of inexplicable, often dangerous, supernatural abilities, Thelma is confronted with tragic secrets of her past, and the terrifying implications of her powers.

"Z Eskilom �soscenaristom, op. p.� (...) sva odra{~ala v osemdesetih letih, ob branju Stephena Kinga in japonskih stripov ter poslu{anju elektronske glasbe sedemdesetih in osemdesetih let, npr. Johna Carpenterja in Tangerine Dream. Spra{evala sva se, ali bi bilo mogo~e spojiti to vrsto gradiva z zgodbo o norve{kem dekletu, ki ugotovi, da zaradi neke globlje sile v sebi izgublja nadzor nad svojim `ivljenjem. @elela sva nekaj z vizualnim potencialom za raziskovanje no~ne more in nedoumljivosti ob naslonitvi na `anr – nadnaravno zgodbo bolj kot alegorijo, vendar {e vedno o ~love{kih bitjih." (Joachim Trier)

prodaja/world sales Memento Films International 9 Cité Paradis 75010 Paris, France E sales�memento-films.com distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Joachim Trier

filmografija/filmography

Rojen leta 1974 v Köbenhavnu na Danskem. Odra{~al je v dru`ini filmskih ustvarjalcev. V mladosti je posnel veliko skejterskih filmov, nato se je vpisal na Evropsko filmsko akademijo na Danskem ter zatem {e na Britansko dr`avno filmsko in televizijsko akademijo (NFTS). S celove~ernim prvencem Repriza je osvojil glavno nagrado v Karlovih Varih, vrsto nagrad pa je prejel tudi za film Oslo, 31. avgusta.

1999 2001 2002 2006 2011 2015 2017

Born in 1974 in Copenhagen, Trier grew up in a family of filmmakers. As a young artist, he made a fair number of skateboarding films and then enrolled in the European Film College in Denmark and subsequently in the National Film and Television School (NFTS) in the UK. His feature debut, Reprise, won the main prize at the Karlovy Vary Film Festival and his second film, Oslo, August 31, also won a number of awards.

"Eskil and I (...) grew up in the 1980s, reading Stephen King and Japanese cartoons, and listening to 1970s and 1980s synthesizer music, like John Carpenter and Tangerine Dream. We wondered whether it would be possible to combine that sort of material with the story of a Norwegian girl, who realises that something deep within her is making her lose control of her life. We wanted something that had the visual potential to venture into nightmares and mystery, while leaning on a genre – a supernatural story more than an allegorical tale, but still about human beings." (Joachim Trier) Pietà (kratki/short) Still (kratki/short) Procter (Before Life, After Death) (kratki/short) Reprise (Repriza) Oslo, 31. august (Oslo, August 31st/Oslo, 31. avgusta) Louder Than Bombs (Glasnej{a od bomb) Thelma

Predpremiere Avantpremieres

Three Billboards Outside Ebbing, Missouri Three Billboards Outside Ebbing, Missouri Trije plakati pred mestom Velika Britanija, ZDA Great Britain, USA 2017

Martin McDonagh

Velika vrnitev igralke Francis McDormand v tragikomi~nem filmu, ki je irskemu re`iserju Martinu McDonaghu prinesel nagrado za najbolj{i scenarij v Benetkah in nagrado ob~instva v Torontu.

A big comeback of actress Francis McDormand in a tragicomic film that earned Irish director Martin McDonagh Best Screenplay Award at Venice and People's Choice Award at Toronto.

Minilo je `e ve~ mesecev, odkar so Mildred Hayes umorili h~erko, a policiji {e vedno ni uspelo najti morilca. Jezna mati se zato odlo~i za drzno potezo: najela bo tri velike reklamne panoje ob cesti, nanje pa bo z velikimi ~rkami napisala o~itajo~a sporo~ila, namenjena {efu lokalne policije Williamu Willoughbyju. Nenavadni primer nepokor{~ine prevzame nezrel policist Dixon, ki ima za seboj bogato zgodovino rasisti~nih in nasilnih izpadov. Boj med Mildred in policijskimi silami v Ebbingu se neizogibno stopnjuje do neslutenih razse`nosti.

After months have passed without a culprit in her daughter's murder case, Mildred Hayes makes a bold move, painting three signs leading into her town with a controversial message directed at William Willoughby, the town’s revered chief of police. When his second-in-command Officer Dixon, an immature boy with a penchant for violence, gets involved, the battle between Mildred and Ebbing's law enforcement is only exacerbated.

"Kam gre{, ko te prevevata izguba in jeza brez upanja na razre{itev? Kaj lahko stori{, konstruktivnega ali destruktivnega, da stvari prevetri{ in se kaj premakne? Zanimivo je prou~evati idejo, kaj se zgodi, ko upanja morda ve~ ni, vendar se odlo~i{, da bo{ burkal gladino, dokler upanje ne vznikne. Zaradi tega ta film preveva druga~no ozra~je od ve~ine kriminalk; obstaja ve~no vpra{anje 'kaj ~e ta zlo~in nima re{itve?'." (Martin McDonagh)

reìja/directed by Martin McDonagh scenarij/screenplay Martin McDonagh fotografija/cinematography Ben Davis glasba/music Carter Burwell montaà/editing Jon Gregory igrajo/cast Frances McDormand (Mildred Hayes), Woody Harrelson (Bill Willoughby), Sam Rockwell (Jason Dixon), Caleb Landry Jones (Red), Peter Dinklage (James), Abbie Cornish (Anne Willoughby), Kathryn Newton (Angela), Samara Weaving (Penelope), John Hawkes (Charlie), Lucas Hedges (Robbie Hayes), Clarke Peters (Abercrombie), Brendan Sexton III, Kerry Condon, @eljko Ivanek producenti/producers Graham Broadbent, Peter Czernin, Martin McDonagh produkcija/production Blueprint Pictures 43–45 Charlotte Street London W1T 1RS, UK E info�blueprintpictures.com format/format DCP, barvni/colour dolìna/running time 115' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2017 (najbolj{i scenarij/Best Screenplay), Toronto 2017 (nagrada ob~instva/People's Choice Award), Helsinki 2017, Hamburg 2017, London 2017, Chicago 2017

"Where do you go when you're in a place of loss and anger that's dead-ended? What can you do, constructive or destructive, to shake things up and get something done? It's an interesting idea to explore, that of what happens when there might not be any hope in a situation but you decide you're going to keep making waves until hope arrives. I think that's why this feels different from most crime films; there's the lingering question of 'what if there is no solution to this crime'?" (Martin McDonagh)

Martin McDonagh

filmografija/filmography

Rojen irskim star{em leta 1970 v Londonu. Pri {estnajstih je pustil {olo, da bi se posvetil pisanju gledali{kih iger. @e njegova prva predstava The Beauty Queen of Leenane (1996) je osvojila vrsto nagrad, uspehe pa je nadaljeval tudi z nadaljnjimi odrskimi deli. Njegov prvi kratki film Six Shooter je osvojil oskarja za najbolj{i kratki film. Celove~erni prvenec Morilca na kolektivca je posnel leta 2008.

2004 2008 2012 2017

prodaja/world sales Fox Searchlight Pictures (USA)

Six Shooter (kratki/short) In Bruges (Morilca na kolektivca) Seven Psychopaths (Sedem psihopatov in shih tzu) Three Billboards Outside Ebbing, Missouri (Trije plakati pred mestom)

distribucija/distribution Blitz film & video distribution d.o.o. Dolenjska cesta 258 1291 [kofljica E marketing�blitz-film.com

Born into an Irish family in 1970 in London. He left school when he was 16 to pursue his love for playwriting. It was already his first play, The Beauty Queen of Leenane (1996), that won a number of awards. Since then McDonagh has gone on to write multiple smash-hit shows and films and win multiple awards, including an Academy Award for Live Action Short Film for Six Shooter. He made his first feature film, In Bruges, in 2008.

Predpremiere Avantpremieres

The Killing of a Sacred Deer The Killing of a Sacred Deer Ubijanje svetega jelena Yorgos Lanthimos

reìja/directed by Yorgos Lanthimos scenarij/screenplay Yorgos Lanthimos, Efthymis Filippou fotografija/cinematography Thimios Bakatakis montaà/editing Yorgos Mavropsaridis igrajo/cast Colin Farrell (Steven Murphy), Nicole Kidman (Anna Murphy), Alicia Silverstone (Martinova mati/ Martin's mother), Raffey Cassidy (Kim Murphy), Barry Keoghan (Martin), Bill Camp (Matthew), Sunny Suljic (Bob Murphy), Megan Chelf Fisher (stranka v okrep~evalnici/diner patron), Anita Farmer Bergman (medicinska sestra/ nurse), Lea Hutton Beasmore (gostja na konferenci/conference guest) producenti/producers Ed Guiney, Yorgos Lanthimos, Andrew Lowe produkcija/production Element Pictures 21 Mespil Road Dublin 4, Ireland E info�elementpictures.ie & Film4 (GB) format/format DCP, barvni/colour dolìna/running time 121' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2017 (najbolj{i scenarij/ Best Screenplay), Melbourne 2017, Toronto 2017, London 2017

prodaja/world sales Hanway Films 24 Hanway Street London, W1T 1UH, UK E info�hanwayfilms.com distribucija/distribution Cinemania Roj~eva 1 1000 Ljubljana E info�cinemania-group.si

Yorgos Lanthimos je v svojem drugem angle{ko govore~em filmu spet zdru`il mo~i s Colinom Farrellom, a se je z njim podal na veliko tema~nej{o pot kot v Jastogu. Nagrada za najbolj{i scenarij na leto{njem Cannesu.

For his second English-speaking film, Yorgos Lanthimos again cast Colin Farrell, but went down a much darker path than in The Lobster. Best Screenplay Award at 2017 Cannes FF.

Steven je priznan kardiokirurg, poro~en z Anno, spo{tovano oftalmologinjo. Zakonca sta dobro preskrbljena ter ìvita sre~no in zdravo z otrokoma, {tirinajstletno Kim in dvanajstletnim Bobom. Steven se spoprijatelji z Martinom, {estnajstletnim fantom brez o~eta, in ga vzame pod svojo streho. Dogodki za~nejo dobivati zlove{~ pridih, ko Steven fanta predstavi svoji druìni, saj v njihov urejeni svet vdre nemir. ê ne èli izgubiti vsega, kar je zgradil skupaj s svojo druìno, mora Steven sprejeti {okantno `rtev.

Steven, an eminent cardiothoracic surgeon is married to Anna, a respected ophthalmologist. They are well off and live a happy and healthy family life with their two children, Kim, 14, and Bob, 12. Steven has formed a friendship with Martin, a fatherless 16-yearold boy whom he has taken under his wing. Things take a sinister turn when Steven introduces Martin to his family, gradually throwing their world into turmoil and forcing Steven to make a shocking sacrifice or run the risk of losing everything.

"Ko sva za~ela pisati scenarij in razmi{ljati o zgodbi, sva ugotovila, da obstajajo vzporednice z Evripidovo tragedijo Ifigenija v Avlidi. Zdelo se mi je zanimivo navezati dialog z delom, ki je tako ukoreninjeno v zahodno kulturo. V `ivljenju se ljudje sre~ujejo z velikimi dilemami in koncept `rtve porodi {tevilna vpra{anja o vsem." (Yorgos Lanthimos)

"When we started writing the script and thinking about the story, we discovered there were some parallels with the tragedy Iphigenia in Aulis by Euripides, and I thought it would be interesting to have a dialogue with something that is so ingrained in Western culture. In life, there are people who come up against huge dilemmas, and the concept of sacrifice raises a significant number of questions about everything." (Yorgos Lanthimos)

Yorgos Lanthimos

filmografija/filmography

Rojen leta 1973 v Atenah. Filmsko in televizijsko reìjo je {tudiral na {oli za film Stavrakos v Atenah. Od leta 1995 reìra celove~erce, gledali{ke predstave in televizijske oglase. V filmih Kinetta, Podo~nik in Alpe je razvil povsem samosvoj alegori~en na~in pripovedovanja in se z njim prebil med najvidnej{e evropske reìserje. Film Jastog je bil njegov prvi film v angle{kem jeziku.

2001 2002 2005 2009 2011 2015 2017

Born in 1973 in Athens, Greece, Lanthimos studied film- and TV-direction at the Stavrakos Film School in Athens. Since 1995 he has been involved in filmmaking as well as in direction of theatre productions and TVcommercials. He gained international prominence by developing his own absurdist and allegorical style of storytelling in Kinetta, Dogtooth and Alps. The Lobster was his first English-speaking film.

Irska, Velika Britanija Ireland, Great Britain 2017

O kalyteros mou filos (My Best Friend) Uranisco Disco (kratki/short) Kinetta Kynodontas (Dogtooth/Podo~nik) Alpis (Alps/Alpe) The Lobster (Jastog) The Killing of a Sacred Deer (Ubijanje svetega jelena)

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A Ciambra A Ciambra V Ciambri Jonas Carpignano

Italija, Francija, ZDA, Nem~ija, [vedska, Brazilija Italy, France, USA, Germany, Sweden, Brasil 2017

S prikazom odra{~anja v romski skupnosti na jugu Italije, ki je nastal kot plod dolgotrajnega prou~evanja `ivljenja v etni~no me{anem okolju, re`iser pogumno odstira pogled v svet, obi~ajno skrit na{im o~em.

With his film, the result of a long and meticulous observation of a Romani community in Southern Italy, Jonas Carpignano offers a glimpse of a world that is usually closed off to the outside world.

Pio, ki ìvi v majhni romski skupnosti v Kalabriji, si èli ~im prej odrasti. Pri {tirinajstih pogumno popiva in kadi ter na vsakem koraku sledi starej{emu bratu Cosimu, od katerega se postopoma u~i, kako preìveti in se ~im bolje znajti na ulici. Ko Cosima in o~eta nekega dne aretirajo, Pio dobi prilo`nost, da poskrbi za druìno in prevzame bratov poloàj ter dokaè, da je vsaj tako dober kot on. A kaj ko vse ne gre po na~rtih in nepri~akovani dogodki od njega zahtevajo odgovornost in odlo~itve, na katere {e ni pripravljen ...

In A Ciambra, a small Romani community in Calabria, Pio Amato is desperate to grow up fast. At 14, he drinks, smokes and follows his older brother Cosimo everywhere, learning the necessary skills for life on the streets of their hometown. When Cosimo and their father get arrested one day and things start to go wrong, Pio sets out to prove he's ready to step into his big brother's shoes but soon finds himself faced with an impossible decision that will show whether he is truly ready to become a man.

"Upam, da bo ta film pomagal spremeniti emigracijsko politiko v Evropi, vendar ne vem, ali se bo spremenila. Nisem `elel narediti preve~ pou~nega filma in z njim posku{ati spremeniti politiko v Italiji. Meni je dovolj, ~e ljudje prenehajo gledati nanje kot na skupino migrantov ali priseljencev ter za~nejo o njih razmi{ljati kot o posameznikih. Bolj ko se identificiramo in vidimo del~ek sebe v njihovi izku{nji, ve~ so~utja imamo. Mislim, da to pomaga popraviti polo`aj." (Jonas Carpignano)

"Yes, I do hope this film will help change immigration policies in Europe, but I don't know if it'll change. The goal for me was never to make something overly didactic and to try and change policy in Italy. For me it’s enough if people stop looking at this as a group of migrants, or immigrants, and start thinking of them as individual people. I think that the more we can identify and see some of ourselves in their experience, the more compassion we will have. And I think that'll help the situation." (Jonas Carpignano)

Jonas Carpignano

filmografija (izbor)/filmography (selection)

Rojen v New Yorku leta 1984. Otro{tvo je preìvel med rojstnim mestom in Rimom, film je {tudiral na newyor{ki univerzi. S svojim opusom prete`no kratkih filmov, ki so prejeli {tevilna mednarodna priznanja, pogosto raziskuje problematiko svetovnih migracij in kesnofobije v Italiji, kjer trenutno ìvi in ustvarja kot reìser in scenarist. V Ciambri je njegov drugi celove~erec.

2012 2014 2015 2017

reìja/directed by Jonas Carpignano scenarij/screenplay Jonas Carpignano fotografija/cinematography Tim Curtin glasba/music Dan Romer montaà/editing Affonso Gonçalves igrajo/cast Pio Amato (Pio), Koudous Seihon (Ayiva), Damiano Amato (Cosimo), Francesco Pio Amato (Keko O'Marrochinu), Iolanda Amato (Iolanda), Patrizia Amato (Patatina), Rocco Amato (Rocco), Susanna Amato (Sussana) producenti/producers Christoph Daniel, Marc Schmidheiny, Jon Coplon, Paolo Carpignano, Ryan Zacarias, Gwyn Sannia, Rodrigo Teixeira produkcija/production Stayblack Productions (Italy) E jcoplon�gmail.com & RT Features (Brasil) & Sikelia Productions (USA) & Rai Cinema (Italy) format/format DCP, barvni/colour dolìna/running time 118' festivali/festivals Cannes 2017 – [tirinajst dni reìserjev/Directors Fortnight (nagrada label europa cinemas/Label Europa Cinemas Award), Karlovi Vari/Karlovy Vary 2017, München/ Munich 2017, Melbourne 2017, Toronto 2017

prodaja/world sales Luxbox 6 rue Jean-Pierre Timbaud 75011 Paris, France E info�luxboxfilms.com

A Chjàna (kratki/short) A Ciambra (kratki/short) Mediterranea (Sredozemlje) A Ciambra (V Ciambri)

distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Born in 1984 in New York, spent his childhood between Rome and New York City, studying film at NYU. His award-winning cinematic output comprises mostly short films and often deals with migration to and xenophobia in Italy. He lives in Italy where he continues to work as a writer and director. A Ciambra is his second feature film.

Predpremiere Avantpremieres

Un beau soleil intérieur Bright Sunshine In @arek v srcu Francija France 2017

Claire Denis reìja/directed by Claire Denis scenarij/screenplay Christine Angot, Claire Denis fotografija/cinematography Agnès Godard glasba/music Stuart A. Staples montaà/editing Guy Lecorne igrajo/cast Juliette Binoche (Isabelle), Xavier Beauvois (Vincent), Philippe Katerine (Mathieu), Josiane Balasko (Maxime), Nicolas Duvauchelle (igralec/actor), Alex Descas (Marc), Laurent Grévill (François), Bruno Podalydès (Fabrice), Paul Blain (Sylvain), Valeria Bruni Tedeschi (ènska v avtu/woman in the car), Gérard Depardieu (vedeèvalec/ fortune teller) producent/producer Olivier Delbosc produkcija/production Curiosa Films 7, avenue Franklin Delano Roosevelt 75008 Paris, France & FD Production (France) & Ad Vitam (France) & Versus Production (France) format/format DCP, barvni/colour dolìna/running time 94' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2017 – [tirinajst dni reìserjev/Directors' Fortnight, München/Munich 2017, Moskva/ Moscow 2017, Karlovi Vari/Karlovy Vary 2017

Juliette Binoche v vlogi pari{ke slikarke, ki v ljubezenskih avanturah i{~e pot do resni~ne ljubezni. Posneto po navdihu Barthesovih Fragmentov ljubezenskega diskurza.

Adapted from Roland Barthes' A Lover's Discourse: Fragments. Juliette Binoche stars as Isabelle, a Parisian artist who is looking for love, true love at last.

Isabelle je pari{ka umetnica, ki se po lo~itvi spu{~a v vrsto be`nih spolnih razmerij. Tu je Vincent, arogantni bankir, ki jo pripelje do orgazma samo, kadar razmi{lja, kako odbijajo~ se ji zdi. Nato mladi melanholi~ni igralec, ~igar kroni~na neodlo~nost ni ovira, da ga ne bi zvabila v posteljo. Potem so tu {e nadaljnje prilo`nosti: njen ~uda{ki ob~udovalec na lokalni ribji tr`nici ali pa delavec, ki vzbudi odkrit odpor pri njenih svetovljanskih kolegih. Morda pa so vse poti usmerjene k vede`evalcu v podobi Gérarda Depardieuja, ki svojo prerokbo ukroji tako, da bi jo pripeljal k sebi ...

Isabelle, a painter, has a series of brief sexual affairs after her divorce. Vincent, a banker boyfriend, inspires her to orgasm only when she's thinking how much she detests him. A melancholy young actor she meets would make anyone infuriated with his inability to take decisions, but she goads him into her bed anyway. Then there's her blooming relationship with a workingclass man she meets in a local fish market, and at the end of the film Gerard Depardieu turns up as fortune teller who embarks on a 'reading' of Isabelle that is plainly intended to guide her towards him.

"Christine Angot (soscenaristka, op. prev.) sem omenila besedo iz Barthesovih Fragmentov, ki mi je ljuba: agonija. Postala je najina klju~na beseda, to~ka, iz katere sva izhajali. Agonija mi v misli prikli~e zelo sofisticiran in malce domi{ljav izraz za sr~no bole~ino: nepote{ena pri~akovanja, strte ideale. To besedo si lahko za~ne{ 'lastiti', takoj ko postane{ bolj pragmati~en glede svojih ljubezenskih zvez, ko si dovoli{ biti ironi~en o svoji preteklosti. In beseda agonija je Christine in mene nemudoma uro~ila, naju prenesla v nekak{en domi{ljijski svet. Nekako najina lastna ljubezenska bol napaja scenarij." (Claire Denis)

prodaja/world sales Films Distribution 5 rue Nicolas Flamel 75004 Paris, France E info�filmsdistribution.com distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Claire Denis

filmografija (izbor)/filmography (selection)

Rojena leta 1948 v Parizu, Francija, do {tirinajstega leta je odra{~ala v Afriki. Diplomirala je na presti`nem pari{kem filmskem in{titutu. Skrivnosti posla se je u~ila kot asistentka {tevilnih uveljavljenih re`iserjev, kot so Wim Wenders, Jim Jarmusch in Costa-Gavras. Kot scenaristka in re`iserka je debitirala leta 1988 s filmom Chocolat, z ve~ino svojih filmov pa je dosegla velik uspeh na svetovnih festivalih.

1988 1989 1990 1994 1996 1999 2001 2002 2004 2008 2009 2013 2017

Born in Paris in 1948 and raised in Africa until the age of 14. She graduated from the prestigious L'Institut des Hautes Études Cinématographiques, and honed her filmmaking skills as an assistant to a number of notable directors, including Wim Wenders, Jim Jarmusch and Costa-Gavras. She made her directorial and screenwriting debut in 1988 with Chocolate. Most of her films were successfully screened at festivals around the world.

"I told Christine Angot that in Barthes' Fragments, there was a word I loved: 'Agony' and we made it our keyword, the point from which we started working. Agony in my mind evokes a very chic and slightly smug way of saying that one is overwhelmed by romantic woes: the unquenchable expectation, the thwarted ideal. You can begin to 'own' this word the moment you've become more pragmatic about your love affairs, when you allow yourself to be ironic about your past history. And the word 'agony' immediately put Christine and me under a sort of spell, transporting us into a sort of imaginary world. In a way, our own 'amorous throes' fed the writing process." (Claire Denis)

Chocolat (Chocolate) Man No Run S'en fout la mort (No Fear, No Die) J'ai pas sommeil (I Can’t Sleep/Ne morem spati) Nénette et Boni (Nennette and Boni/Nénette in Boni) Beau travail (Good Work/Dobro delo) Trouble Every Day (Te`ave vsak dan) Vendredi soir (Friday Night/Petek zve~er) L'intrus (The Intruder/Vsiljivec) 35 rhums (35 Shots of Rhum/35 {ilc ruma) White Material (Belka) Les salauds (Bastards) Un beau soleil intérieur (Bright Sunshine In/@arek v srcu)

Kralji in kraljice Kings and Queens

La caméra de Claire Claire's Camera Clairina kamera Hong Sang-soo

reìja/directed by Hong Sang-soo scenarij/screenplay Hong Sang-soo fotografija/cinematography Lee Jinkeun glasba/music Dalpalan montaà/editing Hahm Sung-won igrajo/cast Isabelle Huppert (Claire), Kim Minhee (Jeon Manhee), Chang Mi-hee (Nam Yanghye), Jung Jin-young (So Wansoo), Yoon Hee-sun, Lee Wanmin, Kang Taeu, Mark Peranson, Shahira Fahmy producent/producer Kang Taeu produkcija/production Jeonwonsa Film Co 208, Art and Design Bldg. Konkuk University, 1 Hwayang-dong, Gwangjin-gu Seoul 143-701, South Korea E autumnwork�naver.com & Les Films du Camélia (France) format/format DCP, barvni/colour dolìna/running time 69' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2017

prodaja/world sales Finecut Patio House #102 (Bldg. C) 22–14 Bongeunsa-ro 26-gil, Gangnam-gu Seoul 135-907, South Korea E yjsuh�finecut.co.kr

Pogovorna miniatura, ki jo je re`iser z Isabelle Huppert in Kim Min-hee posnel na manj ble{~e~ih prizori{~ih filmskega festivala v Cannesu.

Featuring Isabelle Huppert and Kim Min-hee, the conversational vignette was shot on the less glamorous beaches and backstreets of Cannes.

Manhee je ju`nokorejska prodajna agentka na poslovnem potovanju v Cannesu. Sredi tamkaj{njega filmskega festivala jo {efinja obto`i nepo{tenja in jo odpusti, zato ji ne preostane drugega, kot da tava po stranskih ulicah in manj obiskanih pla`ah festivalskega mesta. Med premlevanjem o prihodnosti spozna Claire, francosko u~iteljico s polaroidnim fotoaparatom. Claire je ob fotografiranju razvila ve{~ino po~asnej{ega gledanja na svet in vplivanja na ljudi okrog sebe. Ker lahko vidi Manheejine prihodnje poti in njene nekdanje inkarnacije, se skupaj odpravita v kavarno, kjer so jo odpustili. Tam bo Claire Korejki demonstrirala vse svoje nenavadne sposobnosti ...

On a business trip to the Cannes Film Festival, Korean film sales assistant Manhee is accused of being dishonest, and fired. Wandering in search of her life's next chapter, she meets Claire, a French teacher taking pictures with a Polaroid camera. Through taking photos, Claire has acquired the ability to look slowly at things, and to transform objects. Claire is a person who can see Manhee's possible future or past selves. Now, Claire goes with Manhee to the café where she was fired. We look forward to seeing Claire's power at work.

"Menim, da dejanje pogleda vedno vpliva na drugo osebo. Vendar je ve~inoma ta vpliv beèn ali povr{inski. ê bi gledajo~i pre{el svoje lastne omejitve, bi se nekak{na mo~ ali odzvok od prehajanja lastnih meja prenesla na osebo, ki je objekt vpogleda. Tako bi morda v njej nastala kvalitativna sprememba. Navsezadnje skrivnostna bliìna med dvema omogo~i gledajo~emu, da zaobide svoje omejitve." (Hong Sang-soo)

"I think the act of looking always exerts an influence on the other person. But most of the time that influence is fleeting or superficial. I think if the person looking steps past his own limitations, then a kind of strength or resonance from the overcoming his own limitations is transmitted to the person being looked at. So there might be a qualitative change in the person being looked at. In the end, the mysterious closeness between two people enables the one who is looking to step past his boundaries." (Hong Sang-soo)

Hong Sang-soo

filmografija (izbor)/filmography (selection)

Rojen leta 1960 v Seulu, Ju`na Koreja. Sprva je {tudiral filmsko reìjo na Univerzi v ûngangu, nato pa je {tudij nadaljeval na Visoki {oli za umetnost in obrt v Kaliforniji, ZDA. Po vrnitvi v Korejo je najprej delal za televizijo, pozneje pa se je posvetil filmski reìji. Predaval je tudi na korejski Akademiji za umetnost.

1998 2005 2006 2010 2011 2012 2013 2015

Born in 1960 in Seoul, South Korea. He first studied filmmaking at the Chungang University before going to the US to receive a BFA from the California College of Arts and Crafts. After coming back to Korea he first got a job at a broadcast company, and then devoted himself fully to filmmaking. He also taught at the Korea National University of Arts.

Ju`na Koreja, Francija South Korea, France 2017

Kangwon-do ui him (The Power of Kangwon Province) Geuk jang jeon (Tale of Cinema) Haebyeonui yeoin (Woman on the Beach) Hahaha Book chon bang hyang (The Day He Arrives/Vrnitev v Seul) Da-reun na-ra-e-seo (In Another Country/V drugi de`eli) U ri Sunhi (Our Sunhi) Ji-geum-eun-mat-go-geu-ddae-neun-teul-li-da (Right Now, Wrong Then/ Zdaj prav, potem narobe) 2017 Geu-hu (The Day After) 2017 La caméra de Claire (Claire's Camera/Clairina kamera)

Kralji in kraljice Kings and Queens

L'atelier The Workshop Delavnica Francija France 2017

Laurent Cantet

Nekdanji dobitnik zlate palme Laurent Cantet se poglobi v eno najpomembnej{ih vpra{anj dana{njega ~asa: kako v mladostnikih vzbuditi zanimanje za zgodovino?

Golden Palm award-winner Laurent Cantet delves into one of the most critical modern-day issues: how to arouse interest in history in young people?

La Ciotat, mestece na jugu Francije. Antoine se udele`i poletne delavnice, v kateri so nekaj mladih povabili k pisanju kriminalnega trilerja pod mentorstvom slovite pisateljice Olivie. Ustvarjalni proces vklju~uje obujanje spomina na industrijsko preteklost mesta. Antoinu za tak{no nostalgi~no spominjanje ni prav ni~ mar; bolj ga skrbijo te`ave sodobnega sveta. Mladeni~ zaradi tega zaide v spor s preostalo skupino in z Olivio, ki jo Antoinovo nasilno vedenje prestra{i, a tudi o~ara.

La Ciotat, the South of France. Antoine attends a summer writing workshop in which a few young people have been selected to write a crime thriller with the help of Olivia, a famous novelist. The creative process will recall the town's industrial past, a form of nostalgia to which Antoine feels indifferent. More concerned with the fears of the modern world, the young man soon clashes with the group and Olivia, who seems at the same time alarmed and captivated by Antoine's violence.

"Leta 1999 je bila delavnica kreativnega pisanja prirejena v La Ciotatu, kjer so deset let pred tem zaprli ladjedelnico. Deset mladih je napisalo roman noir, s katerim so se posku{ali povezati s tisto znamenito zgodovino delavskega razreda, ki je po~asi tonila v pozabo. (...) @elel sem raziskati razmerje med mladimi danes in zgodovino, ki se jim je morala zdeti zelo oddaljena, vendar tudi osvetliti njihova najpomembnej{a vpra{anja in njihov pogled na nasilni svet, v katerem si morajo izboriti prostor." (Laurent Cantet)

"In 1999, a writing workshop was held in La Ciotat, where the naval dockyard had closed ten years earlier. Ten young people had written a noir novel that helped them reconnect with that glorious working class past, which had since sunk slowly into oblivion. (...) I wanted to explore the relationship between these young people today and a history that must have seemed very remote to them, but also to examine their major issues, and their view of a violent world in which they have to carve out a niche for themselves." (Laurent Cantet)

Laurent Cantet

filmografija (izbor)/filmography (selection)

Rojen leta 1961. Njegovi kratki filmi so osvajali nagrade na festivalih v Pantinu in Belfortu. Leta 1998 je re`iral enourno epizodo mednarodne serije ARTE 2000 skozi o~i (2000 vu par...). Za Izkoristek ~asa je bil leta 2001 nagrajen v Benetkah, s filmom Razred pa je leta 2008 osvojil zlato palmo v Cannesu. V svojih filmih se ukvarja z neskladji med osebno identiteto in profesionalnimi obveznostmi v sodobnem, k dobi~ku naravnanem svetu.

1998 1999 2001 2005 2008 2012 2014 2017

Born in 1961. His short films received awards at festivals in Pantin and Belfort. In 1998 he directed a 60-minute episode of ARTE international series 2000 Seen by... (2000 vu par...). Time Out won the Golden Lion Award in Venice in 2001, and The Class won the 2008 Golden Palm Award at Cannes. His films deal with conflicts between personal identities and professional responsibilities in the contemporary profit-oriented world.

reìja/directed by Laurent Cantet scenarij/screenplay Robin Campillo, Laurent Cantet fotografija/cinematography Pierre Milon glasba/music Bedis Tir, Édouard Pons montaà/editing Mathilde Muyard igrajo/cast Marina Foïs (Olivia Dejazet), Matthieu Lucci (Antoine), Florian Beaujean (Etienne), Mamadou Doumbia (Bouba), Mélissa Guilbert (Lola), Warda Rammach (Malika), Julien Souve (Benjamin), Issam Talbi (Fadi), Olivier Thouret (Teddy), Charlie Barde (Jessica), Marie Tarabella (Mathilde), Youcef Agal (Romain), Marianne Esposito (Claudia), Thibaut Hernandez (Alex) producent/producer Denis Freyd produkcija/production Archipel 35 52 rue Charlot 75003 Paris, France E archipel.info�orange.fr & France 2 Cinéma (France) format/format DCP, barvni/colour dolìna/running time 113' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2017 – Posebni pogled/ Un Certain Regard, Jeruzalem/ Jerusalem 2017

prodaja/world sales Films Distribution 5 rue Nicolas Flamel 75004 Paris, France E bef�filmsdistribution.com

Les Sanguinaires (TV) Ressources humaines (Human Resources/^love{ki zakladi) L'emploi du temps (Time Out/Izkoristek ~asa) Vers le sud (Heading South/Proti jugu) Entre les Murs (The Class/Razred) Foxfire Retour à Ithaque (Return to Ithaca) L'atelier (The Workshop/Delavnica)

distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Kralji in kraljice Kings and Queens

Krotkaja A Gentle Creature Krotko dekle Sergej Loznica

reìja/directed by Sergej Loznica scenarij/screenplay Sergej Loznica fotografija/cinematography Oleg Mutu montaà/editing Danielius Kokanauskis igrajo/cast Vasilina Makovtseva (krotko dekle/a gentle creature), Marina Kle{~eva (so~utna ènska/the compassionate one), Lija Akhedàkova (borka za ~lovekove pravice/human rights activist), Valeriu Andriutã (mo{ki z modrim obrazom/blue face), Boris Kamorzin (mo{ki z mavcem/man with plaster cast), Sergej Kolesov (mo{ki z razmakom med zobmi/ gap-toothed man) producentka/producer Marianne Slot produkcija/production Slot Machine 10 rue Sainte Anastase 75003 Paris, France E slotmachine�slotmachine.fr & Studio Uljana Kim (Lithuania) & ARTE France Cinéma (France) & Looks Film & TV Produktionen (Germany) & Wild at Art (The Netherlands) & Graniet Film BV (The Netherlands) format/format DCP, barvni/colour dolìna/running time 143'

Ukrajinec Sergej Loznica, navdahnjen z istoimensko kratko zgodbo Fjodorja Dostojevskega, ori{e svet, v katerem vlada kriminal in le malokdo verjame v pojem pravice. V filmu spremljamo ènsko, ki ìvi sama na obrobju vasice v Rusiji. Nekega dne prejme vrnjeno po{iljko, ki jo je è pred ~asom poslala svojemu moù, zaporniku v oddaljeni je~i. Zmedena in {okirana se odpravi po razlago v zaporni{ko ustanovo v oddaljenem delu deèle. S tem se za~ne njena bitka proti neprebojni trdnjavi, v kateri so sile dru`benega zla nenehno na delu. Kljub nasilju in poniànju, s katerima se soo~i, se ènska odlo~no loti slepega iskanja pravice.

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2017, München/Munich 2017

"Dostojevskega so zanimale spodletele ambicije in poniùjo~a izguba samopodobe ter iz tega izhajajo~i odnosi, ki vodijo v pogubo. Mene zanima nekaj drugega. Nisem èlel narediti {tudije psiholo{kega profila zatirane in zlorabljene osebe. Zanimal me je prostor, okolje, v katerem so taka bitja prisiljena obstajati. O moji junakinji ne vemo skorajda ni~esar, poznamo samo na~ela, ki obvladujejo prostor, v katerem ìvi." (Sergej Loznica)

prodaja/world sales Wild Bunch 65 rue de Dunkerque 75009 Paris, France E ediederix�wildbunch.eu distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Inspired by Dostoyevsky's short story, Ukrainian Sergei Loznitsa leads us into the land of crime without punishment – a journey into the abyss where hardly anybody believes in justice. A woman lives alone on the outskirts of a village in Russia. One day she receives a parcel she sent to her incarcerated husband, marked 'return to sender.' Shocked and confused, the woman has no choice but to travel to the prison in a remote region of the country in search of an explanation. So begins the story of a battle against this impenetrable fortress, the prison where the forces of social evil are constantly at work. Braving violence and humiliation, in the face of all opposition, our protagonist embarks on a blind quest for justice. "Dostoevsky was interested in wounded ambitions, humiliating loss of self-esteem and the relationships that stem from such foundations and end up in catastrophe. My interest lies in a different area. I was not going to do a study of a psychological profile of a repressed and abused person. I was interested in a space, a habitat, in which such creatures are forced to exist. We know next to nothing about my heroine, we only know the principles, according to which the space she lives in exists." (Sergei Loznitsa)

Sergej Loznica

filmografija (izbor)/filmography (selection)

Rojen leta 1964 v mestu Baranovi~i (dana{nja Belorusija), velja za ukrajinskega re`iserja. Odra{~al je v Kijevu, kjer je diplomiral iz matematike, pozneje pa delal kot znanstvenik v kibernetiki in prevajalec iz japon{~ine. [ele nato je v Moskvi {tudiral film. Od leta 1996 je posnel 16 dokumentarcev in prejel vrsto mednarodnih nagrad, leta 2010 pa je za~el snemati {e igrane celove~erce.

1996 Segodnja mi postrojim dom (Today We Are Going to Build a House/ Danes bomo zgradili dom) (kratki dok./short doc.) 2001 Poselenje (Settlement/Naselbina) (dok./doc.) 2003 Pejsa` (Landscape/Pokrajina) (dok./doc.) 2004 Fabrika (Factory/Tovarna) (kratki dok./short doc.) 2005 Blokada (Blockade/Blokada) (dok./doc.) 2009 Predstavlenje (Revue/Predstava) (dok./doc.) 2010 S~aste moje (My Joy) 2012 V tumane (In the Fog) 2014 Maidan (dok./doc.) 2015 Sobitje (The Event/Dogodek) (dok./doc.) 2016 Austerlitz (dok./doc.) 2017 Krotkaja (A Gentle Creature/Krotko dekle)

Born in 1964 in the city of Baranovichi, in Belarus, considered to be a Ukrainian filmmaker. Loznitsa grew up in Kiev, and graduated with a degree in mathematics. Later on he worked both as a scientist in the field of cybernetics and as a translator from Japanese. In 1997, Loznitsa graduated in filmmaking in Moscow. He has directed 16 documentary films since 1996 and has received numerous international awards. Loznitsa's feature debut premiered in 2010.

Litva, Francija, Nem~ija, Nizozemska Lithuania, France, Germany, The Netherlands 2017

Kralji in kraljice Kings and Queens

You Were Never Really Here You Were Never Really Here Nikoli zares tukaj Lynne Ramsay

Velika Britanija, Francija, ZDA Great Britain, France, USA 2017

Te`ko pri~akovana vrnitev {kotske re`iserke Lynne Ramsay postre`e s {e eno mojstrsko vlogo Joaquina Phoenixa. Dvakratni nagrajenec leto{njega Cannesa: najbolj{a mo{ka vloga in scenarij.

The eagerly anticipated comeback of Scottish director Lynne Ramsay features yet another stunning performance by Joaquin Phoenix. Cannes 2017 Best Screenplay and Best Actor awards.

Joe je nekdanji vojak in zunanji sodelavec organov pregona, ki zdaj ìvi z ostarelo mamo v hi{i, kjer je preìvljal travmati~no otro{tvo. Od upokojitve se ve~inoma preìvlja z raznimi varnostnimi opravili, saj njegovi naro~niki na ~rnem trgu cenijo njegovo brezkompromisno brutalnost in u~inkovitost. Nekega dne ga najamejo, da poi{~e izginulo najstnico Nino, h~erko ambicioznega politika, ki se hitro vzpenja po dru`beni lestvici. Zdi se, da so jo ugrabili trgovci z ljudmi, zato Joeju pustijo povsem proste roke pri uporabi na~inov za njeno iskanje. Dogodki pa se za~nejo kmalu obra~ati v povsem napa~no smer ...

Joe is an ex-soldier and law enforcement officer who lives with his elderly mother in the house where he spent his traumatised childhood. He now works in the murky area of 'private security,' and is much admired for his unhesitating brutality and efficiency. He is given a new commission; he has to recover a teenage girl, Nina, the daughter of an ambitious young politician, who is swiftly climbing the social ladder. Nina has apparently been lured into some kind of sex-trafficking ring and his employer gives Joe carte blanche to mete out whatever retributive violence comes naturally. But things go horribly wrong.

"Nepripravljenost Lynne Ramsay za sprejemanje umetni{kih kompromisov je pogosto naletela ob neprebojen zid industrije, usmerjene v dobi~konosnost, kar lahko osvetli dejstvo, da je Nikoli zares tukaj {ele njen ~etrti film v osemnajstih letih od Lovca na podgane, briljantnega prvenca, ki je premiero do`ivel v Cannesu. Njena vrnitev jo trdno umesti med najbolj neustra{ne in udarne filmske ustvarjalce, ~eravno ne tako produktivne, kot bi si zaslu`ili." (Justin Chang, L.A. Times)

"Ramsay’s unwillingness to compromise artistically has often run afoul of a bottom-line-minded industry, which explains why You Were Never Really Here is only her fourth film in the 18 years since her brilliant, Cannes-premiered debut feature, Ratcatcher. Her return seals her standing as one of our most fearless and forceful filmmakers, if not one as prolific as she deserves to be." (Justin Chang, L.A. Times)

Lynne Ramsay

filmografija/filmography

Rojena leta 1969 v Glasgowu. Na Univerzi Napier v Edinburgu je {tudirala fotografijo in nato nadaljevala {olanje na Dr`avni filmski in televizijski {oli v Londonu. Leta 1999 je posnela celove~erni prvenec Lovec na podgane, med najvidnej{e svetovne re`iserke pa se je prebila s filmom Pogovoriti se moramo o Kevinu, ki je osvojil ve~ kot dvajset mednarodnih nagrad.

1996 1996 1998 1999 2002 2011 2017

Born in 1969 in Glasgow, Ramsay studied photography at the Edinburgh Napier University, and then graduated from the National Film and Television School of London. In 1999, she directed her first feature, Ratcatcher, and achieved worldwide renown with We Need to Talk about Kevin, which won over twenty international awards.

reìja/directed by Lynne Ramsay scenarij/screenplay Lynne Ramsay, Jonathan Ames (roman/novel) fotografija/cinematography Thomas Townend glasba/music Jonny Greenwood montaà/editing Joe Bini igrajo/cast Joaquin Phoenix (Joe), Ekaterina Samsonov (Nina), Alessandro Nivola (Senator Williams), Alex Manette (Senator Votto), John Doman (John McCleary), Judith Roberts (Joejeva mati/Joe's mother), Madison Arnold, Jason Babinsky, Ryan Martin Brown, Vinicius Damasceno, Cristina Dohmen, Leigh Dunham, Kate Easton, Frank Pando, Silvia Pena, Dante Pereira-Olson, Scott Price producenti/producers Rosa Attab, Pascal Caucheteux, James Wilson, Lynne Ramsay produkcija/production Why Not Productions 3, rue paillet 75005 Paris, France E steven�whynotproductions.fr & Sixteen Films (UK) & BFI (UK) & Film4 (UK) & Amazon Studios (USA) format/format DCP, barvni/colour dolìna/running time 90' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2017 (najbolj{i scenarij/ Best Screenplay, najbolj{i igralec/ Best Actor)

prodaja/world sales IMR E ndevide�insiders-films.com

Kill the Day (kratki/short) Small Deaths (kratki/short) Gasman (kratki/short) Ratcatcher (Lovec na podgane) Morvern Callar We Need to Talk about Kevin (Pogovoriti se moramo o Kevinu) You Were Never Really Here (Nikoli zares tukaj)

distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Kralji in kraljice Kings and Queens

O ornitólogo The Ornithologist Ornitolog João Pedro Rodrigues

Portugalska, Francija, Brazilija Portugal, France, Brasil 2016

reìja/directed by João Pedro Rodrigues scenarij/screenplay João Pedro Rodrigues fotografija/cinematography Rui Poças glasba/music Séverine Ballon montaà/editing Raphaël Lefèvre igrajo/cast Paul Hamy (Fernando), Xelo Cagiao (Jesus/Tomé), João Pedro Rodrigues (António), Han Wen (Fei), Chan Suan (Ling) producenta/producers João Figueiras, Diogo Varela Silva produkcija/production Blackmaria Rua da Madalena 91 1100-319 Lisbon, Portugal E blackmaria�blackmaria.pt format/format DCP, barvni/colour dolìna/running time 118' festivali, nagrade (izbor)/ festivals, awards (selection) Locarno 2016 (najbolj{a reìja/Best Direction), Denver 2016 (nagrada Krzysztofa Kieslowskega/Krzysztof Kieslowski Award), Pariz 2016 – Chéries-Chéris Film Festival (velika nagrada ìrije/Grand Prix), Toronto 2016, Rotterdam 2017

prodaja/world sales Films Boutique Köpenicker Str. 184 10997 Berlin, Germany E contact�filmsboutique.com distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Zgodba osamljenega prou~evalca ptic je misti~no popotovanje, ki se giblje med religiozno zasanjanostjo in bogokletnim naturalizmom v poigravanju z mitom sv. Antona Padovanskega, zavetnika Lizbone.

Foregrounding a lonesome birdwatcher, The Ornithologist is a mystical journey blending religious rapture and blasphemous naturalism, offering a personal take on the myth of Saint Anthony of Padua, the patron saint of Lisbon.

Fernando se s kajakom odpravi po reki, da bi poiskal zelo redko ~rno {torkljo. Po nepri~akovani nesre~i ga sredi gozda najdeta Kitajki na poti v romarsko sredi{~e Santiago de Compostela. Prepri~ani, da prina{a prekletstvo, ga pustita samega, na tej to~ki pa se za Fernanda – in gledalca – za~ne nenavadno popotovanje, na katerem so simboli in osebe kr{~anskega izro~ila, od rajskega jabolka prek prvega mu~enca Sebastijana do bo`jega sina Jezusa, provokativno pome{ani s ~utnostjo, demonskimi prividi in poveli~anjem neokrnjene pokrajine severovzhodne Portugalske.

Fernando decides to go down a river in a kayak, hoping to find extremely rare black storks. Soon thrown overboard by the current, Fernando is discovered some way off by two Chinese pilgrims. This encounter marks the start of a mythical journey, an existentialist's quest replete with symbols and Biblical figures, from the forbidden apple, the first martyr Sebastian to God's Son Jesus, provocatively infused with sensuality, demonic visions and eulogies to unspoilt nature of north-east Portugal.

"Vsi moji filmi mejijo na domi{ljijo, podobno kot ~ude`i, ki so navsezadnje vsi nadnaravni pojavi. V religiji so svete upodobitve poskus podati obli~ja in telesa svetnikom; bitjem, ki so nadzemeljsko in fizi~no mogo~na obenem. To protislovje v religiji se mi zdi zanimivo. Zgodbo sem zgradil na dodelani osnovi: bibli~ni miti, pogani in lik sv. Antona. Film Ornitolog lahko primerjamo bolj z notranjo kot s fizi~no potjo spoznanja in preobrazbe. Zanimajo me liki, ki se razvijajo in spreminjajo, kot se navadno ljudje v resni~nem `ivljenju." (João Pedro Rodrigues)

"All of my films border on fantasy, like the miracles, which are, after all, supernatural events. In religion itself, sacred paintings are an attempt to give faces and bodies to the saints; beings who are both transcendental and physically powerful. I find this contradiction in religion itself fascinating. I built the story on a meticulous base: the biblical myths, pagans and figure of Saint Anthony. The Ornithologist could be compared to a more internal than physical path of knowledge and transformation. I'm interested in the characters, which evolve and change, a bit like people do in real life." (João Pedro Rodrigues)

João Pedro Rodrigues

filmografija/filmography

Rojen leta 1966 na Portugalskem. Po {tudiju biologije na lizbonski univerzi je tamkaj obiskoval {e filmsko {olo. S kratkim filmom Parabéns! je debitiral na bene{kem filmskem festivalu in si prislu`il posebno nagrado `irije. Ornitolog je njegov peti celove~erec.

1997 2000 2005 2009 2012 2012 2013 2015 2016

Born in 1966 in Portugal. Studied biology at Lisbon University, after which he attended the Lisbon Film School. His film debut, Happy Birthday!, premiered at the Venice Film Festival, winning the Special Jury Prize. The Ornithologist is his fifth feature film.

Parabéns! (Happy Birthday!) (kratki /short) O fantasma (Phantom) Odete (Two Drifters) Morrer como um homem (To Die Like a Man) Manhã de Santo António (Morning of Saint Anthony's Day) (kratki/short) A última vez que vi Macao (The Last Time I Saw Macao) Mahjong (kratki/short) IEC Long (kratki/short) O ornitólogo (The Ornithologist/Ornitolog)

Kralji in kraljice Kings and Queens

Reparer les vivants Heal the Living Pokrpajmo `ive Francija, Belgija France, Belgium 2016

Katell Quillévéré

Ekranizacija romaneskne uspe{nice Maylis de Kerangal se poglobi v ob~utljivo problematiko darovanja ~love{kih organov in iz zgodb dveh ljudi, ki ju zdru`i splet tragi~nih okoli{~in, stke ganljivo hvalnico `ivljenju.

A screen adaptation of a bestselling novel by Maylis de Kerangal, Heal the Living, an impassioned story of personal connections and a moving ode to life, delves into the sensitive issue of human organ transplantation.

Nekega idili~nega poletnega jutra trije mladi deskarji radostno premagujejo divje valove Atlantika. Ko se vra~ajo domov, pa se pripeti huda prometna nesre~a in Simon, eden od njih, kon~a v bolni{nici, kjer ga priklju~ijo na naprave, njegove star{e pa obvestijo, da zanj ni ve~ upanja ... Medtem v Parizu nekdanja glasbenica Claire, katere `ivljenje zaradi hudega sr~nega obolenja visi na nitki, iz dneva v dan ~aka na telefonski klic, ki ji bo morebiti spremenil usodo.

It all starts at daybreak, one idyllic summer morning when three young surfers tackle the raging seas of the Atlantic Ocean. A few hours later, on the way home, an accident occurs. One of them ends up in a hospital. Now entirely hooked up to life-support, Simon's existence is little more than an illusion. Meanwhile, in Paris, onetime musician Claire learns that her weak heart is beginning to fail and action must be taken. She is now waiting for the organ transplant that will give her a new lease on life.

"Zdelo se mi je zanimivo raziskati, do kje je transplantacija ~love{ka pustolov{~ina. To sem sku{ala podati ob preizpra{evanju povezave z ve~nostjo. Zgodba se dogaja predvsem in najprej na ravni posameznika, dru`ine, zatem skupnosti, nato bolni{nice, in dru`be, saj ima v Franciji vsak pravico do transplantata." (Katell Quillevere)

"I thought it would be fascinating to explore the extent to which a transplant is a humanist adventure, and I tried to convey that, as the film questions the link with the eternal. The story unfolds first and foremost at the level of the individual, a family, then a community, that of the hospital, and then society, as in France everyone has the right to a transplant." (Katell Quillevere)

Katell Quillévéré

filmografija/filmography

Rojena leta 1980 v mestu Abidàn na Slonoko{~eni obali. V Parizu je {tudirala filozofijo in film, 2005 pa je posnela svoj prvi kratki film A bras le Corps, ki je bil uvr{~en v program [tirinajst dni reìserjev v okviru canskega filmskega festivala. Njen drugi celove~erni film Suzanne je leta 2013 odprl canski Teden kritike in ji prinesel {tevilne ugledne nagrade. Pokrpajmo ìve je njen tretji celove~erec.

2005 2007 2009 2010 2013 2016

reìja/directed by Katell Quillévéré scenarij/screenplay Katell Quillévéré, Gilles Taurand, Maylis de Kerangal (roman/novel) fotografija/cinematography Tom Harari glasba/music Alexandre Desplat montaà/editing Thomas Marchand igrajo/cast Tahar Rahim (Thomas Rémige), Emmanuelle Seigner (Marianne), Anne Dorval (Claire Méjean), Bouli Lanners (dr. Pierre Révol), Kool Shen (Vincent), Monia Chokri (Jeanne), Alice Taglioni (Anne Guérande), Karim Leklou (Virgilio Breva), Alice de Lencquesaing (Anne Guérande), Finnegan Oldfield (Maxime), Theo Cholbi (Sam), Gabin Verdet (Simon), Dominique Blanc (Lucie Moret) producenti/producers David Thion, Justin Taurand, Philippe Martin produkcija/production Les Films du Bellier 54, rue René Boulanger 75010 Paris, France E lesfilmsdubelier�free.fr format/format DCP, barvni/colour dolìna/running time 103' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2016, Toronto 2016

prodaja/world sales Films Distribution 5 rue Nicolas Flamel 75004 Paris, France E info�filmsdistribution.com

À bras le corps (With All My Might) (kratki/short) L'imprudence (kratki/short) L'échappée (kratki/short) Un poison violent (Love Like Poison) Suzanne Reparer les vivants (Heal the Living/Pokrpajmo `ive)

Born in 1980 in Abidjan, Ivory Coast. She studied filmmaking and philosophy in Paris. In 2005, her first short film, With All My Might, was presented at the Director's Fortnight at Cannes. In 2013, Suzanne, her awardwinning second feature film, opened Cannes' International Critics' Week competition. Heal the Living is her third feature film.

Kralji in kraljice Kings and Queens

The Florida Project The Florida Project Projekt Florida ZDA USA 2017

Sean Baker reìja/directed by Sean Baker scenarij/screenplay Sean Baker, Chris Bergoch fotografija/cinematography Alexis Zabe glasba/music Matthew Hearon-Smith montaà/editing Sean Baker igrajo/cast Willem Dafoe (Bobby), Brooklynn Kimberley Prince (Moonie), Bria Vinaite (Halley), Valeria Cotto (Jancey), Christopher Rivera (Scotty), Caleb Landry Jones (Jack) producenti/producers Sean Baker, Chris Bergoch, Shih-Ching Tsou, Andrew Duncan, Alex Saks, Kevin Chinoy, Francesca Silvestri produkcija/production June Pictures Los Angeles, USA E djohnson�junepictures.com format/format DCP, barvni/colour dolìna/running time 115' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2017 – [tirinajst dni reìserjev/Directors Fortnight, Toronto 2017, New York 2017, Hamburg 2017

Re`iser neodvisnega hita Tangerine tokrat prina{a zgodbo o ljudeh s socialnega roba, ki prebivajo v zanikrnem motelu sredi s soncem obsijane Floride. Pisane barve, otro{ka igrivost in dru`inske zdrahe prekrivajo manj barvito stvarnost.

Director of indie hit Tangerine returns with a drama about life in an extended-stay motel in the Sunshine State. Featuring garish colours, child mischief and family discord, The Florida Project is a happy film about an unhappy world.

Moonee je neizmerno ìvahna {estletnica z bujno domi{ljijo. Z dru{~ino prijateljev izkoristi vsako prilo`nost za novo potegav{~ino, ki ob ìvce spravljajo sostanovalce. Njeno vedenje za~uda ne moti njene mlade mame Halley, s katero prebivata v pisanem motelu v bliìni floridskega Disneylanda. Moonee lahko s prijatelji zgolj sanja o pravlji~nem svetu obilja, medtem ko sku{a Halley s preprodajo ukradene robe, malimi prevarami in ob~asno prostitucijo zasluìti za najemnino.

Moonee is only 6, but has one heck of a temperament. Her precocious pranks don't seem to bother her very young mother Halley. Like all the inhabitants of the candyfloss-coloured budget motel just outside Disneyland, Halley is on a shaky financial footing and thus forced to get through life by more or less respectable means, including selling stolen goods, engaging in fraud and occasional hustling.

"[e vedno uporabljamo nekatere od gverilskih tehnik filmskega ustvarjanja kot pri Tangerine, vendar sem imel tokrat na voljo ve~ mo`nosti – eden od razlogov za odlo~itev za bolj nadzorovani, klasi~ni vtis 35mm filma je bil, da smo zgodbo posku{ali povedati skozi o~i {estletnice. Njen svet je vedno malce ro`nato obarvan, zato sem mu hotel dodati lesk, ga obogatiti. Digitalni format je ~udovit, v obeh formatih vidim prednosti in lepoto. Vendar ti ne omogo~a tiste organske kakovosti, ki jo prinese celuloid." (Sean Baker)

prodaja/world sales Protagonist Pictures 42–48 Great Portland Street London W1W 7NB, UK E info�protagonistpictures.com distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Sean Baker

filmografija (izbor)/filmography (selection)

Rojen v New Jerseyju leta 1971. Na newyor{ki univerzi je diplomiral iz filma; ustvarja kot filmski in televizijski re`iser ter scenarist. Je prepoznaven predstavnik ameri{kega neodvisnega filma, njegov opus pa zaznamuje kombinacija naturalizma in izvirnega avtorskega pe~ata. Posebno pozornost je po`el s filmom Tangerine, ki ga je v celoti posnel na iPhone. Je tudi soavtor humoristi~ne TV-serije Greg the Bunny.

2000 2004 2008 2012 2015 2016 2017

Born in 1971 in New Jersey. A film and television director and writer, Baker received his BA in film studies from New York University. His surprising approach to naturalism combined with a signature style that is unmistakably his own make him one of the most exciting American independent filmmakers working today. He became well-known with Tangerine, which was created entirely on his iPhone. Baker is co-creator of the comedy TV series Greg the Bunny.

"We're still employing some of the guerrilla filmmaking techniques we used on Tangerine, but I had a bit more to work with this time – part of the reason we went with the more controlled, classical feel of 35mm was we were trying to tell the story through the eyes of a 6-year-old. And her world is always somewhat candy-coated, so I wanted it to have a gloss, to be rich. Digital is great, I see the benefits and beauty in both formats. But it doesn't give you that organic quality that celluloid brings." (Sean Baker)

Four Letter Words Take Out Prince of Broadway Starlet Tangerine Snowbird (kratki/short) The Florida Project (Projekt Florida)

Kralji in kraljice Kings and Queens

Hikari Radiance Proti svetlobi Japonska, Francija Japan, France 2017

Naomi Kawase

Najbolj prepoznavna re`iserka japonske kinematografije v novem filmu tematizira tisti prvi in nepogre{ljivi element sedme umetnosti: svetlobo.

In her new work, the most prominent Japanese female director thematises the first and foremost element of cinema: light.

Misako je mlado dekle, ki opravlja delo avtorice govornih naracij filmov, namenjenih slepim in slabovidnim. Poskusni poslu{alci se na njen zvo~ni opis romanti~nega filma odzovejo z me{animi vtisi. Nekaterim se njene razlage zdijo preve~ nejasne, drugim pa preve~ vsiljive njihovim lastnim predstavam o dogajanju v filmu. Misako na eni od projekcij spozna Nakamorija, starej{ega fotografa, ki po~asi izgublja vid. Dekle kmalu odkrije Nakamorijevo fotografsko delo, ki jo ponese v preteklost. Skupaj se bosta nau~ila videti sijo~ svet, ki je bil njenim o~em do zdaj neviden.

Misako is a writer struggling to perfect the art of penning audio descriptions for the visually impaired. The blind trial listeners for the arthouse romance she's working on respond to her descriptions with confusingly mixed feedback, with some finding her words too vague, and others declaring them overly intrusive on their own imaginations. At a screening, she meets Nakamori, an older photographer who is slowly losing his eyesight. Misako soon discovers Nakamori's photographs, which strangely bring her back to her past. Together, they will learn to see the radiant world that was invisible to her eyes.

"Brez svetlobe ni barv. Brez svetlobe ni podob. Brez svetlobe je nemogo~e posneti film. Lahko bi skorajda rekli, da je svetloba film. Popolnoma naravno je, da u`ivamo svetlobo. Vendar sem se njenega pravega pomena resni~no za~ela zavedati, ko sem odkrila kamero. Dejanje fiksiranja svetlobe na filmu je tudi na~in rezanja ~asa. ^e bi slepi lahko videli filmske podobe, ~e bi lahko napisali zgodbo o ljudeh okoli sebe, bi to filmsko delo o~aralo tiste ljudi sveta, ki jih navdu{uje ~arobnost filma. To je bilo moj izhodi{~ni koncept za to delo." (Naomi Kawase)

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2017, München/Munich 2017

"Without light, no colours. Without light, no images. Without light, impossible to make a film. One could almost say that light is cinema. We bathe quite naturally in light. But I only became properly aware of its true meaning when I discovered the existence of camera. The act of fixing light on film is also a way of cutting up time. If the blind could see cinema, if they could write a story about the people around them, the resulting film could charm all those people around the world who are enchanted by the magic of cinema. This was my starting idea for this film." (Naomi Kawase)

Naomi Kawase

filmografija/filmography

Rojena leta 1969 v Nari, Japonska. Po lo~itvi od star{ev je odra{~ala pri dedku in babici, kar je zaznamovalo njeno ustvarjanje; njeni filmi, predvsem kratkometra`ni, so pogosto avtobiografski. V njih je obdelovala odnos z o~etom, ki ga dolgo sploh ni poznala. Prve filme je posnela na 8mm trak, danes pa uporablja digitalno tehniko. V Cannesu je za celove~erni film Suzaku leta 1997 prejela nagrado za najbolj{i prvenec in veliko nagrado za Gozd `alovanja.

1997 1999 2000 2002 2003 2006 2007 2008 2010 2011 2014 2015 2017

Born in 1969 in Nara, Japan. After being left by her parents, she was raised by her grandparents. She digested those experiences in her movies; often autobiographical, her films were predominantly short-length, treating her search for the father, whom she met only later in life. Her first films were in 8-mm formats, today she is using digital camera. Her feature debut, Suzaku (1997), won the Camera d'Or award at Cannes, and The Mourning Forest won the Grand Prix also at Cannes.

reìja/directed by Naomi Kawase scenarij/screenplay Naomi Kawase fotografija/cinematography Arata Dodo glasba/music Ibrahim Maalouf montaà/editing Tina Baz igrajo/cast Masatoshi Nagase (Masaja Nakamori), Ayame Misaki (Misako Ozaki), Tatsuya Fuji (Kitabaja{i in/and Dùzo), Kazuko Shirakawa (Jasuko Ozaki), Misuzu Kanno (Tomoko in/ and Tokie), Mantarô Koichi (Sano), Noémie Nakai, Chihiro Ohtsuka, Saori, Nobumitsu Ônishi producenti/producers Naoya Kinoshita, Masa Sawada, Yumiko Takebe produkcija/production Comme des Cinémas 10, Villa Laugier 75017 Paris, France E contact�commedescinemas.com & Kino Films (Japan) & Kumié (Japan) format/format DCP, barvni/colour dolìna/running time 101'

prodaja/world sales mk2 Films 55, rue Traversière 75012 Paris, France E juliette.schrameck�mk2.com

Moe no suzaku (Suzaku) Mangekyo (dok./doc.) Hotaru (Firefly/Kresnica) Letter From A Yellow Cherry Blossom (dok./doc.) Sharasojyu (Shara/Sharasojyu/Drevo sorodnih du{) Tarachime (Birth/Mother/Rojstvo/Mati) Mogari ni mori (The Mourning Forest/Gozd àlovanja) Nanayomachi (Nanayo/Sedem no~i) Genpin (Misterij ènska) Hanezu no tsuki (Hanezu) Futatsume no mado (Still the Water/Umiri vodo) An (Sweet Bean/Okus ìvljenja) Hikari (Radiance/Proti svetlobi)

distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Kralji in kraljice Kings and Queens

Fai bei sogni Sweet Dreams Sladke sanje Italija, Francija Italy, France 2016

Marco Bellocchio reìja/directed by Marco Bellocchio scenarij/screenplay Valia Santella, Edoardo Albinati, Marco Bellocchio, Massimo Gramellini (roman/novel) fotografija/cinematography Daniele Ciprì glasba/music Carlo Crivelli montaà/editing Francesca Calvelli igrajo/cast Bérénice Bejo (Elisa), Valerio Mastandrea (Massimo), Guido Caprino (Massimov o~e/Massimo's father), Nicolò Cabras (Massimo kot otrok/Massimo as a child), Dario Dal Pero (Massimo kot najstnik/ Massimo as a teenager), Barbara Ronchi (Massimova mati/Massimo's mother), Emmanuelle Devos (Enricova mati/Enrico's mother), Fausto Russo Alesi (Simone) producent/producer Beppe Caschetto produkcija/production IBC Movie Via Pontevecchio 5 40136 Bologna, Italy E a.michelagnoli�itc2000.it & Kavac Film (Italy) & Rai Cinema (Italy) & Ad Vitam (France) format/format DCP, barvni/colour dolìna/running time 131'

Zgodba o fantovem soo~anju z materino smrtjo v interpretaciji legendarnega italijanskega re`iserja Marca Bellocchija, posneta po knji`ni uspe{nici Massima Gramellinija. Torino leta 1969. Idili~no otro{tvo devetletnega Massima pretrese skrivnostna smrt njegove matere. Fant nikakor ne sprejme njene smrti, pa ~eprav mu duhovnik zatrjuje, da je zdaj v nebesih. Ve~ let pozneje, v devetdesetih, je Massimo uveljavljen novinar. Po reporta`ah iz vojnega Sarajeva za~ne dobivati napade panike. Ko se odlo~i, da bo prodal stanovanje svojih star{ev, se mora znova soo~iti s travmati~no preteklostjo. So~utna zdravnica Elisa bi trpe~emu Massimu morda utegnila pomagati, da bi kon~no odprl svojo du{o in zacelil rane iz otro{tva.

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016 – [tirinajst dni re`iserjev/Directors' Fortnight, Karlovi Vari/Karlovy Vary 2016, Toronto 2016, Busan 2016, Chicago 2016

prodaja/world sales The Match Factory Balthasarstrasse 79–81 50670 Köln, Germany E info�matchfactory.de distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Legendary Italian director Marco Bellocchi's latest offering features a young boy coming to grips with his mother's death. Based on a bestselling novel by Massimo Gramellini. Turin, 1969. Nine-year-old Massimo's idyllic childhood is shattered by the mysterious death of his mother. The young boy refuses to accept this brutal loss, even if the priest says she is now in heaven. Years later, in the 90s, adult Massimo has become an accomplished journalist. After reporting on the war in Sarajevo, he begins to suffer from panic attacks. As he prepares to sell his parents' apartment, Massimo is forced to relive his traumatic past. Compassionate doctor Elisa could help tormented Massimo open up and confront his childhood wounds.

'Film Sladke sanje se naslanja na roman Fai Bei Sogni Massima Gramellinija, ki je bil eden najve~jih italijanskih zalo`ni{kih uspehov v zadnjem ~asu (in to zelo zaslu`eno zaradi pripovednih odtenkov in ~ustev, ki jih podaja). Vendar se za filmsko priredbo nisem odlo~il samo zaradi prodajnega uspeha. Prepri~ale so me teme, dramati~ni dogodki ... materina smrt. Izguba matere v otro{tvu. Bole~ina devetletnega Massima zaradi izgube ljubljene matere – ljubezen, ki je dvojno ob~utena, ker de~ek ~uti, da je vzajemna, absolutna in ekskluzivna." (Marco Bellocchio)

"The film Sweet Dreams was born from Massimo Gramellini's novel Fai Bei Sogni, which was one of Italy's biggest publishing successes of recent years (and much deserved because of the details and emotions that the book describes). But I was not won over to make this film simply because it was a best-seller. It was because of the book's themes, the dramatic situations... A mother's death. Losing a mother while still a child. Nine-yearold Massimo's pain over losing his beloved mother – love felt twice as strong because the boy feels it is reciprocated, absolute and exclusive." (Marco Bellocchio)

Marco Bellocchio

filmografija (izbor)/filmography (selection)

Rojen leta 1939 v Piacenzi, Italija. Filmsko re`ijo je {tudiral v Rimu in Londonu. V {estdesetih je za~el kot ustvarjalec dokumentarnih in kratkih filmov. @e njegov prvi celove~erec Pesti v `epu mu je prinesel priznanje mednarodne filmske skupnosti. Je dobitnik vrste uglednih nagrad in eden najplodnej{ih filmskih ustvarjalcev svoje generacije, saj se je podpisal pod ve~ kot dvajset razli~nih filmskih naslovov.

1965 1972 1994 1997 1999 2002

Born in 1939 in Piacenza, Italy. He studied film direction in Rome and London. He embarked on his professional path in the 1960s as documentary and short film director. He garnered international acclaim already with his feature debut, Fist in His Pocket, and subsequently won several prestigious awards. Having made over twenty movies, Bellochio is one of the most prolific filmmakers of his generation.

2003 2006 2009 2012 2015 2016

I Pugni in Tasca (Fist in His Pocket/Pesti v `epu) Nel nome di padre (V imenu o~eta) Il sogno della farfalla (The Butterfly's Dream/Metuljev sen) Il principe di Homburg (The Prince of Homburg/Hombur{ki princ) La balia (The Nanny/Varu{ka) Il ora di religione (Il sorriso di mia madre) (The Religion Hour (My Mother's Smile)/Verska vzgoja) Buongiorno, notte (Good Morning, Night/Dobro jutro, no~) Il regista di matrimoni (The Wedding Director/Re`iser porok) Vincere (Zmagati) La bella addormentata (Dormant Beauty/Spe~a lepotica) Sangue del mio sangue (Blood of My Blood/Kri moje krvi) Fai bei sogni (Sweet Dreams/Sladke sanje)

Kralji in kraljice Kings and Queens

Western Western Vestern Valeska Grisebach

Nem~ija, Bolgarija, Avstrija Germany, Bulgaria, Austria 2017

Zgodba o predsodkih, nezaupanju in zna~ilni mo{ki tekmovalnosti, ki vzklije med nem{kimi delavci in bolgarskimi va{~ani, je predstavljena v preobleki sodobnega vesterna.

Using the tropes of the western genre, Valeska Grisebach tells a story about prejudices, mistrust and typical male rivalry between German workers and Bulgarian villagers.

Skupina nem{kih gradbenih delavcev se odpravi v Bolgarijo gradit hidroelektrarno. Tuje okolje v njih prebudi èljo po avanturah, ki pa jo omejujejo predsodki in nezaupanje, temelje~e na jezikovni oviri in kulturnih razlikah. Gradbi{~e sredi redko poseljenega bolgarskega podeèlja nehote postane prizori{~e mo{kega nastopa{tva in merjenja mo~i – vse skupaj v èlji, da bi jih doma~ini sprejeli in jim dali zasluèno priznanje za njihovo delo ...

A group of German construction workers arrives in the Bulgarian countryside to construct a hydroelectric power plant. The foreign land awakens the men's sense of adventure, but they are also confronted with their own prejudice and mistrust due to the language barrier and cultural differences. The stage is quickly set for a showdown when men begin to compete for recognition and favour from the local villagers.

"Odra{~ala sem ob vesternu, sede pred televizijskim zaslonom v zahodnem Berlinu sedemdesetih let. Za~utila sem nagib po vrnitvi k njemu: zelo globoko me je pritegnil. @elela sem se lotiti osamljenih, melanholi~nih junakov in mo{ke mitologije, ki jih `anr upodablja. Navdu{ila me je njegova aktualnost – navkljub vsem konservativnim prvinam – v poskusu podati dru`beni ustroj in odgovornost posameznika, obenem pa ostaja pre`et z lastnimi protislovji. Zanimala me je intimnost dvoboja, preobrnitev 'ljubezni na prvi pogled'." (Valeska Grisebach)

"I grew up with the western genre, sitting in front of a TV set in 1970s West Berlin. I felt the urge to return to it: it captivated me in a profound way. I wanted to grapple with the lonely, melancholic heroes and male mythology it portrays. I was excited by the genre's modernity – despite all its conservative elements – in its attempt to capture social construction and individual responsibility, yet still fraught with its own contradictions. I was interested in the intimacy of the duel, the inversion of 'love at first sight'." (Valeska Grisebach)

Valeska Grisebach

filmografija/filmography

Rojena leta 1968 v Bremnu, Nem~ija. Preden se je vpisala na re`ijo na dunajski filmski akademiji, je {tudirala germanistiko in filozofijo v Berlinu, Münchnu in na Dunaju. Njen diplomski film Mein Stern je leta 2002 prejel glavno nagrado na filmskem festivalu v Torinu in nagrado kritikov zdru`enja FIPRESCI v Torontu. Kot svetovalka je lani sodelovala pri scenariju za film Toni Erdmann.

1997 2001 2006 2017

reìja/directed by Valeska Grisebach scenarij/screenplay Valeska Grisebach fotografija/cinematography Bernhard Keller montaà/editing Bettina Böhler igrajo/cast Meinhard Neumann (Meinhard), Reinhardt Wetrek (Vincent), Sulejman Alilov Letifov (Adrian), Veneta Frangova (Veneta), Viara Broisova (Viara), Kevin Ba{ev (Wanko) producenti/producers Jonas Dornbach, Janine Jackowski, Maren Ade, Valeska Grisebach, Michel Merkt produkcija/production Komplizen Film Hagelberger Str. 57 10965 Berlin, Germany E info�komplizenfilm.de & Chouchkov Brothers (Bulgaria) & Coop99 Fimproduktion (Austria) & KNM (Germany) & ZDF – Das Kleine Fernsehshpiel (Germany) format/format DCP, barvni/colour dolìna/running time 120' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2017 – Posebni pogled/ Un certain regard, Ko{ice 2017 (najbolj{a reìja/Best Director), Motovun 2017 (najbolj{i film, nagrada FIPRESCI Prize/Best Film), Karlovi Vari/Karlovy Vary 2017, Jeruzalem/Jerusalem 2017, Melbourne 2017

prodaja/world sales Films Boutique Köpenicker Str. 184 10997 Berlin, Germany E contact�filmsboutique.com

In der Wüste Gobi (In the Gobi Desert) (dok./doc.) Mein Stern (Be My Star) Sehnsucht (Longing/Hrepenenje) Western (Vestern)

Born in 1968 in Bremen, Germany. Before undertaking directing studies at the Film Academy Vienna, she studied German language and philosophy in Berlin, Munich and Vienna. In 2002, her graduation film, Be My Star, won main prize at the Turin FF and the FIPRESCI Prize in Toronto. In 2016, she was script consultant for Toni Erdmann.

Kralji in kraljice Kings and Queens

The Party The Party Zabava Velika Britanija Great Britain 2017

Sally Potter reìja/directed by Sally Potter scenarij/screenplay Sally Potter fotografija/cinematography Aleksei Rodionov montaà/editing Emilie Orsini, Anders Refn igrajo/cast Patricia Clarkson (April), Bruno Ganz (Gottfried), Cherry Jones (Martha), Emily Mortimer (Jinny), Cillian Murphy (Tom), Kristin Scott Thomas (Janet), Timothy Spall (Bill) producenta/producers Christopher Sheppard, Kurban Kassam produkcija/production Adventure Pictures 6 Blackbird Yard London E2 7RP, UK format/format DCP, barvni/colour dolìna/running time 71' festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2017, Sydney 2017, Odessa 2017

prodaja/world sales Great Point Media 14 Floral Street, 3rd Floor London WC2E 9DH, UK E info�greatpointmedia.com

Izjemna zasedba legendarnih igralcev uprizori gledali{ko enodejanko, ki se z radostnim slavjem za~ne kot komedija, kon~a pa kot tragedija s krvjo na preprogi.

Beginning as a celebration, the witty comedy featuring starstudded cast and sharp-tongued dialogue later veers off into tragedy.

Janet je bila pravkar oklicana za ministrico, kar je najve~ji doseèk njene politi~ne kariere. Z moèm Billom prirejata zabavo, da bi z najbli`jimi prijatelji proslavila ta uspeh. Ko gostje è prispejo v njuno hi{o v Londonu, pa razpoloènje na zabavi nenadoma pokvari Billovo razodetje novic, ki {okira vse navzo~e. S tem preobratom so ljubezni, prijateljstva, politi~na prepri~anja in na~in ìvljenja vseh zbranih v trenutku postavljeni pod vpra{aj. Pod uglajenim liberalnim videzom se razkrijejo ljudje na robu vreli{~a, njihov notranji konflikt pa jih privede do to~ke, ko za~nejo streljati z vsemi topovi – tako metafori~no kot dobesedno.

Janet has just been appointed minister in the shadow cabinet – the crowning achievement of her political career. She and her husband Bill plan to celebrate this with a few close friends. The guests arrive at their home in London but the party takes an unexpected turn for the worse when Bill suddenly makes two explosive revelations that shock Janet and everyone present to the core. Love, friendships, political convictions and a whole way of life are now called into question. Underneath their cultivated liberal left-wing surface people are seething. Their dispute leads to the big guns being brought out – even in a literal sense.

"V nekem smislu je film politi~na komedija, vendar gre za lahkotno in ljube~o komedijo, lahkoten in ljube~ pogled na stanje v Angliji, malce na~eti Angliji. Film je bolj meditacija o stali{~u, da je politika vsepovsod, tudi v ~love{kih odnosih. Najpomembnej{a sta jezik iskrenosti in zdravilna mo~ ljubezni v premagovanju tragedije, vendar pazite, ~e imate pi{tolo v ko{ari za perilo." (Sally Potter)

"In one sense, the entire film is a political comedy, but it's a light and loving comedy, a light and loving look at the state of England, a kind of broken England. But the film is more of a meditation on the notion that politics is everywhere, including in human relations. The most important thing is the language of truth-telling and the healing power of love in overcoming tragedy, but watch out if you’ve got a gun in the laundry basket." (Sally Potter)

Sally Potter

filmografija (izbor)/filmography (selection)

Rojena leta 1949 v Londonu. Svoj prvi film je posnela na superosmi~ko pri {tirinajstih letih. Deluje na podro~jih koreografije, glasbe, uprizoritvenih umetnosti in eksperimentalnega filma. [ir{e ob~instvo je nase opozorila leta 1992, ko je posnela pogumno predelavo romana Orlando Virginie Wolf s Tildo Swinton v glavni vlogi. Za svoje filme je bila ve~krat nagrajena, prejela pa je tudi dve nominaciji za oskarja.

1969 1970 1971 1983 1986 1988 1992 1997 2000 2004 2009 2012 2017

Born in 1949 in London, Potter made her first 8mm film aged fourteen. Her background is in choreography, music, performance art and experimental film. Orlando, her bold adaptation of Virginia Woolf's classic novel, starring Tilda Swinton, first brought her work to a wider audience in 1992. Potter's films have won numerous international awards and received two Academy Award nominations.

Jerk (kratki/short) Play (kratki/short) Hors d'oeuvres (kratki/short) The Gold Diggers The London Story (kratki/short) Women Filmmakers in Russia (dok./doc.) Orlando The Tango Lesson The Man Who Cried Yes Rage Ginger & Rosa (Ginger in Rosa) The Party (Zabava)

Panorama svetovnega filma Panorama of World Cinema

1945 1945 1945 Mad`arska Hungary 2017

Ferenc Török reìja/directed by Ferenc Török scenarij/screenplay Ferenc Török, Gábor T Szántó fotografija/cinematography Elemér Ragályi glasba/music Tibor Szemzo montaà/editing Béla Barsi igrajo/cast Péter Rudolf (István Szentes), Bence Tasnádi (Árpád Szentes), Tamás Szabó Kimmel (Jancsi), Dóra Sztarenki (Kisrózsi), Ági Szirtes (ga./Mrs. Kustár), József Szarvas (g./Mrs. Kustár), Eszter Nagy-Kálózy (Anna Szentes), Iván Angelus (Hermann Sámuel), Marcell Nagy (sin Hermanna Sámuela/son of Sámuel Hermann), István Znamenák (postajena~elnik/station master), Sándor Terhes (József Iharos) producenti/producers Iván Angelusz, Péter Reich, Ferenc Török produkcija/production Katapult Film Frankel Leó út 21–23. III/8 H-1023 Budapest, Hungary E office�katapultfilm.hu format/format DCP, ~b/b&w dolìna/running time 91'

Zgodba o usodi izgnanih Judov in povojnih travmah malih ljudi madàrskega podeèlja je mojstrovina v spomin na vesterne Sergia Leoneja in poklon estetiki Béle Tarrja. Avgust 1945, vro~ poletni dan sredi madàrskega podeèlja. Na èlezni{ko postajo prispe vlak, iz katerega izstopita o~e in sin, preìveli pri~i holokavsta. Na voz naloìta zaboja in se mol~e napotita proti bli`nji vasi. Njun prihod v prebivalcih, ki se pripravljajo na poroko, vzbudi nelagodje in kopico vpra{anj. Sta pri{la z namenom, da trgujeta in tako postaneta konkurenca tamkaj{nji lekarni? Sta sorodnika iz vasi izgnanega Juda in zahtevata, da jima vrnejo lastnino? Navidezna va{ka idila se postopoma spremeni v razburkano prizori{~e pozabljenih izdaj, storjenih krivic, zamol~anih laì in potla~enih strahov, ki terjajo svoj davek ...

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2017, Edinburg/Edinburgh 2017, Jeruzalem/Jerusalem 2017

"Zanimal me je ~as tik po vojni ter pred za~etkom nacionalizma in komunizma, ko je za trenutek posvetil àrek upanja za demokrati~no tranzicijo. (...) Gre za obdobje madàrske zgodovine, ki ga ne knjièvnost ne film ne obravnavata dosti. Namesto tega se posve~ata drugi svetovni vojni ali diktatorstvu petdesetih let prej{njega stoletja, ob teh nekaj vmesnih letih pred tem. @elel sem predstaviti dru`beno sliko, ki bi odsevala ìvljenje na Madàrskem tik po vojni." (Ferenc Török)

prodaja/world sales HNFF World Sales Róna utca 174 N. épület H-1145 Budapest, Hungary E klaudia.androsovits�filmalap.hu

The shimmering heat of a summer's day in rural Hungary, August 1945. Two strange men descend from the train, clad in black. They are father and son; survivors of the Holocaust. They walk in silence behind a wagon on which they are transporting two boxes. Rumours and anxiety spread like wildfire through the village. Are these men going to compete with the local chemist shop? Are they relatives of the former shop owner, a Jew who was first denounced and then deported? Fear soon spreads throughout the community, for many of them were involved in the crimes of the recent past – whether it be betrayal, silence or theft. "I was really interested in the time just after the war and just before the introduction of nationalisation and Communism, when for a moment there was an inkling of the possibility of democratic transition. (...) This is a period in Hungarian history that is not overly represented either in literature or in film. Instead, people focus on the Second World War itself or on the dictatorship of the 1950s, with these few intermediate years earlier. I wanted to present a social tableau that would portray life in Hungary just after the war." (Ferenc Török)

Ferenc Török

filmografija/filmography

Rojen leta 1971 v Budimpe{ti na Madàrskem, kjer je {tudiral filmsko in televizijsko reìjo. S svojimi filmi je poèl {tevilne nagrade na mednarodnih festivalih. Je ~lan Evropske filmske akademije, leta 2008 je prejel dràvno nagrado Béla Balázs za poseben prispevek k filmski umetnosti, 2005 pa nagrado Pro Cultura Urbis, ki jo podeljuje mesto Budimpe{ta.

2001 2004 2007 2011 2014 2017

Born in Budapest, Hungary in 1971, he studied film and television directing at the University of Theatre and Film Arts in Budapest. His films have screened at numerous international festivals and won several prizes. He has been a member of the European Film Academy since 2007. He was honoured with the Béla Balázs Award of the Hungarian State for special services to the art of film in 2008 and the Pro Cultura Urbis Award from the City of Budapest in 2005.

Chronicling the destiny of deported Jews and post-war anguish of small-town Hungarian people, 1945 is a masterful tribute to the westerns of Sergio Leone and the aesthetic of Béla Tarr.

Moszkva tér (Moscow Square/Moskovski trg) Szezon (Eastern Sugar) Overnight Isztambul (Istanbul) Senki Szigete (Noman's Island/Nikogar{nji otok) 1945

Panorama svetovnega filma Panorama of World Cinema

Aritmija Arrhythmia Aritmija Boris Hlebnikov

Rusija, Finska, Nem~ija Russia, Finland, Germany 2017 reìja/directed by Boris Hlebnikov scenarij/screenplay Natalia Me{~aninova, Boris Hlebnikov fotografija/cinematography Ali{er Hamidhodàjev montaà/editing Ivan Lebedev, Julia Batalova igrajo/cast Aleksander Jacenko (Oleg), Irina Gorba~eva (Katja), Nikolaj [rajber, Sergej Nasedkin producenti/producers Ruben Dishdishyan, Sergej Seljanov, Natalia Drozd, Aleksi HyvĂ¤rinen, Toni Valla, Eva Blondiau produkcija/production Don Films Pursimiehenkatu 4 A FI-00150 Helsinki, Finland E infoďż˝donfilms.fi format/format DCP, barvni/colour dolìna/running time 116' festivali/festivals Karlovi Vari/Karlovy Vary 2017

Film enega najvidnej{ih sodobnih ruskih re`iserjev, komi~na drama o mladem paru zdravstvenih delavcev, katerega dolgoletni odnos zaide v slepo ulico, je obenem kritika zdravstvenega sistema v dana{nji Rusiji. Oleg je mo{ki v poznih dvajsetih. Zaposlen je kot zdravstveni re{evalec, poro~en pa je s Katjo, zdravnico na urgenci. Je izjemno sposoben in sr~no predan svojemu delu, a zaradi stresa v slu`bi pogosto pregloboko pogleda v kozarec. Katja vsak dan te`je prena{a njegovo pijan~evanje in posledi~no ~ustveno nedostopnost. Ko se Oleg na rojstnodnevni zabavi njenega o~eta spet nemarno napije, mu Katja oznani, da se ho~e lo~iti ... "Besed 'zanimivo in presenetljivo' ne bi uporabil za opis dela zdravstvenih delavcev, saj gre za brezkon~en niz zdravstvenih primerov in rutinskih postopkov. ~eprav se na zunaj morda zdi osupljivo, {okantno in grozljivo, se ljudje na znotraj po~utijo kot obi~ajni zaposleni ..." (Boris Hlebnikov)

A comedy-drama by one of the leading contemporary Russian directors about two young medical professionals whose long-standing relationship reaches a deadlock, Arrhythmia gives a telling critique of the healthcare system in present-day Russia. Oleg is heading for his thirties. He works as a paramedic. His wife Katya is also a doctor, working in the hospital's emergency department. Oleg is highly competent and devoted to his profession, but, after a hard shift, he likes to take a few swigs. Katya's patience with Oleg is running thin. When Oleg gets roaring drunk at his father-in-law's party, Katya announces that she wants a divorce... "I wouldn't apply the words 'interesting and surprising' to the work of medical professionals, because it's an endless stream of medical cases and routine procedures. While on the outside it might look striking, shocking and gruesome, on the inside people feel like regular employees..." (Boris Khlebnikov)

Boris Hlebnikov

filmografija (izbor)/filmography (selection)

Rojen leta 1972 v Moskvi. 2003 je z reìserjem Aleksejem Popogrebskim reìral svoj celove~erni prvenec Pot v Koktebel, s katerim se je mednarodnemu festivalskemu ob~instvu predstavil na festivalu v Karlovih Varih. Odtlej se njegovi filmi redno uvr{~ajo na programe najpresti`nej{ih mednarodnih filmskih festivalov, njegov predzadnji film Dolgo in sre~no ìvljenje pa je bil celo nominiran za berlinskega zlatega medveda.

2003 2006 2009 2012 2013

prodaja/world sales Indie Sales 32, rue Washington 75008 Paris, France E salesďż˝indiesales.eu

Koktebel (Roads to Koktebel/Pot v Koktebel) Svobodnoe plavanie (Free Floating) Sumas{ed{aja pomo{~ (Help Gone Mad) Poka no~ ne razlu~it (Till Night Do Us Part) Dolgaja {~astlivaja `izn (A Long and Happy Life/Dolgo in sre~no `ivljenje) 2017 Aritmija (Arrhythmia/Aritmija)

Born in 1972, in Moscow. He made his co-directorial debut (with Alexey Popogrebsky) with Roads to Koktebel, which screened at the Karlovy Vary FF. Since then, his films have regularly featured at the most prestigious international film festivals. His penultimate film, A Long and Happy Life, received a nomination for the Golden Bear Award at Berlinale.

Panorama svetovnega filma Panorama of World Cinema

Tesnota Closeness Bli`ina Rusija Russia 2017

Kantemir Balagov reìja/directed by Kantemir Balagov scenarij/screenplay Anton Jaru{, Kantemir Balagov fotografija/cinematography Artem Emelianov montaà/editing Kantemir Balagov igrajo/cast Darja @ovnar (Ila), Olga Dragunova (Adina), Atrem Cipin (Avi), Nazir @ukov (Zalim), Veniamin Kac (David) producenti/producers Nikolaj Jankin, Edvard Pi~ugin, Aleksander Sokurov produkcija/production Example Of Intonation Kamenoostrovsky prospekt 10 197101 Saint-Petersburg, Russia E nikolay.yankin�mail.ru & Lenfilm Studios (Russia) format/format DCP, barvni/colour dolìna/running time 118' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2017 (nagrada FIPRESCI/ FIPRESCI Award), München/Munich 2017, So~i/Sochi 2017 (najbolj{i prvi film/Best Debut Award)

Debitantski film mladega ruskega reìserja Kantemirja Balagova, ki je nastal pod mentorstvom Aleksandra Sokurova, v ospredje postavlja eti~no dilemo pripadnikov judovske skupnosti na Kavkazu. Leto 1998 v mestu Nal~ik na severu Kavkaza v Rusiji. [tiriindvajsetletna Ilana pomaga o~etu pri delu v garaì, da bi ta la`je shajal. Nekega ve~era se njena druìna in prijatelji zberejo ob proslavi zaroke njenega mlaj{ega brata Davida, vendar pa mladi par pozneje isto no~ izgine. Izkaè se, da gre za ugrabitev z zahtevo po odkupnini, a ker se vse skupaj dogaja v tesno povezani judovski enklavi, je policijska pomo~ izklju~ena. Kako naj druìna zbere denar in re{i Davida? Ilana in njena star{a bodo vsak po svoje {li tako dale~, kot bo potrebno, in to ne glede na tveganja, ki bi jih utegnili povzro~iti sami sebi ... "Zanimalo me je raziskovanje osnovnega na~ela, po katerem se mora{ `rtvovati, da bi re{il ljubljeno osebo. To je {e bolj ob~utiti na Kavkazu: celo primarno na~elo je. Moje temeljno vpra{anje pa je: Ali je res ~love{ko nekoga primorati, da se `rtvuje za bli`njega? To je izto~nica, s katere sem raziskoval like in dogodke." (Kantemir Balagov)

prodaja/world sales Wild Bunch 65 rue de Dunkerque 75009 Paris, France E ediederix�wildbunch.eu

1998, Nalchik, North Caucasus, Russia. 24-year-old Ilana works in her father's garage to help him make ends meet. One evening, her extended family and friends gather to celebrate the engagement of her younger brother David. Later that night, the young couple is kidnapped, and a ransom demand delivered. In this close-knit Jewish enclave, involving the police is out of the question. How will the family raise the money to save David? Ilana and her parents, each in their own way, will go as far as necessary, whatever the risks to themselves... "What interested me was questioning the axiom according to which you have to sacrifice yourself to save a loved one. This is even more so in the Caucasus: it is even the primary axiom. Yet for me, this is a profound question: is it really human to oblige someone to sacrifice himself or herself to save a loved one? This is the starting point from which I explored the characters and the situations." (Kantemir Balagov)

Kantemir Balagov

filmografija/filmography

Rojen leta 1991 v Nal~iku na severu Kavkaza, Rusija. Film ga sprva ni zanimal, zato je raje {tudiral ekonomijo, a se v njej ni na{el. Ko je doma za~el snemati spletne filme, je na prijateljev predlog kontaktiral Aleksandra Sokurova, ki je v Nal~iku odprl filmsko {olo, pa ~eprav sploh ni vedel, kdo to je. Sokurov je postal njegov mentor in mu pomagal posneti prvi celove~erni film Bli`ina.

2013 2014 2015 2017

Born in 1991, in Nalchik, North Caucasus, Russia. First studying economics at Stavropol University, Balagov soon realised that wasn't his aim in life. He started filming and making web serials in Nalchik. On his friend's advice, he contacted Alexander Sokurov albeit not knowing who he was at the time. Sokurov, who had opened a film school in Nalchik three years earlier, became his mentor and assisted him in filming Closeness.

Made under the guidance of Alexander Sokurov, the young Russian director Kantemir Balagov's debut feature examines the ethical dilemma of a Jewish community in the Caucasus.

Molodoï echtchio (Still Young) (kratki/short) Andjuka (kratki dok./short doc.) Pervji ja (First I) (kratki/short) Tesnota (Closeness/Bli`ina)

Panorama svetovnega filma Panorama of World Cinema

Bedoune tarikh, bedoune emza No Date, No Signature Brez datuma in podpisa Iran Iran 2017

Vahid Jalilvand

reìja/directed by Vahid Jalilvand scenarij/screenplay Ali Zarnegar, Vahid Jalilvand fotografija/cinematography Peyman Shadmanfar glasba/music Peyman Yazdanian montaà/editing Vahid Jalilvand, Sepehr Vakili igrajo/cast Navid Mohammadzadeh (Moosa), Amir Agha'ee (dr. Kaveh Nariman), Hediyeh Tehrani (dr. Sayeh Behbahan), Zakiyeh Behbahani (Leila) producenta/producers Ehsan Alikhani, Ali Jalilvand produkcija/production Noori Pictures 84, Avenue de la République 75011 Paris, France E Katysh.01�gmail.com format/format DCP, barvni/colour dolìna/running time 104'

Iranski re`iser Vahid Jalilvand v presunljivi drami, ki jo odlikuje tudi izvrstna igra, raziskuje vpra{anja krivde in odgovornosti v dru`bi, katere pripadniki so nemalokrat prisiljeni izigravati zakone in predpise.

A soul-stirring drama featuring some great acting performances, No Date, No Signature explores the issues of guilt and responsibility in a society where people are often compelled to circumvent the law.

Forenzik Kaveh Nariman je po{ten mo`, ki zelo nerad odstopa od svojih moralnih na~el. Nekega dne pa povzro~i prometno nesre~o: z avtomobilom zrine s ceste motorista in njegovo dru`ino, pri ~emer po{koduje osemletnega de~ka. Naslednje jutro dr. Nariman izve, da je de~ek mrtev. Zdravnika za~nejo obhajati hudi dvomi. Je de~ek res umrl zaradi zastrupitve s hrano, kot trdi njegov zdravni{ki kolega, ali pa je vendarle podlegel posledicam prometne nesre~e?

The forensic pathologist Dr Nariman, a principled and virtuous man, causes an accident involving a motorcyclist and his family, and injures their 8-year-old son. The next morning, he finds out that the same little boy has been brought in for an autopsy. Dr Nariman faces a dilemma now: is he responsible for the child’s death due to the accident or he died of food poisoning according to other doctor's diagnostic?

"Kolikokrat sta na{a strah in nezmo`nost izraziti preprosto resnico sproìla veliko nesre~o v ìvljenju drugega? Ne vem, kaj bi storil, ~e bi bil v koì zdravnika protagonista, vendar se ìvo spominjam veliko manj mu~nih trenutkov, ko sem podlegel svojim strahovom in dvomom. Film bi lahko bil elegija ob grobu moà, za kakr{nega sem neko~ sanjal, da bom postal." (Vahid Jalilvand)

"How many times so far our fear and inability to express the simple truth has triggered a big calamity in the life of another? I don't know what I would do if I was in the shoes of the protagonist doctor, but I remember vividly much less troublesome moments when I succumbed to my fears and doubts. This film might be an elegy at the grave of a man I once dreamt to be." (Vahid Jalilvand)

Vahid Jalilvand

filmografija/filmography

Rojen 1976 v Teheranu, Iran. Po diplomi na Fakulteti za gledali{ko umetnost v Teheranu je sprva nekaj ~asa igral v gledali{~u, leta 1996 pa je za~el sodelovati z iransko dràvno televizijo, najprej kot montaèr, nato kot reìser. Film Brez datuma in podpisa je njegov drugi celove~erec.

2015 Wednesday, May 9 2017 Bedoune tarikh, bedoune emza (No Date, No Signature/Brez datuma in podpisa)

festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2017

prodaja/world sales Noori Pictures 84, Avenue de la République 75011 Paris, France E Katysh.01�gmail.com

Born in Teheran in 1976. After graduating from the Teheran University of Theatre, he embarked on the career of a theatre actor. In 1996, he started working for the Iranian television as editor and later as director. No Date, No Signature is his second feature film.

Panorama svetovnega filma Panorama of World Cinema

Koga denot nema{e ime When the Day Had No Name Dan brez imena Makedonija, Belgija, Slovenija Macedonia, Belgium, Slovenia 2017

Teona Strugar Mitevska reìja/directed by Teona Strugar Mitevska scenarij/screenplay Teona Strugar Mitevska, Elma Tataragi} fotografija/cinematography Agnès Godard glasba/music Jean Paul Dessy montaà/editing Stefan Stanbenow, Sophie Vercruysse igrajo/cast Leon Ristov (Milan), Hanis Baga{ov (Petar), Stefan Kitanovi} (Ace), Dragan Mi{evski (Vladan), Ivan Vrtev Soptrajanov (Rape), Igorco Postolov (Cvetan), Perunika Kiseli~ki (Miljana), Ines Hodi} (Renata), Erina Poplavska (Maja), Labina Mitevska (Milanova ma~eha/Milan's stepmother), Ratka Radmanovi} (Petrova babica/ Petar's grandma), Nikolina Kuja~a (Petrova mati/Petar's mother) producentka/producer Labina Mitevska produkcija/production Sisters and Brother Mitevski F. Ruzvelt 4–38 1000 Skopje, Macedonia E labina�sistersandbrothermitev ski.com & Entre Chien et Loup (Belgium) & Vertigo (Slovenia) format/format DCP, barvni/colour dolìna/running time 84' festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2017, Sydney 2017, Jeruzalem/Jerusalem 2017

prodaja/world sales Cercamon Majara 1, #903 Dubai Marina PO BOX 113 222 Dubai, United Arab Emirates E sebastien�cercamon.biz distribucija/distribution Vertigo/Emotionfilm Metelkova 6 1000 Ljubljana E info�emotionfilm.si

Makedonska re`iserka Teona Strugar Mitevska uporabi resni~no zgodbo o tragi~nem izletu {tirih najstnikov kot podlago za oris dr`ave, ki se ob pogledu v prihodnost ne more otresti bremen preteklosti.

Macedonian director Teona Strugar Mitevska uses a true story about a tragic excursion of four teenagers as a template for examining a country unable to shake off its past when gazing into the future.

Milan in njegov najbolj{i prijatelj Petar se s kolegoma iz okolice Skopja odpravita na pustolovsko ekskurzijo. Mladostniki komaj ~akajo, da do`ivijo adrenalinsko no~, polno popivanja in razposajenosti, preden se zjutraj odpravijo na ribarjenje. Skupino sestavljajo zna~ilni najstniki: v~asih se vedejo kot hudi~ki, drugi~ kot angel~ki. Hrepenijo po tem, da bi odrasli, a se ve~inoma {e vedno vedejo kot otroci. Vsi imajo disfunkcionalne odnose s star{i in predstavljajo generacijo mladih, ki je odrasla ob vpra{ljivih tranzicijskih vrednotah. Njihovo no~ zabave zaznamujejo etni~ni spori in obisk pri najstni{ki prostitutki, na katerem gre vse narobe.

Milan and his best friend Petar plan an adventurous excursion with some other teenagers from the outskirts of Skopje. They are adrenalised for a boys' night out of drinking and horseplay before an early morning fishing expedition. They are typical teenagers; sometimes devilish and sometimes angelic, hungry to be adults, yet still mostly acting like children. They all have dysfunctional relationships with their parents, and represent a whole generation of youth raised in a time of transition and questionable values. Their night of fun is tainted by ethnic tensions and an ill-fated visit to a teenage prostitute.

"Film ni preiskava, kdo je kriv za umor. Dejstvo je, da so bili de~ki umorjeni, vendar me je spodbodla kultura, dru`ba za tem nasilnim dejanjem. Nasilje rodi nasilje. S tem filmom sem èlela izpostaviti problem nasilja v balkanski dru`bi. Smo nasilna kultura, ki ìvi v nasilnem svetu. ê se ne bomo nau~ili strpnosti, spo{tovanja in upo{tevanja drugih, za nas na Balkanu ne bo prihodnosti." (Teona Strugar Mitevska)

"The film isn't an investigation into the perpetrators of the murder. The boys were murdered, that's a fact, but what provoked me was the culture, the society behind this violent act. Violence induces violence. With this film, I wanted to put the spotlight on the problem of violence in the Balkan society. We are a violent culture living in a violent world, and unless we learn how to tolerate, respect and honour others, there will be no future for us in the Balkans." (Teona Strugar Mitevska)

Teona Strugar Mitevska

filmografija/filmography

Rojena v Skopju leta 1974. Kot otrok je igrala na televiziji, v reklamah, gledali{~u in radijskih igrah. Kon~ala je slikarsko akademijo, nato pa se je posvetila filmskemu ustvarjanju. Leta 1998 se je vpisala na newyor{ko Tischevo umetnostno akademijo. Njen drugi film Sem iz Titovega Velesa je prejel posebno nagrado `irije na festivalu v Sarajevu in bil imenovan za uradnega makedonskega kandidata za tujejezi~nega oskarja.

1999 2000 2001 2004 2007 2012

Born in Skopje in 1974. As a child she appeared on television, in commercials, theatre productions, and radio dramas. She graduated in painting and then turned to filmmaking. In 1998, she enrolled at the NYU Tisch School of the Arts. Her second feature film, I Am from Titov Veles, received Special Jury Prize at the Sarajevo Film Festival and was the Macedonian candidate for the Best Foreign Language Film Academy Award.

Why Is Betty Boop Angry (kratki/short) Amer in Amerika (kratki dok./doc. short) Veta (kratki/short) Kako ubiv svetec (How I Killed a Saint/Kako sem ubil svetnika) Jas sum od Titov Veles (I Am from Titov Veles/Sem iz Titovega Velesa) Louves (The Woman Who Brushed Off Her Tears/@enska, ki si je otrla solze) 2014 Teresa and I (dok. serija/doc. series) 2017 Koga denot nema{e ime (When the Day Had No Name/Dan brez imena)

Panorama svetovnega filma Panorama of World Cinema

Daphne Daphne Daphne Velika Britanija Great Britain 2017

Peter Mackie Burns

Portret razvratne, a ranljive ènske, ki si na prelomni to~ki ìvljenja postavi ve~no vpra{anje: kaj sploh ho~em? Daphne ima enaintrideset let. Premlada je, da bi se ustalila, in prestara, da bi ìvela brez cilja. Do ~ustev ima skrajno cini~en odnos: ob omembi trajne ljubezni iz rokava raje povle~e odrezav @i`kov citat. Da bi se izognila razmi{ljanju o prihodnosti, se raje prepu{~a dolgim no~em, polnih alkohola in neobveznih spolnih avantur. Potem pa se nekega dne, ko je pri~a spodletelemu ropu, v katerem re{i ìvljenje lastniku trgovine, vse to spremeni. Cini~en oklep, v katerega je bila odeta do sedaj, za~ne naenkrat kazati prve razpoke. Blià se soo~enje s {e kako potrebno spremembo v njenem ìvljenju. "[kotski reìser Burns je poleg za~injene karakterne {tudije ustvaril tudi odli~en film o Londonu. Ta urbani utrip ni bil tako ìvo podan vse od preloma tiso~letja, v filmih, kot sta The Low Down Jamieja Thravesa ali Wonderland Michaela Winterbottoma. Podobno kot ta filmska ustvarjalca Burns poi{~e nove zorne kote, iz katerih opazuje mesto in ìvahne, manj glamurozne ~etrti. Izri{e se film, poln so~utja in du{e, s protagonistko, ki v~asih te`ko ugaja, vendar jo je zlahka ob~udovati." (Jamie Dunn, The Skinny)

A characters study of a pleasure-seeking yet vulnerable woman who has reached a point in her life when a confrontation with oneself is inevitable.

festivali, nagrade (izbor)/ festivals, awards (selection) Rotterdam 2017, Edinburg/ Edinburgh 2017 (najbolj{a vloga v britanskem filmu/Best Performance in a British Feature Film), MĂźnchen/ Munich 2017

Daphne is 31, too young to settle, too old to live aimlessly. She is a real cynic when it comes to love, imprisoned in an existential vacuum. Armed with statements by philosopher Slavoj @i`ek, she sharply and successfully fends off any form of emotional approach. Long nights, drink and a variety of lovers form a welcome distraction from the question: what do I want? But when she saves the life of a shopkeeper, stabbed in a failed robbery, the impenetrable armour she wears to protect herself begins to crack and Daphne is forced to fight against the inevitability of a much needed change in her life. "As well as a zesty character study, Scotsman Burns has crafted a great London movie. That urban sprawl hasn't felt so alive on film since around the turn of the millennium, with films like Jamie Thraves' The Low Down or Michael Winterbottom's Wonderland. Like those filmmakers, Burns finds new angles through which to view the city and vivid, less glamorous neighbourhoods in which to set the drama. The result is a film of compassion and soul, with a protagonist at its heart who's sometimes hard to like but easy to adore." (Jamie Dunn, The Skinny)

Peter Mackie Burns

filmografija/filmography

Rojen leta 1967 na [kotskem. @e s prvim kratkometra`cem Milk je osvojil zlatega medveda za najbolj{i kratki film na filmskem festivalu v Berlinu. Film so predvajali na ve~ kot stotih mednarodnih filmskih festivalih. Daphne je njegov celove~erni igrani prvenec.

2005 2005 2011 2012 2014 2017

Born in 1967 in Scotland. It was already his first short film, Milk, that won numerous awards around the world including the Golden Bear for Best Short Film at the Berlin Film Festival. The film played at over one hundred international film festivals. Daphne is his first fiction feature film.

reìja/directed by Peter Mackie Burns scenarij/screenplay Nico Mensinga fotografija/cinematography Adam Scarth montaà/editing Nick Emerson igrajo/cast Emily Beecham (Daphne), Geraldine James (Rita), Tom Vaughan-Lawlor (Joe), Nathaniel Martello-White (David), Osy Ikhile (Tom), Sinead Matthews (Billie), Ryan McParland (Jay), Ritu Arya (Rachida), Richard Banks (tat cigaret/cigarette thief), Gary John Clarke (brezdomec/ homeless man), Maurisa Selene Coleman (prijateljica/friend), Karina Fernandez (Beth) producenta/producers Valentina Brazzini, Tristan Goligher produkcija/production The Bureau 42 Glasshouse Street, 2nd Floor London W1B5DW, UK E helloďż˝thebureaufilms.com format/format DCP, barvni/colour dolìna/running time 90'

prodaja/world sales The Bureau 42 Glasshouse Street, 2nd Floor London W1B5DW, UK E helloďż˝thebureaufilms.com

Milk (kratki/short) Run (kratki/short) Come Closer (dok./doc.) Stronger (kratki/short) Happy Birthday To Me (kratki/short) Daphne

Panorama svetovnega filma Panorama of World Cinema

Wajib Duty Zaveza Palestina, Francija Palestine, France 2017

Annemarie Jacir reìja/directed by Annemarie Jacir scenarij/screenplay Annemarie Jacir fotografija/cinematography Antoine Heberle montaà/editing Jacques Comets igrajo/cast Mohammad Bakri, Saleh Bakri, Maria Zreik, Leila Bakri, Rana Alamuddin producent/producer Ossama Bawardi produkcija/production Philistine Films 10 Kulliyat Al Sharee'ah Street 11191 Amman, Jordan E ossama_b�hotmail.com & JBA Production (France) & Cactus World Films (UK) & Metafora Productions (Qatar) & Klinkerfilm (Germany) & Ciudad Lunar (Colombia) & Ape&Bjørn (Norway) & Snow Globe Film (Denmark) & Schortcut Films (Lebanon) format/format DCP, barvni/colour dolìna/running time 96' festivali, nagrade (izbor)/ festivals, awards (selection) Locarno 2017 (4 nagrade/4 awards), Toronto 2017, London 2017, Hamburg 2017

prodaja/world sales Pyramide International 5, rue du Chevalier de Saint George 75008 Paris, France E distribution�pyramidefilms.com

Portret palestinske dru`ine skozi trk nasprotujo~ih si idealov razli~nih generacij, ki so vsaka po svoje ujete med sodobnost in tradicijo. Dobitnik {tirih nagrad na filmskem festivalu v Locarnu.

A Palestinian family drama, Duty examines the generation clash through a relationship between father and son, each torn between tradition and modernity. Winner of four awards at the Locarno FF.

Abu [adi je lo~en o~e in u~itelj iz Nazareta. êz mesec dni se bo njegova h~i poro~ila in od takrat naprej bo ìvel sam. Njegov sin [adi, po poklicu arhitekt, se po dolgih letih ìvljenja v Rimu vrne domov, da bi o~etu pomagal ro~no deliti poro~na vabila, kakor veleva palestinski obi~aj. Ko odtujena moà preìvljata dan skupaj in si izmenjujeta podrobnosti o sebi, se v njun odnos prikradejo napetosti, ki razkrijejo resnico o njuni krhkosti in predvsem o velikih razlikah v ìvljenju.

Abu Shadi is a divorced father and a schoolteacher living in Nazareth. After his daughter's wedding in one month he will be living alone. Shadi, his architect son, arrives from Rome after years abroad to help his father in hand-delivering the wedding invitations to each guest as per local Palestinian custom. As the estranged pair spend the day together, the tense details of their relationship come to a boil, challenging their fragile and very different lives.

"V Palestini tradicija ostaja pomemben del sodobnega ìvljenja. (...) 'Wajib' lahko ohlapno prevedemo kot 'dru`beno dol`nost'. Ko se je poro~ila svakinja, je bila dru`bena obveza mojega moà izro~iti vabila v dru`bi o~eta. Odlo~ila sem se jima pridruìti med petdnevnim popotovanjem po mestu in sosednjih vaseh. Kot tihi opazovalki se mi je opravilo zdelo enkrat zabavno in drugi~ bole~e. Vidiki tega posebnega razmerja med o~etom in sinom, napetosti v~asih sku{ane ljubezni med njima, so se nadrobno razkrili. Za~ela sem raziskovati idejo za film o tem krhkem razmerju." (Annemarie Jacir)

"In Palestine, there is a tradition which remains a big part of life today. (...) 'Wajib' loosely means 'social duty.' When my husband sister’s got married, it was his wajib to deliver the invitations with his father. I decided to silently tag along as he and his father spent five days traversing the city and surrounding villages delivering each invitation. As the silent observer, it was at times funny and other times painful. Aspects of that special relationship between father and son, the tensions of a sometimes tested love between them, came out in small ways. I began working on the idea for a film about this fragile relationship." (Annemarie Jacir)

Annemarie Jacir

filmografija/filmography

Rojena leta 1974 v Betlehemu, Palestina. Film je {tudirala na Univerzi Kolumbija v ZDA. Njen Like Twenty Impossibles je bil prvi arabski kratki film, izbran v uradni program filmskega festivala v Cannesu. Celove~erni prvenec Salt of This Sea je posnela leta 2008. Zaveza je njen tretji celove~erec.

1999 2001 2003 2005

Born in 1974 in Bethlehem, Palestine. Studied film at Columbia University. Jacir's Like Twenty Impossibles was the first Arab short film to enter the official selection of the Cannes Film Festival. She made her first feature film, Salt of this Sea, in 2008. Duty is her third feature film.

A Post Oslo History (kratki/short) The Satellite Shooters (kratki/short) Like Twenty Impossibles (kratki/short) Quelques miettes pour les oiseaux (A Few Crumbs For The Birds) (kratki dok./doc. short) 2008 Salt of this Sea 2012 When I Saw You 2017 Wajib (Duty/Zaveza)

Panorama svetovnega filma Panorama of World Cinema

Svanurinn The Swan Labod Islandija Iceland 2017

Ása Helga Hjörleifsdóttir

reìja/directed by Ása Helga Hjörleifsdóttir scenarij/screenplay Ása Helga Hjörleifsdóttir, Guðbergur Bergsson (roman/novel) fotografija/cinematography Martin Neumeyer glasba/music Örvar Smárason, Gunnar Tynes montaà/editing Sebastian Thümler, Elísabet Rónaldsdóttir igrajo/cast Gríma Valsdóttir, Thor Kristjansson, Blær Jóhannsdóttir, Ingvar E. Sigurdsson, Katla Margrét Thorgeirsdóttir producentki/producers Birgitta Björnsdóttir, Hlín Jóhannesdóttir produkcija/production Vintage Pictures Raudagerdi 61 108 Reykjavik, Iceland E info�vintagepictures.is format/format DCP, barvni/colour dolìna/running time 91'

Zgodba o odra{~anju islandske deklice, ki med "prisilnimi" po~itnicami na kmetiji spozna, da je svet odraslih precej bolj zapleten in brezsr~en, kot si je predstavljala.

On a 'forced summer exile' to a farm a young Icelandic girl begins to realise that the adult world is far more complicated and callous than she has ever anticipated.

Devetletno Sol star{a, ki se lo~ujeta, ~ez poletje po{ljeta na kmetijo k daljnim sorodnikom, da bi tam pomagala pri delu. In odrasla. Nenazadnje pa tudi zato, da bi bila kaznovana za svoje prestopke – kraje v trgovinah. V novem okolju se Sol hitro zblià z ìvalmi in spoprijatelji s skrivnostnim mladim pomo~nikom. Bolj ko odkriva ìvljenje na kmetiji, ve~ neskladij opaà, {e posebej v trditvah strica in tete, da vse po~neta v sozvo~ju z zakoni narave.

The story follows Sól, a 9-year-old girl who is sent to distant relatives for a summer to work and to mature at their countryside farm. For Sól there is an added element: she's been sent away to the farm as punishment for shoplifting, and because her parents have split. The animals charm her, and she befriends a mysterious farmhand. The more acquainted she becomes with the ways of the farm, though, the more contradictions she notices, especially the uncle and aunt's constant claim that nature's laws are the reasons for their actions.

"V filmu kmet in njegova èna predstavljata zelo ~love{ko èljo po 'urejenem gospodinjstvu' v divjini ~love{ke narave, hlapec pa predstavlja njuno nasprotje: ìvljenje, ki ga obvladujeta kaos in ~ustvena svoboda. To neskladje je ena glavnih niti filma, nasprotje, s katerim se borita tako dekle kot kme~ka h~i; navzkri`je med hotenjem biti 'normalen' in soo~enjem s svojo pravo, kompleksno naravo." (Ása Helga Hjörleifsdóttir)

festivali, nagrade (izbor)/ festivals, awards (selection) Toronto 2017

"In the film, the farmer and his wife stand for the very human desire to 'keep house' in the wilderness that is human nature, whereas the farmhand stands for the opposite: a life of chaos and emotional freedom. This conflict is one of the main threads in the film, and one that both the girl and the farmers' daughter are struggling with; this conflict between wanting to be 'normal' versus facing your true, complicated nature." (Ása Helga Hjörleifsdóttir)

Ása Helga Hjörleifsdóttir

filmografija/filmography

Rojena leta 1984 v Reykjaviku. Na Univerzi Kolumbija v ZDA je diplomirala iz filma in pozneje tudi pou~evala pisanje scenarijev. [tudirala je tudi primerjalno knji`evnost na islandski univerzi in pari{ki Sorbonni ter se nekaj ~asa pre`ivljala kot literarna kriti~arka. Labod, posnet po romanu Guðbergura Bergssona, je njen celove~erni prvenec.

2010 2011 2012 2015 2017

prodaja/world sales m-appeal Prinzessinnenstrasse 16 10969 Berlin, Germany E sales�m-appeal.com

Dark Wings (kratki/short) This Is the Girl (kratki/short) Ástarsaga (Love Story) (kratki/short) Þú og ég (You and Me) (kratki/short) Svanurinn (The Swan/Labod)

Born in 1984 in Reykjavík. Graduate of the Columbia University Film MFA program. She taught screenwriting at the Columbia University Undergraduate Film Department. She also holds a BA in comparative literature from the University of Iceland and the Sorbonne – Paris IV University. After graduating she worked as a freelance book and film critic. Her first feature film, The Swan, is an adaptation of a novel by Guðbergur Bergsson.

Panorama svetovnega filma Panorama of World Cinema

Manifesto Manifesto Manifest Nem~ija, Avstralija Germany, Australia 2016

Julian Rosefeldt reìja/directed by Julian Rosefeldt scenarij/screenplay Julian Rosefeldt fotografija/cinematography Christoph Krauss glasba/music Nils Frahm, Ben Lukas Boysen montaà/editing Bobby Good igra/cast Cate Blanchett (razli~ne vloge/ various roles) producent/producer Julian Rosefeldt produkcija/production Schiwago Film GmbH Großbeerenstraße 64 10963 Berlin, Germany E info�schiwagofilm.de format/format DCP, barvni/colour dolìna/running time 94' festivali, nagrade (izbor)/ festivals, awards (selection) Rotterdam 2017, Istanbul 2017, Sundance 2017, Tribeca 2017

Avtorsko posvetilo razli~nim umetni{kim manifestom 19. in 20. stoletja, od komunizma, dadaizma in nadrealizma do dogme, v katerem v trinajstih razli~nih vlogah blesti Cate Blanchett. Nenavadno avdiovizualno doìvetje ponuja dvanajst zgodb oziroma umetni{kih manifestov iz razli~nih obdobij. Avstralska igralka Cate Blanchett se je kameleonsko prelevila v razli~ne osebe: brezdomca, tovarni{ko delavko, izvr{no direktorico, lutkarico, koreografinjo, televizijsko napovedovalko, reìserko, pankerico, u~iteljico, znanstvenico, vdovo ... Duhovit filmski eksperiment, ki dokazuje, da so vizionarske ideje brez~asne, je nastal po Rosefeldtovi istoimenski ve~medijski instalaciji iz leta 2015. "Film mi resni~no predstavlja sam manifest. Zato sem tako sre~en, da je sedaj zunaj v razli~nih oblikah. Gre za kompilacijo manifestov, preèma pa ga energija pravega manifesta. To ob~utim tudi v odzivih. Seveda gre za kontekstualizacijo, kot pri ve~ini filmov. Nenadoma postanejo opisi na{ega ~asa in dogajanja v svetu – spodbujajo ljudi, da se zoperstavijo populizmu in poneumljanju. êprav je Manifest intelektualen in tudi zame zelo te`ko branje, in sedaj vse zgodbe poznam è na pamet, menim, da ponuja poduk v {tevilnih stvareh." (Julian Rosefeldt)

An outstanding tribute to various art manifestos of the nineteenth and twentieth centuries, ranging from Communism, Dadaism and Surrealism to Dogme, featuring thirteen different characters who are all played by the incredible Cate Blanchett. The striking humorous audio-visual experience is a tour de force in which leading ideas about art and society are presented in twelve parts. Australian actress Blanchett depicts thirteen different characters, among them a school teacher, factory worker, choreographer, punk, newsreader, scientist, puppeteer, widow, and a homeless man. The witty, entertaining cinematic experiment, derived from Rosefeldt's 2015 multi-screen film installation of the same name, is proof that visionary ideas really can be timeless. "For me the film is really a manifesto itself. And that's why I'm so happy that is out there in different forms now. It is a compilation of manifestos, but it has this manifesto energy. I also feel it in the reactions. Of course it's contextualized like many films here. All of a sudden, they become descriptions of our time and what's going on in the world – encouraging people to go against populism and stupidity. Although Manifesto is brainy and a hard text even for me, and I probably know them all by heart now, I think it’s a lesson in various things." (Julian Rosefeldt)

prodaja/world sales The Match Factory Domstraße 60 50668 Köln, Germany E info�matchfactory.de

Julian Rosefeldt

filmografija/filmography

Rojen leta 1965 v Nem~iji. V Münchnu in Barceloni je {tudiral arhitekturo. Je fotograf, katerega dela so razstavljena tudi v newyor{kem Muzeju moderne umetnosti, in vsestranski umetnik, znan po kompleksnih video in filmskih instalacijah. Trenutno `ivi in ustvarja v Berlinu.

2002 2014 2015 2016

distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Born in 1965, Germany. Studied architecture in Munich and Barcelona. He is also a photographer, whose work also forms part of the permanent collection of the Museum of Modern Art in New York. As a versatile artist, he is known for his complex, visually impressive film and video installations. He is currently based in Berlin.

Asylum (kratki/short) Deep Gold (kratki/short) The Creation Manifesto (Manifest)

Panorama svetovnega filma Panorama of World Cinema

Sameblod Sami Blood Ne~ista kri Amanda Kernell

[vedska, Norve{ka, Danska Sweden, Norway, Denmark 2016

Pripoved o poskusu integracije mlade Laponke v {vedsko dru`bo sredi tridesetih let prej{njega stoletja. Neprizanesljiv obra~un z zgodovino skandinavskega kolonializma in rasnega razlikovanja.

A story about the integration of a young Sami girl into Swedish society in mid 1930s. An uncompromising look at the history of Scandinavian colonialism and racial discrimination.

Ella, pripadnica ljudstva Sami, je odra{~ala sredi prostrane in divje Laponske. Ko za~ne s {tirinajstimi leti obiskovati dràvno srednjo {olo v Uppsali, ~etrtem najve~jem {vedskem mestu, spozna povsem druga~no ìvljenje. To jo kot vsako najstnico sprva navdu{i, a ~e se ho~e zares vklopiti v novo okolje, bo pla~ala visoko ceno: postati mora povsem nova oseba ter pretrgati vse vezi s svojo druìno in kulturo ...

Ella, a reindeer-breeding Sami girl, grew up in the vast expanses of the untamed Lapland. Turning 14, she starts attending a Swedish boarding school in Uppsala, the fourth largest Swedish town. Fitting into Swedish society proves more challenging than she thought, and she quickly learns that to integrate, she must break all ties with her family and culture.

"[tevilni Samiji so pustili vse za seboj in postali [vedi. Vedno sem se spra{evala; kaj se ti zgodi, ~e pretrga{ vse vezi s svojo kulturo in zgodovino? Lahko res postane{ nekdo drug? Ne~ista kri je ljubezenska izjava tistim, ki so od{li, in tistim, ki so ostali – podana iz perspektive Elle Marje. @elela sem posneti film, ki prikazuje skupnost Sámi od znotraj, v katerem fizi~no izkusimo temno plat {vedske kolonialne zgodovine. Pre`et s pesmijo joik in krvjo." (Amanda Kernell)

"Many older Samis left everything behind and became Swedish and I've always wondered; what happens to you if you cut all ties with your culture and history? And can you really become someone else? Sami Blood is a declaration of love to those who left and those who stayed – told from Elle Marja's perspective. I wanted to make a film where we see the Sámi society from within, a film where we experience this dark part of Swedish colonial history in a physical way. A film with yoik and blood." (Amanda Kernell)

Amanda Kernell

filmografija/filmography

Rojena leta 1986 v severnem delu [vedske. Je cenjena re`iserka in scenaristka, ki je za svoje kratke film prejela {tevilna mednarodna priznanja. @ivi v Köbenhavnu na Danskem in pou~uje filmsko re`ijo, Ne~ista kri pa je njen celove~erni prvenec.

2007 2008 2009 2010 2013 2014 2015 2016

Born in 1986 in north Sweden. An acclaimed director and scriptwriter, Kernell's shorts have received several international awards. Nowadays she lives in Copenhagen and teaches film directing. Sami Blood is her debut feature.

reìja/directed by Amanda Kernell scenarij/screenplay Amanda Kernell fotografija/cinematography Sophia Olsson, Petrus Sjovik glasba/music Kristian Eidnes Andersen montaà/editing Anders Skov igrajo/cast Lene Ceceilia Sparrok (Elle Marja), Mia Erika Sparrok (Njenna), Maj Doris Rimpi (Elle Marja/Christina), Julius Fleischanderl (Niklas), Olle Sarri (Olle), Hanna Alström (Lärarinnan), Malin Crépin (Elise), Andreas Kundler (Gustav), Ylva Gustafsson (Laevie) producent/producer Lars G. Lindström produkcija/production Nordisk Film AB Hornbruksgatan 19 SE-102 74 Stockholm, Sweden E contact�nordiskfilm.com format/format DCP, barvni/colour dolìna/running time 110' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2016 – Avtorski dnevi/Venice Days (najbolj{i reìser prvenca/Best Director of a Debut Film), Göteborg 2017 (najbolj{i nordijski film/Best Nordic Film), Seattle 2016 (velika nagrada ìrije, najbolj{a igralka/Grand Jury Prize, Best Actress), Sydney 2017, Tokio/ Tokyo 2016 (posebna nagrada ìrije, najbolj{a igralka/Special Jury Prize, Best Actress)

prodaja/world sales Swedish Film Institute Filmhuset, Borgvägen 1–5 102 52 Stockholm, Sweden E info�sfi.se

Våra discon (kratki/short) Semestersystern (kratki/short) Att dela allt (Sharing All) (kratki/short) Det kommer aldrig att gå över (This Means Forever) (kratki/short) The Association of Joy (kratki/short) Paradiset (kratki/short) Stoerre Vaerie (Northern Great Mountain) (kratki/short) Sameblod (Sami Blood/Ne~ista kri)

Panorama svetovnega filma Panorama of World Cinema

Posoki Directions Smeri Bolgarija, Nem~ija, Makedonija Bulgaria, Germany, Republic of Macedonia 2017

Stefan Komandarev reìja/directed by Stefan Komandarev scenarij/screenplay Stefan Komandarev, Simeon Ventsislavov fotografija/cinematography Vesselin Hristov montaà/editing Nina Altaparmakova igrajo/cast Vassil Vassilev (Mi{o), Ivan Barnev (Vlado), Assen Blate~ki (Joro), Irini Zhambonas (Rada), Trojan Gogov (Petar), Vasil Banov (Kosta), Guerassim Gueorgujev (Mitko), Dobrin Dosev (Andrej), Stefan Denoljubov (Nikola), Borislava Statijeva (Lora), Dimitar Banenkin (Manol) producenta/producers Stefan Komandarev, Katja Tri~ova produkcija/production Argo Film Ltd. Yantra St. 5, Entr B 1124 Sofia, Bulgaria E komandarev�abv.bg & Atkis Film Production & Sektor Film format/format DCP, barvni/colour dolìna/running time 103'

Dru`benokriti~en pogled na dana{njo Bolgarijo, podan skozi tragi~ni incident, ki razburi javnost, ter perspektivo taksistov in njihovih strank, ki pono~i kroìjo po Sofiji. Preprost podjetnik in o~e odra{~ajo~e h~erke, ki si kruh sluì z vo`njo taksija, na sestanku z bankirjem ugotovi, da se je podkupnina za pridodobitev posojila podvojila. Obupan se odlo~i pravico vzeti v svoje roke: najprej ustreli bankirja, nato {e samega sebe. Medtem ko ta incident sproì vsesplo{no debato o krizi sodobne dru`be, spremljamo {est taksistov in njihovih strank, ki kroìjo po sofijskih ulicah v upanju na svetlej{o prihodnost ...

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2017, Sarajevo 2017

"Glavni razlog za film je bil spro`iti debato o trenutnem stanju v Bolgariji. Prvi korak k poskusu spremembe na bolje je orisati realisti~no sliko sodobne Bolgarije. To ni slika, ki jo lahko vidimo v medijih. Vsaka epizoda v filmu je bila posneta v realnem ~asu, z igralci in direktorjem fotografije med vo`njo s taksijem. Nekatere so navdihnili resni~ni dogodki. Pomembno se mi je zdelo ohraniti ob~utje resni~nosti. Seveda smo med razvijanjem scenarija spremenili {tevilne stvari za oblikovanje bolj prepri~ljivih zgodb." (Stefan Komandarev)

prodaja/world sales Arri Media International Türkenstraße 89 80799 München, Germany E worldsales�arri.de

At a meeting with his banker, a small business owner who drives a cab to make ends meet, discovers the bribe he will have to pay to get a loan has doubled. At his wit's end, he shoots the banker and then himself. The incident sparks national debate on talk radio about how despair has taken over civil society. Meanwhile, six taxi drivers and their passengers move through the night, each in hope of finding a brighter way forward. "The main reason for making the film was to spark a debate in Bulgaria about the current situation. The first step to try to change something in a positive way is to paint a realistic picture of today's Bulgaria. And this is not the picture that we can see in the media. Each episode of the film was shot in real time, only with the actors and the DOP riding in the taxi. Some of them were inspired by real events. And for me, it was important to maintain this feeling of reality. Of course, during the development of the script, we changed many things in order to build stronger stories." (Stephan Komandarev)

Stefan Komandarev

filmografija/filmography

Rojen leta 1966 v Sofiji, Bolgarija. Diplomiral je iz filmske in televizijske re`ije na Novi bolgarski univerzi. Posnel je `e nekaj celove~ernih igranih in dokumentarnih filmov, nagrajenih na mednarodnih festivalih. Svetat e goljam i spasenje debne otvsjakade je bil prvi bolgarski film, predlagan za kandidata za tujejezi~nega oskarja.

2000 2002 2004 2008

Born in 1966 in Sofia, Bulgaria. He graduated in film & TV directing from the New Bulgarian University. His previous works include several award-winning feature and documentary films, including The World Is Big and Salvation Lurks around the Corner, the first Bulgarian film shortlisted for the Academy Award for Best Foreign Language Film.

Centring on a contentious tragic incident, Directions is a socially-critical examination of present-day Bulgaria as seen through the eyes of taxi drivers and their passengers cruising Sofia by night.

Pansion za ku~eta (Dog's Home) Hljab nad ogradata (Bread Over the Fence) (dok./doc.) Azbuka na nadejdata (Alphabet of Hope) (dok./doc.) Svetat e goljam i spasenje debne otvsjakade (The World Is Big and Salvation Lurks Around the Corner) 2010 The Town of Badante Women (dok./doc.) 2013 Sadili{teto (The Judgement) 2017 Posoki (Directions/Smeri)

Panorama svetovnega filma Panorama of World Cinema

Holy Air Holy Air Sveti zrak Izrael Israel 2017

Shady Srour

reìja/directed by Shady Srour scenarij/screenplay Shady Srour fotografija/cinematography Daniel Miller glasba/music Habib Shadah montaà/editing Naaman Bishara igrajo/cast Shady Srour (Adam), Laetitia Eido (Lamia), Tarek Copty (Adamov o~e/ Adam's father), Shmulik Calderon (duhovnik/priest Roberto), Dalia Okal (Widad), Bian Anteer (Mohamed) producenta/producers Ilan Moscovitch, Shady Srour produkcija/production Tree M Productions Jaffa-Tel Aviv, Israel E treem�orange.net.il format/format DCP, barvni/colour dolìna/running time 81'

V filmski satiri, katere dogajanje je postavljeno v sodobni Nazaret, sledimo zgodam in nezgodam protagonista Adama, ki se mora spoprijeti s {tevilnimi ovirami tega obmo~ja ve~ narodov in ver, da bi lahko uresni~il svojo poslovno idejo.

Set in present-day Nazareth, Holy Air chronicles the haps and mishaps of father-to-be Adam navigating the countless crosscurrents of his multiethnic and multireligious society in order to implement a business idea.

Ko Adam izve, da je njegova èna Lamia nose~a, àlostno ugotovi, da v ìvljenju pravzaprav {e ni kaj prida dosegel. Kljub vsem dosedanjim spodletelim poslovnim zamislim pa vendarle sklene, da {e ne bo vrgel pu{ke v koruzo: tokrat bo poskusil sre~o s prodajo "posve~enega zraka", ki naj bi ga devica Marija v Sveti deèli vdihavala med oznanjenjem. A za uresni~itev na~rta mora poiskati zaveznike tako med judovskimi politiki, muslimansko mafijo, kot tudi med visokimi katoli{kimi cerkvenimi dostojanstveniki ...

When Adam hears that his wife Lamia is pregnant and his father falls very ill, he evaluates his life and realises that he has not achieved much. Despite all his failed business ideas, he makes one last attempt to try to make it big. And what's better than selling the very air that the Virgin Mary breathed during her annunciation in the Holy Land? But in order to do so, as one priest tells Adam during confession, he needs to find allies from the three cultures ruling Nazareth – the Jewish politicians, the Muslim mafia, and the Catholic Church officials.

"Prebival sem v Nazaretu, sveti deèli, kjer je ìvel Jezus. Vendar je Nazaret zelo teàven kraj – med Izraelom in Palestino. Obvladujejo ga {tevilni problemi, kot so kriza identitete, sovra{tvo, napetost in vojna. V njem nisem videl prihodnosti za svoje otroke. Zdelo se mi je, da bom moral prodajati zrak, da bi lahko ìvel ponosno; misija nemogo~e. Film je bolj simboli~en, vendar odseva moj poloàj, moje danosti v Nazaretu." (Shady Srour)

"I was living in the holy land, Nazareth, where Jesus lived. But Nazareth is in a very difficult place – between Israel and Palestine. There are a lot of problems there, including an identity crisis, hate, tension, and war. I didn't see a future for my kids. I felt that I needed to sell air in order to live in a proud way, it's an impossible mission. It's more symbolic, but it's expressing my situation, it's my scene in Nazareth." (Shady Srour)

Shady Srour

filmografija (izbor)/filmography (selection)

Rojen leta 1973 v Nazaretu, Izrael. Je scenarist, producent in re`iser. [tudiral je na Univerzi v Tel Avivu in Akademiji za umetnost v San Franciscu. Doslej je igral v ve~ kot 13 igranih filmih, med drugim je imel tudi glavno mo{ko vlogo v kratkem filmu Ave Maria (2015), ki je bil nominiran za oskarja. Leta 2005 se je za~el ukvarjati s filmsko re`ijo, Sveti zrak pa je njegov drugi celove~erec.

2005 Sense of Need 2017 Holy Air (Sveti zrak)

festivali, nagrade (izbor)/ festivals, awards (selection) Jeruzalem/Jerusalem 2017, Tribeca 2017

prodaja/world sales New Europe Film Sales Czerniakowska 73/79Warsaw 00-718, Poland E jan�neweuropefilmsales.com

Born in 1973 in Nazareth, Israel. He graduated from the Tel-Aviv University and from the Academy of Art University in San Francisco. Srour has played in over 13 fiction films, including an Oscar-nominated short film, Ave Maria (2015). In 2005, he diversified into filmmaking. Holy Air is his second feature film.

Panorama svetovnega filma Panorama of World Cinema

Hostages Hostages Talci Rezo Gigine{vili

reìja/directed by Rezo Gigine{vili scenarij/screenplay La{a Bugadze, Rezo Gigine{vili fotografija/cinematography Vladislav Opeljanc glasba/music Gija Kan~eli montaà/editing Andrej Gamov, Jaroslaw Kaminski igrajo/cast Merab Ninidze (Levan), Darejan Har{iladze (Nino), Tina Dalaki{vili (Ana), Irakli Kvirikadze (Nika), Giga Datia{vili (Koka), Giorgi Grdzelidze (Sandro), George Tabidze (Oto), Giorgi Hurcilava (La{a), Vahtang â~anidze (Irakli), Ekaterine Kalatozi{vili (Tamuna), Avtandil Maharadze ([ota), Beka Lemonjava (Zuriko), Iliko Suh{vili (Daniil) producenti/producers Mihail Finogenov, Tamara Tati{vili, Vladimer Ka~arava, Rezo Giginei{vili produkcija/production 20 Steps Productions Akhmeteli 10a 0159 Tbilisi, Georgia E infoďż˝20steps.ge & Nebo Films (Russia) & Extreme Emotions (Poland) format/format DCP, barvni/colour dolìna/running time 103' festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2017, Edinburg/Edinburgh 2017, So~i/Sochi 2017 (najbolj{a reìja/Best Direction, najbolj{a fotografija/Best Cinematography)

prodaja/world sales WestEnd Films Shepherds Building Central Charecroft Way London W14 0EE, UK E infoďż˝westendfilms.com

Hrepenenje po svobodi v nekdanji Sovjetski zvezi v tem gruzijskem trilerju privede do prebrisanega pobega, ki pa ga skupina mladih izvede z napa~nimi sredstvi.

In this Georgian thriller, the pining for freedom in former Soviet Union results in an ingenious but overambitious getaway of a circle of young fantasists.

Gruzijska sovjetska republika, 1983. Priprave na Nikajevo in Anino poroko so v polnem teku. Vsi si obetajo, da bo to velik dan za obe druìni mladoporo~encev. Vendarle pa je vse skupaj le predstava. Par in njuni prijatelji namre~ poroko uporabijo zgolj kot krinko pri na~rtovanju pobega iz Sovjetske zveze. Radi bi zbeàli iz klavstrofobi~nega vsakdana in kon~no odkrili, kako je videti svobodni svet. Njihov na~rt je tvegan: ugrabiti nameravajo letalo iz Tbilisija v Batumi in posadko prisiliti, naj pristane v Tur~iji, najbli`ji dràvi, ki ni del Vzhodnega bloka. A ko se letalo dvigne s tal in se napetost v glavah amaterskih ugrabiteljev pove~uje, ne gre ni~ ve~ po na~rtu.

Soviet Georgia, 1983. Preparations for Nika and Ana's wedding are in full swing and it's a big day for both of their elite families. For the newlyweds and their friends, however, the celebrations are in fact part of a cover-up, as they plot an audacious escape from the Soviet Union. They plan to flee their claustrophobic daily lives, and discover the free world. Nika and Ana move forward with their riskiest plan yet: hijacking a local flight from Tbilisi to Batumi and forcing it to land in Turkey, the closest country to Georgia that isn't part of the Eastern Block. But as the plane leaves the ground and the pressure quickly rises, nothing goes as planned for these amateur would-be hijackers.

"êtrti celove~erec gruzijskega reìserja Reza Gigine{vilija (...) je nedvomno umetni{ki doseèk z impresivnimi filmskimi u~inki. Triler o ugrabitvi letala je zavezan navdu{evanju ob~instva z napetostjo in vzburljivostjo. Najprej elegantno ori{e dru`benozgodovinsko ozadje in samozavestno predstavi ne tako o~itno motivacijo likov ter vrhunec doseè v enem najbolj osupljivih akcijskih zapletov sodobne evropske kinematografije." (Vladan Petkovi}, Cineuropa)

"Georgian director Rezo Gigineishvili's fourth feature (...) has certainly delivered in terms of craftsmanship and cinematic effect. Gauged so as to drive the audience with suspense and excitement, this hijacking thriller first establishes the socialhistorical backdrop with elegance and the characters' not-soobvious motivation with confidence, before topping it all off with one of the most remarkable action set-pieces in recent European cinema.â&#x20AC;? (Vladan Petkovi}, Cineuropa)

Rezo Gigine{vili

filmografija/filmography

Rojen leta 1982 v Tbilisiju, `ivi v Gruziji in Rusiji. [tudiral je na In{titutu za filmsko fotografijo Gerasimov v Moskvi. Najprej se je uveljavil kot re`iser oglasov in se {ele pozneje usmeril v avtorski film. Njegovi dosedanji filmi so bili tako v Gruziji kot v Rusiji velike komercialne uspe{nice.

2006 2011 2012 2015 2017

Born in Tbilisi, Georgia, in 1982, he lives and works in Georgia and Russia. He studied at the Gerasimov Institute of Cinematography in Moscow and is an established director of commercials who is now focusing on auteur cinema. His films have been big commercial hits in both Russia and Georgia.

Gruzija, Rusija, Poljska Georgia, Russia, Poland 2017

@ara (Heat) Bez mu`h~in (Without Men) Ljubov s akcentom (Love with Accent) Bez granic (No Borders) Hostages (Talci)

Panorama svetovnega filma Panorama of World Cinema

Chun-mong A Quiet Dream Tihi sen Ju`na Koreja South Korea 2016

Zhang Lu

reìja/directed by Zhang Lu scenarij/screenplay Zhang Lu fotografija/cinematography Jo Youngjik glasba/music Bek Hyunjin montaà/editing Lee Hakmin igrajo/cast Han Ye-ri (Ye-ri), Yang Ik-june (Ik-june), Park Jung-bum (Jung-bum), Yoon Jong-bin (Jong-bin) producent/producer Kim Dongyoung produkcija/production Lu Film 4Fl, 12, Dongsomun-dong 2-ga Seongbuk-gu, Seoul 136–032, Korea E lufilm�naver.com format/format DCP, ~b/b&w dolìna/running time 101' festivali, nagrade (izbor)/ festivals, awards (selection) Rotterdam 2017

Nadrealisti~na, na trenutke melanholi~na tragikomedija o treh mo{kih, ki se borijo za pozornost lastnice svojega priljubljenega lokala.

A surrealistic, occasionally melancholy tragicomedy about three men vying without much success for the attention of a young woman who runs the bar they frequent.

Trije mo{ki vsak dan obiskujejo lokal v ìvahni seulski delavski ~etrti in vsak po svoje dvorijo lastnici Ye-ri. Vsi trije so prikupni, ~etudi se Ye-ri zdijo nekoliko izgubljeni: Jong-bin je epileptik, Ik-june je nekdanji mali kriminalec, Jong-bum pa introvertiran moàkar z bipolarno motnjo, ki je pred ~asom pobegnil iz Severne Koreje. êtverica preìvlja dni ob popivanju, pogovorih in pohajkovanju po mestu, da bi pregnali osamljenost in misli na vsakdanje tegobe, ki ne prizana{ajo nobenemu od njih.

Three men hang out at Ye-ri's bar in a lively working-class neighbourhood of Seoul. The men are smitten by the young woman and try to win Ye-ri's heart, each in their own way. They are losers, but nice ones: Jong-bin, an epileptic, Ik-june, a former petty criminal, and the introverted Jong-bum who fled from North Korea and suffers from a bipolar disorder. The four spend their days boozing, talking and roaming the city, with a view to easing their loneliness and leaving their troubles behind.

"Nisem videl veliko filmov, ki bi prikazovali seulske ~etrti. (...) Meni se ta ~etrt vedno prika`e v ~rno-beli podobi. Neko stvar pri ustvarjanju filma ~utim kot pomembno; verodostojno mora{ upodobiti ob~utje, s katerim te tisto prizori{~e navdaja. Meni je bilo ob~utje zelo ~rno-belo." (Zhang Lu)

"I haven't really seen many films depicting neighbourhoods in Seoul. (...) That neighbourhood always comes to me in black and white. And one thing about filming that I feel is that you have to be truthful to the vibe that you're getting from that space. For me, the vibe was very black and white." (Zhang Lu)

Zhang Lu

filmografija (izbor)/filmography (selection)

Rojen 1962 v mestu Janbian, Kitajska. Na tamkaj{nji univerzi je {tudiral knji`evnost, svojo poklicno pot pa je za~el kot pisatelj kratkih zgodb in romanov. Leta 2000 je posnel prvi kratki film z naslovom Eleven. Za svoje filme je prejel {tevilne ugledne nagrade, med drugimi leta 2014 tudi nagrado Zdru`enja korejskih filmskih kritikov.

2000 2003 2005 2007 2008 2008 2010 2014 2015 2016

Born in 1962 in Yanbian, China. He studied Chinese literature at the Yanbian University, and began his career as a writer of novels and short stories. His directorial debut was the short film Eleven. Zhang has received numerous prestigious awards, including a Korean Association of Film Critics Award (2014).

prodaja/world sales M-Line Distribution 3F Mido Bldg., 540–21 Shinsa-dong Gangnam-gu, Seoul 135–889, Korea E sales�mline-distribution.com

Eleven (kratki/short) Tang shi (Tang Poetry) Mang zhong (Grain in Ear) Hyazgar (Desert Dream) Iri Chongqing Dooman River Gyeongju Love And... Chun-mong (A Quiet Dream/Tihi sen)

Panorama svetovnega filma Panorama of World Cinema

I blodet In the Blood V krvi Danska Denmark 2016

Rasmus Heisterberg reìja/directed by Rasmus Heisterberg scenarij/screenplay Rasmus Heisterberg fotografija/cinematography Niels Thastum glasba/music Jonas Colstrup, Jóhann Jóhannsson montaà/editing Rasmus Stensgaard Madsen igrajo/cast Kristoffer Bech (Simon), Elliott Crosset Hove (Knud), Aske Bang (Søren), Mads Reuther (Esben) producentka/producer Caroline Schlüter produkcija/production Profile Pictures ApS Krystalgade 7, 3. 1172 Copenhagen K, Denmark E mail�profilepictures.dk format/format DCP, barvni/colour dolìna/running time 104' festivali, nagrade (izbor)/ festivals, awards (selection) Crossing Europe 2017, Rotterdam 2017

Poletje v Köbenhavnu za {tiri {tudente medicine pomeni brezskrbne dni in divje no~i. Obenem pa je to tudi ~as, ko se morajo mladeni~i soo~iti z odra{~anjem, njihove sanje se za~enjajo razblinjati, prijateljstva krhati, ljubezen pa postaja vse bolj bole~a.

prodaja/world sales LevelK Gl. Kongevej 137 B, 3rd Fl. 1850 Frederiksberg C, Denmark E andrea�levelk.dk

Triindvajsetletni Simon v Köbenhavnu {tudira medicino. Skupaj s sostanovalci in {tudijskimi kolegi Knudom, Sørenom in Esbenom v prostem ~asu obiskuje lokale, osvaja dekleta in sploh ìvi kot brezskrben {tudent. A blià se konec {tudija, njegovi prijatelji èlijo prodati skupno stanovanje in {tudentsko ìvljenje pustiti za seboj, Simon pa se {e ne zmore sprijazniti s tem, da je è odrasel. Zaljubi se v natakarico Emilie, a ker se ne zna soo~iti s svojimi resni~nimi ~ustvi, {e globlje zabrede v svet popivanja in celono~nih zabav, kar pa za~ne resno ogroàti njegova prijateljstva.

23-year-old Simon goes to medical school in Copenhagen. He parties, drinks and chases girls together with his friends Knud, Søren and Esben. But it is also a time of change between the friends and when everyone except Simon decides it's time to sell their shared apartment this creates a growing tension within the group. Whilst the others gravitate towards the safe haven of adulthood, Simon is not ready to let go of his airy adolescent life. He becomes smitten with a bartender, Emilie, but is unable to acknowledge his growing love for her. This only sends him deeper into a world of never-ending parties, which slowly threatens to destroy his friendships.

"V du{i se bom vedno po~util scenarista. Vendar sem v tej zgodbi ~util, da moram sam dodati podobe in zaokro`eno ozra~je celotnega filma. Zgodbo sem ~rpal iz zelo osebnega vira in scenarij je v {tevilnih pogledih malo pripoveden, kar ne bi delovalo, ~e ozra~je in senzibilnost prizorov ne bi bila ustrezna. Zato sem navsezadnje spoznal, da je edina prava odlo~itev, da ga re`iram sam." (Rasmus Heisterberg)

"I will never stop feeling like a writer in my soul. But, with this particular story, I felt like I should follow through with the images and the feeling of the whole film myself. I wrote it from a very personal realm, and the script has a very small narrative in many ways, which wouldn't work if the flavour and sensibility of the scenes weren't right. So at the end of the day, I felt that the only right choice would be directing it myself." (Rasmus Heisterberg)

Rasmus Heisterberg

filmografija (izbor)/filmography (selection)

Rojen leta 1975 v Köbenhavnu, Danska. Leta 2001 je diplomiral na Danski dr`avni filmski {oli. Je scenaristi~ni partner Nikolaja Arcela, s katerim sta napisala scenarije za {tevilne filmske uspe{nice, med drugimi tudi za filma Dekle z zmajskim tatujem in Kraljevska afera. V krvi je njegov re`ijski prvenec.

2016 I blodet (In the Blood/V krvi)

Born in 1975 in Copenhagen, Denmark. Graduated from the National Film School of Denmark in 2001. Regular writing partner with director Nikolaj Arcel whose collaborations include The Girl with the Dragon Tattoo and A Royal Affair. In the Blood marks his directorial debut.

Summer in Copenhagen. A time of carefree days and wild nights for four medical students. But also a time of shattered dreams, crumbling friendships and painful love when the young men have to make a decisive step towards adulthood.

Panorama svetovnega filma Panorama of World Cinema

Zoologija Zoology Zoologija Ivan I. Tverdovski

Rusija, Francija, Nem~ija Russia, France, Germany 2016

Pravlji~na pripoved o ènski, ki ji nenadoma zraste rep, je iskren film o osebnostni rasti v zrelem ìvljenjskem obdobju. Nata{a, ènska v poznih srednjih letih, v majhnem obalnem mestecu v Rusiji dela v ìvalskem vrtu in {e vedno ìvi s svojo mamo. V iskanju osebne neodvisnosti se mora nenehno soo~ati z govoricami, ki jih {irijo ènske okrog nje. Ko se è zdi, da ji ìvljenje ne more ponuditi nobenega presene~enja ve~, pa ji nekega dne zraste rep. Nove pridobitve se sprva sramuje, a v njej kmalu ugleda prilo`nost za osebnostno rast. Novi "dodatek" ji odpre povsem novo ìvljenje: najde si mo{kega in si prvi~ v ìvljenju dovoli biti prismuknjena. "Dru`ba, v kateri ìvim danes (...) se razlikuje od tiste celo pred petimi leti. Ljudje si ne prizadevajo ve~ za individualnost, temve~ hrepenijo po ne~em univerzalnem. Obla~ila moramo kupovati v popularnih trgovinah, obiskovati popularne koncerte, v hladilniku imamo vnaprej dolo~en izbor hrane, enak kot na{ sosed. (...) Ta film mi pomeni na~in za spoprijemanje z realnostjo. Upam, da se bo film Zoologija v resnici izkazal za u~inkovito 'zdravilo' zoper uniformiranost in standardizacijo v kateri koli dru`bi." (Ivan I. Tverdovski)

reìja/directed by Ivan I. Tverdovski scenarij/screenplay Ivan I. Tverdovski fotografija/cinematography Aleksandr Mikeladze montaà/editing Ivan I. Tverdovski, Vincent Assmann igrajo/cast Natalija Pavlenkova (Nata{a), Dmitrij Gro{ev (Peter), Irina îpiènko (mati/ mother), Ma{a Tokareva (Katja), Aleksandr Gor~ilin (stilist/stylist), Olga Ergina (sekretarka/secretary), Anna Asta{kina (Sveta), Nina Sviridova (starka/old woman), Tatjana Pal~ak (starka/old woman), @aneta Demikhova (direktorica ìvalskega vrta/zoo director) producenti/producers Mila Rozanova, Guillaume de Seille, Maria Lavnikovi~, Natalija Mokritskaja, Uljana Saveleva, Bénédicte Thomas produkcija/production New People Film Company (Russia) & Arizona Productions (France) & MovieBrats Pictures (Germany) format/format DCP, barvni/colour dolìna/running time 91'

A fantastic story about a woman who one day grows a tail, Zoology is a candid narrative about self-reinvention in mature years. Middle-aged zoo worker Natasha still lives with her mother in a small Russian coastal town. As she struggles for independence, she has to endure the reality of her life filled with gossip spread by the women around her. She is stuck and it seems that life has no surprises for her until one day... she grows a tail. Embarrassed at first, Natasha decides to go further with the transformation and use it as an opportunity to redefine herself as a person. With the new "accessory" she gets access to the life that she has never experienced before – she starts a relationship with a man, she allows herself to be foolish for the first time in her life.

festivali, nagrade (izbor)/festivals, awards (selection) Karlovi Vari/Karlovy Vary 2016 (posebna nagrada `irije/Special Prize of the Jury), Toronto 2016, London 2016, Chicago 2016, Solun/ Thessaloniki 2016, Palm Springs 2016

"Today the society that I live in (...) is different from something that was happening even five years ago. People don't crave their individuality anymore, instead they long for something universal. You need to buy your clothes in the popular stores, go to popular concerts, in your refrigerator there is a pre-set selection of food, the same as in your neighbour's fridge. (...) For me, this film is a method of fighting reality. I hope that Zoology will truly turn out to be an effective 'medicine' against unification and standardization in any society." (Ivan I. Tverdovski)

Ivan I. Tverdovski

filmografija/filmography

Rojen leta 1988 v Moskvi. Leta 2011 je diplomiral na Ruskem in{titutu za filmsko fotografijo. Z zgodnjimi dokumentarnimi filmi je osvojil ve~ nagrad na ruskih in mednarodnih festivalih. Njegov igrani prvenec Klass korrektsii je osvojil ve~ kot 35 mednarodnih nagrad. Zoologija je njegov drugi igrani celove~erni film.

2009 2012 2013 2014 2016

prodaja/world sales New Europe Film Sales Czerniakowska 73/79 00–718 Warsaw, Poland E jan�neweuropefilmsales.com

As If Waiting for a Bus (dok./doc.) Pianism (dok./doc.) Space Dog (dok./doc.) Klass korrektsii (Corrections Class) Zoologija (Zoology/Zoologija)

Born in 1988, graduated from the Russian Institute for Cinematography in 2011. His early documentary works won him multiple awards in Russia and at international film festivals. His fiction debut Corrections Class won over 35 prizes worldwide. Zoology is his second feature project.

Panorama svetovnega filma Panorama of World Cinema

Tiere Animals @ivali Greg Zglinski

reìja/directed by Greg Zglinski scenarij/screenplay Jörg Kalt, Greg Zglinski fotografija/cinematography Piotr Jaxa glasba/music Bartosz Chajdecki montaà/editing Karina Ressler igrajo/cast Birgit Minichmayr (Anna), Philipp Hochmair (Nick), Mona Petri (Mischa/Andrea/prodajalka sladoleda/ice cream vendor), Mehdi Nebbou (Tarek), Michael Ostrowski (Harald) producenti/producers Katrin Renz, Stefan Jäger, Bruno Wagner, Antonin Svoboda, Lukasz Dziecioł produkcija/production tellfilm Badenerstr. 141 8004 Zürich, Switzerland E renz�tellfilm.ch & Coop99 Filmproduktion & Opus Film format/format DCP, barvni/colour dolìna/running time 95'

[vica, Avstrija, Poljska Switzerland, Austria, Poland 2017

Ve~plastna, nadrealno intrigantna zgodba mladega para, ki èli krizo v odnosu prebroditi s potovanjem v {vicarske Alpe, se zavajajo~e giblje med resni~nostjo in domi{ljijo. Mlad par se odlo~i za pol leta odpotovati v [vico. Nick èli zbrati recepte tamkaj{nje kuharske tradicije, Anna pa upa, da bo kon~no le napisala novo knjigo. Dalj{i oddih naj bi pomagal tudi njuni zvezi, saj je za Nickom prikrita ljubezenska avantura, ki se je kon~ala s samomorom njegove ljubice, njune sosede Andreje. Medtem ko bosta zdoma, bo prijateljica Mischa v njunem dunajskem stanovanju skrbela za roè in ribe. A povoèna ovca na poti sproì nepri~akovan niz dogodkov ...

festivali/festivals Berlinale 2017, Carigrad/Istanbul 2017, Karlovi Vari/Karlovy Vary 2017

"Od vsega za~etka sem film @ivali videl kot univerzalno zgodbo o razmerju med mo{kim in ènsko, ki si èlita biti blizu, vendar to te`ko doseèta, saj vsak ìvi v lastnem pojmovanju resni~nosti. Tako je ljubezen mogo~a samo, ~e se ta pojmovanja razblinijo. Ob~utek imam, da sem se s tem filmom, ki obstaja nekje med resni~nostjo in snom, vrnil k svojim filmskim koreninam, k ~arobni in misti~ni interpretaciji sveta, ki nas obdaja. Scenarij preveva gosto ozra~je, ki me spominja na delo Davida Lyncha, Romana Polanskega ali Stanleyja Kubricka. Ko sem ga prvi~ prebral, mi je srce razbijalo kot noro." (Greg Zglinski)

prodaja/world sales Be For Films Avenue des Villas, 28 boite 0A 1060 Brüssel, Belgium E pamela�beforfilms.com

A young couple are off to Switzerland for six months. Nick wants to collect recipes of local cuisine, and Anna hopes to finally write a new book. The time away might be good for their relationship too, for Anna knows about Nick's affair with their neighbour Andrea, who threw herself out the window. Mischa will be taking care of the fish and the philodendron in their Viennese apartment while they're gone. On the drive to Switzerland, they collide with a sheep, which triggers off an unexpected string of events. "From the very start I saw Animals as a universal story about a relationship between a man and a woman who want to be close to each other but find it difficult because they each live in their own concept of reality. So love can only be possible if these concepts dissolve. With this film, which occupies the space somewhere between reality and dream, I have the feeling that I’ve returned to my film roots, to a magical and mystical interpretation of the world that surrounds us. The screenplay had a dense atmosphere that reminded me of films by David Lynch, Roman Polanski or Stanley Kubrick. The first time I read it, my heart was pounding by the time I finished it." (Greg Zglinski)

Greg Zglinski

filmografija (izbor)/filmography (selection)

Rojen leta 1968 v Var{avi na Poljskem. Odra{~al je v Aargau v [vici, obiskoval {olo pantomime in igralstva v Zürichu, nato pa se je posvetil {tudiju filma na Dràvni akademiji za film, televizijo in gledali{~e v Lodù. Trenutno ìvi v Var{avi, kjer ustvarja kot televizijski in filmski reìser ter pisec scenarijev.

2001 2004 2008 2009 2011 2014 2016 2017

Born in 1968 in Warsaw, Poland. Brought up in Aargau, Switzerland. Attended a pantomime and acting school in Zurich, and studied film directing at the National Academy for Film, Television and Theatre in Łódž, Poland. Greg Zglinski lives in Warsaw, where he works as a film director and screenwriter.

A richly nuanced and intriguing story of a young couple aiming to resolve their relationship crisis with a longer break in the Swiss Alps. When various narrative levels start to overlap, reality and fantasy slowly dissolve into each other.

Na swoje podobienstwo (On His Resemblance) Tout un hiver sans feu (One Long Winter Without Fire) Pitbull (TV-serija/TV series) Londynczycy (The Londoners) (TV-serija/TV series) Wymyk (Courage) Zbrodnia (The Crime) (TV-serija/TV series) Le temps d’Anna (Anna’s Time) Tiere (Animals/@ivali)

Panorama svetovnega filma Panorama of World Cinema

Wilde Maus Wild Mouse Divja mi{ka Avstrija Austria 2017

Josef Hader

Zabavno ekscentri~na in z ironi~nim humorjem dodobra za~injena zgodba o mo{kem poznih srednjih let, ki ostane brez slu`be ter se za~ne izgubljati v svetu lastnih laì in osebnega ma{~evanja. Ko petdesetletni Georg izgubi slu`bo glasbenega kritika pri uglednem dunajskem ~asopisu, je {okiran in ogor~en. Namesto da bi novico zaupal soprogi, ki mu daje jasno vedeti, da je ~as, da si ustvarita druìno, se raje odlo~i za ma{~evanje prej{njemu {efu. Otro~ji vandalisti~ni podvigi dajo nov smisel njegovemu brezciljnemu tavanju po bli`njem zabavi{~nem parku, kjer nekega dne naleti na nekdanjega, prav tako brezposelnega so{olca Ericha. Skupaj z njegovim romunskim dekletom se domislijo, da bi lahko na lastne stro{ke obnovili prastar zabavi{~ni park z imenom Divja mi{ka, a ideja se kmalu izkaè za vse prej kot dobro in vedno bolj obupani Erich za~enja izgubljati nadzor nad svojimi dejanji in ìvljenjem nasploh ... "(...) @elel sem govoriti o svojem lastnem dru`benem okolju, o miljeju vi{jega srednjega razreda, ki je politi~no korekten, uìva biolo{ko hrano, se rekreira ... Seveda, doseèjo nas novice z Bli`njega vzhoda, vendar ne vemo, kaj pomenijo, kdo so negativci in kdo junaki, zato nas to nekako ohromi. Menim, da je najve~ja teàva v svetu, da si vsakdo izmed nas èli razli~nih stvari, ki pa so nekompatibilne." (Josef Hader)

reìja/directed by Josef Hader scenarij/screenplay Josef Hader fotografija/cinematography Xiaosu Han, Andreas Thalhammer montaà/editing Ulrike Kofler, Monika Willi, Christoph Brunner igrajo/cast Josef Hader (Georg), Pia Hierzegger (Johanna), Georg Friedrich (Erich), Jörg Hartmann (Waller), Denis Moschitto (Sebastian), Crina Semciuc (Nicoleta), Nora von Waldstätten (urednik/editor Fitz), Maria Hofstätter (tajnica/secretary Huber), Thomas Schubert (Max), Murathan Muslu (Mirko) producenta/producers Michael Katz, Veit Heiduschka produkcija/production Wega Film Produktion Haegelingasse 13 A-1140 Wien, Austria E office�wega-film.at format/format DCP, barvni/colour dolìna/running time 103'

Midlife crisis spins out of control in this eccentric and ironic comedy journeying deep into self-deceit and personal vendetta.

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2017

When 50-year-old George loses his job of a music critic with a Vienna newspaper he is shocked and exasperated. He conceals the fact from his younger wife Johanna, who wants a child with him. Instead, he embarks upon a campaign of revenge against his former boss, which starts out as minor acts of vandalism but soon escalates into far more serious escapades. He spends his days in an amusement park, where he runs into Erich, now also unemployed. Together with Erich and his Romanian girlfriend, George begins to renovate an ancient roller-coaster called the Wild Mouse. Within just a few days his life goes completely off the rails. "(...) the idea was to talk about my own social environment, about this upper-middle-class milieu that is politically correct, eats organic food, does a little sport... Indeed, we hear the news about the Middle East, but we don't know what it means, who the bad guys or the good guys are, and so in a way, it paralyses us. To me the greatest problem in the world is that each and every one of us wants different things that don't quite match up." (Josef Hader)

Josef Hader

filmografija/filmography

Rojen leta 1962 v Waldhausnu v Avstriji. Opustil je idejo, da bi postal u~itelj zgodovine, in se posvetil komedijantstvu. Kot igralec je debitiral leta 1992 s filmom Cappuccino Melange, nastopil pa je tudi v vlogi detektiva Brennerja v seriji kriminalk, posnetih po romanih Wolfa Haasa. Danes je uveljavljen komedijant, pisec kabaretov, gledali{kih iger in scenarijev ter igralec. Divja mi{ka je njegov re`ijski prvenec.

2017 Wilde Maus (Wild Mouse/Divja mi{ka)

prodaja/world sales The Match Factory Domstraße 60 50668 Köln, Germany E info�matchfactory.de distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Born in Waldhausen, Austria, in 1962. An award-winning comedian, writer and actor, he abandoned a degree in teacher training after initial success as a political comedian. His first leading role was in the film Cappuccino Melange in 1992. He also played private detective Brenner in screen adaptations of Wolf Haas' crime novels. Wild Mouse marks his directorial debut.

Ekstravaganca Extravaganza

El bar The Bar Bar [panija Spain 2017

Álex de la Iglesia

reìja/directed by Álex de la Iglesia scenarij/screenplay Jorge Guerricaechevarría fotografija/cinematography Ángel Amorós glasba/music Joan Valent, Carlos Riera montaà/editing Domingo González producenti/producers Carolina Bang, Kiko Martínez, Mikel Lejarza, Mercedes Gamero, Álex de la Iglesia igrajo/cast Blanca Suárez (Elena), Mario Casas (Nacho), Carmen Machi (Trini), Secun de la Rosa (Satur), Jaime Ordóñez (Israel), Terele Pávez (Amparo), Joaquín Climent (Andrés), Alejandro Awada (Sergio) produkcija/production Pokeepsie Films Madrid, Spain E pokeepsiefilms�gmail.com format/format DCP, barvni/colour dolìna/running time 102'

Vznemirljiv, klavstrofobi~en in od{tekan triler mojstra {panskega `anrskega filma Álexa de la Iglesie, dodobra za~injen s ~rnim humorjem.

An exhilarating, claustrophobic and off-the-wall thriller by the Spanish master of genre cinema, Álex de la Iglesia, tinged with a hefty dose of dark humour.

Obi~ajno jutro v enem od priljubljenih madridskih lokalov. Nekaj ljudi zajtrkuje, spet drugi se `e spro{~ajo ob prvem jutranjem kozar~ku. V trenutku, ko eden od rednih gostov zapusti lokal in stopi na ulico, ga nekdo ustreli v glavo in mo{ki na kraju samem podle`e smrtni rani. Nekega drugega obiskovalca, ki takoj zatem pohiti k `rtvi, doleti enaka usoda. Zakaj pred lokalom nenadoma ni ve~ nikogar? Se strelec skriva na kak{ni od okoli{kih streh ali pa je hladnokrvni morilec nemara celo eden od gostov lokala? Vsak navzo~i bi lahko bil morilec ali pa naslednja naklju~na `rtev ...

It's a morning just like any other in one of Madrid's popular squares. A few passers-by are sitting in a bar having a quick breakfast while others enjoy their first drink of the day. Suddenly, one of the customers is shot in the head and killed while leaving the bar. Another customer rushes to his aid but he too is fatally wounded and collapses on the street. Why are there suddenly no people in the square in front of the bar? Is there a sniper on one of the adjoining roofs? Or could the perpetrator be in the bar itself? Anyone here could be the murderer and anyone their next victim.

"Zadnji~ sem prebral novico, ki mi je osvetlila manjkajo~i vezni ~len med ljudmi in opicami: skupina smehljajo~ih se ljudi na pla`i, ki delajo selfije z delfinom ... dokler niso ubili delfina. Tak{ni smo ljudje. Ne vidimo posledic svojih dejanj in zaradi selfijev z delfinom povzro~imo njegovo smrt. Enako po~nemo z ljudmi – ~e lahko re{im sebe, me drugi ni~ ve~ ne zanimajo." (Álex de la Iglesia)

"The other day I read something in the news that showed me the missing link between humans and monkeys: a group of smiling people on a beach taking selfies with a dolphin... until they killed the dolphin. That's what people are like. We don't see the big picture, and by taking selfies with a dolphin we end up killing it. We do the same thing with people – if I can save myself, everyone else can just go jump." (Álex de la Iglesia)

Álex de la Iglesia

filmografija (izbor)/filmography (selection)

Rojen leta 1965 v Bilbau, [panija. Prvi je njegov dar odkril re`iser Pedro Almodóvar, ki je bil tudi producent njegovega prvega celove~ernega filma Akcija Mutant. Njegova filmografija {teje ve~ kot dvajset filmskih naslovov, zanje pa je prejel {tevilne presti`ne filmske nagrade.

1993 1995 1999 2000 2002 2004 2008 2010 2011 2013 2014 2015 2017

Born in Bilbao, Spain, in 1965. His talents were first discovered by Pedro Almodóvar, who produced his debut feature film, Mutant Action. Winner of several prestigious cinematic awards, his filmography ranges across a gamut of twenty films.

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2017

prodaja/world sales Film Factory Entertainment Barcelona, Spain E info�filmfactory.es

Acción mutante (Mutant Action/Akcija mutant) Perdita Durango (Dance with the Devil) Muertos de risa (Dying of Laughter) La comunidad (Common Wealth) 8000 balas (8000 Bullets) El crimen perfecto (The Perfect Crime) The Oxford Murders (Umori na Oxfordu) Balada triste de trompeta (The Last Circus/@alostna balada za trobento) La chispa de la vida (As Luck Would Have It) Las brujas de Zugarramurdi (Witching and Bitching) Messi (dok./doc.) Mi gran noche (My Big Night/Moja divja no~) El bar (The Bar/Bar)

Ekstravaganca Extravaganza

Laissez bronzer les cadavres Let the Corpses Tan Naj trupla porjavijo Belgija, Francija Belgium, France 2017

Hélène Cattet, Bruno Forzani reìja/directed by Hélène Cattet, Bruno Forzani scenarij/screenplay Hélène Cattet, Bruno Forzani, Jean-Pierre Bastid (roman/novel), Jean-Patrick Manchette (roman/ novel) fotografija/cinematography Manu Dacosse montaà/editing Bernard Beets igrajo/cast Elina Löwensohn, Stéphane Ferrara, Bernie Bonvoisin, Michelangelo Marchese, Marc Barbé, Marine Sainsily, Hervé Sogne producenta/producers Eve Commenge, François Cognard produkcija/production Anonymes Films Rue Jean Robie 30 1060 Bruxelles, Belgium E anonymesfilms�skynet.be & Tobina Film (France) format/format DCP, barvni/colour dolìna/running time 92' festivali, nagrade (izbor)/ festivals, awards (selection) Locarno 2017, Toronto 2017, London 2017

prodaja/world sales Bac Films Rue Pierre Dupont 9 75010 Paris, France E sales�bacfilms.fr

Mesto duhov, dragoceni plen, trije morilci, nepovabljeni gostje in dva policista vas bodo popeljali v estetiziran peklenski obra~un, za~injen z elementi vesterna in gotske srhljivke.

A ghost town, precious loot, three murderers, uninvited guests and two cops are the makings for an infernal, aestheticised face-off, tinged with elements of western and gothic horror.

Na z ble{~e~im soncem obsijano in s sinjim morjem obdano sredozemsko obalo se zate~e tolpa roparjev z 250 kilogrami ukradenega zlata. Vse kaè, da so v zapu{~enem zaselku, kjer je pribeàli{~e na{la umetnica v iskanju navdiha, na{li idealno skrivali{~e. Toda nepri~akovan prihod gostov in dveh policistov sproì nesluten preobrat: navidezna rajska idila postane prizori{~e srditega in krvavega strelskega obra~una.

A gang of thieves absconding with 250kg of stolen gold arrives to the sun-scorched Mediterranean coast. In search of a hideout they seem to find the perfect lair in a remote villa occupied by a woman seeking artistic inspiration. With the arrival of unexpected guests and two police officers, a grandiose battle for survival ensues, a desperate day-long firefight between cops and robbers, from which no one will escape unscathed.

"U`ivala sva ob priredbi romana, saj je delo zelo vizualno. (...) Vsebuje dolo~en stavek, neko nerazvito dejanje, vendar ti spodbudi misli, poglobi{ se vanj in ga razvije{. [lo je za nekak{en most za ume{~anje najinega vesolja v vesolje knjige. Knjiga je vizualna, zato je tudi scenarij zelo vizualen. Behavioristi~en je, zato akcija vodi vso pripoved. Scenarij je bil monta`no vodilo, ker je ves ritem znotraj sekvenc." (Hélène Cattet, Bruno Forzani)

"It was a pleasure to work on the adaptation because the book is very visual. (...) You know, there is one sentence, an action that's not developed, but it opens your mind and you go inside and develop that. It was a bridge of sorts to translate our universe into the universe of the book. The book is visual, so the script is very visual. It's behaviouristic, so the action is leading all the storytelling. It was like an editing impact, the script, because all the rhythm is inside the sequences." (Hélène Cattet, Bruno Forzani)

Hélène Cattet, Bruno Forzani

filmografija (izbor)/filmography (selection)

Rojena leta 1976 v Franciji, Hélène v Parizu, Bruno v Mentonu. Spoznala sta se v Bruslju, kjer ìvita {e danes. Kot zakonca in sodelavca è skoraj petnajst let skupaj snemata kratke in celove~erne filme. S celove~ercem Amer sta poskrbela za revitalizacijo ànra giallo, posebne vrste trilerja, pome{anega z elementi grozljivke in erotike, zna~ilnega za italijansko kinematografijo 20. stoletja.

2001 2002 2004 2006 2009 2012 2013

Born in 1976, Hélène in Paris, and Bruno in Menton. They met in Brussels where they are still based. Both a married couple and artistic team, Hélène and Bruno have been making films since the early 2000s. Their feature Amer sparked a revitalisation of cinema giallo, a 20th-century Italian thriller genre incorporating elements of horror and eroticism.

Catharsis (kratki/short) Chambre jaune (kratki/short) La fin de notre amour (kratki/short) Santos Palace (kratki/short) Amer The ABCs of Death (segment 'O is for Orgasm') (omnibus) L'étrange couleur des larmes de ton corps (The Strange Colour of Your Body's Tears) 2017 Laissez bronzer les cadavres (Let the Corpses Tan/Naj trupla porjavijo)

Ekstravaganca Extravaganza

Miljeong The Age of Shadows Obdobje senc Ju`na Koreja South Korea 2016

Kim Jee-woon

Adrenalinski akcijski film o resni~nih dogodkih ju`nokorejskega boja za osvoboditev izpod krempljev japonske kolonialne nadvlade.

The adrenaline-ridden action movie based on real incidents brings to the screen the story of South Korean liberation movement against Japanese colonial rule.

Seul leta 1923. Ju`na Koreja je {e vedno pod japonsko kolonialno okupacijo. Lee Jung-chool je bil neko~ ~lan korejskega gibanja za neodvisnost, zdaj pa kot policist dela za japonsko oblast. Od nadrejenih prejme nalogo, naj razbije mre`o borcev za neodvisnost, imenovano Pravi~na bratov{~ina. Policist se pod krinko zbiratelja umetnin seznani s trgovcem Kim Woo-jinom, ki je tudi regijski vodja odporni{kega gibanja. Skupina upornikov izve, da se v njihovih vrstah skriva vohun, medtem pa se predstavniki Pravi~ne bratov{~ine napotijo v [anghaj iskat veliko koli~ino eksploziva, s katerim bodo izvedli napad na japonsko vlado v Koreji.

Seoul, 1923. Set during the Japanese occupation of South Korea. Lee Jung-Chool was once a member of the Korean independence movement, but he now works as a police officer for Japan. He receives an order to take down the Righteous Brotherhood, a Korean independence group. In the guise of an art collector, Lee Jung-Chool introduces himself to art dealer Kim Woo-Jin, who is the regional leader of the Righteous Brotherhood. The resistance movement learns there are spies within their group. Meanwhile, members of the Righteous Brotherhood go to Shanghai to acquire explosive for an attack on the Japanese government in Korea.

"Najte`je obdobje korejske zgodovine je bil ~as japonske nadvlade. Nasprotno se danes svet nagiba k desni~arstvu, celo Koreja se spoprijema z gospodarsko krizo. Zdelo se mi je pomembno pokazati tedanje dogodke in kako se navezujejo na dana{nji polo`aj." (Kim Jee-woon)

"The Japanese colonial period was the most difficult time in Korean history. In contrast, today you can see how the world is moving towards the right wing, even Korea is having a hard time financially. I thought it would be important to show what happened then and how it relates to what's happening today." (Kim Jee-woon)

Kim Jee-woon

filmografija (izbor)/filmography (selection)

Rojen leta 1964 v Seulu, Ju`na Koreja. Svojo poklicno pot je za~el kot gledali{ki re`iser, a se je pozneje uveljavil kot eden najprebojnej{ih korejskih filmskih re`iserjev. Njegov mednarodno najuspe{nej{i film je Zgodba o dveh sestrah; leta 2009 so ga priredili v ameri{ko razli~ico pod naslovom The Uninvited. Leta 2013 je v ZDA posnel {e film Zadnja bitka z igralcema Arnoldom Schwarzeneggerjem in Forestom Whitakerjem.

1998 2000 2002 2003 2005 2008 2010 2012 2013 2016

Born in 1964 in Seoul, South Korea, he embarked on his professional career as a theatre director but later achieved distinction as one of Korea's greatest filmmakers. A Tale of Two Sisters is recognised as one of the most influential Korean horror films ever. The film was later remade into the 2009 U.S. film The Uninvited. In 2013, The Last Stand took him to Hollywood to work with Arnold Schwarzenegger and Forest Whitaker.

reìja/directed by Kim Jee-woon scenarij/screenplay Kim Jee-woon fotografija/cinematography Kim Ji-yong glasba/music Mowg montaà/editing Yang Jin-mo igrajo/cast Lee Byung-hun (Jung Chae-san), Song Kang-ho (Lee Jung-chool), Gong Yoo (Kim Woo-jin), Han Ji-min (Yun Gye-soon), Sin Seong-rok (Jo Hwe-ryung), Park Hee-soon (Kim Sang Ho), Foster Burden (Ludvik), Eom Tae-goo (Hashimoto), Shingo Tsurumi (Higashi), Seo Yeong-ju (Joo Dong-sung), Lee Sang-hee (otrokova mati/baby's mom), Jeong Ha-dam (Hanako), Jung Yoo-an (Hwang Ui-seo) producent/producer Choi Jeong-hwa produkcija/production Grimm Pictures (South Korea) & Warner Bros. Korea (South Korea) & Harbin Films (South Korea) format/format DCP, barvni/colour dolìna/running time 140' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2016, Toronto 2016, Palm Springs 2017, München/ Munich 2017

prodaja/world sales Finecut Patio House #102 (Bldg. C) 22–14 Bongeunsa-ro 26-gil, Gangnam-gu Seoul 135–907, South Korea E cineinfo�finecut.co.kr

Choyonghan kajok (The Quiet Family) Banchikwang (The Foul King) San geng (3 Extremes II) (omnibus) Janghwa, Hongryeon (A Tale of Two Sisters/Zgodba o dveh sestrah) Dalkomhan insaeng (A Bittersweet Life) Joheunnom nabbeunnom isanghannom (The Good the Bad the Weird) Ang-ma-reul bo-at-da (I Saw the Devil) In-lyu-myeol-mang-bo-go-seo (Doomsday Book) (omnibus) The Last Stand (Zadnja bitka) Miljeong (The Age of Shadows/Obdobje senc)

Ekstravaganca Extravaganza

Hounds of Love Hounds of Love Zvodnika ljubezni Avstralija Australia 2016

Ben Young reìja/directed by Ben Young scenarij/screenplay Ben Young fotografija/cinematography Michael McDermott glasba/music Dan Luscombe montaà/editing Merlin Eden igrajo/cast Ashleigh Cummings (Vicky Maloney), Emma Booth (Evelyn White), Stephen Curry (John White), Susie Porter (Maggie), Damian De Montemas (Trevor), Harrison Gilbertson (Jason) producentka/producer Melissa Kelly produkcija/production Factor 30 Films PO Box 626 6911 Cottesloe WA, Australia E pleasecallforanyqueries�factor30 format/format DCP, barvni/colour dolìna/running time 108' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2016 – Avtorski dnevi/Venice Days (nagrada FEDEORA za najbolj{o igralko/ FEDEORA Award for Best Actress), Glasgow 2017, Tribeca 2017, München/Munich 2017

prodaja/world sales Urban Distribution International 14 Rue du 18 aout, 93100 Montreuil, France E sales�urbangroup.biz

Z resni~nimi dogodki navdihnjena zgodba o izginuli avstralski mladoletnici je podana skozi prizmo brutalnega psiholo{kega trilerja, v katerem se re`iser osredoto~a na dinamiko odnosa med zakoncema, ki ugrabljata in ubijata naklju~ne `rtve.

Based on real-life events, Hounds of Love is a brutal psychological thriller about a missing Australian teenage girl, centring on the relationship of a married couple who abduct and murder random victims.

Sedemnajstletna Vicky, ki med postopanjem po ulicah predmestja Pertha prisede v avto neznanega para, ne sluti, da si je s tem dejanjem podpisala smrtno obsodbo. Za podobo navidez zadr`anega para se namre~ skriva dvojica serijskih morilcev, ki na~rtno ugrablja in ubija mlada dekleta. Vicky kmalu ugotovi, da mora, ~e ho~e pobegniti oziroma pre`iveti, posesivno-odvisni odnos, ki vlada med brez~utnima zakoncema, obrniti sebi v prid ...

When, after an innocent lapse in judgment, 17-year-old Vicky gets in the car of a disturbed couple in suburban Perth she has no way of knowing that her days are numbered. Namely, behind the façade of a reserved pair lurks a serial killer couple who abduct and mutilate young women. With her murder imminent, Vicky realises she must find a way to drive a wedge between the heartless husband and wife if she is to survive.

"Prebral sem knjigo o serijskih morilkah in bil sem vzhi~en, saj je moja raziskava pokazala, da `enske morijo zaradi zelo druga~nih razlogov od mo{kih. Odkril sem tudi grozljiv pojav ubijalskih parov. Navadno gre za mo{ke psihopate in zelo ranljive `enske. Mo{ki najde ranljivo osebo, si jo preoblikuje po svoje, nato pa zlomi do to~ke, ko resni~no verjame, da brez njega nima lastne identitete. To je pravzaprav psihologija, ki sem jo hotel raziskati. @elel sem posneti film o ljudeh, vpletenih v tak{na razmerja. Ne gre za delo o njihovih zlo~inih, ampak za film o ljudeh, ki ta dejanja zagre{ijo." (Ben Young)

"I read a book on female serial killers and I just found it fascinating because in the research that I did, women tend to kill for very different reasons than men. I also discovered the horrible phenomenon of couples that kill together. It usually involved psychopathic men and very vulnerable women. The man would find this vulnerable person and build her up and then tear her down to the point where she truly believed that she didn't have an identity outside of him. So that's really the psychology I wanted to explore. My intention was to make a movie about the people involved in that kind of thing. This is not a movie about the acts they commit. This is a movie about the people who commit the acts." (Ben Young)

Ben Young

filmografija (izbor)/filmography (selection)

Rojen v Perthu, Avstralija. S trinajstimi je za~el igralsko pot, nato pa je {tudiral scenaristiko na tamkaj{nji Univerzi Curtin in reìjo na Univerzi Edith Cowan. Kot reìser in montaèr je sodeloval pri {tevilnih dokumentarnih filmih o ljudstvih, ki ìvijo v najbolj odro~nih delih sveta; dlje ~asa je preìvel v Amazoniji in med pripadniki ljudstva Woadaabe v Nigeriji. Zvodnika ljubezni je njegov celove~erni prvenec.

2008 2008 2010 2011 2010 2012 2016

Born in Perth, Australia, Young began his screen career as an actor at thirteen. This inspired him to complete a BA at Curtin University, specialising in screenwriting, and obtain a Masters at Edith Cowan University in screen direction. He has edited and directed numerous films about people in the remotest regions of the world. He lived with the Wodaabe in Niger and spent two months in the Amazon. Hounds of Love is his first feature.

The Planet Lonely (kratki/short) Trapped (TV-serija/TV series) Something Fishy (kratki/short) Castaway (TV-serija/TV series) Bush Basher (kratki/short) Prankpatrol (TV-serija/TV series) Hounds of Love (Zvodnika ljubezni)

Kinobalon Kinobalon

Le Grand méchant renard et autres contes… The Big Bad Fox and Other Tales Velika zlobna lisica in druge zgodbe Benjamin Renner, Patrick Imbert

za otroke od 5. leta for children aged 5+

Francija France 2017 re`ija/directed by Benjamin Renner, Patrick Imbert scenarij/screenplay Benjamin Renner, Jean Regnaud animacija/animation Patrick Imbert glasba/music Robert Marcel Lepage producenti/producers Damien Brunner, Didier Brunner, Vincent Tavier produkcija/production Folivari 87 rue gabriel Péri 92120 Montrouge, France E contact�folivari.com format/format DCP, barvni/colour dolžina/running time 97' festivali, nagrade (izbor)/ festivals, awards (selection) Annecy 2017, Toronto 2017

Tri humorne basni o ìvalih s kmetije in iz gozda v izjemni likovni podobi. Film avtorjev Ernesta in Celestine. Prvi~, kdo bo dojen~ico Pauline odpeljal k njenim bodo~im star{em – {torklja, pujs, zajec ali raca? Drugi~, ~e se lisici skotijo trije pi{~anci, nastane zmeda. So morda slasten obrok za lisico in volka ali pa so lisi~ji mladi~ki? So mladi~ki pi{~anci ali lisi~ke kot njuna mama? In tretji~, kateri od ìvali bo uspelo re~iti boì~? "Zgodbo sem si za~el zami{ljati, ko sem bil majhen. O~e me je odpeljal na obisk kmetije, ki je imela inkubator s koko{jimi jajci. Ko nam je kmet povedal, da se bodo pi{~an~ki kmalu izvalili, sem si èlel ostati in opazovati. Moj o~e ni imel èlje tako dolgo ~akati. Da bi me prepri~al v odhod, mi je dejal, da bodo pi{~anci mislili, da sem njihova mama, ~e bom prva oseba, ki jo bodo videli. (...) Privolil sem v odhod, da bi u{el tej silni odgovornosti, vendar mi je anekdota ostala v mislih, poleg pere~ega vpra{anja: 'ê bi nenadoma postal kru{na mati pi{~ancev, bi jih u~il ~love{kega ali pi{~an~jega vedenja?' Ta koncept sem razvijal v glavi, pozneje pa pri{el na idejo, da bi bilo bolj zabavno, ~e bi lisica vzgajala pi{~ance." (Benjamin Renner)

Three humorous fables about farm and forest animals featuring exquisite animation. By the makers of Ernest & Celestine. Firstly, who's going to deliver baby Pauline to her future parents – the stork, the pig, the rabbit or the duck? Secondly, trouble ensues when three chicks hatch from the eggs that fox has stolen. Are the chicks a tasty snack for the fox and the wolf or are they fox's cubs? Are they chicks or young foxes like their parent? And thirdly, which of the animals will be able to save Christmas? "I started imagining the story when I was little. My father took me to visit a farm that was equipped with an incubator filled with hens' eggs. When the farmer told us that the eggs were ready to hatch, I wanted to stay there to see what would happen. My father had no desire to wait around for so long, so, to convince me to leave, he told me that if I were the first thing the chicks saw, they would think I was their mother. (...) I agreed to leave, to flee these overwhelming responsibilities, but this anecdote stayed in my head, along with the burning question: 'If you suddenly found yourself the adoptive mother of chicks, should you teach them to behave like humans, or like chickens?' That concept continued to develop in my mind. Later, I came up with the idea that the situation would be funnier if it were a fox that had to raise the chicks." (Benjamin Renner)

Benjamin Renner, Patrick Imbert

filmografija (izbor)/filmography (selection)

B. R.: [tudiral je na znameniti francoski {oli animiranega filma La Poudrière. Njegov animirani celove~erni prvenec Ernest in Celestina je nastal v sore`iji z Vincentom Patarjem in Stéphanom Aubierjem, Velika zlobna lisica in druge zgodbe pa je njegov drugi celove~erni film. Studied at La Poudrière, a French school of animated film. He co-directed his first animated feature film, Ernest & Celestine, with Vincent Patar and Stéphane Aubier. The Big Bad Fox and Other Tales marks his second feature film. P. I.: Kot glavni animator je sodeloval pri Ernestu in Celestini ter nazadnje tudi pri filmu April in nenavadni svet, ki smo ga imeli prilo`nost videti na festivalu Animateka in v kinematografski distribuciji. Velika zlobna lisica in druge zgodbe je njegov re`ijski prvenec. Contributed to Ernest & Celestine as chief animator and has most recently animated April and the Extraordinary World, which was featured at the Slovenian Animateka Festival. The Big Bad Fox and Other Tales marks his directorial debut.

B. R.: 2008 La queue de la souris (kratki/short) 2012 Ernest et Célestine (Ernest & Celestine/Ernest in Celestina) 2017 Le grand méchant renard et autres contes (The Big Bad Fox and Other Tales/Velika zlobna lisica in druge zgodbe)

prodaja/world sales Studiocanal 1, place du Spectacle 92130 Issy-Les-Moulineaux, France E pascale.hornus�studiocanal.com

P. I.: 2017 Le grand méchant renard et autres contes (The Big Bad Fox and Other Tales/Velika zlobna lisica in druge zgodbe)

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Tesoros Tesoros Zakladi

za otroke od 7. leta for children aged 7+ v {ved{~ini s slovenskimi podnapisi in Swedish with Slovenian subtitles

Mehika Mexico 2017

María Novaro

reìja/directed by María Novaro scenarij/screenplay María Novaro fotografija/cinematography Gerardo Barroso, Lisa Tillinger glasba/music Ampersan montaà/editing María Novaro producentki/producers María Novaro, Pamela Guinea produkcija/production Cine Ermitaño E marianovaro�gmail.com format/format DCP, barvni/colour dolìna/running time 96' festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2017, Miami 2017, Panama 2017, Mooov – Belgija/Belgium 2017, San Diego (najbolj{i druìnski film/Best Family Film)

Film z izobiljem son~nih in `ivahnih podob pripoveduje zgodbo otrok, ki jih `eneta domi{ljija in radovednost. Filmsko potovanje v svet optimizma, lepote in ~arobnosti.

Full of sunny and lively images, Tesoros is a story about children indulging their lust for life and curiosity. A cinematic journey into a place of optimism, beauty and wonder.

Dylan (6), Andrea (11) in Lucas (2 in pol) prispejo v ribi{ko skupnost na mehi{ki pacifi{ki obali. Spoprijateljijo se z lokalnimi otroki in se skupaj z njimi odpravijo iskat stoletja izgubljeni piratski zaklad. Opremljeni so z lastno pametjo, tablico, nekaj zemljevidi in veliko svobode pri izbiri poti. To jim omogo~a, da ob zakladu odkrijejo {e kaj veliko bolj pomembnega ...

Siblings Dylan (6), Andrea (11) and Lucas (2 and a half) arrive in a fishing community on Mexico's Pacific coast. They befriend some local children and set off on a journey of discovery in search of a long-lost pirate loot. Armed with their intelligence, a Tablet, and some maps, these children are given freedom to go their own ways and together find something much more valuable than a buried treasure.

"Otroci me obdajajo è vse ìvljenje, v vseh mojih filmih. Vedno sem zaupala intuiciji in zlahka sem reìrala prizore z otroki, pri tem pa uìvala v samem procesu in v njihovi navzo~nosti. Toda nikoli mi ni pri{lo na pamet, da bi posnela film za otroke. [e manj pa, da bom to storila s skupino otrok med 3. in 11. letom, od tega s {tevilnimi {estletniki. Snemanje filma Zaklad je bil seveda izziv, predvsem zato, ker sem si resni~no èlela povedati zgodbo z otro{ke perspektive, v kateri je najbolj naravna metoda razumevanja sveta metoda z igrami. Zgodbo sem èlela povedati v ritmu, kot bi ga sami uporabili pri pripovedovanju. @elela sem upodobiti njihove ~arobne misli in domi{ljijo, ki je iznajdljiva pri izmenjevanju resni~nega in umi{ljenega." (María Novaro)

prodaja/world sales FiGa Films 6900 Bay Drive PH-G Miami Beach, 33141, USA E contact�figafilms.com

María Novaro

filmografija (izbor)/filmography (selection)

Po filmskih {tudijah na mehi{ki univerzi se je izpopolnjevala {e v Sundanceu in na Kubi. V sedemdesetih letih je ustvarjala dokumentarce v `enskem kolektivu Cine-Mujer. Njen drugi celove~erec Danzón je bil prikazan na festivalu v Cannesu, njen kratki film Una isla rodeada de agua pa je bil odkupila MOMA. Zakladi je njen prvi film za otroke; svetovno premiero je do`ivel na Berlinalu v sklopu Generation.

1982 1986 1988 1988 1989 1991 1994 2000 2010 2017

Having graduated in film from the University of Mexico, Novaro furthered her studies at Sundance/Utah and EICTV/Cuba. In the late 1970s she made documentaries with the Colectivo Cine-Mujer. Her second feature, Danzón, screened at the Cannes Film Festival and her Una isla rodeada de agua short was purchased by MOMA. Her first film for children, Tesoros, received its world premiere at the Berlin FF (Generation Section).

"Children have always been around in my life and in my films. I have always trusted my intuition and felt at ease when directing scenes with them. Enjoying the process and delighted in their presence. But it had never come to my mind to make a film for children. Nor had I imagined directing scenes with so many of them, with ages ranging from 3 to 11, with many 6-year-olds. Shooting Tesoros was a challenge, of course. More so because I really wanted to tell the story from a child's point of view, in which playing games is the natural method of apprehending the world. I wanted to tell this story at their pace; to give it the rhythm they’d bring to the narrative. To portray their magical minds and imagination, so inventive in going back and forth from reality to fantasy." (María Novaro)

Conmigo la pasaras muy bien (kratki/short) Una isla rodeada de agua (kratki/short) Historias de ciudad Azul celeste (kratki/short) Lola Danzón El jardín del Edén Sin dejar huella Las buenas hierbas Tesoros (Zakladi)

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Tungeskjærerne Tongue Cutters Rezalci jezikov

za otroke od 8. leta for children aged 8+ v {pan{~ini s slovenskimi podnapisi in Spanish with Slovenian subtitles

Norve{ka Norway 2017

Solveig Melkeraaen

reìja/directed by Solveig Melkeraaen scenarij/screenplay Solveig Melkeraaen fotografija/cinematography Håvard Fossum glasba/music Håkon Gebhardt montaà/editing Mina Nybakke, Elise Solberg, Erland Edenholm, Solveig Melkeraaen nastopata/with Tobias Evensen, Ylva Melkeraaen Lundell producentka/producer Ingvil Giske produkcija/production Medieoperatørene AS Grønlandsleiret 23 0190 Oslo, Norway E info�mop.no format/format DCP, barvni/colour dolìna/running time 85'

Majhni otroci, veliki no`i. Dokumentarni film za otroke o njihovih vrstnikih s severa Norve{ke, ki ob vrtcu in {oli delajo tudi v ribi{ki tovarni.

Small children, big knives. A youth doc about young kids from the age of five working as cod tongue cutters in northern Norway.

V tej o~arljivi in nenavadni zgodbi spremljamo devetletno Ylvo, ki z mamo ìvi v Oslu ter se po po~itni{ki zasluèk odpravi k babici in dedku na daljni sever. Tam v ribi{ki tovarni reè jezike ribe polenovke, kot to è tradicionalno po~nejo otroci s severa. Mojster noà, desetletni Tobias, jo pokroviteljsko uvede v delo in ji pokaè vse prijeme. S~asoma se spoprijateljita in ugotovita, da imata kljub druga~nemu na~inu ìvljenja veliko skupnega. Drug drugega spodbujata k uresni~itvi njunih sanj. Le kaj si bo kupil Tobias z zaslu`kom v ribi{ki tovarni?

In this charming and whimsical coming-of-age story, nine-year-old Ylva dreams of following in her family's footsteps and earning money by working a season in the fisheries of northern Norway. 10-year-old Tobias, a highly skilled and ambitious tongue cutter, takes her under his wing and shows her the art. With slickers on and knives sharpened, the joyful duo dive into their work. Over time, they discover they have much in common, and as Tobias' big dreams inspire Ylva, their bond grows. What could Tobias be saving his earnings for?

"Moja glavna motivacija za film je zgovorno dejstvo, da smo do otrok vedno bolj za{~itni{ki in jim ne dajemo mo`nosti, da bi prevzemali odgovornost za svoja dejanja. Otroci v na{em filmu so sami v ribi{ki tovarni, z ostrimi no`i in prilo`nostjo, da zaslu`ijo denar. Spoznavajo druge otroke, ribi~e, sezonske delavce iz tujine in lokalne prebivalce. Nau~ijo se odnosa do nadrejenih, pravil pri delu, vse to pri zelo mladih letih. To je izjemna izku{nja za dana{nje otroke in prepri~ana sem, da manjka ve~ini otrok." (Solveig Melkeraaen)

"My biggest motivation to make this film is that I want to discuss the fact that children in our part of the world are more and more protected from taking responsibility for themselves and their actions. The children in our film are let alone at the fish processing factory, given sharp knives and the possibility to earn their own money. In addition to this they will meet not only children their own age, but fishermen, seasonal workers from abroad, local youth and other grownups. The will also learn to relate to a boss, and to follow rules at a workplace from a very young age. This is a rare experience for children today, and I strongly believe this is missing in most children's lives." (Solveig Melkeraaen)

Solveig S. Melkeraaen

filmografija/filmography

Rojena leta 1978. Diplomirala je iz televizijske re`ije. Njen najbolj znan film je nagrajeni Fabelaktige Fiff og Fam, re`irala pa je {e vrsto drugih dokumentarcev, kratkih igranih in promocijskih filmov za dobrodelne organizacije. Film Rezalci jezikov je odprl leto{nji filmski festival v mestu Tromsø, veliko pozornosti pa je pritegnil tudi na festivalu dokumentarnega filma IDFA v Amsterdamu.

2005 2008 2008 2009 2010 2011 2014 2017

Born in 1978, Melkeraaen holds a BA in television directing. Her best know film is the award-winning The Fabulous Fiff and Fam, but she has also directed numerous other documentaries, short fiction films and commissioned films for various charitable and official organisations. Tongue Cutters opened this year’s Tromsø Film Festival, and received considerable attention at the IDFA Documentary Film Festival in Amsterdam.

festivali, nagrade (izbor)/ festivals, awards (selection) IDFA Amsterdam 2016, Tromsø IFF 2017, Kristiansand 2017, Hot Docs Toronto 2017 prodaja/world sales Cat&Docs 18 rue Quincampoix #133 75004 Paris, France E maelle�catndocs.com

Predfilm Preceding the main feature Vill Mark Intruders Vsiljivki re`ija/directed by Thea Hvistendahl Norve{ka/Norway dol`ina/running time 5'

Sestri Lise in Synnøve se igrata na obre`ju reke. Njuno igro prekine prihod dveh deklet, ki ho~eta vedeti, kaj vsiljivki po~neta na "njunem" obmo~ju.

Nest siste stopp (Next to Last Stop) (kratki/short) Bortreist for anledningen (Moving Time) (kratki/short) Statistikk (Statistics) (kratki dok./short doc.) Fabelaktige Fiff og Fam (The Fabulous Fiff and Fam) (kratki/short) Bankbussen (The Bankbus) (kratki/short) Livslang kjærlighet (Lifelong Love) (kratki dok./short doc.) Flink pike (Good Girl) (dok./doc.) Tungeskjærerne (Tongue Cutters/Rezalci jezikov) (dok./doc.)

Sisters Lise and Synnove are playing by the river in their new neighbourhood. Suddenly they are interrupted by two other girls who show up wanting to know who they are and what they are doing on 'their' territory.

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Cloudboy Cloudboy Fant z oblaki

za otroke od 9. leta for children aged 9+ v sloven{~ini in Slovenian

Meikeminne Clinckspoor

Belgija, [vedska, Nizozemska, Norve{ka Belgium, Sweden, the Netherlands, Norway 2016

reìja/directed by Meikeminne Clinckspoor scenarij/screenplay Meikeminne Clinckspoor fotografija/cinematography Christian Paulussen montaà/editing Hakan Karlsson igrajo/cast Sara Sommerfield (Katarina), Geert Van Rampelgerg (Gerard), Mikkel Gaup (Reiadnu), Daan Roofthooft (Niilas), Ayla Gáren Audhild Nutti (Sunna) producentka/producer Katleen Goossens produkcija/production Bulletproof Cupid Steenweg op Waarloos 63A Unit 19 2840 Rumst, Belgium E info�bulletproofcupid.be format/format DCP, barvni/colour dolìna/running time 77' festivali, nagrade (izbor)/ festivals, awards (selection) Kristiansand 2017 (nagrada ìrije ECFA/ECFA Jury Award), TIFF Kids 2017

Film o mladostni{ki identiteti in spoznavanju lastnih korenin ter svojega bistva, posnet v ~udoviti laponski pokrajini. Dvanajstletni Niilas obi{~e mamo, ki z novo druìno ìvi na Laponskem, na severu [vedske, kjer prebivajo nomadski pastirji ljudstva Sami. Nerad se je lo~il od o~eta, s katerim je uìval obi~ajno mestno ìvljenje, zato je precej nejevoljen. Deklica Sunnà in polbrat Pontus se trudita navezati stik z njim. Pastirji se pripravljajo na selitev jelenov, otroci jim pomagajo. Niilas iz upora namerno spusti ~redo in eden od jelenov izgine. De~ek se priklju~i iskalni odpravi in pri tem kar naprej sre~uje skrivnostnega losa ... Srame`ljiv mestni fant se po~asi prelevi v divjega de~ka, ki preizku{a meje svojih mo~i. Niilas proti vsem pri~akovanjem doìvi najbolj razburljivo poletje v svojem ìvljenju. "Do otro{kega sveta ~utim veliko spo{tovanje in ljubezen. To je svet, ki podobo zunanjega sestavlja iz opazovanja drobnih detajlov, kar naredi ìvljenje bolj polno. Kot filmsko ustvarjalko me ène k iskanju podobe – jezika, ki ustvarja povezavo s to otro{ko vizijo. (...) Fant z oblaki je zgodba o de~ku, ki odkrije sposobnosti svojih ~utov, s tem pa druga~ne mo`nosti razumevanja sveta. Nau~i se, da lahko spreminja svoj svet, ~e premaga strahove in se za~ne resni~no poslu{ati: kaj sli{i, ~uti, vidi, da se nau~i biti to, kar resni~no je." (Meikeminne Clinckspoor)

distribucija/distribution LevelK Gl. Kongevej 137 B, 3rd Fl. 1850 Frederiksberg C, Denmark E derek�levelk.dk distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Twelve-year-old Niilas travels to Lapland where his Swedish mother and her new family live amongst the Sami, an indigenous reindeerherding people. Niilas hates parting from his father with whom he has been leading a cosy urban existence, and retreats inwards. The only one who can get through to him is his half-sister Sunnà. The reindeer migration is fully underway and Niilas has to lend a helping hand. Out of spite, Niilas releases a herd of deer and one of the reindeers goes missing. He joins in the search, and an impressive moose keeps crossing his path at the most unexpected moments. The shy cityboy becomes a wild boy, discovering a physicality and strength he wasn't aware off. Against all odds, Niilas experiences the most adventurous summer of his life. "Today, I still feel a lot of respect and love for the child's world. The world in which it perceives the outside world, in which it watches and learns from every small detail that can make life just a little more intense. As a filmmaker, I feel driven to search for an imagelanguage that connects the child’s vision. (...) Cloudboy brings the story of a boy that discovers the possibilities of his own senses and how he perceives the world. He learns to understand he can change his own, just by letting go of his fears and starting to listen to what he hears, feels and sees, and through all this, slowly dares to be the child he truly is.” (Meikeminne Clinckspoor)

Meikeminne Clinckspoor

filmografija/filmography

Zelo mlada se je odlo~ila, da `eli snemati filme za otroke. Po {tudiju gledali{~a v Amsterdamu je {tudirala film v filmski {oli KASK v Belgiji. Njen zadnji kratki film nosi naslov Ki in je bil premierno prikazan na presti`nem filmskem festivalu za otroke Cinekid v Amsterdamu. Fant z oblaki je njen prvi celove~erec.

2008 2009 2015 2016

Clinckspoor decided really young that she wanted to make children's movies. After a theatre education in Amsterdam, she pursued film education at the KASK Film School in Belgium. Her last children's short film was Ki, which premiered at the Cinekid Film Festival in Amsterdam. Cloudboy marks her feature film debut.

Made on breathtaking locations in Lapland, Cloudboy deals with young people's search for personal identity, discovery of one’s roots and one's true essence.

De geboorte (kratki/short) De wensboom (kratki/short) Ki (kratki TV/TV short) Cloudboy (Fant z oblaki)

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Le voyage de Fanny Fanny's Journey Fannyjino potovanje

za otroke od 10. leta for children aged 10+ v franco{~ini s slovenskimi podnapisi in French with Slovenian subtitles)

Francija, Belgija France, Belgium 2016

Lola Doillon

reìja/directed by Lola Doillon scenarij/screenplay Lola Doillon, Anne Peyrègne, Fanny Ben-Ami (knjiga/book) fotografija/cinematography Pierre Cottereau glasba/music Sylvain Favre, Gisèle Gérard-Tolini montaà/editing Valérie Deseine igrajo/cast Léonie Souchaud (Fanny), Fantine Harduin (Erika), Juliane Lepoureau (Georgette), Ryan Brodie (Victor), Anaïs Meiringer (Diane), Lou Lambrecht (Rachel), Igor van Dessel (Maurice) producentki/producers Saga Blanchard, Marie de Lussigny produkcija/production Origami Films 5 rue de Charonne 75011 Paris, France E contact�origamifilms.fr format/format DCP, barvni/colour dolìna/running time 94'

Napeta zgodba o skupini otrok, ki morajo pre~kati okupirano Francijo, da bi dosegli {vicarsko mejo. Film o pogumu in vztrajnosti, ki z otrokove perspektive predstavi polo`aj begunca.

A suspense-ridden story about a group of children travelling across occupied France to reach the Swiss border. A film about courage and perseverance, portraying events through the eyes of child refugees.

Dvanajstletna Fanny je trmasta in izjemno pogumna deklica, ki prevzame vodenje skupine osmih judovskih otrok na begu iz okupirane Francije, kjer nanje na vsakem koraku pre`i nevarnost. Cilj je prispeti v svobodno [vico. Film prikazuje njihovo potovanje, v katerem otroke spoznamo kot zvite, neustra{ne in neodvisne romarje, ki s pomo~jo sodelovanja in pripadnosti premagujejo neverjetne ovire ...

A headstrong and extremely courageous girl, the twelve-year old Fanny heads a group of eight Jewish youngsters fleeing Nazioccupied France, where danger lurks round every corner. They are dispatched by train towards the Swiss border. Focusing on their arduous journey, the kids are shown as cunning, intrepid and independent migrants who nevertheless overcome seemingly insurmountable obstacles by developing solidarity and a sense of belonging.

"@elela sem upodobiti zgodbo o osvoboditvi, vendar pospe{eno. Ker so sr~ika filma iniciacija iz otro{tva v mladostni{tvo in ~ustvene izku{nje teh mladih junakov: bole~ina lo~itve, strah pred neznanim, pred pozabljenjem – ki se mu Fanny zoperstavi s svojo kamero – in pred smrtjo kot tudi njihovi optimizem, energija, pogum in vztrajnost." (Lola Doillon)

"I wanted to tell a story of liberation but speeded up. As the heart of the film evokes the passage from childhood to adolescence and the emotional experiences of these young heroes: the anguish of separation, the fear of the unknown, of forgetting, – which Fanny fights with her camera –, and of death, but also their optimism, energy, courage and perseverance." (Lola Doillon)

Lola Doillon

filmografija (izbor)/filmography (selection)

Francoska reìserka je poklicno pot za~ela kot pomo~nica kamermana in montaèrja pri filmih reìserjev, kot so Patrice Chéreau, Jean-Pierre Mocky in François Dupeyron. Njen prvi celove~erec Et toi t'es sur qui? je bil leta 2007 uvr{~en v sklop Posebni pogled festivala v Cannesu.

1995 2005 2005 2005 2006 2007 2010 2016

A French filmmaker who began her career as a camera assistant and assistant editor on the films of Patrice Chéreau, Jean-Pierre Mocky, and François Dupeyron. Her first feature film, Just About Love, was a Un Certain Regard official selection at Cannes in 2007.

festivali, nagrade (izbor)/ festivals, awards (selection) Smile International Film Festival for Children and Youth (najbolj{a igra/Best Actor), Dunaj/Vienna (nagrada UNICEF/UNICEF Award), Castellinaria, @eneva/ Geneva (najbolj{i film/Best Film), Hamburg (nagrada michel/Michel Award), Giffoni (najbolj{i film/Best Film), Santa Barbara IFF (nagrada ob~instva/Audience Award), München/Munich (nagrada Fritza Gerlicha/Fritz Gerlich Award), Ale Kino! Poznanj (nagrada marcinek/ Marcinek Award), Mumbai, Haifa, BFI London, Kristiansand, Stockholm Junior, TIFF Kids Toronto, New York CFF

prodaja/world sales Indie Sales 32, Rue Washington 75008 Paris, France E mgondre�indiesales.eu

Le vide dedans moi (kratki/short) Une majorette peut en cacher une autre (kratki/short) L'habit ne fait pas la majorette (kratki/short) Faire contre mauvaise fortune, bonne majorette (kratki/short) 2 filles (kratki/short) Et toi t'es sur qui? (Just About Love) Contre toi Le voyage de Fanny (Fanny's Journey/Fannyjino potovanje)

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Rum 213 Room 213 Soba 213

za otroke od 11. leta for children aged 11+ v franco{~ini s slovenskimi podnapisi in French with Slovenian subtitles

[vedska Sweden 2017

Emelie Lindblom

reìja/directed by Emelie Lindblom scenarij/screenplay Martin Jern, Emil Larsson, Ingelin Angerborn (roman/novel) fotografija/cinematography Emil Klang glasba/music Hans Lundgren montaà/editing Margareta Lagerqvist igrajo/cast Anki Lidén (Hjördis), Lisette Pagler (Elvirina mama/Elvira's mum), Arman Fanni (Björn), Agnes Mikkeline Hansen (Mebel), Pascal Andersson (Melker), Wilma Lundgren (Elvira) producenta/producers Martin Jern, Emil Larsson produkcija/production Dansk Skalle Falsterbogatan 18 B 21442 Malmö, Sweden E info�danskskalle.se format/format DCP, barvni/colour dolìna/running time 95' festivali, nagrade (izbor)/ festivals, awards (selection) Kristiansand 2017 (najbolj{i film/Best Film), BUFF Malmö 2017 (najbolj{a igra/Best Actor), TIFF Kids Toronto 2017, Göteborg 2017

Najstni{ka grozljivka, ki obljublja trepetanje in zadr`evanje diha! Poletne po~itnice so tu! Dvanajstletna Elvira, ki je kon~ala {esti razred, se odpravi na poletni tabor. Z Mejo in Beo je nastanjena v zapra{eni sobi {tevilka 213, ki je bila celih {estdeset let pod klju~em. Kmalu se za~ne dogajati nerazlo`ljivo. Pismo s starodavno pisavo dekleta privede k `enici v gozdu, ki jim pove zgodbo o mladem dekletu iz tabora pred {estdesetimi leti. Rde~elaso dekle {e vedno tava po no~nih hodnikih ...

prodaja/world sales Swedish Film Institute P.O. Box 27126 102 52 Stockholm, Sweden E international�sfi.se

Summer vacation after 6th grade and twelve-year-old Elvira is going on a camp. She and her two roommates, Meja and Bea, will stay in room 213 – where no one has lived for sixty years. Soon inexplicable events start to happen. A letter with an ancient handwriting leads the girls to an old lady in a run-down house in the woods. The lady tells them that a girl died at the camp sixty years ago. And since then a red-haired girl has been sneaking around in the corridors at night.

"Pri ustvarjanju Sobe 213 je bil moj poglavitni namen upodobiti stra{ljivo zgodbo z resnostjo in pristnostjo, kakor navadno upodabljajo vse tak{ne zgodbe. Portretira dekleta tik pred najstni{kimi leti, ki so preve~ bistra, da bi jih imeli za otroke, pa vendar {e niso ~isto odrasla." (Emelie Lindblom)

"In making Room 213 the most important issue for me has been to tell a thrilling ghost story with the same seriousness and sincerity that horror stories are told, portraying girls during middle school age, at the threshold of entering one's teens – too smart to be called kids, but not quite ready to grow up." (Emelie Lindblom)

Emelie Lindblom

filmografija (izbor)/filmography (selection)

Diplomirala iz filmske reìje na Univerzi v Göteborgu. Danes deluje kot scenaristka in reìserka. Njen kratki film z naslovom 2 je poèl mednarodno zanimanje. Soba 213 je njen prvi celove~erec.

2011 Dark Side (kratki/short) 2014 2 (kratki/short) 2017 Rum 213 (Room 213/Soba 213)

A Swedish scriptwriter and director, Lindblom graduated from the School of Film Directing, Gothenburg University. Her latest short, 2, gained international attention. Room 213 is her debut feature film.

This gripping teen horror film will make you shudder!

Fokus Focus

Francoska kriminalka neko~ in danes French Crime Film Then and Now Olaf Möller V zadnjem desetletju in pol je francoska kriminalka doìvela veli~astno vrnitev – ~eprav samo v nacionalnih okvirjih. Sodobni predstavniki ànra, ki so ga udejanjali stari mojstri, kot so like Yves Boisset, Henri Verneuil in Alain Corneau, so Olivier Marchal (le patron sodobne francoske kriminalke), Frédéric Schoendoerffer, Éric Valette in Julien Leclercq – avtorji, katerih dela, navkljub odli~nim kriti{kim ocenam in uspe{nemu izkupi~ku v lokalnih kinematografih, se skorajda nikoli ne pojavijo v distribuciji onkraj nacionalnih meja in se skorajda nikoli ne uvrstijo na ve~je mednarodne filmske festivale (niti zunaj tekmovalnega sklopa kot razvedrilo za presti`nej{i okus). Novi razli~ici francoske kriminalke ne primanjkuje ne reìserskega ob~utka za slog niti politi~ne drznosti, ki sta opredeljevala starej{o generacijo iz obdobja med {estdesetimi in osemdesetimi leti. Njeni protagonisti so pestra, srhljivo realisti~na zasedba zlikovcev: gangsterji iz nekdanjih francoskih kolonij in postkomunisti~nega divjega Vzhoda; pokvarjeni kifeljci, ki se spajda{ijo s skorumpiranimi politiki; verski fanatiki in oportunisti ter njihovi (ultra)nacionalisti~ni dvojniki, ki vse prepogosto podpihujejo è tako razplamtele razmere za svoje lastne izprijene koristi. Olivier Marchal (36 �36 Quai des Orfèvres�, 2004), Fred Cavayé (Mea culpa), Julien Leclercq (Roparska ekipa), Frédéric Schoendoerffer (Konvoj), Nicolas Boukhrief (V celici �Made in France�, 2014/17) ali Éric Valette (Ka~a s tiso~ urezi) vsi vedo, kako pripraviti prizori{~e za spopad med policijo, organiziranimi kriminalci in mednarodnimi teroristi~nimi organizacijami – ne samo vsako ve~je francosko mesto, tudi vsaka vasica lahko postane potencialno vojno obmo~je ... Z enako nepopustljivo odkritostjo Philippe Haïm (Secret Défense, 2008) in {tevilni od omenjenih avtorjev zelo radi popisujejo kaos, ki ga netijo francoske obve{~evalne slu`be v poskusu s silo ustvariti mednarodno krizo (ali jo vsaj enkrat resni~no re{iti). Kot nakazujeta Les Lyonnais Marchala in Od bitke iztro{en Olivierja Panchota, je za vsem tem ve~ desetletij nasilja; njegova dolga zgodovina je eden od najbolj subverzivnih vidikov te kinematografije. ê bi èleli razumeti sodobno francosko politiko, nam ti filmi res pomagajo. Saj zares poznajo resni~no naravo stvari. In o moralni izprijenosti, po kateri blodimo dan na dan, govorijo razumljivo za slehernika: v jeziku priljubljenega ànrskega filma. Valette, Schoendoerffer, Leclercq – vsi do potankosti poznajo pravila izbrane zvrsti: like, zaplete, motive, osnove kot tudi nekatere od bolj skrivnostnih razli~ic. In ta pravila upo{tevajo, saj se dobro zavedajo dejstva, da jih poznajo tudi gledalci; tako lahko veliko ostane neizre~enega, {e ve~ neutemeljenega: to je navsezadnje kriminalka, ki sledi svojim ustaljenim smernicam. Stvari v resni~nem ìvljenju morda niso niti tako videti niti tako ne delujejo, vendar na~in, kako jih sodobni mojstri prikazujejo in razlagajo znotraj èleznega, a svobodnega sistema, nam pomaga pri spopadanju z njimi. Teh filmov ni mogo~e posneti bolje, mogo~e je samo posneti druge.

In the last decade and a half, French crime cinema made a monumental comeback – if only at home. The contemporary equivalents of the old masters, including Yves Boisset, Henri Verneuil or Alain Corneau, are Olivier Marchal (le patron of France's present-day crime cinema), Frédéric Schoendoerffer, Éric Valette and Julien Leclercq – auteurs whose works, despite the high esteem they gained among critics as well as their many successes at the local box office, almost never open in theatres abroad, and almost never screen at major international film festivals (not even out of competition as a classy entertainment). The new breed of French crime cinema certainly lacks neither the directorial sense of style nor the political balls that distinguished their 60s–80s predecessors. And they come up with a cast of malfeasants that's varied and eerily true to life. Their films are populated by: gangsters from France's erstwhile colonies as well as the post-communist Wild East; bent cops who shake hands with corrupt politicians; religious zealots and opportunists as well as their (ultra)nationalist counterparts who all too often stir up already explosive situations to serve their own sinister ends. Olivier Marchal (36th Precinct �36 Quai des Orfèvres�, 2004), Fred Cavayé (Mea Culpa), Julien Leclercq (The Crew), Frédéric Schoendoerffer (Fast Convoy), Nicolas Boukhrief (Made in France, 2014/17) or Éric Valette (Thousand Cuts) all know how to turn the hexagon into a battleground between police, organized crime and international terrorist organizations – making not only every major French city but also the tiniest hamlet a potential war zone... With equally unflinching honesty, Philippe Haïm (Secrets of State �Secret défense�, 2008) as well as several of the aforementioned auteurs love to also look at the chaos brought upon the world by France's intelligence services when they try to create (or for once actually solve) an international crisis by force. And as Marchal's A Gang Story and Olivier Panchot's Marseille suggest: There are decades and decades of violence behind all this – its long memory being one of this cinema’s most subversive aspects. If one wants to understand contemporary French politics: these films certainly help. For, yes, these movies know things. And they speak of the miasma we wade through 24/7 in a way everybody understands: that of popular cinema – genre films. Valette, Schoendoerffer, Leclercq; they all know the rules of their chosen game by heart – the characters, plots, motives, the basics as well as some of the more arcane variations. And they respect the rules, because they're keenly aware of the fact that their audience does as well – so there's a lot one doesn't need to tell, even more one doesn't need to argue: it's a crime movie, and this is the way things work here. Things may neither look nor work in real life like that, but the way these modern masters show them and explain them inside a system ironclad yet free does help us get a grip on them. You can make others films, but you can’t make these films better.

Fokus Focus

Les Lyonnais A Gang Story Gangsterska zgodba Francija, Belgija France, Belgium 2011

Olivier Marchal reìja/directed by Olivier Marchal scenarij/screenplay Olivier Marchal, Edmond Vidal (book/ knjiga), Edgar Marie (book/knjiga) fotografija/cinematography Denis Rouden glasba/music Erwann Kermorvant montaà/editing Raphaele Urtin igrajo/cast Gérard Lanvin (Momon Vidal), Tchéky Karyo (Serge Suttel), Daniel Duval (Christo), Lionnel Astier (Dany Devedjian), Dimitri Storoge (mladi/ young Momon Vidal), Patrick Catalifo (Max Brauner), François Levantal (Joan Chavez), Francis Renaud (Brandon), Valéria Cavalli (Janou Vidal), Estelle Skornik (Lilou Suttel), Olivier Chantreau (mladi/young Suttel) producenta/producers Cyril Colbeau-Justin, Jean-Baptiste Dupont produkcija/production LGM films (France) & Gaumont (France) & France 2 Cinéma (France) & Hatalom (France) & Rhône-Alpes Cinéma (France) & Nexus Factory (Belgium) & Ufilm (Belgium) format/format DCP barvni/colour dolìna/running time 102'

Enkrat gangster, za vedno gangster. Resni~na zgodba o razvpitem francoskem roparju Edmondu "Momonu" Vidalu, ki niti po upokojitvi ni na{el miru pred svojo teàvno preteklostjo. Edmond Vidal, znan pod psevdonimom Momon, je odra{~al v revnem romskem naselju ter je vedno izkazoval tesno pripadnost druìni in ponos nad svojimi koreninami. Vseskozi je tudi ohranjal prijateljstvo s Sergom Suttlom, s katerim je v sedemdesetih letih vodil zloglasno skupino oboroènih roparjev. Njun vzpon se je kon~al po spektakularni aretaciji leta 1974. Zdaj ko se blià {estdesetemu letu, bi Vidal rad pozabil ta del svojega ìvljenja, saj je v pokoju na{el mir. Njegovi otroci in vnuki gojijo spo{tovanje do ~loveka, ki ga krasijo preproste vrednote in neomajna prijaznost. Naenkrat pa v njegovo ìvljenje ponovno vstopi Suttel, ki se v vsem tem ~asu ni niti pribli`no znebil svoje preteklosti. "@elel sem ustvariti posvetilo Momonu, razbojni{ki legendi, po drugi strani pa vsega tega nisem èlel slaviti. Menim, da ne vsebuje ne sodbe ne poveli~evanja, temve~, upam, veliko ~love~nosti ... @elel sem posneti film o lopovu z akcijo in ~ustvi. Veliko ~ustev, krvi in solz." (Olivier Marchal)

prodaja/world sales Gaumont 30, avenue Charles de Gaulle 92200 Neuilly sur Seine, France distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net

After growing up in a poor gypsy camp, Edmond Vidal, aka Momon, has retained a sense of family and pride in his origins. Most of all, he has remained friends with Serge Suttel, with whom he formed a team, composed of the most notorious armed robbers of the early 1970s. Their irresistible rise ended in 1974 with a spectacular arrest. Today, as he nears 60, Momon would like to forget that part of his life. He has found peace by retiring from the "business." His children and grandchildren have great respect for this kind man of simple values. But then Serge Suttel, who has disowned nothing of his past, comes back into the picture. "I wanted it to be a tribute to Momon, who is a legend of banditry, and on the other hand, I didn't want to glorify all that. It contains, I think, neither judgment nor exaltation but, I hope, a lot of humanity... I wanted to make a film about a hoodlum with action and emotion. Lots of emotions, blood and tears." (Olivier Marchal)

Olivier Marchal

filmografija/filmography

Rojen leta 1958 v predmestju Bordeauxa, Francija. Kot poklicni policist je za~el obiskovati delavnice filmske igre. Delovanje v filmski industriji je za~el kot stranski igralec in scenarist detektivskih TV-serij. Leta 2002 je posnel re`ijski prvenec Gangsterji, njegov drugi film 36 pa je prejel osem nominacij za cezarja.

1999 2002 2004 2008 2011 2014

Born in 1958 in Bordeaux, France. He started taking acting lessons when he still was a police officer. He began his career in television, appearing in supporting parts or writing scripts for detective TV series. Made in 2002, Gangsters is his directorial debut, while his second film, 36, received as many as eight César Award nominations.

Once a gangster, always a gangster. A true story about an infamous French crook Edmond 'Momon' Vidal who cannot escape from his troubled past despite hopes of retirement.

Un bon flic (kratki/short) Gangsters (Gangsterji) 36 Quai des Orfèvres (36th Precinct/36) MR 73 (The Last Deadly Mission) Les Lyonnais (A Gang Story/Gangsterska zgodba) Borderline (TV)

Fokus Focus

Mea culpa Mea Culpa Mea culpa Francija France 2014

Fred Cavayé

reìja/directed by Fred Cavayé scenarij/screenplay Fred Cavayé, Guillaume Lemans fotografija/cinematography Danny Elsen glasba/music Cliff Martinez montaà/editing Benjamin Weill igrajo/cast Vincent Lindon (Simon), Gilles Lellouche (Franck Vasseur), Nadine Labaki (Alice), Gilles Cohen (Pastor), Max Baissette de Malglaive (Théo), Medi Sadoun (Jacquet), Velibor Topi} (Milan) producenti/producers Cyril Colbeau-Justin, Sidonie Dumas, Jean-Baptiste Dupont produkcija/production LGM Productions 53, rue du Faubourg Poissonnière 75009 Paris, France E lgm�lgmprod.com format/format DCP, barvni/colour dolìna/running time 90'

Policist in njegov nekdanji sodelavec se znova snideta, àl pa so okoli{~ine tega sre~anja skrajno neprijetne, saj se morata s skupnimi mo~mi postaviti po robu nevarni srbski mafijski tolpi. Simon in Franck sta bila nekdaj sodelavca pri policiji. Svoje delo sta opravljala korektno, a kadar nista bila v slu`bi, so jima stvari marsikdaj u{le izpod nadzora. Ko sta se nekega dne pijana z avtom skupaj vra~ala domov, je Simon, ki je bil za volanom, povzro~il prometno nesre~o s smrtnim izidom, zaradi ~esar je seveda izgubil slu`bo pri policiji. A splet naklju~ij ju ~ez nekaj let znova zdruì, kajti Simonov sin je bil pri~a strelskemu obra~unu, v katerega je bila vpletena srbska mafijska tolpa, ki ji je Franck è nekaj ~asa na sledi. "V procesu filmskega ustvarjanja sem rad drzen, a vselej skrbno pazim, da to ne {kodi kon~nemu izdelku. Kajti res mi ni do tega, da bi se v filmih moje reìserske ve{~ine pretirano izrazile. @elim si namre~, da bi si po ogledu mojih filmov gledalci dejali: 'Ta film je res dober' in ne: 'Res je dober, ta Cavayé'." (Fred Cavayé)

A former policeman and his erstwhile partner buddy up to deal with a ferocious Serbian drug gang.

festivali, nagrade (izbor)/ festivals, awards (selection) Rotterdam 2017

Simon and Franck both used to work for the police. They were good at their jobs – but less brilliant off duty. After a fatal drinkdriving accident, Simon has to leave the service and finds work driving an armoured car. A cruel twist of fate reunites the two when Simon's son witnesses a gangland killing and is targeted by a furious mob of Serbian drug dealers – the exact same group Franck is investigating. "I like to be daring while making a film, but I always make particularly sure this isn't to the detriment of the end product. I really don't want to foreground my directorial skills to an excessive degree. What I really want is for my viewers to say after the screening: 'This film is really good' rather than: 'He's really good, this Cavayé'" (Fred Cavayé)

Fred Cavayé

filmografija/filmography

Rojen leta 1967 v mestu Rennes, Francija. Preden je vstopil v svet filma, je delal kot modni fotograf. Leta 1999 je posnel svoj prvi kratki film z naslovom J in zanj po`el veliko hvalo tako kritike kot ob~instva. Mednarodno prepoznavnost mu je leta 2008 prinesel njegov prvi celove~erni film Pour elle z Diane Kruger v glavni vlogi. Mea culpa je njegov tretji celove~erni film.

1999 2001 2004 2008 2010 2014

prodaja/world sales Gaumont 30, avenue Charles-de-Gaulle F-92200 Neuilly-sur-Seine, France E alexis.cassanet�gaumont.com

J (kratki/short) Chedope (kratki/short) À l'arraché (kratki/short) Pour elle (Anything for Her) À bout portant (Point Blank) Mea culpa (Mea Culpa)

distribucija/distribution Cinemania Roj~eva 1 1000 Ljubljana E info�cinemania-group.si

Born in Rennes, France, in 1967. Cavayé came to the world of cinema from fashion photography. He first started experimenting with motion pictures in 1999 with the short film J, which enjoyed both critical and commercial success. He attained international renown in 2008 with his debut feature film, Anything for Her, which starred Diane Kruger. Mea Culpa is his third feature film.

Fokus Focus

De guerre lasse Marseille Od bitke iztro{en Francija France 2014

Olivier Panchot reìja/directed by Olivier Panchot scenarij/screenplay Olivier Panchot fotografija/cinematography Thomas Hardmeier glasba/music Éric Neveux montaà/editing Barbara Bascou igrajo/cast Jalil Lespert (Alex), Tchéky Karyo (Armand), Hiam Abbas (Raïssa), Mhamed Arezki (Rachid), Sabrina Ouazani (Katia), Jean-Marie Winling (Titoune), Olivier Rabourdin (Marchiani) producenta/producers Denis Carot, Marie Masmonteil produkcija/production Elzévir & Cie 21 rue Faidherbe 75011 Paris, France E elzevir�elzevirfilms.fr format/format DCP, barvni/colour dolìna/running time 94' festivali, nagrade (izbor)/ festivals, awards (selection) Rotterdam 2017

Eden od vrhuncev francoskega gangsterskega filma zadnjih let je zgodba o dru`ini, katere preteklost je polna skrivnosti in neizpovedanih zgodb.

One of the high points of recent French crime film, Marseille deals with a family whose history is weighed down by secrets and untold stories.

Alex, sin vodje marsejske gangsterske tolpe tako imenovanih "pieds noirs" (nekdanjih evropskih izseljencev v Alìriji), se pridruì tujski legiji, da bi ubeàl ma{~evanju korzi{ke mafije, ki mu grozi, ker je bil ubil enega od njenih ~lanov. [tiri leta pozneje se Alex vrne v Marseille, da bi poiskal svojo mladostno ljubezen Katio. Toda v mestu njegovega otro{tva so se razmere dramati~no spremenile: njegov o~e se je upokojil ter dopustil, da so marsejskemu podzemlju zavladali Korzi~ani in kriminalne tolpe iz revnih severnih predmestij ...

Alex, the son of a pied-noir gang boss from Marseille joins the French Foreign Legion to avoid a hit put out on him by the Corsican Mafia. Four years later, Alex deserts and returns to Marseille to get back together with Katia, his former girlfriend. But in the city, relationships have changed: his father has retired, letting the Corsicans and the gangs from the northern neighbourhoods to share and control the city.

"@elel sem raziskati, kako lahko druìnska skrivnost zaznamuje ~love{ko ìvljenje ter skrha in izkrivi druìnske odnose. ê ljudje ne raz~istijo s preteklostjo, jim je kaj hitro v napoto. In prav o tem govori moj film: glavni junaki zaradi nepoznavanja lastne druìnske zgodovine ìvijo v zanikanju. Lahko bi celo dejali, da je film prispodoba burnih odnosov med Francijo in Alìrijo." (Olivier Panchot)

prodaja/world sales SND Groupe M6 89 Avenue Charles de Gaulle 92575 Neuilly-sur-Seine, France E marine.goulois�snd-films.fr

"I wanted to explore how a family secret can influence people's lives, damaging and souring family relations. If people don't deal with their past it will soon come back to haunt them. And this is what my film is about: unfamiliar with their family history, my protagonists live in denial. You could also say that the film is a metaphor for the strained relations between France and Algeria." (Olivier Panchot)

Olivier Panchot

filmografija (izbor)/filmography (selection)

S filmom se je za~el ukvarjati v devetdesetih letih prej{njega stoletja. Najprej je posnel nekaj kratkometra`cev, nato pa se je usmeril v televizijsko re`ijo. Leta 2007 je posnel prvi celove~erni film Sans moi, 2014 pa se je na filmska platna vrnil z drugim celove~ercem Od bitke iztro{en.

1991 1994 1995 1998 2007 2014

Embarked on a cinematic career in the 1990s, first making some shorts and then focusing on directing for TV. He made his first feature film, Sans moi, in 2007, and returned in 2014 with his second feature, Marseille.

100

Last Night a DJ Did Not Save My Life (kratki/short) Farce noire (kratki/short) Délit mineur (kratki/short) Nous sommes le peuple (kratki/short) Sans moi De guerre lasse (Marseille/Od bitke iztro{en)

Fokus Focus

Braqueurs The Crew Roparska ekipa Francija France 2015

Julien Leclercq

V tem urbanem, hitrem, drznem in neprizanesljivem trilerju se pari{ka tolpa roparjev oklepnega vozila za prevoz potnih listov znajde v hudem sporu s pomembno mamilarsko tolpo. Zanje morajo opraviti nevarno nalogo, neuspeh pa lahko ogrozi `ivljenje dru`inskih ~lanov.

A head-on confrontation takes place between Parisian armoured-truck hijackers and a powerful drug gang in The Crew, a fast, daring and uncompromising thriller. Violent retribution will fall on the hijackers' families if they fail in their task.

Yanis Zeri je eden najuspe{nej{ih roparjev oklepnih vozil v Parizu, a kljub temu ìvi preprosto, predvsem pa pazi, da z ni~imer na zbuja pozornosti. Pri svojem delu vselej sodeluje le s tremi osebami – s prijateljema Franckom in Nasserjem ter z mlaj{im bratom Aminom –, saj le njim brezpogojno zaupa. Njihovi roparski podvigi postajajo vse drznej{i, nekega dne pa Amin zagre{i usodno napako, zaradi katere je tolpa prisiljena narediti "uslugo" pomembnemu mamilarskemu botru. ê naloge ne bodo opravili uspe{no, bodo za to pla~ale njihove druìne ...

Yanis Zeri is one of the most talented armoured-truck hijackers in Paris. Meticulous and brilliant, he has always kept himself under the radar. His friends, Franck and Nasser, and his brother Amine are the only men he trusts enough to work with them. But for his newest coup, Yanis brings in an explosives expert. However, Amine is too greedy and makes a mistake that forces them to work for a powerful dealer. If they fail, their families will suffer the consequences.

"Roparji oklepnih vozil v mojem filmu trpijo za tako imenovanim 'sindromom superjunakov': `ivijo skrito in samotarsko, saj se na smrt bojijo, da jih bodo prijeli. So pravo nasprotje mamilarskih tolp: njihovi ~lani so prevzetni in pohlepni, ob vsaki prilo`nosti se postavljajo z denarjem ... Zato je njihovega uspeha vselej hitro konec." (Julien Leclercq)

reìja/directed by Julien Leclercq scenarij/screenplay Julien Leclercq fotografija/cinematography Philip Lozano glasba/music Jean-Jacques Hertz, François Roy, Laurent Sauvagnac montaà/editing Mickael Dumontier igrajo/cast Guillaume Gouix (Eric), Youssef Hajdi (Nasser), Rédouane Behache (Amine), Kahina Carina (Nora), David Saracino (Frank), Alice de Lencquesaing (Audrey), Baya Belal (Khadidja), Steeve Tientcheu (Adama), Kaaris (Salif) producenta/producers Julien Leclercq, Julien Madon produkcija/production Maje Productions 12 rue d'Enghien 75010 Paris, France E contact�majeprod.com format/format DCP, barvni/colour dolìna/running time 81' festivali (izbor)/ festivals (selection) Marake{/Marrakech 2015, Rotterdam 2017

"The armoured-truck hijackers in my movie suffer from the socalled 'superhero syndrome': they lead secret and secluded lives, mortally afraid of being caught. They are the complete opposite of drug gangs: their members are arrogant and greedy, showing off their money whenever they can... Therefore their careers get cut short ever too soon." (Julien Leclercq)

Julien Leclercq

filmografija (izbor)/filmography (selection)

Rojen leta 1979 v kraju Somain, Francija. Je filmski re`iser, scenarist in producent. S kratkim filmom Transit je pritegnil pozornost pomembnih francoskih filmskih producentov, med njimi tudi Francka Chorota, ki mu je za njegov prvi celove~erni film Chrysalis zagotovil prora~un v vi{ini kar 8,7 milijona evrov. Roparska ekipa je njegov ~etrti celove~erec.

2004 2007 2010 2013 2015

Transit (kratki/short) Chrysalis L'assaut (The Assault) Gibraltar (The Informant) Braqueurs (The Crew/Roparska ekipa)

prodaja/world sales SND Groupe M6 89 Avenue Charles de Gaulle 92575 Neuilly-sur-Seine, France E marine.goulois�snd-films.fr

Born in 1979, in Somain, France. A filmmaker, screenwriter and producer. He started his career by directing several short films, including Transit, which attracted the attention of influential film producers, most notably Franck Chorot, and secured him a large budget amounting to 8.7 million Euro to produce and direct his first feature film, Chrysalis. The Crew is his fourth feature film.

101

Fokus Focus

Le convoi Fast Convoy Konvoj Francija France 2016

Frédéric Schoendoerffer reìja/directed by Frédéric Schoendoerffer scenarij/screenplay Frédéric Schoendoerffer, Yann Brion fotografija/cinematography Vincent Gallot glasba/music Thibault Quillet montaà/editing Sophie Fourdrinoy producenta/producers Éric Névé, Frédéric Schoendoerffer igrajo/cast Benoît Magimel (Alex), Reem Kherici (Nadia), Mahdi Belemlih (Elyes), Tewfik Jallab (Imad), Amir El Kacem (Yacine), Léon Garel (Rémi), Foëd Amara (Majid) produkcija/production Carcharodon 32 Rue Washington 75008 Paris, France format/format DCP, barvni/colour dolìna/running time 102' festivali/festivals Rotterdam 2017

Sedem ljudi, {tirje avtomobili in le en dan ~asa, da gangsterji iz Málage na jugu [panije v Pariz pretihotapijo ve~ kot tono ha{i{a. Triler ceste, v katerem ne manjka hitrosti, {kripanja avtomobilskih gum in adrenalina.

Seven people, four cars and one day to smuggle a good ton of hashish from Málaga in the south of Spain to Paris. Fast Convoy is a road thriller riddled with speed, squeaking tires and adrenalin.

'Go-fast' je izraz, ki se v Franciji uporablja za avtomobilske konvoje, namenjene prevozu prepovedanih drog. V tak{nem konvoju se iz Málage na jugu [panije proti pari{kemu predmestju odpravi sedmerica gangsterjev, s seboj pa imajo veliko koli~ino ha{i{a. A kmalu naletijo na policijsko zaporo in v strelskem obra~unu s {panskimi policisti je ubit eden od ~lanov tihotapske posadke. Da bi lahko nadaljevala pot, sedmerica zajame talko, francosko turistko Nadio. Napetost nara{~a, `e tako skrhani odnosi med mo{kimi pa se {e bolj zaostrijo ...

A 'go-fast' in French is a term for a drug run done by way of a car convoy. Seven gangsters head from Málaga in the south of Spain towards the Paris suburbs, attempting to smuggle a large amount of hashish. But they soon run up against a roadblock. One of the smugglers is killed in the gunfight with the Spanish police. In order to continue their journey, the seven men seize a hostage, French tourist Nadia. The tension is mounting, and the frayed tempers are ready to flare up.

"@e med snemanjem prvega celove~ernega filma sem spoznal policiste, ki so ustavljali konvoje tihotapcev drog. V najnovej{em filmu pa sem `elel poustvariti ozra~je 'zaprtih vrat' v tak{nem konvoju, kajti zanimal me je pogled 'od znotraj'." (Frédéric Schoendoerffer)

prodaja/world sales Indie Sales 32 rue Washington 75008 Paris, France E info�indiesales.eu distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net

"It was while making my first feature that I became aware of police officers halting drug-run convoys. In my last movie I wanted to recreate the atmosphere of 'closed door' in such a convoy, as I was interested in the view 'from within'." (Frédéric Schoendoerffer)

Frédéric Schoendoerffer

filmografija/filmography

Rojen leta 1962 v kraju Boulogne-Billancourt, Francija. Je re`iser, producent in scenarist, ve~ji del njegovega ustvarjalnega opusa pa predstavljajo akcijski filmi in trilerji. S filmom se je za~el ukvarjati v osemdesetih letih prej{njega stoletja, sprva kot asistent re`ije, nato pa je leta 2000 posnel svoj celove~erni prvenec Scènes de crimes, ki je bil nominiran za presti`no nagrado césar. Konvoj je njegov {esti celove~erec.

2000 2004 2007 2011 2014 2016

Born in 1962 in Boulogne-Billancourt, France. He is a French filmmaker, producer and screenwriter, who mostly makes action films and thrillers. He embarked on his cinematic career in the eighties as assistant director. He made his feature film debut in 2000 with Crime Scenes, which was nominated for a César Award. Fast Convoy is his sixth feature film.

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Scènes de crimes (Crime Scenes) Agents secrets (Secret Agents) Truands (Paris Lockdown) Switch 96 heures (96 Hours) Le convoi (Fast Convoy/Konvoj)

Fokus Focus

Le serpent aux mille coupures Thousand Cuts Ka~a s tiso~ urezi Eric Valette

Francija France 2017 reìja/directed by Eric Valette scenarij/screenplay Eric Valette, Hervé Albertazzi fotografija/cinematography Jean-François Hensgens glasba/music Christophe Boulanger, Mike Theis montaà/editing Sébastien Prangère igrajo/cast Tomer Sisley (motorist/biker), Pascal Greggory (Massé du Réaux), Terence Yin (Tod), Stéphane Debac (Jean-François Neri), Clémence Bretécher (Saskia Jones) producenta/producers Alexis Dantec, Raphael Rocher produkcija/production The French Connection 94 rue des Sorins 93100 Montreuil, France E info�frenchcx.com format/format DCP, barvni/colour dolìna/running time 104'

V hi{o sredi vinogradov v bliìni vasice na jugu Francije se zate~e ranjen terorist. I{~eta ga tako policija kot velika mamilarska zdru`ba in zdi se, da so mu dnevi {teti ... Omar Petit bi lahko imel idili~no druìnsko ìvljenje na kmetiji v ju`ni Franciji, ~e mu ne bi ksenofobi~ni kmetje iz neposredne sose{~ine grenili ìvljenja zaradi njegovih arabskih korenin. Neke no~i eden od kmetov sklene povzro~iti nekaj {kode v Omarjevem vinogradu, tam pa je nepri~akovano pri~a umoru treh ju`noameri{kih prekup~evalcev z drogo. Storilec se nato zate~e v Omarjevo hi{o, kjer zajame talko ...

A wounded terrorist takes refuge in a house surrounded by vineyards in the South of France. Wanted by police and an influential drug cartel alike, the killer's days seem to be numbered. Omar Petit would be able to live a perfectly happy life with his wife and daughter if it weren't for a number of neighbouring farmers who resent Omar's Arabic roots and have decided to make life miserable for them. One night, one of them happens to be in the middle of sabotaging their vineyard when he witnesses the murder of three South American drug smugglers. The killer takes refuge on the Petits' farm and holds the family hostage.

"Moja {ibka to~ka so vesterni, to pa se br`kone odra`a tudi v nekaterih mojih filmih. Ko sem prebral roman Le serpent aux mille coupures, francoskega avtorja kriminalk Doe, sem za~util, da moram napisati scenarij za vestern: tujec, o katerem ne vemo ni~, sadisti~ni morilec, lepa kmetica, utrujeni {erif ... V tem romanu so prav vsi elementi vesterna, le da je kontekst nekoliko bolj perverzen." (Eric Valette)

"I have a soft spot for western movies, which probably reflects in some of my films. When I read the novel Le serpent aux mille coupures by Doa, I felt I had to write a western: a mysterious stranger, a sadistic killer, a beautiful peasant woman, a tired sheriff... The novel has all the elements of a western, only the context is a bit more perverse." (Eric Valette)

Eric Valette

filmografija (izbor)/filmography (selection)

Rojen leta 1967 v mestu Toulouse, Francija. Sprva je delal za francosko televizijsko mreò Canal+, 1999 pa je posnel prvi kratki film Samedi, dimanche et aussi lundi. Leta 2008 je reìral priredbo grozljivke One Missed Call Miikeja Takashija, ki mu je prinesla mednarodno prepoznavnost. Danes velja za enega najpomembnej{ih reìserjev kriminalnega filma v Franciji.

1999 Samedi, dimanche et aussi lundi (Saturday, Sunday and Monday Too) (kratki/short) 2001 Il est difficile de tuer quelqu'un, même un lundi (It's Hard Killing Someone Even on a Monday) (kratki/short) 2002 Maléfique 2008 One Missed Call 2009 Une affaire d'état (State Affairs) 2010 Super Hybrid 2011 La proie (The Prey) 2017 Le serpent aux mille coupures (Thousand Cuts/Ka~a s tiso~ urezi)

Born in1967 in Toulouse, France. He started his career at the French TV channel Canal+ and in 1999 made the short film Saturday, Sunday and Monday Too. He also worked on the American remake of Miike Takashi's horror film One Missed Call, which earned him international acclaim. Valette is one of the most prominent French directors of crime film.

festivali, nagrade (izbor)/ festivals, awards (selection) Rotterdam 2017

prodaja/world sales SND Groupe M6 89 Avenue Charles de Gaulle 92575 Neuilly-sur-Seine, France E marine.goulois�snd-films.fr

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104

Retrospektiva Retrospective

Dernier domicile connu Last Known Address Zadnji naslov Francija, Italija France, Italy 1970

José Giovanni reìja/directed by José Giovanni scenarij/screenplay José Giovanni, Joseph Harrington (roman/novel) fotografija/cinematography Étienne Becker glasba/music François de Roubaix montaà/editing Kenout Peltier igrajo/cast Lino Ventura (Marceau Leonetti), Marlène Jobert (Jeanne Dumas), Michel Constantin (Greg), Paul Crauchet (Jacques Loring), Alain Mottet (Frank Lambert), Béatrice Arnac (Silvia), Guy Heron (Soramon), Albert Dagnant (Arnold), Monique Mélinand (ga./Ms. Loring), Marcel Pérès (Lenoir), Germaine Delbat (ga./ Ms. Lenoir), Hervé Sand (Gravel) producent/producer Jacques Bar produkcija/production Cité Films (France) & Parme Productions (France) & Rizzoli Film (Italy) & Simar Films (France) & Valoria Films (France) format/format 35 mm, barvni/colour dolìna/running time 105'

V filmu, posnetem po romanu Josepha Harringtona, legendarni igralec Lino Ventura nastopi v eni tistih ikoni~nih vlog, s katerimi je zaznamoval francosko kinematografijo.

Based on a novel by Joseph Harrington, Last Known Address stars legendary actor Lino Ventura in one of his iconic roles that have gone down in the history of French cinema.

In{pektorja Leonettija zaradi resne poklicne napake premestijo v manj pomemben policijski oddelek, kjer mu dodelijo te`aven primer Rogerja Martina. Ta je skupaj s h~erko izginil neznano kam, izka`e pa se, da je klju~na pri~a v preiskavi umora in bi moral na sodi{~u podati pomembne dokaze v procesu proti znanemu gangsterju. Leonettiju pri iskanju Martina pomaga mlada, neizku{ena policistka Jeanne. Martin se posku{a z nenehnimi selitvami izmuzniti policistoma, pa tudi tolpi gangsterjev, odlo~enih, da mu prepre~ijo pri~anje na sodi{~u.

As a result of a serious professional blunder, Inspector Leonetti finds himself transferred to a minor police department. There, he is assigned to a difficult case involving a certain Roger Martin, who has disappeared with his small daughter. Martin is in fact a key witness in a murder case and is required to give evidence against a well-known gangster. To help him in his hunt for Martin, Leonetti is teamed up with Jeanne, a young policewoman with virtually no experience. By frequently changing his address Martin hopes not only to evade Leonetti and Jeanne, but also the band of gangsters who are determined to prevent him from testifying.

"Navkljub po~asnemu ritmu in malce predvidljivemu zapletu je film Zadnji naslov privla~na in prodorna drama, z elegantnimi posnetki in prese`no igro glavnih protagonistov Lina Venture in Marlène Jobert." (James Travers, Films de France)

"Despite its slow pace and somewhat predictable plot, Last Known Address manages to be a compelling and poignant drama, stylishly shot and with superlative contributions from its lead actors, Lino Ventura and Marlène Jobert." (James Travers, Films de France)

José Giovanni

filmografija (izbor)/filmography (selection)

Rojen leta 1923 v Parizu. Po drugi svetovni vojni so ga zaradi kolaboracionizma in kriminalnih aktivnosti obsodili na smrt, a so mu pozneje omilili kazen. Med dolgoletnim bivanjem v zaporu je pisal kriminalne zgodbe, ki jih je ~rpal iz lastnih izku{enj. V svet filma je vstopil po uspehu svojega prebojnega romana Luknja. Napisal je dvajset romanov in dve knjigi spominov ter re`iral dvajset filmov. Umrl je leta 2004.

1967 1970 1971 1972 1973 1975 1976 1979 1981

Born in 1923 in Paris. A former collaborationist and criminal who was sentenced to death, but had his sentence commuted to imprisonment. While serving time in jail Giovanni wrote crime stories drawing inspiration from personal experience. He based Le Trou (The Hole) on his own novel. That’s how Giovanni entered the world of cinema. He wrote 20 novels, 2 books of memoirs, and directed 20 movies. He died in 2004.

108

La loi du survivant (Law of Survival/Obra~un na obali) Dernier domicile connu (Last Known Address/Zadnji naslov) Un aller simple (One Way Ticket) La scoumoune (Scoumoune/Marseilleski klan) Deux hommes dans la ville (Two Men in Town/Dvojica v mestu) Le gitan (The Gypsy/Ciganka) Comme un boomerang (Boomerang/Bumerang) Les égouts du paradis (The Sewers of Paradise/Rop v Nici) Une robe noire pour un tueur (A Black Gown for a Killer/^rna obleka za morilca) 1983 Le ruffian (The Ruffian) 1988 Mon ami le traître (My Friend the Traitor) 2001 Mon père, il m'a sauvé la vie (My Father Saved My Life)

Retrospektiva Retrospective

Un homme est mort The Outside Man Pogreb v Los Angelesu Francija, ZDA, Italija France, USA, Italy 1972

Jacques Deray

Gangsterski triler z eksistencialisti~nim pridihom zdruì igralski ikoni z vsake strani luè: Jean-Louisa Trintignanta in Roya Scheiderja. Gangsterji najamejo poklicnega morilca Luciena Bellona, da bi v Los Angelesu ubil njihovega konkurenta Victorja. Bellon se odpravi v Victorjev dom in ga ustreli. Ko posku{a zbeàti iz dràve, odkrije, da so mu ukradli potni list in prtljago. Po televiziji izve tudi, da policija za umor ne krivi francoskega morilca, temve~ ameri{kega. Izkaè se, da je bil na delu {e en storilec. Od tu naprej je Bellon na begu pred policijo in pred ~lani dveh mafijskih druìn, za povrh pa ima drugi morilec vse potrebne podatke za Bellonovo prijetje ... "Ta francoski triler, posnet na nekaterih ~udovito prepoznavnih prizori{~ih Los Angelesa, je ena najbolj edinstvenih posebnosti kriminalne kinematografije sedemdesetih let. Pogreb v Los Angelesu, prav tako film noir, evropski umetni{ki film in akcijski triler po kultnem delu Francoska zveza, se pona{a tudi z eno najbolj osupljivo eklekti~nih igralskih zasedb svoje dobe." (Mark Tinta, Good Efficient Butchery)

A French Existentialist spin on the international intrigue thrillers, The Outside Man brings together A-list actors from both sides of the Atlantic: Jean-Louis Trintignant and Roy Scheider. French hitman Lucien Bellon has been hired by gangsters to kill Victor, a rival mobster, in Los Angeles. Bellon goes to Victor's home and shoots him point-blank. When attempting to flee the country, Bellon realises his luggage and passport have been stolen. Meanwhile, on television, news accounts of the murder allude to the police seeking not a French killer but an American one. Apparently, another hitman named Lenny has been hired to kill Bellon. From that moment on, Bellon is on the run from the police and the minions of two different mob families. What makes his escape hazardous is that the real murderer shares all the information known about him to aid in his capture and death. "This French thriller, shot in some marvellously distinctive Los Angeles locales, is one of the more unique oddities in early '70s crime cinema. Equal parts film noir, European art film, and post-French Connection action thriller, The Outside Man also boasts one of the most amazingly eclectic casts of its era." (Mark Tinta, Good Efficient Butchery)

Jacques Deray

filmografija (izbor)/filmography (selection)

Rojen leta 1929 v Lyonu, Francija. Poklicno pot je za~el kot igralec, po letu 1952 pa je delal kot asistent slovitim reìserjem, med katerimi sta Luis Buñuel in Jules Dassin. Svoj prvi film je reìral leta 1960 in se kmalu uveljavil kot reìser policijskih filmov. Posnel je devet filmov z Alainom Delonom, najve~ med vsemi reìserji. Umrl je leta 2003.

1960 1965 1966 1969 1970 1972 1975 1977 1980 1983 1985 1993 2001

Born in, 1929 in Lyon. First worked as an actor and from 1952 as assistant to several noted directors, including Luis Buñuel and Jules Dassin. Directed his first film in 1960 and soon gained renown as the director of commercially successful crime thrillers. With nine films, Deray is the director who made the most films with Alain Delon. He died in 2003.

reìja/directed by Jacques Deray scenarij/screenplay Jean-Claude Carrière, Jacques Deray, Ian McLellan Hunter fotografija/cinematography Silvano Ippoliti, Terry K. Meade glasba/music Michel Legrand montaà/editing William K. Chulack, Henri Lanoë igrajo/cast Jean-Louis Trintignant (Lucien Bellon), Ann-Margret (Nancy Robson), Roy Scheider (Lenny), Angie Dickinson (Jackie Kovacs), Georgia Engel (ga./Mrs. Barnes), Felice Orlandi (Anderson), Carlo De Mejo (Karl), Michel Constantin (Antoine), Umberto Orsini (Alex), Carmen Argenziano (Second Hawk), Rico Cattani (butler), Ted de Corsia (Victor), Edward Greenberg (avtostopar/hitchhiker) producent/producer Jacques Bar produkcija/production Cité Films (France) & Les Productions Artistes Associés (France) & General Production Company (USA) & Mondial Televisione Film (Italy) format/format 35 mm, barvni/colour dolìna/running time 104'

Le gigolo (The Gigolo/@igolo) Par un beau matin d'été (Crime on a Summer Morning) L'homme de Marrakech (That Man George/Mo` iz Marake{a) La piscine (Swimming Pool/Umor v bazenu) Borsalino Un homme est mort (The Outside Man/Pogreb v Los Angelesu) Flic Story (Nevaren poklic) Le gang (The Gang/Gangster) 3 hommes à abattre (Three Men to Kill/Trojico je treba ubiti) Le marginal (The Outsider/Policaj na robu zakona) On ne meurt que deux fois (He Died with His Eyes Open) Un crime (A Crime/Zlo~in) Lettre d'une inconnue (Letter from an Unknown Woman/ Neznankino pismo)

109

Retrospektiva Retrospective

Peur sur la ville Fear Over the City Strah nad mestom Henri Verneuil

reìja/directed by Henri Verneuil scenarij/screenplay Jean Laborde, Francis Veber, Henri Verneuil fotografija/cinematography Jean Penzer glasba/music Ennio Morricone montaà/editing Pierre Gillette, Henri Lanoë igrajo/cast Jean-Paul Belmondo (Jean Letellier), Charles Denner (in{pektor/inspector Moissac), Adalberto Maria Merli (Pierre Valdeck/Minos), Rosy Varte (Germaine Doizon), Roland Dubillard (psiholog/psychologist), Jean Martin (vodja policije/chief superintendent), Catherine Morin (Hélène Grammont), Germana Carnacina (Pamela Sweet), Giovanni Cianfriglia (Marcucci) producent/producer Jean-Paul Belmondo produkcija/production Cerito Films (France) & Mondial Televisione Film (Italy) format/format 35 mm, barvni/colour dolìna/running time 90'

Jean-Paul Belmondo na lovu za serijskim morilcem v enem izmed {estih filmov, v katerih sta mo~i zdruìla mojster kriminalke Henri Verneuil in skladatelj Ennio Morricone. Policist Jean Letellier je pod pritiskom – razvpiti gangster Marcucci se mu je izmuznil med prsti, ob tem pa je v neuspeli akciji umrl {e nedol`ni mimoido~i. Med preiskavo o Letellierjevi krivdi se vzporedno za~ne {e serija umorov mladih ènsk. Neznani morilec na prizori{~u umora venomer pusti sporo~ilo, v katerem `rtev obtoì ne~istega ìvljenjskega sloga. Morilec se na sporo~ilih podpisuje kot Minos in se sklicuje na Dantejevo Boànsko komedijo. Ko se Letellier è loti novega primera, na prizori{~e ponovno stopi Marcucci, medtem pa Minosovi namigi policista postopoma pripeljejo na sled krutemu zlo~incu, ki ga mora loviti na vrtoglavih vi{avah pari{kega neboti~nika. "Strah nad mestom pooseblja kriminalko ali t. i. polar tistega desetletja, v kateri trdoìvi policisti zasledujejo trdoìve lopove, z osredoto~enostjo na akcijskih prizorih, ki prevladajo nad zgodbo in karakterizacijo. (...) Strah nad mestom na splo{no velja za najbolj{o od {tevilnih kriminalk Jean-Paula Belmonda in redek primerek priljubljenega ànrskega filma s pristno umetni{ko vrednostjo." (James Travers, Films de France)

Francija, Italija France, Italy 1975

One of the six movies that crime-thriller master Henri Verneuil made together with composer Ennio Morricone, The Night Caller features Jean-Paul Belmondo as a sleuth pursuing a serial killer. Policeman Jean Letellier is under pressure because the infamous gangster Marcucci escaped from him publicly. Moreover, during the pursuit an innocent bystander was killed. Letellier is investigated for having fired the deadly bullet. Before Letellier is cleared, a serial killer begins to murder young women, each time leaving a message at the crime scene saying he punished his victims for what he considers their impure lifestyle. He calls himself 'Minos,' referring to the Divine Comedy. When Letellier takes on a new case, he comes across Marcucci's current whereabouts. Minos keeps on leaving provoking hints until Letellier can identify him. The serial killer can only scarcely elude Letellier, who chases him over the roofs of Paris. "Fear Over the City epitomises the crime thriller or 'polar' of that decade, in which tough cops pursue tough villains, with an emphasis on action stunts over plot and characterisation. (...) Widely regarded as the best of Jean-Paul Belmondo's many crime thrillers, Fear Over the City is also a rare example of a popular film of the genre which has genuine artistic merit as a work of cinema." (James Travers, Films de France)

Henri Verneuil

filmografija (izbor)/filmography (selection)

Rojen leta 1920 v Rodostu, Osmansko cesarstvo (dana{nji Tekirdağ, Tur~ija) kot sin armenskih star{ev. Pri {tirih letih je med armenskim genocidom s star{i pribe`al v Marseille. Sprva je delal kot novinar, urednik, filmski kritik in radijski komentator. Svoj prvi film Prepovedani sad je posnel leta 1952. Znan je po trilerjih in akcijskih filmih, v katerih je pogosto nastopal Jean Gabin. Umrl je leta 2002.

1952 Le fruit défendu (Forbidden Fruit/Prepovedani sad) 1954 Le mouton à cinq pattes (The Sheep Has Five Legs/Oven s petimi nogami) 1959 La vache et le prisonnier (The Cow and I/Krava in ujetnik) 1961 Le Président (The President/Predsednik) 1962 Un singe en hiver (A Monkey in Winter/Korak v zimo) 1963 Mélodie en sous-sol (Any Number Can Win/Melodija podzemlja) 1964 100.000 dollars au soleil (Greed in the Sun/Sto tiso~ dolarjev na soncu) 1967 La vingt-cinquième heure (The 25th Hour/Petindvajseta ura) 1969 Le clan des Siciliens (The Sicilian Clan/Sicilijanski klan) 1973 Le serpent (The Serpent/Ka~a) 1975 Peur sur la ville (Fear Over the City/Strah nad mestom) 1979 I... comme Icare (I as in Icarus/I kot Ikar) 1984 Les morfalous (The Vultures/Legionarji)

Born in 1920 in Rodosto, Ottoman Empire (present-day Tekirdag, Turkey) to Armenian parents. He arrived with his family in Marseille at the age of four, fleeing the Turkish massacres of Armenians. Former journalist, editor, film critic and radio announcer. He made his first motion picture, Forbidden Fruit, in 1952. Best known for his popular thrillers and action films, frequently starring Jean Gabin. He died in 2002.

110

Retrospektiva Retrospective

Le juge Fayard dit Le Shériff Judge Fayard Called the Sheriff Sodnik, imenovan {erif Francija France 1977

Yves Boisset

Reìser Yves Boisset je zgodbo o preiskovalnem sodniku Fayardu zaznamoval s tema~nim pogledom na dràvne institucije, preète s korupcijo in zakonom mo~nej{ega.

Director Yves Boisset coupled his story about investigative judge Fayard with a critical examination of state institutions dominated by corruption and survival of the fittest.

Jean-Marie Fayard je sodnik, ki mu zaupajo preiskavo dosjeja o bogatem industrialcu, domnevno vpletenem v vrsto nepojasnjenih smrti. êprav posku{ajo sodnikovi nadrejeni speljati njegovo pozornost stran od tega primera, pa tudi Fayardov naslednji primer vodi k prvemu. Fayard je deleèn osebnih groènj, a ga to ne odvrne od prepri~anja, da mora biti pravici zado{~eno. Pri tem pa mo~no podceni mo~ in vpliv svojih nasprotnikov ...

Jean-Marie Fayard is a judge charged with a dossier which implicates a wealthy industrialist in a number of unexplained deaths. Although he is forcibly steered away from this affair by his superiors, Fayard’s investigation of another case ultimately leads him back to his original case. Despite personal threats, Fayard is committed to ensuring that justice is done. Unfortunately, he underestimates the power and influence of his opponents.

"Sodnik, imenovan {erif prikli~e tako klasi~ne ameri{ke trilerje noir kot klasi~ne vesterne. (...) Zaradi izrazito pesimisti~nega tona in ostrine se razlikuje od ve~ine francoskih trilerjev tega ~asa. (...) Po ogledu gledalca preèmajo ob~utki, ki jih je Boisset èlel vzbuditi; globoka skepti~nost glede integritete tistih, ki se z delom prebijajo na vplivne poloàje. V Boissetovem tema~nem svetu prikrivanja in zarote je korupcija na vrhu lestvice prikazana kot endemi~na in neizogibna. Glede na to, ~emur smo bili od nastanka filma pri~e v resni~nem svetu, se zdi, da ni tako dale~ od resnice." (James Travers, Films de France)

festivali, nagrade/ festivals, awards nagrada Louis Delluc/Louis Delluc Award 1977

"Judge Fayard Called the Sheriff is evocative both of the classical American film noir thriller and the classic western. (...) the film's intensely pessimistic tone and hard edge sets it apart from most French thrillers of this time. (...) The film leaves us as Boisset intended it should, deeply sceptical about the integrity of those who work their way into positions of authority. In Boisset's dark world of cover-up and collusion, corruption at the top is shown to be endemic and inescapable. And judging by what we have seen in real life since the film was made, it seems not to be so far from the truth." (James Travers, Films de France)

Yves Boisset

filmografija (izbor)/filmography (selection)

Rojen leta 1939 v Parizu. Diplomiral je na filmski {oli La Fémis, kariero pa je za~el kot asistent re`ije. Po sodelovanju z re`iserji, kot so Hossein, Ciampi in Clement, je snemal kratke filme vse do konca {estdesetih let, ko je posnel celove~erni prvenec Coplan sauve sa peau. Od tedaj je znan po politi~nih trilerjih in policijskih filmih.

1968 1970 1972 1973 1975 1975 1977

Born in 1939 in Paris. Graduated from l'DHEC (La Fémis) and began his career as an assistant director. After working with such directors as Hossein, Ciampi and Clement, he began directing short films until the late 1960s when he made his feature film debut, Coplan Saves His Skin. He's best known for his political thrillers and cop stories.

reìja/directed by Yves Boisset scenarij/screenplay Yves Boisset, Claude Veillot, Luc Béraud fotografija/cinematography Jacques Loiseleux glasba/music Philippe Sarde montaà/editing Albert Jurgenson, Laurence Leininger igrajo/cast Patrick Dewaere (Jean-Marie Fayard), Aurore Clément (Michelle Louvier), Philippe Léotard (Marec), Michel Auclair (Simon Pradaldit), Jean Bouise (Arnould), Jean-Marc Thibault (Camus), Daniel Ivernel (Xavier Marcheron), Jean-Marc Bory (Lucien Degueldre), Henri Garcin (Picot), Jacques Spiesser (Jacques Steiner), Marcel Bozzuffi (Joanno), Yves Afonso (Lecca) producenti/producers Lise Fayolle, Yves Gasser, Yves Peyrot produkcija/production Action Films (France) & Filmédis (France) & Société Française de Production (France) format/format 35 mm, barvni/colour dolìna/running time 112'

1977 1978 1980 1982 1983 1984 1986

Coplan sauve sa peau (Coplan Saves His Skin) Un condé (The Cop/Dovoljenje za ubijanje) L'attentat (Plot/Atentat) R.A.S. (Nothing to Report/Vse v redu!) Dupont Lajoie (The Common Man/Dogodek v avtokampu) Folle à tuer (Mad Enough to Kill/Nora, da bi jo ljubil) Le juge Fayard dit Le Shériff (Judge Fayard Called the Sheriff/ Sodnik, imenovan {erif) Un taxi mauve (The Purple Taxi/Vijoli~asti taksi) La clé sur la porte (The Key Is in the Door) La femme flic (The Woman Cop/Policajka) Espion, lève-toi Le prix du danger (The Prize of Peril) Canicule (Dog Day/Pasja vro~ina) Bleu comme l'enfer (Blue Hell/Modri pekel)

111

Retrospektiva Retrospective

Série noire Série noire ^rna serija Francija France 1979

Alain Corneau reìja/directed by Alain Corneau scenarij/screenplay Georges Perec, Alain Corneau, Jim Thompson (roman/novel) fotografija/cinematography Pierre-William Glenn montaà/editing Thierry Derocles igrajo/cast Patrick Dewaere (Franck Poupart), Myriam Boyer (Jeanne), Marie Trintignant (Mona), Bernard Blier (Staplin), Jeanne Herviale (teta/aunt), Andreas Katsulas (Andreas Tikides), Charlie Farnel (Marcel), Samuel Mek (boksar/boxer), Jack Jourdain (trener/ coach) producent/producer Maurice Bernart produkcija/production Prospectacle (France) & Gaumont (France) format/format 35 mm, barvni/colour dolìna/running time 111' festivali, nagrade/ festivals, awards Cannes 1979

Premi{ljen na~rt, ki spektakularno spodleti: re`iser Alain Corneau skozi ta klasi~ni motiv kriminalk pripelje svojega protagonista na rob norosti.

An elaborate plan that fails spectacularly: employing this classical crime-film motif, director Alain Corneau drives his protagonist to the brink of madness.

Franck Poupart je nevroti~en uli~ni prodajalec, ki i{~e stranke od hi{e do hi{e v zanemarjenem predelu Pariza. Pravkar ga je zapustila èna, njegov {ef pa nanj gleda s prezirom. Franckovo enoli~no ìvljenje dobi nov zagon, ko sre~a Mono, privla~no mlado prostitutko, ki trpi za hudo obliko avtizma. Mona ìvi s starej{o teto, ki, kot mu razkrije, doma skriva zajetno koli~ino bankovcev in revolver. Franck takoj dobi idejo. Ubil bo starko, vzel njen denar in na novo zaìvel z Mono. Na àlost pa se Franckova sre~a obrne proti njemu in ko njegov na~rt è skoraj pade v vodo, je vedno bolj vpra{ljiva tudi njegova pri{tevnost.

Franck Poupart is a neurotic door-to-door salesman working in a run-down suburb of Paris. His wife has just walked out on him and his employer treats him with contempt. Franck's humdrum existence is brightened one day when he meets Mona, an attractive young prostitute suffering from acute autism. Mona lives with an elderly aunt who, she reveals, has a hidden stash of banknotes and a revolver. Franck suddenly has an idea. He will kill the old woman, take her money and start a new life with Mona. Unfortunately, Franck’s luck is against him, and as the scheme unravels, so does his sanity.

"^rna serija (...) je nedvomno eden Corneaujevih najbolj navdahnjenih in izvirnih filmov. Ponudi videnje zru{ene dru`be (...) – more~e resni~nosti brez upanja in ljubezni, v kateri se ljudje niso sposobni povezati eden z drugim niti na najbolj povr{inski ravni, in v kateri se du{evno zdravi od bolnih razlikujejo samo po {tevilu trupel, ki le`ijo v njihovih dnevnih sobah. Nam je kinematografija kdaj ponudila bolj mra~en in premisleka vreden vpogled v morebitno prihodnost? ^rna serija je izlet v pekel. Smejte se, ~e si drznete." (James Travers, Films de France)

"Série noire (...) is unquestionably one of Corneau's most inspired and original films. It offers a vision of a broken down society (...) – a nightmarish reality devoid of hope and love, where human beings cannot even engage with one another at the most superficial level, and where the sane and insane are differentiated only by the number of corpses that litter their living rooms. Has cinema ever given us a bleaker and more thought-provoking view of where we might be heading? Série noire is an excursion into Hell. Laugh if you dare." (James Travers, Films de France)

Alain Corneau

filmografija (izbor)/filmography (selection)

Rojen leta 1943 v Meung-sur-Loiru. Filmsko reìjo in montaò je {tudiral na pari{kem IDHEC. Poklicno pot je za~el kot asistent Bertrandu Blierju, Rogerju Cormanu in Marcelu Camusu. Debitiral je leta 1973 in si hitro ustvaril sloves reìserja odli~nih, trdih kriminalk. V osemdesetih se je oprijel zgodovinskih spetaklov in intimnih dram; za Vsa jutra tega sveta je leta 1991 prejel cezarja za najbolj{i francoski film in reìserja.

1973 1976 1977 1979 1981 1986 1989 1991 1995 2000 2003 2005 2010

Born in 1943 in Meung-sur-Loire, Corneau studied film directing and editing at the IDHEC in Paris. He embarked on his filmmaking career as assistant to Bertrand Blier, Roger Corman and Marcel Camus, and achieved distinction with his gripping thrillers. In the 1980s he turned to epic historical films and intimate dramas. In 1991, Tous les matins du monde received Best Film and Best Director Cesar Awards.

112

France société anonyme (France Inc.) Police Python 357 (Policijska pi{tola) La menace (The Threat/Gro`nja) Série noire (^rna serija) Le choix des armes (Choice of Arms/Izbira oro`ja) Le môme (Extreme Justice/Otro~e) Nocturne indien (Indijski nokturno) Tous les matins du monde (Vsa jutra tega sveta) Le nouveau monde (New World) Le prince du Pacifique (The Prince of the Pacific/Princ Tihega oceana) Stupeur et tremblements (Fear and Trembling) Les mots bleus (Some Kind of Blue) Crime d'amour (Love Crime)

Retrospektiva Retrospective

I... comme Icare I as in Icarus I kot Ikar Francija France 1979

Henri Verneuil

Paranoidni triler o atentatu na fiktivnega predsednika se ve~ kot desetletje pred slovitim filmom Oliverja Stona loti teorij zarote o umoru Johna F. Kennedyja. Marc Jarry, novoizvoljeni predsednik umi{ljene dràve, na slavnostni vo`nji po mestu pade pod streli atentatorja. Henri Volney, dràvni toìlec in ~lan preiskovalne komisije, zavrne podpis sklepnega poro~ila o atentatu, ki zagovarja teorijo osamljenega strelca. Volney se {e enkrat loti preiskave, njegove ugotovitve pa za~nejo kmalu porajati resen dvom o sklepih komisije. Bolj kot se preiskovalec poglablja v mogo~e scenarije umora, bolj postaja jasno, da so bile pri atentatu na delu vi{je in mogo~nej{e sile ... "I kot Ikar je peklensko vznemirljiva kriminalka s {tevilnimi napetimi prizori, ob katerih na robu sedeà grize{ nohte, in z odli~nim premi{ljenim ritmom, zaradi katerega dvourno trajanje mine, kot bi trenil." (Joachim Andersson, Rubber Monster Fetishism)

A conspiracy-thriller about the assassination of a fictive president, I as in Icarus examines the events leading to the murder of John F. Kennedy more than a decade before Oliver Stone's famous JFK. The film begins with the assassination of President Marc Jarry, who is about to be inaugurated for a second six-year term of office. Henri Volney, state attorney and member of the commission, charged with investigating the assassination, refuses to agree to the commission's final findings. In the course of his search he finds evidence that casts serious doubt on the committee's “lone-gunman” theory. The more he investigates the possible murder scenarios, the clearer it becomes that more powerful forces were at play.

reìja/directed by Henri Verneuil scenarij/screenplay Didier Decoin, Henri Verneuil fotografija/cinematography Jean-Louis Picavet glasba/music Ennio Morricone montaà/editing Henri Lanoë igrajo/cast Yves Montand (Henri Volney), Michel Albertini (Luigi Lacosta), Roland Amstutz (Pierre Gregory), Jean-Pierre Bagot (Michaël Mix), Georges Beller (Sam Kido), Maurice Bénichou (Robert Sanio), Edmond Bernard (TV-napovedovalec/TV presenter), Françoise Bette (Jane Bellony), Roland Blanche (Garcia Santos), Benoît Brione (poro~evalec/ reporter), Jacques Brylant (Nicolas Rosenko), Gabriel Cattand (Marc Jarry) producent/producer Henri Verneuil produkcija/production France 2 (France) & Société Française de Production (France) & V Films (France) format/format 35 mm, barvni/colour dolìna/running time 120' festivali, nagrade/ festivals, awards cezarji/César Awards 1980 (pet nominacij/5 nominations)

"I as in Icarus is truly one hell of an exciting thriller with several nail-biting sequences of stomach-churning suspense and an excellent methodical pace that make the two hours running time flash by in an instant." (Joachim Andersson, Rubber Monster Fetishism)

Henri Verneuil

filmografija/filmography

Glej stran 110 /see page 110.

113

Retrospektiva Retrospective

La guerre des polices The Police War Policijska vojna Francija France 1979

Robin Davis reìja/directed by Robin Davis scenarij/screenplay Jean-Marie Guillaume, Jacques Labib fotografija/cinematography Ramón F. Suárez glasba/music Jean-Marie Sénia montaà/editing José Pinheiro igrajo/cast Claude Brasseur (Jacques Fush), Marlène Jobert (Marie Garcin), Claude Rich (komisar Ballestrat/ commissioner Ballestrat), Georges Staquet (Millard), Jean-François Stévenin (Capati), Etienne Chicot (Larue), David Jalil (Djalloud), Gérard Desarthe (Hector Sarlat), Jean Rougerie (Mermoz), JeanPierre Kalfon (Marc), Jacques Lalande (Pralin), Catherine Rétoré (umetnica/artist) producentka/producer Véra Belmont produkcija/production Les Productions Jacques Roitfeld (France) & Stéphan Films (France) format/format 35 mm, barvni/colour dolìna/running time 100' festivali, nagrade/ festivals, awards cezarji/César Awards 1980 (nagrada za najbolj{ega igralca/Best Actor Award)

Zgodba o dvoboju policijskih enot, navdahnjena z resni~nimi dogodki in posneta v slogu grobega realizma, zna~ilnega za `anrski film poznih sedemdesetih let.

A showdown between two police squads, The Police War was inspired by real-life events and laid the groundwork for the tougher crime thrillers that followed in the late 1970s.

Ekipa komisarja Ballestrata ~aka do {este ure zjutraj, da bi prijela Hectorja Sarlata, dr`avnega sovra`nika {tevilka ena. Vendar pa se zaseda izjalovi, saj se na prizori{~u pojavijo ~lani {e ene policijske enote. Posledice: policist umre, Sarlat pa je {e vedno na prostosti. [ef ministrovega kabineta Ballestratu uka`e, naj sodeluje s konkuren~no enoto, a je medtem tudi ta na sledi Sarlatu. Brigadi s tem razglasita "policijsko vojno", medtem ko se vsaka po svoje spustita v mrtev tek sledenja izmuzljivemu gangsterju.

In the early hours of the morning the team of police superintendent Ballestrat is about to arrest Hector Sarlat, the most wanted criminal in France, when a rival police squad puts in an unexpected appearance. In the confusion that ensues a policeman is shot dead and Sarlat makes his escape. The minister of the interior affairs orders Ballestrat to cooperate with the rival police unit. Having no intention of working together, the squads declare 'police war'. For both squad leaders, the arrest of Scarlat is a personal crusade and woe betide the other if he gets in the way.

"Policijska vojna je odli~en primerek surovega, udarnega francoskega trilerja iz poznih sedemdesetih let, ki je povzemal nagnjenje hollywoodskih filmskih re`iserjev k ve~jemu realizmu in eksplicitnemu nasilju. Film, posnet po resni~nih dogodkih, je verodostojen in nadvse vznemirjajo~ prikaz medsebojno uni~evalnega spora, ki je v tistem ~asu vladal med razli~nimi plastmi francoskega policijskega sistema." (James Travers, Films de France)

"The Police War is a fine example of the kind of hardboiled, gritty French thriller that emerged in the late 1970s, following the trend for greater realism and explicit violence that had been set by Hollywood filmmakers. Inspired by a true story, the film gives a credible, indeed disturbing, portrayal of the kind of internecine conflict that was known to exist between the various strata of the French police system at the time." (James Travers, Films de France)

Robin Davis

filmografija (izbor)/filmography (selection)

Rojen leta 1943 v Marseillu, Francija. Na za~etku uspe{ne poti je bil asistent francoskemu re`iserju Georgesu Lautnerju. S prvencem Ce cher Victor se je leta 1975 uvrstil v tekmovalni program filmskega festivala v Cannesu. Po sedmih celove~ernih filmih je od leta 1990 snemal samo {e za televizijo in je dejaven {e danes.

1975 1979 1982 1983 1985 1990 1994 1996 1998 1999 2006

Born in 1943 in Marseille, France. He started out as assistant to French director Georges Lautner. His 1975 debut feature film, Cher Victor, was screened in the competitive section of the Cannes Film Festival. After seven features, Davis has since 1990 devoted himself exclusively to TV films.

114

Ce cher Victor (Cher Victor) La guerre des polices (The Police War/Policijska vojna) Le Choc (Shock/[ok) J'ai épousé une ombre (I Married a Dead Man) Hors-la-loi (Outlaws) La fille des collines La rage au coeur (TV) Flairs ennemis (TV) Les rives du paradis (TV) Le frère Irlandais (TV) Jeanne Poisson, Marquise de Pompadour (Madame De Pompadour: The King's Favourite) (TV) 2011 Bas les coeurs (A Child’s Battle) (TV) 2016 Le chapeau de Mitterrand (TV)

Retrospektiva Retrospective

Le choix des armes Choice of Arms Izbira oro`ja Francija France 1981

Alain Corneau

Francoski cineast Alain Corneau je v napeti kriminalni zgodbi s kompleksnimi liki zdru`il smetano francoske igralske srenje.

Alain Corneau's suspense-ridden crime film combines character study with cream-of-the-crop French actors.

Kriminalca Serge in Mickey pobegneta iz zapora. Nasprotni tabor gangsterjev ju stisne v kot in ustreli Sergea. Ta Mickeyju naro~i, naj ga odpelje na posestvo upokojenega roparja Noela, ki zdaj udobno ìvi s svojo ~udovito èno Nicole. Serge umre, vro~ekrvni Mickey pa od Noela zahteva zajetno vsoto denarja. Noel se po pomo~ vrne k svoji nekdanji tolpi, da bi mu pomagali najti nevarnega Mickeyja. Tega medtem pestijo druge teàve, saj mo~no pogre{a h~erko, ki jo komaj pozna. Ko policisti pridejo na sled Nicole, se obeta kon~ni obra~un, v katerem vse strani tr~ijo med seboj.

Two wanted crooks, Serge and Mickey, escape from prison. A rival gang ambushes them. Serge is mortally wounded and tells Mickey to take him to the estate of a retired robber, Noel, who lives in comfort with his lovely wife, Nicole. Serge dies, and Mickey, a menacing hothead, demands money of Noel. Noel sends Nicole to a hotel and goes to his old gang to help him hunt down the dangerous Mickey. Mickey has other problems, too, including heartache for a daughter he hardly knows. Young, eager cops tail Nicole, and all are on a complicated collision course.

"Na povr{ini Izbira oro`ja spominja na {tevilne druge francoske kriminalke osemdesetih let, vendar je ob podrobnej{em ogledu jasno, da gre za veliko bolj zapleten in ve~plasten film kot ve~ina tega `anra. Bodite pozorni na to, kako prefinjeno se razvijajo liki – ne gre za znane stereotipe, temve~ za izjemno prepri~ljive posameznike, ki nas neprestano presene~ajo. Kako ustrezno je torej, da jih upodabljajo, in to do popolnosti, nekateri najve~ji francoski igralci tistega ~asa. Yves Montand in Gérard Depardieu se v svoja junaka prelevita tako uspe{no, da si v njuni ko`i ne more{ predstavljati nobenega drugega igralca." (James Travers, Films de France)

reìja/directed by Alain Corneau scenarij/screenplay Alain Corneau, Michel Grisolia fotografija/cinematography Pierre-William Glenn glasba/music Philippe Sarde montaà/editing Thierry Derocles igrajo/cast Yves Montand (Noel Durieux), Gérard Depardieu (Mickey), Catherine Deneuve (Nicole Durieux), Michel Galabru (Bonnardot), Gérard Lanvin (Sarlat), Jean-Claude Dauphin (Ricky), Jean Rougerie (Raymond Constantini), Christian Marquand (Jean), Etienne Chicot (Roland Davout), Richard Anconina (Dany), Pierre Forget (Serge Olivier), Roland Blanche (Fernand), Marc Chapiteau (Savin) producent/producer Alain Sarde produkcija/production France 2 (France) & Parafrance Films (France) & Sara Films (France) format/format 35 mm, barvni/colour dolìna/running time 135'

"On the surface, Choice of Arms resembles several other French thrillers of the 1980s, but look a little closer and it is apparent that this is a far more complex and nuanced film than most of its kind. Notice how intricately the characters are developed – they are not the familiar stereotypes but extremely convincing individuals who constantly take us by surprise. How fitting then that they should be portrayed, and portrayed to perfection, by some of the greatest French actors of the period. Yves Montand and Gérard Depardieu fit their respective roles so well that you cannot imagine any other actor in their shoes." (James Travers, Films de France)

Alain Corneau

filmografija/filmography

Glej stran 112/ see page 112.

115

116

Posve~eno Tribute

ârobno leto '67 The Magical Year of 1967 Simon Popek Leto 1967 je bilo razburljivo; zgodilo se je poletje ljubezni, Gabriel García Márquez je objavil Sto let samote (in Boris Pahor Nekropolo), Beatli so izdali Sgt. Pepperja, Pennov Bonnie in Clyde je za~rtal pot novemu Hollywoodu in kon~al zatohlo studijsko obdobje postaranih o~etov "tovarne sanj". Precej manj bombasti~no, a ni~ manj razburljivo je bilo dogajanje na nekdanjem skupnem prostoru. Režiserji srednje in mlade generacije so že nekaj let korenito spreminjali podobo novega jugoslovanskega filma, ki mu tedaj {e niso prilepili slab{alne in ideolo{ko motivirane oznake "~rni film". To se je zgodilo dve leti pozneje, ko se je ob Pavlovi}evi Zasedi, ki je prva odkrito namigovala na povojne poboje in konflikte med revolucionarji, za~elo odkrito obra~unavanje s "~rnimi tendencami" v jugoslovanskem filmu. ê govorimo o ~rnovalovskih zna~ilnostih, si sposodimo kar definicijo Zdenka Vrdlovca: "Brutalen naturalizem, dogajanje na družbenem robu, v umazanih predmestjih in zanikrnih okoljih, z junaki, ki so marginalci, prepu{~eni naklju~jem, impulzom, nagonom, ekscesom in obsesijam ter dale~ od tega, da bi bili nosilci akcije v imenu kak{ne ideologije – ta je navzo~a samo {e v sprijeni in razvrednoteni obliki; spolnost, nasilje in smrt so prikazani kot brutalna dejstva, govorica je polna psovk, realnost je podana v vsej svoji goloti bede in brezupa, njen ideolo{ki oklep (komunizem in revolucija) pa je že mo~no na~et in razpokan." Leta 1967 se je komu morda za hip zazdelo, da je jugoslovanska kinematografija najbolj živahna, provokativna in ustvarjalna v evropskem prostoru. Danes lahko mirno trdimo, da je sodila v vrh svetovne ustvarjalnosti, kar ob popularnej{ih in v zgodovinopisju podrobneje obdelanih epicentrih (Francija, Japonska, ê{koslova{ka ...) ni majhna stvar. V jugoslovanskem filmu so se tedaj dokon~no oblikovale poetike "mladih", Pavlovi}a, Kadijevi}a, Poga~nika, Klop~i~a ali êngi}a, medtem ko so predstavniki malce starej{e garde, ki so (vsaj v kratkem metru) snemali že v petdesetih letih (Makavejev, Mimica, Babaja, Djordjevi}, Petrovi}), posneli nekatera svoja najpomembnej{a dela. Leto 1967 je bilo za novi jugoslovanski film skratka ~arobno, gotovo tudi zato ker so "problemati~ni" avtorji v manj{ih ali neodvisnih produkcijskih okoljih na~eloma snemali, kar so želeli. Oblast je njihove ekscese v tistem ~asu {e tolerirala, v najslab{em primeru jim je onemogo~ala redno distribucijsko prikazovanje. Festival v Pulju jim je bil naklonjen, Zbiralci perja, Jutro, Breza in Na papirnatih avionih so bili leta 1967 prejemniki zlate, srebrne in bronaste arene, Puri{a Djordjevi} in Aleksandar Petrovi} sta bila najbolj{a režiserja, za dobro mero pa je Živojin Pavlovi} s kultno klasiko Ko bom mrtev in bel v Pulju s konkurenco pometel naslednje leto (zlata arena, najbolj{i režiser). Ob tem je vredno omeniti malce komi~no logiko jugoslovanskih filmskih zgodovinarjev, ki filme praviloma datirajo glede na njihovo udeležbo na puljskem festivalu. Po tej logiki Ko bom mrtev in bel in Mali vojaki pripadata letu 1968 (~eprav sta bila premierno prikazana decembra 1967). Kakor koli, petdeseta obletnica je sijajna priložnost, da se spomnimo nekaterih najsijajnej{ih novovalovskih del, ki je to leto – ob sicer{nji prevladi srbske produkcije – poleg vseh odlik ponujala {e republi{ko raznovrstnost; poleg hrva{kih in bosenskih predstavnikov {e Klop~i~eve modernisti~ne Avione in Poga~nikove Grajske bike, ki bi jim med slovenskimi filmi {estdesetih let verjetno kot edinim lahko pripisali nelo~ljive "~rne" zna~ilnosti.

1967 was an exciting year; the Summer of Love bloomed with vibrant colours, Gabriel Garcia Marquez published his One Hundred Years of Solitude (and Boris Pahor his Necropolis), The Beatles released Sgt. Pepper, Penn's Bonnie and Clyde laid down the guidelines for a New Hollywood, ending the stuffy studio period of the geriatric 'dream factory.' Much less flamboyant, but no less exciting were the events in former Yugoslavia. It was for some time that the coming and established directors were radically reforming the new Yugoslav cinema, which at the time had not yet been attached the pejorative and ideologically motivated label 'Black Cinema.' This happened two years later, when Pavlovi}'s The Ambush, the first movie to openly allude to post-war killings and conflicts among revolutionaries, unleashed a fierce campaign against 'black tendencies' in Yugoslav film. Film critic Zdenko Vrdlovec provides a clear definition of Black Wave Cinema: "Brutally naturalistic, showing life on the margins of society, in dirty suburbs and squalid conditions, its protagonists are social outcasts, left to their own devices, driven by impulses and instincts, given to excesses and obsessions, and far from being celebrated for promoting an ideology – ideology is only present in its depraved and devalued form; sexuality, violence and death are rendered as brutal facts, speech is littered by expletives, reality is presented in all its bare misery and despair, while its ideological framework (communism and revolution) is precarious and tottery." While in 1967 some would perhaps momentarily consider Yugoslav cinematography to be the most vibrant, provocative and creative of European cinemas, it can today justifiably be ranked among the high points of global cinematic art, which is quite an achievement considering the epicentres that enjoy more popularity and greater historiographic focus (France, Japan, Czechoslovakia...). By then 'young Yugoslav filmmakers' – Pavlovi}, Kadijevi}, Poga~nik, Klop~i~ and ^engi} – had formulated their artistic visions, and representatives of the older generation of directors (artists who worked already in the 1950s, including Makavejev, Mimica, Babaja, Djordjevi}, Petrovi}), had made some of their most prominent works. 1967 was a magical year for the new Yugoslav film, chiefly because 'problematic' filmmakers could basically shoot whatever film they wanted in smaller or independent production settings. At the time, the authorities still tolerated their excesses or, in the worst possible circumstances, refused to approve their films for distribution. They were favoured at the Pula Film Festival: in 1967, I Even Met Happy Gypsies, The Morning, The Birch Tree and On Wings of Paper received Golden, Silver and Bronze Arena Awards, Puri{a Djordjevi} and Aleksandar Petrovi} received Best Director Awards, and Živojin Pavlovi}'s iconic classic, When I Am Dead and Gone, emerged as the runaway winner the following year (Golden Arena Award for Best Director). Here, mention should be made of the strange logic of Yugoslav film historians, who date films according to their being programmed for the Pula Film Festival. In keeping with this logic, When I Am Dead and Gone and Playing Soldiers belong to 1968 (although having premiered in December 1967). Whatever the case may be, the fiftieth anniversary presents an excellent opportunity to celebrate some of the finest new wave pieces. The year 1967 yielded a nationally diversified production; although Serbian films prevailed, several Croatian and Bosnian movies were released, as well as Klop~i~'s modernistic On Wings of Paper and Poga~nik's Thugs from the Castle, the two Slovenian films from the 1960s' that can be said to display inherent 'black' characteristics.

119

Posve~eno Tribute

Breza The Birch Tree Breza Jugoslavija Yugoslavia 1967

Ante Babaja reìja/directed by Ante Babaja scenarij/screenplay Slavko Kolar, Ante Babaja, Boìdar Violi} fotografija/cinematography Tomislav Pinter glasba/music An|elko Klobu~ar montaà/editing Lida Brani{ igrajo/cast Manca Ko{ir (Janica), Fabijan [ovagovi} (Joà), Velimir Bata @ivojinovi} (Marko Labudan), Nela Erì{nik (Kata Labudanka, Markova mati/Marko's mother), Stane Sever – nadgozdar/head forester), Stjepan Lektori} (Mika Labudan, Markov o~e/Marko's father), Martin Sagner produkcija/production Jadran film format/format 35 mm, barvni/colour dolìna/running time 92'

Modernisti~ni celove~erec, posnet po romanu Slavka Kolarja, je raz~lenjen prikaz materializma in va{kega vsakdana. Plavolasa Janica velja za najlep{e dekle na vasi. Ker je drobna in tiha, pravijo, da med drugimi dekleti izstopa kot breza med bukvami. Ko se nekega dne zgrudi v gozdu, jo re{i va{ki ~udak Joà, ki jo oboùje. Odnese jo nazaj v njen dom. Va{ke starke posku{ajo slabotno Janico ozdraviti, a ta umre, ne da bi {e enkrat videla svojega moà Marka, ki jo je zanemarjal, se zapijal v va{kih kr~mah in osvajal druge ènske. Namesto da bi po ènini smrti àloval, nadaljuje s svojim ìvljenjskim slogom. Ko se vra~a z neke svatbe, kjer se je stepel, v gozdu naleti na brezo in bruhne v jok ... "Breza, eden vizualno najzanimivej{ih hrva{kih filmov nasploh, vzpostavlja mo~no vez z drugimi umetni{kimi tradicijami – zasnovana je na literarnem ustvarjanju, naslanja pa se tudi na naivno slikarstvo, ki ima {e danes znatno veljavo v mednarodnih umetni{kih krogih. Potencialni vpliv realisti~ne predloge literarne dedi{~ine je Babaja posodobil s preiskovanjem posameznih dogodkov in poudarjanjem vizualnega, a povezanost z naivno umetnostjo je mogo~e razumeti tudi kot {e eden aspekt modernisti~nega zanimanja za primitivno, nacionalno ali predcivilizacijsko." (Nikica Gili})

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A modernistic feature film based on a novel by Slavko Kolar, The Birch Tree analyses materialism and quotidian village existence. The fair-headed Janica is a village beauty. Petite and taciturn, she stands out like a birch among the beech trees. Fainting in the woods one day, Janica is rescued by a village character, Jo`a, who simply adores her. He carries her back to her house. The village wives try to cure the ailing Janica, but she dies without seeing her husband Marko again. A harsh man, he neglected her, drinking in the pubs and pursuing other women. Instead of mourning her death, Marko stays on the wrong path. En route from a wedding after being involved in a fight, he comes across a birch tree and is overwhelmed by sadness. "The Birch Tree, one of visually most compelling Croatian films, established strong links with other artistic traditions: based on a literary work, the film also draws from naïve art, painters who still carry considerable weight in international artistic circles. Babaja modernised the potential influence of the realistic heritage of the novel he adapted by dissecting various events and accentuating the visual elements. However, the link with the naive art can also be seen as another aspect of modernistic affinity towards the primitive, the national and the pre-civilisational." (Nikica Gili})

Ante Babaja

filmografija (izbor)/filmography (selection)

Rojen leta 1927 v Imotskem na Hrva{kem. Predaval je na Akademiji za gledali{~e, film in televizijo. Posnel je {tevilne dokumentarne filme, med katerimi izstopajo ^uje{ li me?, Tijelo, Kabina in ^ekaonica. V svojih delih se je bolj kot z zgodbo ukvarjal s protagonisti. Ve~ filmov je posnel po literarnih predlogah.

1955 1955 1964 1965 1966 1967 1971 1974 1975 1978 1980 1992 2007

Born in 1927 in Imotski, Croatia. He was a longtime professor at the Zagreb Academy of Theatre, Film and TV. He made several documentary films, most notably Can You Hear Me Now?, The Body, Kabina and The Waiting. Most of his works focus more on developing the characters than narrating a story. Many of his films are screen adaptations of literary works.

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Jedan dan u Rijeci (kratki dok./doc. short) Ogledalo (kratki/short) Tijelo (The Body) (kratki dok./doc. short) ûje{ li me? (Can You Hear Me?) (kratki dok./doc. short) Kabina (kratki dok./doc. short) Breza (The Birch Tree/Breza) Mirisi, zlato i tamjan (Gold, Frankincense and Myrrh) Basna (kratki/short) êkaonica (The Waiting) (kratki dok./doc. short) ûje{ li me sad? (Can You Hear Me Now?) (kratki dok./doc. short) Izgubljeni zavi~aj Kamenita vrata Dobro jutro (dok./doc.)

Posve~eno Tribute

Grajski biki Thugs from the Castle Grajski biki Jugoslavija Yugoslavia 1967

Jo`e Poga~nik

"^rni film« o mladinskem prestopni{tvu, s katerim se je avtor zameril komunisti~ni oblasti – svoj drugi celove~erec je lahko posnel {ele ~ez osemnajst let. Peter Smrekar uide iz mladinskega vzgojnega doma v zanemarjeni gra{~ini, da bi obiskal staro mamo, toda policija ga pripelje nazaj in upravnik doma ga takoj ukaè zapreti v temnico. Ko se ~ez nekaj dni vrne v skupinsko spalnico, ga ho~ejo nekateri gojenci pretepsti, ker so bili zaradi njegovega pobega kaznovani tudi oni. V bran ga vzame Danny, ki ga nagovarja, naj drugi~ raje pobegne z njim. "V tistih ~asih nismo vedeli za Jeana Roucha, niti za Dzigo Vertova. Jugoslovanski dokumentarni film je rasel samodejno. Iz razmer, ki so ga pogojevale in omejevale. Moji junaki so bili ve~inoma s sen~ne strani ulice. Kot so mi oni govorili o svojih stiskah in malih radostih, sem jim jaz vra~al zaupanje tako, da z njihovo bedo nisem nikdar trgoval in si nabiral sloves opore~nika. Ker sem s svojim celove~ernim prvencem Grajski biki ogrozil njeno nedotakljivo popolnost, me je tedanja oblast uti{ala z osemnajstletnim delovnim postom. Ko sem se vrnil, je oko moje kamere ostalo osredoto~eno na ~loveka, saj je prav lice zrcalo njegove du{e. @ivljenje je postalo film. Za pravega dokumentarista tudi danes leìjo teme sredi ulice. Samo pobrati jih je treba.« (Joè Poga~nik)

A 'film noir' dealing with juvenile delinquency, Thugs from the Castle earned the director a filmmaking ban from the Communist authorities – he was prohibited from making his second feature film for as long as 18 years. Peter Smrekar escapes from a residential treatment institution located in a dilapidated mansion to visit his grandmother. Caught by the police, Peter is returned to the institution and locked up in a dungeon. When released to the dormitory a few days later, the other boys bully him because they too received cautionary punishment. It is only Danny who intercedes on his behalf, urging Peter to take him along when next fleeing the institution. "We knew nothing about either Jean Rouch or Dziga Vertov in those days. Yugoslav documentary film developed independently. From circumstances that were conditioning and limiting. My characters were mostly figures living on the edge of society. They confided their troubles to me and also talked of small delights, and I didn't betray their confidence by taking advantage of their distress and proving myself morally unprincipled. Since my first feature film, Thugs from the Castle, jeopardised the untouchable perfection of the authorities, I was silenced with an eighteen-year suspension from filmmaking. When I came back, my camera stayed focused on the human figure, since it is a human face that is the mirror of the soul. Life became film. Even today, a true documentarian will find his subjects in the streets. He just needs to pick them up." (Jo`e Poga~nik)

Jo`e Poga~nik

filmografija (izbor)/filmography (selection)

Rojen leta 1932 v Mariboru. Na AGRFT v Ljubljani je {tudiral re`ijo. Najprej se je ukvarjal s filmsko kritiko, pozneje pa se je uveljavil predvsem kot avtor izrazito kriti~nih in anga`iranih dokumentarnih del. Za {tevilne filme je na ve~ kot tridesetletni ustvarjalni poti prejel {tevilna priznanja in nagrade doma in v tujini. Grajski biki je njegov prvi celove~erec.

1963 1967 1970 1972 1972 1973 1974 1976 1978 1984 1985 1989

Born in 1932 in Maribor. He studied directing at the Academy of Theatre, Film, Radio and TV in Ljubljana. He first applied himself to film criticism, and later achieved distinction with his deeply critical and engaged documentaries. His career spanning over three decades, Poga~nik won a number of national and international awards and distinctions. Thugs from the Castle marks his feature-film debut.

reìja/directed by Joè Poga~nik scenarij/screenplay Primo` Kozak, Peter Kavalar (povest/short novel) fotografija/cinematography Janez Kali{nik glasba/music Zoran Hriti} montaà/editing Vojislav Bjenja{ igrajo/cast Nikola-Kole Angelovski (Peter), Maks Bajc (tajnik/secretary), Miha Baloh (Tarzan), Polde Bibi~ (predsednik/president), Demeter Bitenc (Mitja Bitenc), Hana Brejchová (Marija), Milan Jeli} (Miki), Lado Leskovar (Nande), Olivera Markovi} (Marjana), Milutin Mi~ovi} (Danny), Branka Petri~ (medicinska sestra/hospital nurse), Du{a Po~kaj (Francijeva mama/Franci's mother), Stane Sever (Petrov o~e/Peter’s father), Vinko Hrastelj (Tine) produkcija/production Viba film format/format 35 mm, ~b/b&w dolìna/running time 87'

Na stranskem tiru (kratki dok./doc. short) Grajski biki (Thugs from the Castle) Zlati fantje (kratki dok./doc. short) Sledim soncu (kratki dok./doc. short) Cukrarna (kratki dok./doc. short) 46. vzporednik [port na ulici (kratki dok./doc. short) Sarabanda za 17. regiment (kratki dok./doc. short) Beli nomadi (kratki dok./doc. short) Edvard Kocbek (Skica za portret) (kratki dok./doc. short) Na{ ~lovek Kavarna Astoria

prodaja/world sales Possible Films, LLC 779 Riverside Drive New York, NY 10032, USA E info�possiblefilms.com

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Posve~eno Tribute

Jutro The Morning Jutro Jugoslavija Yugoslavia 1967

Puri{a \or|evi} reìja/directed by Puri{a \or|evi} scenarij/screenplay Puri{a \or|evi} fotografija/cinematography Mihajlo Popovi} glasba/music Miodrad Ili} montaà/editing Mirjana Miti} igrajo/cast Ljubi{a Samardì} (Mali), Neda Arneri} (deklica/girl), Milena Dravi} (Slobodanka), Mija Aleksi} (kapetan/ captain Straja), Ljuba Tadi} (general/ liutenant Milan Preki}), Neda Spasojevi} (Marklena), Jelena @igon (Ruà), Faruk Begoli (Mi{ka), Olga Jan~evecka (Stana) produkcija/production Dunav film format/format 35 mm, ~b/b&w dolìna/running time 84'

Domi{ljen preplet liri~nih in ironi~nih elementov se uradni interpretaciji dogajanja med vojno zoperstavi z neposrednim prikazom zlo~inov partizanov in njihovih narednikov. Film, ki ga preèmajo poeti~ne podobe in brutalne resnice, prikaè ~as razglasitve konca druge svetovne vojne. Je vojne zares konec in kdo je zares svoboden? Mali kot nekdanji partizan izku{a niz konfliktov prvega dneva miru â&#x20AC;&#x201C; kako se vesti do tistih, ki so sodelovali z okupatorjem, kako sprejeti streljanje izdajalcev ... Ugotavlja, da mir ne zaustavi ubijanja. "Na poti skozi ìvljenje sem nenadoma v groznem monta`nem rezu vstopil v vojno; s svojimi o~mi gledam vojno, ~eprav v njej zares ne sodelujem, nisem pripadnik stranke, ne odzivam se z vstajo. A vojna se pogosto obra~a k meni in jaz se do nje vedem kot reìser. Kaj je bila moja ideja? @elel sem izpovedati usodo svoje deèle. Za~el sem z ljubezensko zgodbo, ki se kon~a s Snom, ki se ne izte~e z Jutrom, ki je vojna in mir v vojni." (Puri{a \or|evi})

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In employing an elaborate blend of lyrical and ironic elements, The Morning juxtaposes the official interpretation of wartime events with a straightforward representation of the crimes committed by partisans and their superior officers. Imbued with poetic images and brutal truths, The Morning is a character study of people affected by the aftershocks of WWII. Is the war really over and who is actually free? Mali, a former partisan, is going through different conflicts on the first day of peace â&#x20AC;&#x201C; how does one treat former enemy's collaborators, how to deal with the execution of traitors... The war goes on, and peace cannot stop the killing. "As I walked through life I suddenly met with war in a terrible editing cut; I am gazing at war with my own eyes, although not really being in it, not belonging to a political party, not staging an uprising. But war often turns to me and I treat it like a director. What was my intention? I wanted to depict the destiny of my country. I started with a love story, which concludes with The Dream, but which doesn't end with The Morning, a work portraying both war and peace during war." (Puri{a \or|evi})

Puri{a \or|evi}

filmografija (izbor)/filmography (selection)

Rojen leta 1924 v ^a~ku v Srbiji. Kot novinar je za~el pisati za Politiko, nato pa je urejal Filmske novosti. Kmalu je za~el snemati dokumentarne filme. Posnel je ve~ kot petdeset kratkih in dvajset dolgometra`nih filmov. Napisal je tudi deset romanov. Leta 1960 se je poro~il z zvezdo jugoslovanskega filma Mileno Dravi}, od katere se je kmalu lo~il, nastopila pa je v kar nekaj njegovih filmih.

1953 1955 1961 1965 1966 1967 1968 1969 1970 1972 1975 1978 1980

Born in 1924 in ^a~ak, Serbia. He contributed journalistic articles to Politika, and then edited Filmske novosti. He soon started making documentaries. He made over 50 short and 20 full-length films. He also wrote ten novels. In 1960, he married the diva of Yugoslav cinema, Milena Dravi}. Although the couple soon divorced, the actress is featured in several of his films.

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Op{tinsko dete (Ob~insko dete) Dva zrna gro`|a Leto je krivo za sve Devojka (The Girl/Deklica) San (The Dream/Sen) Jutro (The Morning/Jutro) Podne (Noon/Poldne) Cross Country Biciklisti (The Cyclists/Kolesarji) Ki{a Pavle Pavlovi} Trener (The Coach/Trener) Osam kila sre}e (Eight Kilos of Happiness)

Posve~eno Tribute

Kaja, ubit }u te! Kaya Kaja, ubil te bom! Jugoslavija Yugoslavia 1967

Vatroslav Mimica

reìja/directed by Vatroslav Mimica scenarij/screenplay Vatroslav Mimica, Kruno Quien (roman/novel) fotografija/cinematography Frano Vodopivec glasba/music arhivska/archive montaà/editing Katja Majer igrajo/cast Zaim Muzaferija (Kajo Sicilijani), Uglje{a Kojadinovi} (Piero Coto), Antun Nalis (Tonko), Jolanda \a~i} (Mare Karantanova), Izet Hajdarhodì} (Ugo Bala), Boris Dvornik produkcija/production Jadran film format/format 35 mm, barvni/colour dolìna/running time 87'

Film, posnet po romanu Kruna Quiena, tematizira iracionalno pojavitev zla, ko na Sredozemlje vdre vojna in povzro~i razkol med prebivalstvom. Zgodba se dogaja v Trogirju, kjer se è ve~ kot sto let ni dogodil noben umor. Mestece in me{~ani uìvajo v miru – ribarijo, lovijo ptice, se nor~ujejo iz va{kega nor~ka, uìvajo v hrani in pija~i. S sten nekaterih hi{ odpada omet, neki mo{ki ple{e in vpije. Mladi se igrajo, a nenadoma se vname prepir. V skupini mladostnikov je tudi Piero Coto. Na tr`nici je naprodaj meso, potekajo priprave na zakol ìvali, mimoido~i pade v nezavest. Pojavijo se italijanski okupatorji in mesto se razdeli na njihove podanike in nasprotnike, ki jih ve~inoma sestavlja proletariat. Nekdanji prijatelji postanejo smrtni sovra`niki. Piero Coto se odlo~i za Italijane in s pajda{i vandalizira mesto. Nazadnje se obrnejo proti mirnemu in blagemu Kaju. "Po projekciji filma je k meni pristopil ~lovek in se predstavil kot kmet, ki se ukvarja tudi s filmom. Dejal je, da mu je zelo v{e~, kar snemam, in me prosil za ponoven ogled. Nato se je predstavil kot sloviti italijanski scenarist Tonino Guerra. Kajo je pokazal Federicu Felliniju, ki je kmalu zatem posnel Amarcord – ta je brez vsakr{nega dvoma navdahnjen s Kajo. Scenarij za Amarcord je napisal prav Tonino Guerra.« (Vatroslav Mimica)

Screen adaptation of a novel by Kruno Quien, Kaya is a modern mystery play in which damnation rules supreme, causing bloodshed on the eve of the Italian occupation of the country. The setting is a small, serene town of Trogir, where no murder has been committed for over a hundred years. The townspeople enjoy their peaceful days – fishing, hunting for birds, ridiculing the village buffoon, savouring their food and drink. Children are playing in the streets, but suddenly start to bicker. One of the young people is Piero Coto. Meat is sold in the market, animals are being slaughtered, and a passer-by faints. The Italian occupying forces arrive, and the townspeople are divided into enemy collaborators and adversaries, the latter mostly composed of proletarians. One-time friends turn into mortal enemies. Piero Coto fraternises with the Italians and vandalises the town with his gang. Ultimately, they go after the quiet and gentle Kaya. "After the screening, a man approached me and introduced himself as a farmer who also wrote scripts. He told me he loved my movies and asked me if he could see Kaya again. This was Tonino Guerra, the great Italian screenwriter. He showed Kaya to Federico Fellini, who made Amarcord soon after – this film undoubtedly drew much of its inspiration from Kaya. Namely, it was Tonino Guerra who wrote Amarcord." (Vatroslav Mimica)

Vatroslav Mimica

filmografija (izbor)/filmography (selection)

Rojen leta 1923 v Omi{u. [tudiral je na medicinski fakulteti v Zagrebu. Med vojno je bil pri partizanih, potem pa je deloval kot literarni in filmski kritik ter urednik. V letih od 1950 do 1952 je bil direktor producentskega podjetja Jadran film. Posnel je {tevilne kratke in igrane filme, veliko od njih je bilo nagrajenih doma in v tujini. Kaja, ubil te bom! velja za Mimi~ev najuspe{nej{i film.

1952 1955 1961 1964 1966 1967 1969 1970 1971 1971 1975 1978

Born in 1923 in Omi{. Studied at the Faculty of Medicine in Zagreb. He joined the partisan resistance forces during the war, and then worked as a literary and film critic and editor. He served as the director of the Jadran film production company between 1950 and 1952. He made numerous shorts and fiction films, many of which won national and international awards. Kaya is considered to be Mimica's most successful film.

prodaja/world sales Possible Films, LLC 779 Riverside Drive New York, NY 10032, USA E info�possiblefilms.com

U oluji Jubilej gospodina Ikla Solimano il conquistatore Prometej s otoka Vi{evice Ponedjeljak ili utorak (Monday or Tuesday/Ponedeljek ali torek) Kaja, ubit }u te! (Kaya/Kaja, ubil te bom!) Doga|aj (An Event/Dogodek) Hranjenik (The Fed One) Makedonski del od pekolot Vatrogasci (The Fireman/Gasilci) (kratki/short) Selja~ka buna 1573 Posljednji podvig diverzanta Oblaka (The Last Mission of Demolitions Man Cloud) 1981 Banovi} Strahinja

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Posve~eno Tribute

Kad budem mrtav i beo When I Am Dead and Gone Ko bom mrtev in bel Jugoslavija Yugoslavia 1967

@ivojin Pavlovi} reìja/directed by @ivojin Pavlovi} scenarij/screenplay Gordan Mihi}, Ljubi{a Kozomora fotografija/cinematography Milorad Jak{i}-Fan|o montaà/editing Olga Kr{ljanin Skirigin igrajo/cast Dragan Nikoli} (Dìmi Barka), Ruìca Soki} (Du{ka), Dara âleni} (po{tarka/postwoman), Neda Spasojevi} (Lilica), Severin Bijeli}, Nikola Mili}, Zorica [umandinac, Sneàna Luki}, Milan Jeli}, Slobodan Aligrudi} produkcija/production FRZ – Centar filmskih radnih zajedinica SR Srbije, Beograd format/format 35 mm, ~b/b&w dolìna/running time 79'

Najkultnej{i Pavlovi}ev film je ~rna komedija, muzikal, mladostni{ka drama in sartrovsko-camusovski eksistencialisti~ni manifest v enem.

One of @ivojin Pavlovi}'s most iconic films, When I Am Dead and Gone is both black comedy and a musical, a juvenile drama and Sartre-/Camus-esque existentialistic manifesto.

Mlad sezonski delavec vpra{ljivih moralnih na~el se po izgubi slu`be poda na dolgo pot iskanja svojega mesta v dru`bi. Potovanje ga popelje skozi ves dru`beni ustroj in zlasti obrobje socialisti~ne Jugoslavije – od pode`elja do mesta, od kme~kih zadrug, polindustrializiranih in industrijskih obratov do postindustrijske produkcije, od brezposelnosti do kratkoro~nih in prilo`nostnih zaposlitev, od narodnozabavne glasbe do popa in rocka. Na svoji poti sre~a tudi vrsto `ensk.

A young vagabond, Jimmy the Dinghy is a seasonal worker. Having been sacked from his job, he embarks on the long quest of finding his place in society. His search takes him across all social strata, especially the margins of the socialist Yugoslav society– from the countryside to the cities, from farming collectives, semi-industrialised and industrial plants to postindustrial production, from unemployment to odd short-term jobs, from country-folk music to pop and rock. On his rambles, he also encounters a long line of women.

"Prebujanje podgan je poskus odslikanja osnovne ideolo{komoralne dileme sodobnega ~loveka v sodobni dru`bi v naj{ir{ih mogo~ih razse`nostih ìvljenja. Nekako se v to smer nagibajo moje ambicije v projektu, ki ga pripravljam. Zdi se mi, da se bliìna eti~nega poraza, ki je zaznavna v vsakem drobcu te dru`be, najo~itneje odraà v duhovnem profilu generacij, ki {ele nastopajo. Junak mojega novega filma Dìmi Barka je mladeni~ z zdravim ìvljenjskim zagonom, vendar ne ve, kaj bi s samim sabo ... Mislim, da je z vrhunsko kakovostjo filma mogo~e zagovarjati vsako tematiko!" (@ivojin Pavlovi}) prodaja/world sales Possible Films, LLC 779 Riverside Drive New York, NY 10032, USA E info�possiblefilms.com

"The Rats Woke Up attempts to reflect the basic ideological and moral dilemma of contemporary man in a contemporary society in the widest possible dimension of life. In a way my ambitions for the project I am working on veered in that direction. It seems to me that the imminence of ethical defeat, evident in every nook and cranny of our society, is most explicitly manifest in the spiritual profile of the coming generations. The protagonist of my new movie, Jimmy the Dinghy, is a young man with a healthy personal drive who nevertheless has no compass in life. I believe that a film of high artistic quality can advocate any view!" (@ivojin Pavlovi})

@ivojin Pavlovi}

filmografija (izbor)/filmography (selection)

Rojen leta 1933 v [abcu v Srbiji. Knjièvnik, filmski teoretik in reìser. Diplomiral je iz slikarstva. Objavil je na desetine leposlovnih knjig in filmskoteoretskih {tudij ter posnel {tevilne dokumentarne kratke in celove~erne filme. Veliko jih je v jugoslovanskem ~rnem valu doìvelo prepoved prikazovanja. Za filmska in literarna dela je prejel presti`ne doma~e in mednarodne nagrade.

1960 1961 1965 1966 1967 1968

Born in 1933 in [abac, Serbia. Author, film theoretician and director. Graduated in painting. Published scores of fiction books and film theory essays, and made numerous documentary shorts and feature films. Many of his films were banned during the Yugoslav Black Wave. His cinematic and literary output has earned him prestigious national and international awards.

1969 1971 1973 1976 1980 1983 1987

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Triptih o materiji i smrti (Triptih o materiji in smrti) (kratki/short) Lavirint (Labirint) (kratki/short) Neprijatelj (Sovra`nik) Povratak (The Return/Vrnitev) Bu|enje pacova (The Rats Woke Up/Prebujanje podgan) Kad budem mrtav i beo (When I Am Dead and Gone/Ko bom mrtev in bel) Zaseda (The Ambush/Zaseda) Rde~e klasje (Rde~e klasje) Let mrtve ptice (The Flight of Dead Bird/Let mrtve ptice) Pesma (Pesem) (TV) Nasvidenje v naslednji vojni Zadah tela (Vonj telesa) Na putu za Katangu (Na poti v Katango)

Posve~eno Tribute

Ljubavni slu~aj ili tragedija slu`benice P.T.T. Love Affair, or the Case of the Missing Switchboard Operator Ljubezenski primer ali tragedija po{tne uslu`benke Jugoslavija Yugoslavia 1967

Du{an Makavejev

reìja/directed by Du{an Makavejev scenarij/screenplay Du{an Makavejev, Branko Vu~i~evi} fotografija/cinematography Aleksandar Petkovi} montaà/editing Katarina Stojanovi} igrajo/cast Eva Ras (Izabela), Slobodan Aligrudi} (Ahmed Miodrag Andri}), Ljuba Moljac (Mi}a), Ruìca Soki} (Ruà), Aleksander Kosti} (strokovnjak za seksualna vpra{anja/expert for sexual questions), @ivojin Aleksi} (strokovnjak za kriminalistiko/expert for crime) produkcija/production Avala film format/format 35 mm, ~b/b&w dolìna/running time 79'

Ironi~na in eroti~na ljubezenska zgodba nove humanisti~ne vrednote mladine z Vzhoda zoperstavi uradni{ki, okosteneli ideologiji.

An ironic and erotic love story, Love Affair juxtaposes new humanistic values of young people in the East with bureaucratic, ossified ideology.

V nenavadnem filmskem kola`u mlada po{tna uslu`benka po {tevilnih avanturah za~ne razmerje z resnim mladeni~em. A v osamljenosti med njegovo dalj{o slu`beno potjo podle`e dvorjenju njegovega prijatelja, iztrebljevalca podgan. Ko se prevarani mladeni~ vrne, se med njim in mladenko, ki je medtem zanosila, vname spor s tragi~nimi posledicami – navsezadnje z nenamernim umorom.

In this unusual cinematic collage a young switchboard operator starts a relationship with a serious young man after a number of romances. When he is away on a business trip, the lonely operator succumbs to the courtship of his friend, a rat exterminator. When the young man comes back and finds the girl pregnant, the couple start to quarrel, which leads to tragic consequences – and ends in unpremeditated murder.

"Ob koncu filma se gledalci za~nejo pogovarjati; ugibajo, ali so telefonistke res pokvarjene, ~e se ljubijo namenoma ali naklju~no. Ne pogovarjajo se na ravni umetnosti, temve~ `ivljenja. To je prav gotovo najve~ja ~ast za umetnino. (...) Ljudje `ivijo prelepo, divje, precej blizu veli~astnim idejam in naprednim resnicam. Moj film je posve~en tistim zanimivim in nejasnim vmesnim prostorom." (Du{an Makavejev)

"At the end of the film, the viewers begin to talk; wondering whether switchboard operators are really depraved, whether they love by accident or design. They don't talk at the level of art, but at the level of life. This is certainly the greatest respect paid to art. (...) People lead their beautiful, wild lives fairly close to grand ideas and progressive truths. My film is dedicated to those interesting and ambiguous intermediate spaces." (Du{an Makavejev)

Du{an Makavejev

filmografija (izbor)/filmography (selection)

Rojen leta 1932 v Beogradu. Filmski re`iser in scenarist, poznan po svojih radikalnih in subverzivnih filmih poznih {estdesetih in zgodnjih sedemdesetih let, ki pripadajo slovitemu filmskemu gibanju ~rni val. Njegov mednarodno najuspe{nej{i film je politi~na satira iz leta 1971 WR – Misterij organizma.

1955 1957 1961 1965 1967

Born in 1932 in Belgrade. A film director and screenwriter famous for his radical and subversive films of the late 1960s and early 1970s – many of which belong to the Black Wave Cinema. Makavejev's most internationally successful film was the 1971 political satire WR: Mysteries of the Organism.

1968 1971 1974 1988 1993 1994

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Pe~at Antonijevo razbijeno ogledalo (Antonijevo razbito ogledalo) Osmjeh '61 (Nasmeh 61) ^ovek nije tica (Man Is Not a Bird/^lovek ni ptica) Ljubavni slu~aj ili tragedija slu`benice P.T.T. (Love Affair, or the Case of the Missing Switchboard Operator/Ljubezenski primer ali tragedija po{tne uslu`benke) Nevinost bez za{tite (Innocence Unprotected/Nedol`nost brez za{~ite) W.R. – Misterije organizma (W.R.: Mysteries of the Organism/W.R. – Misterij organizma) Sweet Movie (Sladki film) Manifesto (Manifest) Gorila se kupa u podne (Gorilla Bathes at Noon/Gorila se kopa opoldne) Rupa u du{i (Hole in the Soul/Luknja v du{i)

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Posve~eno Tribute

Mali vojnici Playing Soldiers Mali vojaki Jugoslavija Yugoslavia 1967

Bahrudin Bato êngi} reìja/directed by Bahrudin Bato êngi} scenarij/screenplay Mirko Kova~ fotografija/cinematography Aleksandar Vesligaj glasba/music Bojan Adami~ montaà/editing Manja Fuks igrajo/cast Mija Aleksi}, Stojan Aran|elovi}, Darko Cesar, Sead âkal, Mirsad Ibri{evi}, Gordan Kuli}, Zlatko Maduni}, Zaim Muzaferija, Marija Tocinoski produkcija/production Bosna film â&#x20AC;&#x201C; Sarajevo format/format 35 mm, ~b/b&w dolìna/running time 92'

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Kultni film Bate ^engi}a pripoveduje zgodbo o de~kih brez star{ev, ki so po vojni na{li svoj novi dom v nekem prenovljenem samostanu.

Bato ^engi}'s iconic film tells the story about war-orphaned young boys who found a new home in a renovated monastery.

Ob koncu druge svetovne vojne svetlolas de~ek prispe v siroti{nico, kjer so nastanjeni otroci partizanov in `rtev druge svetovne vojne. Upravnik siroti{nice ve, da so bili fantovi star{i nacisti, vendar to dejstvo spretno prikrije, saj se boji, da bi otrok postal `rtev vrstni{kega nasilja. Izmisli si fantovo `ivljenjsko zgodbo, toda drugi otroci kaj kmalu podvomijo v njeno resni~nost. Ker posumijo, da je de~ek nem{kega rodu, mu za~nejo soditi kot vojnemu zlo~incu.

At the end of WWII a fair-haired boy arrives at an orphanage, where the children of partisans and WWII victims have been sheltered. The manager of the orphanage knows that the boyâ&#x20AC;&#x2122;s parents were Nazis, but cleverly disguises this fact for fear that the child might become a victim of peer-violence. He invents a history for the boy, but other kids soon begin to question it. Suspecting that the boy is of German descent, they put him on trial as a war criminal.

"Moji filmi so povezani z mojo generacijo, z na{imi povojnimi leti, s prepri~anjem, da smo nenadoma postali odrasli in smo ~ez no~ pustili otro{ke igre za seboj ... Teh let se spominjam kot velike radoìvosti. Vsi smo bili veseli in vsi smo verjeti v iste stvari. Zavedam se, da danes razlika med generacijami postaja vse ve~ja, kar v~asih poglablja nesporazume. To je neizogibno, vendar {e vedno malo àlujem za tistim minulim ~asom." (Bato êngi})

"My films are related to my generation, to our post-war years, to the belief that we have suddenly become adults and left our children's games behind us overnight. I remember those years as a happy-go-lucky life. We were all happy and we all believed in the same things. I am aware that today the difference between generations is becoming sharper, which sometimes deepens the misunderstandings. This is inevitable, but I still yearn a little for those past times." (Bato ^engi})

Bahrudin Bato ^engi}

filmografija (izbor)/filmography (selection)

Rojen leta 1931 v Maglaju, Bosna. Diplomiral je iz splo{ne knjièvnosti in scenskih umetnosti, delal pa je kot reìser in profesor na Akademiji scenskih umetnosti v Sarajevu. Posnel je {tevilne dokumentarne, igrane, kratke filme, televizijske drame in reportaè. Za svoje celove~erce je prejel {tevilna doma~a in tuja priznanja ter nagrade.

1955 1955 1958 1961 1967 1971

Born in 1931 in Maglaj, Bosnia. Graduated in general literature and performing arts. A film director as well as professor at the Academy of Performing Arts in Sarajevo, ^engi} made numerous documentary, fiction and short films, TV dramas and news stories. His feature films have won numerous national and international awards and distinctions.

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1972 1976 1980 1983 1990 1998

Tehnika (kratki dok./doc. short) Lasta (kratki dok./doc. short) Deset na jednog (kratki dok./doc. short) ôvjek bez lica (kratki dok./doc. short) Mali vojnici (Playing Soldiers/Mali vojaki) Uloga moje porodice u svjetskoj revoluciji (The Role of My Family in the Revolution/Vloga moje druìne v svetovni revoluciji) Slike iz ìvota udarnika (Life of a Shock Force Worker/Slike iz ìvljenja udarnika) @ivot je lijep (kratki dok./doc. short) Sarajevo druk~iji grad (kratki dok./doc. short) Pismo-glava Gluvi barut Mona Liza iz Sarajeva (kratki dok./doc. short)

Posve~eno Tribute

Na papirnatih avionih On Wings of Paper Na papirnatih avionih Jugoslavija Yugoslavia 1967

Matja` Klop~i~

reìja/directed by Matja` Klop~i~ scenarij/screenplay Matja` Klop~i~ fotografija/cinematography Rudi Vaupoti~ glasba/music Joè Priv{ek montaà/editing Milka Badjura igrajo/cast Sneàna Nik{i} (Vera), Polde Bibi~ (Marko), [tefka Drolc (Verina mati/ Vera's mother), Stanislava Pe{i} (Metka), Sava Sever (vaditeljica/ teacher), Dare Ulaga (Radko), Mirko Bogataj (Mirko), Janez Albreht (natakar/waiter), Janez Roha~ek (~uvaj/guard), Katja Levstik (Anka), Nu{a Svetina (Nina) produkcija/production Viba film (Ljubljana) format/format 35 mm, ~b/b&w dolìna/running time 75'

Pretresljivo lepa ljubezenska poema, manifest Klop~i~evega modernizma.

A strikingly beautiful love poem, a manifesto of Klop~i~'s modernist aesthetics.

Fotograf Marko se na pragu zrelega obdobja zave, da je bilo njegovo `ivljenje do tistega trenutka jalovo. Analiza vzrokov in posledic ter iskanje re{itve v poroki z mladim dekletom Vero predstavljata samo beg pred povpre~nostjo. Zakonsko `ivljenje jima ne prinese sre~e – ravno nasprotno.

Approaching middle age, photographer Marko comes to the realisation that most of his life has been futile. Analysing the causes and consequences, and finding a solution in marrying a young girl, Vera, are just ways of escaping the vortex of mediocrity. Married life doesn’t bring them happiness – quite the opposite.

"Moji prvi spomini na film? Prevzela me je mala Dorothy, Judy Garland iz filma ârovnik iz Oza Victorja Fleminga, ki sem ga gledal v kinu Matica, sedanji dvorani Filharmonije. Ne bom pozabil, kako so me star{i z bratom in Grego Ko{akom tedaj peljali iz kina. Rahlo je sneìlo. Pravlji~na mo~ obetov, ki jih je sproàlo belo sneènje: vse je ostajalo odprto, novo 'der Tag ist in der Nacht verliebt' – tako nekako je zapisal Heine. Morda se mi je to delno posre~ilo ponazoriti v filmu Na papirnatih avionih.« Matja` Klop~i~

"My first memories of cinema? I was captivated by little Dorothy, Judy Garland from Victor Fleming's The Wizard of Oz, which I saw at the Matica Cinema, the present-day Philharmonic Hall. I will never forget the moment my parents, my brother, Grega Ko{ak and I exited the cinema. It was snowing lightly. The magical power of promise inherent in the white snow: everything remained open, a new 'der Tag ist in der Nacht verliebt' – to quote Heine. Perhaps I partly succeeded in conveying those sentiments in On Wings of Paper." (Matja` Klop~i~)

Matja` Klop~i~

filmografija (izbor)/filmography (selection)

Rojen leta 1934 v Ljubljani. Diplomiral je iz arhitekture, filmsko pa se je izpopolnjeval v Parizu. Pri filmu je debitiral kot asistent scenografa, nato se je lotil re`ije. Pozornost je vzbudil predvsem s celove~ercema Zgodba, ki je ni in Na papirnatih avionih, ki ga uvr{~ata med najpomembnej{e predstavnike (jugoslovanskega) avtorskega filma. Izbor njegove filmske publicistike je iz{el v knjigi Filmi, ki jih imam rad.

1967 1967 1969 1970 1873 1976 1979 1984 1987 2005

Born in 1934 in Ljubljana. Graduated in architecture. Received hands-on experience in filmmaking in Paris. His first job on film set was that of assistant set designer. Asserted himself with his first two feature-length movies, On the Run and On Wings of Paper, which place him among the most prominent representatives of (Yugoslav) auteur cinema. A selection of his writings on cinema was published in the book entitled Films I Love.

Zgodba, ki je ni (On the Run) Na papirnatih avionih (On Wings of Paper) Sedmina (Funeral Feast) Oxygen Cvetje v jeseni (Blossoms in Autumn) Vdovstvo Karoline @a{ler (The Widowhood of Karolina @a{ler) Iskanja (Temptations) Dedi{~ina (Heritage) Moj ata, socialisti~ni kulak (My Dad the Socialist Kulak) Ljubljana je ljubljena (Ljubljana the Beloved)

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Praznik The Feast Praznik Jugoslavija Yugoslavia 1967

\or|e Kadijevi} reìja/directed by \or|e Kadijevi} scenarij/screenplay \or|e Kadijevi}, Aleksandar Petkovi} fotografija/cinematography Aleksandar Petkovi} montaà/editing Aj{a Sofi}, Vuksan Lukovac igrajo/cast Jovan Jani}ijevi} Burdu{ (narednik/ liutenant Kati}), Anka Zupanc (Sin|elija), Du{an Jani}ijevi} (Manola), Velimir Bata @ivojinovi} (Nedi}ev major), Dragomir Felba ({ef/chief Stevo), Janez Vrhovec (kapetan/captain Stojadinovi}), Rastko Tadi} (Miloje), Du{an Baj~eti}, Milo{ Kandi} (va{~an/ villager), Zaim Muzaferija (Nikola), Tomanija \uri~ko (Nikolina èna/ Nikola's wife) produkcija/production Kino klub Beograd format/format 35 mm, ~b/b&w dolìna/running time 83'

Kadijevi}ev prvenec sodi med tiste "~rnovalovske" filme, ki so podajali bolj realne upodobitve dogajanja med narodnoosvobodilnim bojem, "heroje" pa so zamenjali posamezniki, ki niso ve~ nosilci akcije, temve~ prevpra{ujo~e figure. V srbski vasi za boì~ leta 1943 ~etniki ujamejo sestreljena ameri{ka pilota in jima ponudijo gostoljubje. Ko izvedo, da ju i{~ejo Nemci, spremenijo stali{~e – razoroìjo ju in zaprejo, toda uspe jima pobegniti. êtniki Nemcem, ki so medtem è ujeli iskana pilota, podtaknejo trupli drugih dveh ubitih zapornikov. Kljub poskusom njihovega poveljnika, da bi hudodelstvo, ki so ga zagre{ili na praznik, prikril pred va{~ani, ~etniki izzovejo gnev ogor~enega ljudstva.

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Kadijevi} debut film ranks among those 'Black Wave' films that offered more realistic representations of the national liberation struggle, replacing the 'heroes' with individuals noted not for their deeds but questioning minds. In a Serbian village on Christmas Day 1943, the Chetniks offer their hospitality to two shot-down American pilots. Realising that the Germans are looking for them, the Chetniks change their tactic – disarming and jailing them, but the pilots manage to escape. Palming off the corpses of other two killed prisoners to the Germans, who have since captured the real pilots, the Chetniks make local people enraged, despite their commanding officer's attempts to cover up this wrongdoing, done on a public holiday.

"Praznik sicer ni avtobiografski film, toda v njem si nisem prav veliko izmislil. Ko sem se v {estdesetih letih prej{njega stoletja za~el ukvarjati s filmom, sem se spra{eval, kak{ne filme naj delam, da ne bom ponavljal tega, kar sem videl v kinoteki in v kinu. In odkril, da sta tista strahota in grenkoba, ki sta ostala v meni iz vojnega ~asa, lahko edini pravi ustvarjalni vir, da je to najbolj avtenti~en del vsebinskega potenciala. Zamislil sem si vojno trilogijo, filma Praznik in Pohod sem posnel, tretjega pa ne, ker sem se `e zna{el na ~rnem seznamu. Potem sem se preusmeril k fantazijskim in zgodovinskim filmom." (\or|e Kadijevi})

"Although not an autobiographical film, not much is invented in The Feast. When I became involved in filmmaking in the 1960s, I wondered what kind of movies I should make not to repeat what 'd seen at the cinematheque and the cinema. I discovered that the terror and bitterness residing in me since the war could provide the only true creative source; that this was the most authentic part of my thematic potential. I envisioned a war trilogy, and made the first two films, The Feast and The Trek, but not the third, because I'd found myself on the black list. Then I switched to fantasy and historical film." (\or|e Kadijevi})

\or|e Kadijevi}

filmografija (izbor)/filmography (selection)

Rojen leta 1933 v [ibeniku. Srbski re`iser, scenarist, umetnostni zgodovinar in likovni kritik. Najbolj poznan je po filmih Praznik in Sveto mesto. V filmskem opusu se je ukvarjal z razli~no tematiko in `anri – prehajal je od vojnega filma pa vse do fantastike.

1967 1968 1970 1971 1972 1973 1974 1976 1981 1983 1990 1993 2014

Born in 1933 in [ibenik. Serbian director, scriptwriter, art historian and art critic. Has gained renown mostly with The Feast and A Holy Place. In his cinematic career he has addressed a broad scope of themes and worked in different genres – from war to fantasy film.

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Praznik (The Feast/Praznik) Pohod (The Trek/Pohod) @arki ^udo (TV) Pukovnikovica Leptirica (The She-Butterfly) (TV) Zakletva (TV) Beogradska deca (TV) @ivo meso (TV) Kara|or|eva smrt (TV) Sveto mesto (A Holy Place) (TV) Napada~ (Napadalec) (TV) Titova soba tajni (TV)

Posve~eno Tribute

Bu|enje pacova The Rats Woke Up Prebujenje podgan Jugoslavija Yugoslavia 1967

@ivojin Pavlovi}

reìja/directed by @ivojin Pavlovi} scenarij/screenplay Gordan Mihi}, Ljubi{a Kozomora fotografija/cinematography Milorad Jak{i}-Fan|o montaà/editing Olga Kr{ljanin Skirigin igrajo/cast Slobodan Perovi} (Bamberg), Severin Bijeli} (Lale), Mirjana Bla{kovi} (prostitutka/prostitute), Mi}a Tomi} (Tenor), Nikola Mili} (natakar/waiter), Pavle Vuisi}, Milan Jeli}, Sneàna Luki}, Tomanija \uri~ko produkcija/production FRZ â&#x20AC;&#x201C; Centar filmskih radnih zajedinica SR Srbije, Beograd format/format 35 mm, ~b/b&w dolìna/running time 79'

Prebujanje podgan, zasnovano na zgodbi Neznanka Mom~ila Milankova, je po besedah re`iserja "poskus odslikanja osnovne ideolo{ko-moralne dileme sodobnega ~loveka v sodobni dru`bi v naj{ir{ih mogo~ih razse`nostih `ivljenja".

According to the director, The Rats Woke Up is "an attempt to reflect the basic ideological and moral dilemma of contemporary man in contemporary society within the broadest possible dimension of life." Based on An Unknown Girl, a story by Mom~ilo Milankov.

Glavni protagonist si prizadeva spremeniti ìvljenje v nesmiselnem zaprtem krogu. Veliko oviro predstavlja njegova politi~na zgodovina, saj je zaznamovan s pe~atom nekdanjega informbirojevca in kot tak obsojen na ìvotarjenje ob dru`benem robu. Med iskanjem dela naklju~no naleti na neznano dekle, v katero se na mah zaljubi. Nova zveza ga navda z optimizmom, saj jo razume kot ìvljenjsko prelomnico, a dekle kmalu izgine z denarjem, ki ga je prejel od znanca. Prevaran in razo~aran se spet znajde tam, kjer je za~el.

An unsuccessful attempt of one lonely man to change the course of his senseless life. A former member of the Communist Information Bureau, his political history proves to be one of the greatest obstacles in his way. Looking for a new job, he falls in love with an unknown girl and thinks he has reached the turning point of his life. But at that very moment the girl runs away with his money, leaving him bitter, disillusioned and right where he was at the start.

"V svojem novej{em filmu Prebujanje podgan sem zaradi tehni~nih razlogov (tonskega snemanja) odkril, da je mogo~e z ohranjanjem prostorskosti v filmu stopnjevati ekspresivnost, ki sem jo hotel dose~i z montaò. Tako mi je dolìna prizora omogo~ila razvijanje reìjskih nagnjenj ... Operacije znotraj prizora vsebujejo nekak{no posebno 'mehkobo', ki gledalcev ne trpin~i." (@ivojin Pavlovi})

"By way of technical reasons (sound recording), while making my latest movie, The Rats Woke Up, I found out that by maintaining spatiality in film I can enhance the expressiveness, which I aimed to achieve through editing. Thus the length of the cinematic take enabled me to develop my directorial vision... The action within a take is invested with a special kind of 'softness' that does not torment the viewers." (@ivojin Pavlovi})

@ivojin Pavlovi}

filmografija/filmography

Glej stran 124/see page 124.

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Skuplja~i perja I Even Met Happy Gypsies Zbiralci perja Jugoslavija Yugoslavia 1967

Aleksandar Petrovi} reìja/directed by Aleksandar Petrovi} scenarij/screenplay Aleksandar Petrovi} fotografija/cinematography Tomislav Pinter glasba/music Du{an Radeti} montaà/editing Mirjana Miti} igrajo/cast Bekim Fehmiu (Belo Bora), Olivera Vu~o (Lence), Velimir Bata @ivojinovi} (Mirta), Gordana Jovanovi} (Tisa), Mija Aleksi} (O~e Pavle/Father Pavle), Milorad Jovanovi} (Toni) produkcija/production Avala film format/format 35 mm, barvni/colour dolìna/running time 94'

^rnovalovska eksplozija mladosti, ljubezni in ìvljenjske radosti, ki se izrisuje skozi lik zbiralca perja, je leta 1967 na festivalu v Cannesu prejela veliko nagrado ìrije. Glavni junak Belo Bora je hkrati spontan in divji, melanholi~en in strasten. Oènjen je s starej{o èno, kar za romsko skupnost ni ni~ neobi~ajnega, ljubi pa mlaj{o Tiso, ki je v skladu s tradicijo pristala pri mlaj{em èninu. Pogosto je odsoten od doma, prepolnega glasnih otrok in nenehnih prepirov. Ljubimka z bujno kavarni{ko pevko in se preìvlja z zbiranjem perja; v tem uìva tako kot v ìvljenju. @ivljenje je kot perje, ki ga prej ali slej zgrabi veter, zato Bora ne beì niti pred bizarnostjo, niti pred surovostjo, niti pred temo svojih fantazij, niti pred belino svojega odpora in anarhije. "Film je vse drugo prej kakor ljubezenski. V njem se vse vrti kot eno kolo ljubezni, toda ne gre za resni~no ljubezen, ampak le za neki odnos, ki je nastal na robu tavanja in trajanja. ìvljenje teh ljudi je zelo zanimivo in nenavadno. Samo po sebi utele{a veliko pretresov, s katerimi se vsi borimo, a jih sami v ve~ini primerov doìvljamo bolj meditativno, zasu`njeni z vsemi mogo~imi psiholo{kimi in socialnimi cenzurami, oni pa svoj in na{ nemir spustijo na raven ìvljenja. Tisto, kar mi mislimo, oni ìvijo in uresni~ujejo." (Aleksandar Petrovi})

An explosion of youth, love and joy of life embodied in the character of a feather trader, I Even Met Happy Gypsies won the Special Grand Prize of the Jury at the 1967 Cannes Festival. The main character, Belo Bora, is both spontaneous and wild, melancholy and passionate. He is married to an older woman but falls in love with a younger girl, Tisa. According to Romani custom, Tisa is being offered in marriage by her father to a young gypsy man. Bora is often away from his household full of children, ceaseless noise, and constant fighting. He flirts with a luscious bar singer and makes a living by dealing in feathers. Life is like the feathers, to be picked up and blown away by the wind sooner or later. Thus, Bora accepts both the bizarre and the brutal sides of life; he confronts both the darkness of his fantasies and the light of his protest and anarchy. "This film is everything but a love story. Everything turns like one wheel of love, but this is not true love, merely a relationship formed at the edge of uncertainty and continuance. These people lead a very interesting and unusual existence. Their lives inherently involve many obstacles, which we try to overcome ourselves. However, we mostly experience them in a more meditative way, burdened by all kinds of psychological and social censures, while the gypsies confront their aches and pains at the level of life. They actually live and realise the things we only reflect on." (Aleksandar Petrovi})

Aleksandar Petrovi}

filmografija (izbor)/filmography (selection)

Rojen leta 1929 v Parizu. Na FAMU v Pragi je za~el {tudirati re`ijo, leta 1955 pa je na univerzi v Beogradu diplomiral iz umetnostne zgodovine. Od 1949 je objavil na stotine esejev in filmskih kritik. Njegov filmski opus {teje {tevilna dokumentarna in igrana dela.

1955 1956 1958 1958 1961 1963 1965 1965 1967 1968 1972 1989

Born in 1929 in Paris. Studied directing at FAMU in Prague, and in 1955 graduated in art history from the University of Belgrade. Since 1949, he has published hundreds of essays and film reviews. His cinematic output includes numerous documentary and fiction films.

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Uz druga je drug (kratki dok./doc. short) Let nad mo~varom (Let nad mo~virjem) (kratki dok./doc. short) Jedini izlaz Putevi Dvoje Dani (Dnevi) Tri Sabori (kratki dok./doc. short) Skuplja~i perja (I Even Met Happy Gypsies/Zbiralci perja) Bi}e skoro propast sveta nek propadne nije {teta Majstor i Margarita (Mojster in Margareta) Seobe

Evropa na kratko Europe in Short

Tekmovalni program Competitive Programme

V modrino

Diskoteka ble{~i

Desetmetrski stolp

1. sklop Section 1

Diskoteka ble{~i La disco resplandece The Disco Shines

[panija, Tur~ija Spain, Turkey 2016 re`ija/directed by Chema García Ibarra scenarij/screenplay Chema García Ibarra fotografija/cinematography Ion de Sosa igrajo/cast Fátima Kounbache, Ani Hovhannisyan, Juan José Faz, Amine Midoune, Allan Antonie Terrasson kontakt/contact chemagarciaibarra�gmail.com format/format DCP, barvni/colour dol`ina/running time 13'

^eprav je diskoteka `e dolgo zaprta, je vse pripravljeno za zabavo. Pet prijateljev, nekaj alkohola, nekaj svetilk, glasba iz mobilnih telefonov na slu{alke in ... kamnolom. "Danes bo ~aga na pune!" Although the club has long closed, everything is ready for a party. Five friends are preparing a night of fun. They have alcohol, some flashlights, Smartphone music and... a quarry. "Party till we drop!"

V modrino U plavetnilo Into the Blue

Hrva{ka, Slovenija, [vedska Croatia, Slovenia, Sweden 2017 reìja/directed by Antoneta Alamat Kusijanovi} scenarij/screenplay Christina Lazaridi fotografija/cinematography Marko Brdar igrajo/cast Gracija Filipovi}, Vanesa Vidakovi} Natrlin, Dominik Du`devi}, Andro Reì}, Nata{a Dangubi}, Marija Kohn kontakt/contact info�bladeproduction.com format/format DCP, barvni/colour dolìna/running time 22'

Za trinajstletno Julijo pomenijo poletne po~itnice pri babici umik v varno zavetje pred o~etovim nasiljem. Tu jo pri~akajo prijatelji in dolgo poletje. Toda pojavi se de~ek, ki prekine tako `eleno harmonijo in Julija se mora z vsemi silami spopasti za pozornost do u{es zaljubljene prijateljice. Thirteen-year-old Julija flees her abusive household to find refuge at her grandmother's place. She tries to reconnect with her old friends. But a boy appears, disrupting the precarious harmony, and Julija has to vie for the attention of her lovesick friend.

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Kratka zgodovine Princese X

Desetmetrski stolp Hopptornet Ten Meter Tower

[vedska Sweden 2016 re`ija/directed by Axel Danielson, Maximilien Van Aertryck scenarij/ screenplay Axel Danielson, Maximilien Van Aertryck fotografija/ cinematography Axel Danielson, Maximilien Van Aertryck nastopajo/ with Linnea Smalström, Angela Wang, Marie Byzström kontakt/contact theo.tsappos�filmintitutet.se format/format DCP, barvni/colour dol`ina/ running time 15'

Dokumentarec o dilemah na vrhu skakalnega stolpa deset metrov nad bazenom in obenem duhovita {tudija nekaterih temeljnih lastnosti ~love{ke narave. A documentary about the dilemmas on a 10-meter-high diving tower, and an entertaining study of the human element in a tense situation.

Kratka zgodovina Princese X A Brief History of Princess X A Brief History of Princess X

Portugalska, VB, Francija Portugal, GB, France 2016 re`ija/directed by Gabriel Abrantes scenarij/screenplay Gabriel Abrantes fotografija/cinematography Jorge Quintela igrajo/cast Joane Barrios, Felipe Vargar kontakt/contact contact�lesfilmsdubelier.fr format/format DCP, barvni/colour dol`ina/running time 7'

Zgodovina zloglasne Princese X, futuristi~ne fali~ne zlate umetnine kiparja Constantina Brancusija, ki ga je navdihnila ni~ manj zloglasna Napoleonova ne~akinja Marie Bonaparte. A supercharged history of sculptor Constantin Brancusi's infamous sculpture, Princess X, inspired by no less infamous Napoleon's niece, Marie Bonaparte.

Spremljevalni program Accompanying Programme

Novi kreativci New Creative Talents Matic Majcen

Kendrick Lamar: HUMBLE. re`ija/by Dave Meyers

Hip hop in rap sta, zgodovinsko gledano, vedno imela precej specifi~en odnos do ve~inske (beri: belske) produkcije glasbenega videa. Nesporno je, da si teh primarno afroameri{kih glasbenih ànrov ni mogo~e predstavljati brez njihove odlo~ilne vloge pri vzponu MTV v osemdesetih letih, ko je, denimo, oddaja Yo! MTV Raps prevzela pomemben dele` pri {iritvi tovrstne glasbe in kulture v Evropo, Azijo in Ju`no Ameriko. A ~e je ta scena nekje vse tja do sredine devetdesetih tudi sama imela bolj obrobno vlogo nasproti mainstreamovski belski glasbi, pa je z dana{nje perspektive zanimivo pogledati, kaj se je tisti ~as v hip hop videu dogajalo ob velikem razmahu avtorskega glasbenega videa. Namre~, medtem ko so reìserji kot Mark Romanek, Michel Gondry, Chris Cunningham, Spike Jonze, Jonathan Glazer in drugi poskrbeli za obrat v bolj ustvarjalno dojemanje te vizualne forme, ta preboj nikoli ni zares toliko zaobjel tudi rap glasbe, kot bi jo lahko. Posamezni primeri, kot je npr. sodelovanje med Spikom Jonzom in Beastie Boysi, med Markom Romankom in skupino De La Soul ter izdelki Sednaouija, Mondina in Gondryja na francoski rap sceni, so bili bolj izjeme. Tista prava revolucija v glasbenem videu se je veliko bolj dogajala v rock, alternativni, indie in dance glasbi. Kar pa ne pomeni, da tudi hip hop in rap nista imela svojega reìserskega junaka. Brez dela Hypa Williamsa in njegovih videov za Tupaca Shakurja, Masa, Notorious B.I.G., Busta Rhymesa, Missy Elliott in druge si sploh ne znamo predstavljati podobe sodobnega ameri{kega videa. A medtem ko so bili belski glasbeni ànri v tistem ~asu pripravljeni sprejeti kakr{nokoli, {e tako radikalno ustvarjalno vizualno podobo, ki so jo predlagali ti reìserji, je rap kot celota {e vedno ostajal ve~insko priklenjen na svojo tradicionalno ikonografijo rev{~ine in nasilja na eni strani ter skrajnega razsipni{tva na drugi. To sta bili dve strani istega kovanca, ki ga je ta scena nenehno metala v dùkboks takratnega medijskega mainstreama. Realnost teh tematik, za~injena z osnovnim vodilom rasizma, je bila preprosto preve~ bole~a in preve~ vtkana v vsakdan teh glasbenih izvajalcev, da bi jo lahko kar tako opustili in popeljali v polje bolj abstraktnega ali ironi~nega vizualnega izraànja. Prav zato je toliko bolj zanimivo opazovati tisto, kar se zadnja leta dogaja na hip hop sceni. Pri~e smo namre~ postopnemu vzponu novih kreativcev, kot so denimo Tyler the Creator, Flying Lotus in Kanye West, ~e na{tejemo le najbolj o~itne, ki izkazujejo veliko ve~jo odprtost za vizualno podobo svoje glasbe in so tudi zelo aktivno vklju~eni v bolj drzne ustvarjalne procese pri njenem ustvarjanju. To pa ne pomeni, da je tradicionalna ikonografija od{la. Prav nasprotno â&#x20AC;&#x201C; {e vedno je prisotna kot kdajkoli prej, le da so njeni izrazni na~ini postali veliko bolj domiselni, bogati, inteligentni in raznovrstni kot prej. V letu 2017 se je prvi~ zgodilo, da so na na{em seznamu najbolj{ih videospotov dominirali prav hip hop izvajalci. Razlogi, zakaj je videospotom tega glasbenega ànra uspelo prevzeti pobudo in so za~eli premagovati tradicionalno mo~nej{e belske ànre, so vredni premisleka. Je slednjim po{la sapa ali pa se hip hop {e vedno dviguje? Je rap morda postal bolj belski? Je po drugi strani mainstream postal {e bolj hiphopovski? Na ta in podobna vpra{anja bomo poiskali odgovore na tokratni komentirani projekciji najbolj{ih videospotov leta v Kinu [i{ka. Morda bodo veliko bolj presenetljivi, kot se zdi na prvi pogled. Screening of twelve music-video masterpieces with accompanying commentary. For the fourth year running, viewers will vote for the best music video of the year, and compete for music prizes. This years' focus is on rap, with half of the featured videos representing this popular music genre.

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PE, 10. novembra, ob 19. uri FRI, 10 November, at 19.00 Kino [i{ka, mala dvorana / Kino [i{ka Cinema, Small Hall

Podoba â&#x20AC;&#x201C; Glasba 4. Mednarodni tekmovalni program glasbenih videospotov Javna predstavitev najbolj{ih videospotov leta

Image â&#x20AC;&#x201C; Music 4th International Competitive Programme of Music Video Public presentation of best 2017 video spots Stylo G x Jacob Plant: Bike Engine ZDA, VB/USA, GB, 2016; 2'55" reìja/by Keith Schofield The Last Shadow Puppets: Is This What You Wanted VB/GB, 2016; 6'48" reìja/by Ben Chappell & Aaron Brown OK Go: The One Moment ZDA/USA, 2016; 4'12" reìja/by Damian Kulash Bonobo: Kerala VB/GB, 2016; 4'03" reìja/by Bison Leningrad: Kol{ik Rusija/Russia, 2017; 4'19" reìja/by Ilja Naj{uler/Ilya Naishuller Danny Brown: Ain't It Funny ZDA/USA, 2017; 3'37" reìja/by Jonah Hill Kendrick Lamar: HUMBLE. ZDA/USA, 2017; 3'03" reìja/by Dave Meyers A Tribe Called Quest: Dis Generation ZDA/USA, 2017; 3'33" reìja/by Hiro Murai Lil Dicky feat. Brain: Pillow Talking ZDA/USA, 2017; 10'54" reìja/by Tony Yacenda Haim: Right Now ZDA/USA, 2017; 4'30" reìja/by Paul Thomas Anderson Tyler, The Creator: Who Dat Boy ZDA/USA, 2017; 3'46" reìja/by Wolf Haley Jay-Z: Moonlight ZDA/USA, 2017; 7'25" reìja/by Alan Yang

Spremljevalni program Accompanying Programme

Od SR, 8., do PE, 10. novembra, ob 10. uri Klub Lili Novy, Cankarjev dom

WED, 8 – FRI, 10 November, at 10.00 Lili Novy Club, Cankarjev dom

Kako brati in oceniti filmski scenarij

How to Assess a Script?

Strokovni seminar Tridnevni strokovni seminar zavoda Motovila / Centra Ustvarjalna Evropa v Sloveniji s priznanim evropskim scenaristi~nim svetovalcem Christianom Routhom (ScripTeast) je namenjen filmskim profesionalcem in odlo~evalcem, ki si `elijo izpopolniti ve{~ine branja in predvsem podajanja konstruktivnih odzivov na filmske scenarije. Gre za ve{~ine, ki niso samoumevne, so pa zelo pomembne za to, da so filmske zgodbe z dobrimi mo`nostmi realizirane in najdejo pot do ob~instva. Usposabljanje je zaprtega tipa in bo v angle{~ini. {tevilo udele`encev je omejeno. Prijave do 1. novembra: info�ced-slovenia.eu Ve~ informacij: www.ced-slovenia.eu. PE, 10. novembra, ob 18. uri Klub Lili Novy, Cankarjev dom

Mlada filmska Evropa

The three-day seminar organised by Motovila / Creative Europe Desk Slovenia with Christian Routh, a renowned European script advisor (ScripTeast), aims to help film professionals and decision makers find the most constructive ways to respond coherently and helpfully to screenwriters' projects. These skills, while not self-evident, are doubtlessly crucial for the improvement and realisation of scripts that show a good potential for reaching their audiences. The seminar is closed to the public, places are limited. Working language is English. Pre-registration is required until 1 November: info�ced-slovenia.eu More information: www.ced-slovenia.eu FRI, 10 November, at 18.00 Lili Novy Club, Cankarjev dom

Young Filmmaking Europe Meetings with Film Professionals

Sre~anja s filmskimi ustvarjalci Sre~anja so del letnega izobra`evalnega programa Prodornih producentov, dela Dru{tva slovenskih producentov, in so zaprtega tipa. Prijave do 7. novembra: dsp.informacije�gmail.com. SO, 11. novembra, ob 17. uri Dvorana M1, Cankarjev dom

Back to the Future Vrnitev v prihodnost Posvet Javni posvet je namenjen soo~enju pogledov o mladem evropskem filmu ter diagnozi slovenskega filmskega prostora, kakor ga do`ivljajo mladi slovenski producenti in avtorji: kaj je in kaj bo. Vstop prost PO, 13. novembra, ob 17. uri Dvorana M1, Cankarjev dom

O telesu in duhu

[tudija primera berlinskega nagrajenca Mo`nosti koprodukcijskega sodelovanja z Madàrsko Uveljavljena madàrska producenta Monica Mecs in Andras Muhi (studio Focus Fox) sta na leto{njem mednarodnem filmskem festivalu v Berlinu prejela presti`nega zlatega medveda za celove~erni film O telesu in duhu (On Body and Soul) reìserke Ildiko Enyedi. Predstavila bosta proces nastajanja filma, ki je uvr{~en tudi v program 28. Liffa. Na predavanju bodo predstavljene tudi mo`nosti in prilo`nosti za koprodukcijsko sodelovanje s sosednjo dràvo. Madàrski producenti so v evropskih koprodukcijah ponovno za~eli sodelovati kot manj{inski producenti, tujim partnerjem pa so na voljo vra~ila sredstev za producente, ki snemajo na Madàrskem. Vstop prost

Meetings are part of the on-going educational programme organised by Emerging Producers and are closed to the public. Pre-registration is required until 7 November: dsp. informacije�gmail.com. SAT, 11 November, at 17.00 M1 Hall, Cankarjev dom

Back to the Future Conference Guest panellists will discuss the current state of the young European cinema and try to formulate a diagnosis of the Slovenian film environment as experienced by the young Slovenian filmmakers: what is and what will be. Free entrance MON, 13 November, 17.00–18.30 M1 Hall, Cankarjev dom

On Body and Soul Production Case Study Cooperation with Hungary: Co-production Possibilities Renowned Hungarian film producers Monica Mecs and Andras Muhi (of the Focus Fox Studio) won the Golden Bear in the main competition section of this year's Berlin International Film Festival for the feature film On Body and Soul by Ildiko Enyedi. They will present the process of creating the film, which will be screened after the presentation as part of the Ljubljana International Film Festival programme. As a part of the masterclass, new possibilities of film cooperation with this neighbouring country will also be presented: Hungarian producers have started to cooperate again as minority co-producers in European co-productions, while foreign producers can get refunds for filming in Hungary. Free entrance

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Spremljevalni program Accompanying Programme

Od PE, 10., do SR, 15. novembra Dvorana E1, Cankarjev dom

FRI, 10th – WED, 15 November E1 Hall, Cankarjev dom

MAF – Mad About Film Enostavno nori na film

MAF – Mad About Film Simply mad about film

Seminar za mlade

Seminar for young people

Zavod za uveljavljanje vizualne kulture Vizo s programom Mad About Film (MAF) vzpostavlja prostor, ki mladim ponuja prilo`nost, da se o filmu in filmskem neformalno kakovostno izobrazijo. Na Liffu brezpla~ni seminar poteka è ~etrto leto (sicer je è {tirinajsti zapovrstjo) in je namenjen predvsem starej{im od petnajst let. Gre za ustaljeni seminar, ki neguje mlado filmsko kritiko in scenaristiko. Prakti~ni del seminarja bo obsegal delavnico pisanja scenarijev pod vodstvom priznane filmske kriti~arke in scenaristke Tine Poglajen in delavnico filmske kritike pod vodstvom priznanega filmskega kritika Matica Majcna. Udeleènci bodo uìvali tudi v filmih in spoznavali festivalske goste. Po predavanjih Matevà Luzarja, Jo`ka Rutarja in Mihe êrneca bo letos za kateder stopil Jure êrnec, direktor fotografije, ki bo ob primeru bogatih izku{enj in predvsem zadnjih let dela, predstavil svoje ustvarjalno delo, za katero je prejel è {tevilne slovenske in evropske filmske nagrade.

Aimed primarily at young people, the Institute for the Promotion of Visual Culture Vizo and its Mad About Film (MAF) programme present a platform for informal yet quality film education. The 28th Liffe will host the seminar targeted at audiences aged fifteen plus for the fourth time. By means of multimedia lectures, the attendees will gain insight into the production process of filmmaking, and learn the rudiments of film criticism and screenwriting. The practical part will include a screenwriting workshop presented by acknowledged film critic and screenwriter Tina Poglajen, and film criticism workshop conducted by acclaimed film critic Matic Majcen. The participants will attend film screenings and meet featured filmmakers. After the lectures by Matev` Luzar, Jo`ko Rutar and Miha ^ernec, award-winning cinematographer Jure ^ernec will share his rich experience with the attendees.

Predavanje je javno in odprto za vse zainteresirane, delavnici pa sta namenjeni le prijavljenim. Prijave: www.madaboutfilm.si/prijavi-se Ve~ na www.madaboutfilm.si Od PE, 10., do SR, 15. novembra Dvorana E1, Cankarjev dom Delavnici Filmska kritika Vodi: Matic Majcen Scenaristika Vodi: Tina Poglajen PE, 10. novembra, ob 18.30 Dvorana E1, Cankarjev dom Miha ^ernec Ustvarjalno in drugo delo direktorja fotografije Ve~medijsko predavanje SR, 15. novembra, ob 18. uri Dvorana E1, Cankarjev dom Predstavitev nastalih izdelkov in filmski program Nastali izdelki bodo objavljeni tudi na spletni strani www.madaboutfilm.si.

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Presented in Slovenian, the lectures are open to the general public, applications required for the workshops. Applications: madaboutfilm.si/prijavi-se Further information www.madaboutfilm.si FRI, 10th – WED, 15 November E1 Hall, Cankarjev dom Workshops Film Criticism Conducted by: Matic Majcen Screenwriting Conducted by: Tina Poglajen FRI, 10 November, at 18.30 E1 Hall, Cankarjev dom Miha ^ernec The Creative Work of a Cinematographer Multimedia lecture WED, 15 November, at 18.00 E1 Hall, Cankarjev dom Presentation of practical works and film programme The works will also be on view at www.madaboutfilm.si.

Spremljevalni program Accompanying Programme

Pionirski dom na 28. Liffu

Pionirski dom at 28th Liffe

SR, 8., in SO, 11., ob 17.30 ter SO, 18. novembra, ob 10. uri Dvorana E2, Cankarjev dom

WED, 8th, and SAT, 11th November, at 17.30 and SAT, 18 November, at 10.00 E2 Hall, Cankarjev dom

Pionirski dom – center za kulturo mladih izvaja {tevilne kulturnoumetni{ke programe, med njimi tudi filmske delavnice za otroke in mlade ter delavnice animiranega filma. Filmska vzgoja ima dolgoletno tradicijo, prav tako tudi mednarodni filmski festival ZOOM, ki predstavlja produkcijo osnovno{olcev in srednje{olcev. Sre~a-àlost-strah Delavnica animiranega filma (od 8. leta) Delavnico vodita: Andreja Goetz, Ma{a Ogrizek Hologram Delavnica filma (od 10. leta) Delavnico vodi: Sandi Skok Barve v filmu sluìjo kot eno od orodij, s pomo~jo katerih pripovedujemo zgodbe. Vsaka barva ima svoj pomen. Z njihovo pomo~jo izraàmo ~ustva junakov, pa tudi razpoloènje celotnega filma. Na treh delavnicah se bomo pogovarjali o tem, katera ~ustva povezujemo z dolo~enimi barvami. Ogledali si bomo nekaj filmskih klasik, v katerih je imela uporaba barv pomembno vlogo. Nato bomo posneli kratke animirane filme ter v njih zgolj s pomo~jo barv in oblik izrazili razli~na ~ustva.

Pionirski dom, Young People’s Cultural Centre, implements artistic, cultural and linguistic programmes as well as projects focused on leisure-time creativity. The institute has organised and implemented over fifty programmes and projects, and takes special pride in its didactic film workshops and screenings, as well as the Zoom Film Festival, featuring works by primary- and secondary-school students. Happiness-Sadness-Fear Animated film workshop (for children aged 8+) Conducted by: Andreja Goetz, Ma{a Ogrizek Hologram Film workshop (for children aged 10 +) Conducted by: Sandi Skok Colours are a cinematic tool employed with a view to narrating stories. Each colour carries its own meaning. Colours can be used to convey a character's feelings and well as the mood of the entire film. After determining which colours can be associated with which emotions, the participants will make short animated films paying special attention to employment of colours.

Prijave: kultura�pionirski-dom.si Applications: kultura�pionirski-dom.si

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Spremljevalni program Accompanying Programme

Mladinska `irija Kinotrip

Kinotrip Young Jury

Med razli~nimi programskimi sklopi 28. Ljubljanskega mednarodnega filmskega festivala bodo è drugo leto potovali odposlanci Kinotripa, Kinodvorovega filmskega programa – mladi za mlade. Ogledali si bodo pet filmov, ki razli~no prikazujejo zgodbe njihovih (filmskih) vrstnikov oziroma se dotikajo tem, pomembnih za mlade razli~nih starosti. Izbrali bodo najbolj{ega in ga razglasili na sklepni prireditvi festivala. Drugo Kinotripovo mladinsko ìrijo sestavlja pet ~lanov Kinotripovega filmskega kluba, ki so sodelovali pri zasnovi in izvedbi 2. mednarodnega filmskega festivala Kinotrip: Martin Draksler, Esma Hajdarpa{i}, Rostja Mo~nik, Mila Per{in in Jakob Rakovec. Poleg razglasitve dobitnika Kinotripove nagrade mladinske ìrije bodo pripravili tudi pogovore z gosti ob posameznih filmih Kinotripovega nabora.

For the second consecutive year, jury members of the Kinotrip Film Programme – By the Youth for the Youth will see a selection of various films screened at the 28th Ljubljana International Film Festival. The Kinotrip Young Jury will deliberate on five films that address issues concerning their peers, or, deal with topics relevant to young people. The winning film will be announced at the Festival's concluding ceremony. The second Kinotrip Young Jury comprises five members of the Kinotrip Film Club who have helped curate and organise the 2nd Kinotrip International Film Festival: Martin Draksler, Esma Hajdarpa{i}, Rostja Mo~nik, Mila Per{in and Jakob Rakovec. The Kinotrip Young Jury Award will be presented at the concluding ceremony and Q&As organised with filmmakers featured within the context of the Kinotrip selection.

Nominirani filmi za Kinotripovo nagrado mladinske `irije Ognji{~e (r: Guðmundur Arnar Guðmundsson) Ne~ista kri (r: Amanda Kernell) Pokli~i me po svojem imenu (r: Luca Guadagnino) Delavnica (r: Laurent Cantet) V Ciambri (r: Jonas Carpignano)

Films nominated for the Kinotrip Young Jury Award Heartstone (by: Guðmundur Arnar Guðmundsson) Sami Blood (by: Amanda Kernell) Call Me by Your Name (by: Luca Guadagnino) The Workshop (by: Laurent Cantet) A Ciambra (by: Jonas Carpignano)

Od 8. do 19. novembra Drugo preddverje, Cankarjev dom

8–19 November Foyer II, Cankarjev dom

360˚ filmi

360˚ Films

v koti~ku Telekoma Slovenije

Telekom Slovenije Corner

Telekom Slovenije, glavni pokrovitelj Liffa, bo tudi letos v svojem koti~ku predstavil filme 360˚, ki jih bodo v okviru nate~aja posneli mladi neodvisni filmski ustvarjalci. Prijavljene ekipe bodo svoje ideje posnele s pomo~jo Samsungovih 360° kamer. Vsak prijavljeni film bo ocenjen na podlagi glasov obiskovalcev festivala in strokovne `irije, ki jo sestavljajo dva strokovnjaka s podro~ja filmske produkcije in predstavnik Telekoma Slovenije. Glasovanje gledalcev, ki si bodo filme ogledali v koti~ku Telekoma Slovenije, predstavlja ~etrtino ocene, tri ~etrtine pa ocena `irije. Najbolj{i film bo zadnji dan festivala v sklopu festivalskih nagrad prejel posebno nagrado. Ve~ informacij o nate~aju: www.telekom.si

The 360˚ films made by young independent filmmakers and submitted to the Telekom Slovenije competition will be featured in the corner of Liffe's main sponsor. Participating film crews will shoot their films using Samsung 360° cameras. Each submitted film will receive votes from the viewers and a professional jury, composed of two experts in film production and a representative of Telekom Slovenije. Viewers' votes represent 25% of the final score, and the jury vote accounts for 75%. The winning film will receive a special award to be presented at the Liffe closing ceremony. More info on competition: www.telekom.si

Kot vsa leta doslej Telekom Slovenije obiskovalce vabi tudi k brezpla~nemu ogledu filmov iz videoteke DKino. Urnik predvajanj je objavljen v koti~ku Telekoma Slovenije, na festivalskih info to~kah in spletni strani www.liffe.si. Vstop prost

Viewers are also invited to see films from the DKino Videotheque. Schedule of screenings will be available at the Telekom Slovenije Corner, at festival info points and on www.liffe.si. Admission free

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Spremljevalni program Accompanying Programme

Filmska nagrada LUX

LUX Film Prize

Filmsko nagrado LUX vsako leto podeljuje Evropski parlament z namenom zagotoviti {ir{e predvajanje evropskih filmov po Evropi in spodbuditi vseevropsko razpravo o poglavitnih dru`benih vpra{anjih. V sklopu Filmskih dni LUX si ljubitelji filma v osemindvajsetih dr`avah Evropske unije lahko ogledajo tri filme, ki so se uvrstili v najo`ji izbor, prevedene v vseh 24 uradnih jezikov EU. Evropski parlament tudi s tem dejavno spodbuja kulturno in jezikovno razli~nost, v skladu z Listino Evropske unije o temeljnih pravicah. Z zakonodajnimi pristojnostmi, ki so mu bile dodeljene, odlo~ilno sooblikuje politike Evropske unije, ki vplivajo na vsakodnevno `ivljenje petsto milijonov Evropejcev. Filmska nagrada LUX Evropskega parlamenta bo {e naprej opozarjala na zgodbe in filme, ki govorijo o iskanju odgovorov na dru`bena vpra{anja, o iskanju identitete ali utehe ter o odkrivanju razli~nih danosti.

The European Parliament has been awarding the annual LUX Film Prize with the aim of boosting circulation of European films across European cinemas and encouraging dialogue and discussion on important social issues in all European countries. The LUX Film Days project aims to bring the screenings of the finalists (subtitled in the 24 official languages of the EU) of the LUX Film Prize Official Competition closer to European citizens across all 28 countries of the European Union. The European Parliament is actively committed to promoting cultural and linguistic diversity, as stated in the EU Charter of Fundamental Rights. In addition, its legislative powers make it a crucial player in shaping EU policies which affect the everyday lives of 500 million Europeans. Its remit covers key issues such as immigration, integration, poverty, freedom of expression and women's rights.

Evropski parlament sodeluje z evropsko filmsko industrijo Filmska nagrada LUX je partnerica {tevilnih filmskih festivalov v Evropi, med drugimi berlinskega festivala Berlinale, festivala 14 dni re`iserjev v Cannesu, festivala v Karlovih Varih, Bene{kih dni, festivalov v Sofiji, Stockholmu, Solunu, Dunaju (Viennale), Talinu (Black Nights), Corku, Bratislavi in Sevilji ter Ljubljanskega mednarodnega filmskega festivala LIFFE.

The European Parliament's LUX Film Prize is a permanent feature of numerous European films festivals, including the Berlin (Berlinale), Cannes (Directors' Fortnight), Karlovy Vary, Venice (Venice Days), Sofia, Stockholm, Thessaloniki, Vienna (Viennale), Tallinn (Black Nights), Cork, Bratislava and Seville film festivals. Starting in 2015, partnership has also been established with the Ljubljana International Film Festival â&#x20AC;&#x201C; Liffe.

Ve~ o filmski nagradi LUX: www.luxprize.eu in www.europarl.si

More on the LUX Film Prize on www.luxprize.eu and www. europarl.si

Filmi v o`jem izboru za nagrado LUX 2017 na 28. Liffu Brezpla~ne projekcije

LUX 2017 finalists at the 28th Liffe Festival Free screenings

^E, 9. novembra, ob 11.00, Kinodvor 120 utripov na minuto (120 Beats per Minute) R: Robin Campillo; France

THU, 9 November, at 11.00, Kinodvor Cinema 120 Beats per Minute (120 battements par minute) By: Robin Campillo; France

^E, 9. novembra, ob 19.30, Kosovelova dvorana Vestern (Western) R: Valeska Grisebach; Germany, Bulgaria, Austria

THU, 9 November, at 19.30, Kosovel Hall Western (Western) By: Valeska Grisebach; Germany, Bulgaria, Austria

PE, 17. novembra, ob 11.00, Kosovelova dvorana Ne~ista kri (Sami Blood) R: Amanda Kernell; Sweden, Norway, Denmark

FRI, 17 November, at 11.00, Kosovel Hall Sami Blood (Sameblod) By: Amanda Kernell; Sweden, Norway, Denmark

142

Nagrajenci Award Winners

vodomec Kingfisher Award 1996–2016 1996

posebni omembi/special mentions:

@iveti v pozabi

Na morje

Living in Oblivion, Tom DiCillo 1997

Alamar, Pedro González-Rubio

Vzhodna pala~a, zahodna pala~a

Los viajes del viento, Ciro Guerra 2011

Dong gong, xi gong, Zhang Yuan 1998

@ivljenje, kot ga sanjajo angeli La vie reveé des anges, Erick Zonca 1999

Deseti brat

Beshkempir, Aktan Abdikalikov 2000

Vzhod je vzhodno East is East, Damien O'Donnell 2001

Kruh in mleko (Kruh in mleko, Jan Cvitkovi~ 2002

Sobota Sábado, Juan Villegas 2003

Vrnitev Vozvra{~enje, Andrej Zvjagincev posebna omemba/special mention:

Pod njenim oknom Pod njenim oknom, Metod Pevec 2004

Popolni preobrat Somersault, Cate Shortland posebna omemba/special mention:

Pogre{ana

Potovanja vetra Zakloni{~e Take Shelter, Jeff Nichols 2012

Klip Clip, Maja Milo{ 2013

Miele

Miele, Valeria Golino posebna omemba/special mention:

Obramba in za{~ita Obrana in za{tita) Bobo Jel~i} 2014

Lahko no~, mamica

Goodnight Mommy, Veronika Franz, Severin Fiala 2015

Ovna

Rams, Grimur Hakonarson posebna omemba/special mention:

Projekt stoletja The Project of the Century, Carlos M. Quintela 2016

Dobra `ena

A Good Wife, Mirjana Karanovi} posebna omemba/special mention:

Teden in en dan One Week and a Day, Asaph Polonsky

Bu jian, Li Kang-sheng 2005

Skriti adut Voksne mennesker, Dagur Kári posebna omemba/special mention:

Odgrobadogroba Odgrobadogroba, Jan Cvitkovi~ 2006

1:1 Ena na ena 1:1 En til en, Annette K. Olesen posebna omemba/special mention:

Namizni tenis Pingpong, Matthias Luthard 2007

Okna v ponedeljek Montag kommen die Fenster, Ulrich Köhler 2008

Lakota Hunger, Steve McQueen 2009

^rnci Crnci, Zvonimir Juri}, Goran Devi} posebna omemba/special mention:

Policijski, pridevnik Politist, adj., Corneliu Porumboiu 2010

Podo~nik Kynodontas, Yorgos Lanthimos

143

Nagrajenci Award Winners

zlati kolut (nagrada ob~instva) Golden Reel (Audience Award) 2000–07

nagrada zmaj (nagrada ob~instva) Dragon Award (Audience Award) 2008–16

2000

2008

Pot domov

Wo de fu qin mu qin, Zhang Yimou 2001

Pet minut slave

Iedereen beroemd!, Dominique Deruddere 2002

Sestre magdalenke

The Magdalene Sisters, Peter Mullan 2003

Pesem za malega razcapanca Song for a Raggy Boy, Aisling Walsh 2004

Zboristi

Les chorists, Christoph Barratier 2005

Zveza Kebab

Kebab Connection, Anno Saul 2006

Katin Katyn, Andrzej Wajda 2009

Ubil sem svojo mamo I Killed My Mother, Xavier Dolan 2010

Technotise: Edit in jaz Technotise: Edit i ja, Aleksa Gaji} 2011

Onstran Beyond, Pernilla August 2012

Lore Lore, Cate Shortland 2013

Dekle na poziv

Zajtrk na Plutonu

Call Girl, Mikael Marcimain 2014

Povratne steklenice

Charlie's Country, Rolf De Heer 2015

Breakfast on Pluto, Neil Jordan 2007

^arlijeva de`ela

Vratné lahve, Jan Sverák ˇ

Druga mama The Second Mother, Anna Muylaert 2016

Med morjem in zemljo Between Sea and Land, Carlos del Castillo, Manolo Cruz

144

Kazalo Index

izvirni naslovi original titles

E F

"�...� Craving for Narrative" 133 120 battements par minute 24 1945 62 A Ciambra 43 M Arabia 10 Aritmia 63 Atelier, L' 49 Aus dem nichts 34 Avir Kadosh 73 Ba yue 13 Balada de um Batráquio 133 N Beast, The 134 Bedoone Tarikh, Bedoone O Emza 65 P Braqueurs 101 Breza 120 Brief History of Princess X, A 132 Budjenje pacova 129 Call Me by Your Name 35 R Caméra de Claire, La 48 Cercle rouge, Le 107 Choix des armes, Le 115 Chun-mong 75 Cloudboy 92 S Columbus 11 Convoi, Le 102 Copa-Loca 135 Daphne 67 De guerre lasse 100 Decorado 134 Dernier domicile connu 108 Disco resplandece, La 132 Dru`ina 27 El bar 83 Fai bei sogni 56 T Fantasia 134 Florida Project, The 54 Foxtrot 28 Good Time 26 Grajski biki 121 Grand méchant renard et autres contes, Le 89 Guerre des polices, La 114 U Happy End 39 Hikari 55 Hjartasteinn 19 V Hopptornet 132 Hostages 74 W Hounds of Love 86 I Am Not a Witch 18 I blodet 76 I Made You, I Kill You 135 Y I... comme Icare 113 Ivan 29 Z Jeune femme 16 Juge Fayard dit Le Shérif 111 Jusqu'a la garde 31 Jutro 122 Kad budem mrtav i beo 124 Kaja, ubit }u te! 123 Keep That Dream Burning 133 Killing of a Sacred Deer, The 42 Krotkaja 50 Laissez bronzer les cadavres 84 Lethe 134

146

slovenski naslovi slovene titles Ljubavni slu~aj ili Tragedija slu`benice PTT 125 Lyonnais, Les 98 Mali vojnici 126 Manifesto 70 Me montage 133 Mea culpa 99 Menashe 15 Miljeong 85 Mu{karci ne pla~u 17 Na papirnatih avionih 127 Neljubov 25 O Ornitólogo 52 Party, The 58 Peur sur la ville 110 Posoki 72 Praznik 128 Quality Time 12 Rekvijem za gospodju J. 20 Réparer les vivants 53 Rey 14 Riders 135 Rum 213 94 Sameblod 71 Série noire 112 Serpent aux mille coupures, Le 103 Shape of Water, The 33 Skuplja~i perja 130 Slovenija, Avstralija in jutri ves svet 38 Suburbicon 36 Svanurinn 69 Sweet Country 37 Tesnota 64 Tesoros 90 Testro˝l és Lélekro˝l 32 Thelma 40 Three Billboards Outside Ebbing, Missouri 41 Tiere 78 Tungeskjaererne 91 U plavetnilo 132 Un beau soleil intérieur 44 Un home est mort 109 Vill Mark 91 Voyage de Fanny, Le 93 Wajib 68 Western 57 When the Day Had No Name 66 Wilde Maus 79 Wonderstruck 30 Yo no soy de aquí 134 You Were Never Really Here 51 Zoologija 77

A B

^ D

G I

J K

"�...� Hlepenje po pripovedi" 133 120 udarcev na minuto 24 1945 62 Arabija 10 Aritmija 63 Balada o dvoìvkah 133 Bar 83 Bliìna 64 Brez datuma in podpisa 65 Brez ljubezni 25 Breza 120 Clairina kamera 48 Columbus 11 Copa-Loca 135 ^rna serija 112 Dan brez imena 66 Daphne 67 Decorado 134 Delavnica 49 Diskoteka ble{~i 132 Desetmetrski stolp 132 Divja mi{ka 79 Dobri ~asi 26 Druìna 27 Fannyjino potovanje 93 Fant z oblaki 92 Fantazija 134 Fino se imamo 12 Foxtrot 28 Gangsterska zgodba 98 Grajski biki 121 I... kot Ikar 113 Ivan 29 Izbira oro`ja 115 Jutro 122 Kabinet ~udes 30 Ka~a s tiso~ urezi 103 Kaja, ubil te bom! 123 Ko bom mrtev in bel 124 Ko izgubi{ vse 31 Konec poletja 13 Konvoj 102 Kralj 14 Kratka zgodovina Princese X 132 Krotko dekle 50 Labod 69 Lethe 134 Ljubezenski primer ali Tragedija po{tne uslu`benke 125 Mali vojaki 126 Manifest 70 Mea culpa 99 Menashe 15 Mlada ènska 16 Moja montaà 133 Mo{ki ne jo~ejo 17 Na papirnatih avionih 127 Naj trupla porjavijo 84 Ne~ista kri 71 Nikoli zares tukaj 51 Nisem ~arovnica 18 Nisem od tukaj 134 O telesu in du{i 32 Obdobje senc 85 Oblika vode 33

Obupana 34 Od bitke iztro{en 100 Ognji{~e 19 Ornitolog 52 Pogreb v Los Angelesu 198 Pokli~i me po svojem imenu 35 Pokrpajmo `ive 53 Pokvarjeno predmestje 36 Policijska vojna 114 Praznik 128 Prebujanje podgan 129 Prijazna de`ela 37 Projekt Florida 54 Proti svetlobi 55 Pusti sanjam, da tlijo 133 Rde~i krog 107 Rekvijem za gospo J. 20 Rezalci jezikov 91 Roparska ekipa 101 Sladke sanje 56 Slovenija, Avstralija in jutri ves svet 38 Smeri 72 Soba 213 94 Sodnik, imenovan {erif 111 Sre~en konec 39 Strah nad mestom 110 Sveti zrak 73 Talci 74 Thelma 40 Tihi sen 75 Trije plakati pred mestom 41 Ubijanje svetega jelena 42 Usodna vo`nja 135 Ustvaril sem te, ubijem te 135 V Ciambri 43 Velika zlobna lisica in druge zgodbe 89 V krvi 76 V modrino 132 Vestern 57 Vsiljivki 91 Zabava 58 Zadnji naslov 108 Zakladi 90 Zaveza 68 Zbiralci perja 130 Zoologija 77 Zverina 134 Zvodnika ljubezni 86 @arek v srcu 44 @ivali 78

Kazalo Index

angle{ki naslovi english titles

J K

"�...� Craving for Narrative" 133 120 Beats Per Minute 24 M 1945 62 A Ciambra 43 Age of Shadows 85 Animals 78 Araby 10 Arrhythmia 63 Bar, The 83 N Batrachian's Ballad 133 O Beast, The 134 Big Bad Fox and other tales, The 89 Birch Tree, The 120 Brief History of Princess X, A 132 P Bright Sunshine In 44 Call Me by Your Name 35 Q Choice of Arms 115 Claire's Camera 48 R Closeness 64 Cloudboy 92 Columbus 11 Copa-Loca 135 Crew, The 101 Custody 31 Daphne 67 S Decorado 134 Directions 72 Disco Shines, The 132 Family, The 27 Fanny's Journey 93 Fantasia 134 Fast Convoy 102 Fear Over the City 110 Feast, The 128 Florida Project, The 54 Foxtrot 28 T Gang Story, A 98 Gentle Creature, A 50 Good Time 26 Happy End 39 Heal the Living 53 Heartstone 19 Holy Air 73 W Hostages 74 Hounds of Love 86 I Am Not a Witch 18 I as in Icarus 113 I Even Met Happy Gypsies 130 I Made You, I Kill You 135 I'm Not From Here 134 Y In the Blood 76 Z In the Fade 34 Into the Blue 132 Intruders 91 Ivan 29 Judge Fayard Called the Sheriff 111 Kaya, I'll Kill You 123 Keep That Dream Burning 133 Killing of a Sacred Deer, The 42 Last Known Address 108 Let the Corpses Tan 84 Lethe 134 Little Soldiers 126 Love Affair, or The Case of the Missing Switchboar 125

re`iserji, re`iserke directors Loveless 25 Manifesto 70 Marseille 100 Me montage 133 Mea Culpa 99 Men Don't Cry 17 Menashe 15 Montparnasse Bienvenue 16 Morning, The 122 No Date, No Signature 65 On Body and Soul 32 On Paper Wings 127 Ornithologist, The 52 Outside Man, The 109 Party, The 58 Police War 114 Quality Time 12 Quiet Dream, A 75 Radiance 55 Rats Woke Up, The 129 Red Circle, The 107 Requiem for Mrs J. 20 Rey 14 Riders 135 Room 213 94 Sami Blood 71 Série noire 112 Shape of Water, The 33 Slovenia, Australia and Tomorrow the World 38 Stronghold of Toughs 121 Suburbicon 36 Summer Is Gone, The 13 Swan, The 69 Sweet Country 37 Sweet Dreams 56 Ten Meter Tower 132 Tesoros 90 Thelma 40 Thousand Cuts 103 Three Billboards Outside Ebbing, Missouri 41 Tongue Cutters 91 Wajib 68 Western 57 When I Am Dead and Gone 124 When the Day Had No Name 66 Wild Mouse 79 Wonderstruck 30 Workshop, The 49 You Were Never Really Here 51 Zoology 77

A Abrantes, Gabriel 132 L Aertryck, Maximilien Van 132 Akin, Fatih 34 Alamat Kusijanovi}, Antoneta 132 Alberdi, Maite 134 M Atallah, Niles 14 B Babaja, Ante 120 Ba˘delita , ˘, Alexandru Petru 135 Baker, Sean 54 Bakker, Daan 12 Balagov, Kantemir 64 Bellocchio, Marco 56 Bi~ek, Rok 27 N Boisset, Yves 111 Burger, Janez 29 Burns, Peter Mackie 67 C Campillo, Robin 24 Cantet, Laurent 49 P Carpignano, Jonas 43 Cattet, Helene 84 Cavayé, Fred 99 Clinckspoor, Meikeminne 92 Clooney, George 36 Q Corneau, Alain 112, 115 ^ ^engi}, Bahrudin Bato 126 R D Danielson, Axel 132 Davis, Robin 114 Denis, Claire 44 S Deray, Jacques 109 Djordjevi}, Mladomir Puri{a 122 Doillon, Lola 93 Drljevi}, Alen 17 Dumans, João 10 E Enyedi, Ildiko 32 T F Forzani, Bruno 84 G Giginei{vili, Rezo 74 Giovanni, Jose 108 Grau, Max 133 Grisebach, Valeska 57 Guadagnino, Luca 35 Guðmundsson, Guðmundur U Arnar 19 V H Hader, Josef 79 Haneke, Michael 39 Haynes, Todd 30 Heisterberg, Rasmus 76 W Hilmandi, Dawood 133 Hjörleifsdottir, Asa Helga 69 Y Hlebnikov, Boris 63 Z Hong, Sang-soo 48 Hvistendahl, Thea 91 I Ibarra, Chema García 132 Iglesia, Alex de la 83 @ Imbert, Patrick 89 J Jacir, Annemarie 68 Jalilvand, Vahid 65 K Kadijevi}, Djordje 128 Kawase, Naomi 55 Kernell, Amanda 71 Kim, Jee-woon 85 Klop~i~, Matja` 127 Kogonada 11 Kohlberger, Rainer 133 Komandarev, Stephan 72 Kulumbega{vili, Dea 134

Lanthimos, Yorgos 42 Leclercq, Julien 101 Legrand, Xavier 31 Lindblom, Emelie 94 Loznica, Sergej 50 Makavejev, Du{an 125 Maoz, Samuel 28 Marchal, Olivier 98 Massalas, Christos 135 McDonagh, Martin 41 Melkeraaen, Solveig 91 Melville, Jean-Pierre 107 Mimica, Vatroslav 123 Naber{nik, Marko 38 Nell, Samantha 134 Nikki, Teemu 134 Novaro, Maria 90 Nyoni, Rungano 18 Panchot, Olivier 100 Pavlovi}, @ivojin 124, 129 Petrovi}, Aleksandar 130 Poga~nik, Jo`e 121 Potter, Sally 58 Quillévéré, Katell 53 Ramsay, Lynne 51 Renner, Benjamin 89 Rodrigues, João Pedro 52 Rosefeldt, Julian 70 Safdie, Benny 26 Safdie, Josh 26 Schoendoerffer, Frédéric 102 Serraille, Léonor 16 Srour, Shady 73 Strugar Mitevska, Teona 66 Teles, Leonor 133 Thornton, Warwick 37 Toro, Guillermo del 33 Török, Ferenc 62 Trier, Joachim 40 Tverdovski, Ivan I. 77 Uchoa, Affonso 10 Valette, Eric 103 Vázquez, Alberto 134 Verneuil, Henri 110, 113 Vidkjær Rasmussen, Jesper 135 Vuleti}, Bojan 20 Wahrmann, Michael 134 Weinstein, Joshua Z. 15 Young, Ben 86 Zglinski, Greg 78 Zhang, Dalei 13 Zhang, Lu 75 Zvjagincev, Andrej 25 . . @ickyte, Giedre 134

147

Zapiski Notes

148

Ballet Preljocaj

Romeo Romeo in Julija and Juliet 28. – 31. december Gallusova dvorana

Generalni pokrovitelj abonmaja Veličastnih 7

28–31 December Gallus Hall

Medijska pokroviteljica

sezona 2017/18

www.cd-cc.si

foto Jean-Claude Carbonne Oblikovanje Edin Alibešter, Cankarjev dom

Balet Preljocaj

Ivan Meštrović Telesnost in erotika v kiparstvu Corporeality and Eroticism in Sculpture Razstava v Galeriji CD Exhibition in CD Gallery Od 9. februarja do 20. maja 2018 9 February – 20 May 2018

Generalna pokroviteljica razstave Main exhibition sponsor

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Psiha, detajl Psyche, detail

foto Jean-Claude Carbonne Oblikovanje Edin Alibešter, Cankarjev dom

V sodelovanju z Galerijo Meštrović v Splitu in Ateljejem Meštrović v Zagrebu In cooperation with the Meštrović Gallery Split and Meštrović Atelier Zagreb

02/10/2017 12:58

Slovenian Book Fair

Oblikovanje Design Maja Gspan, Cankarjev dom

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