2019 FESTIVAL CATALOG CROSSING EUROPE by Crossing Europe Filmfestival Linz

filmfestival linz // 25 â&#x20AC;&#x201C; 30 april 2019

Crossing Europe Film Festival Linz crossingeurope.at European Film Festival Palic palicfilmfestival.com Festival Del Cinema Europeo festivaldelcinemaeuropeo.com Film Festival Cottbus filmfestivalcottbus.de Les Arcs European Film Festival lesarcs-filmfest.com Scanorama Filmfestival â&#x20AC;&#x201C; European Film Forum scanorama.lt Seville European Film Festival festivalcinesevilla.eu

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Grußworte

Vorwort

Veranstaltungs- und Kooperationspartner

Best Wishes Preface

Partners

Förderer, Sponsoren

Awards Juries Crossing � Danube Dank

12 14 18 19

Sponsors

Thanks

Festival Information 20 Supporting Program 22 Festival Team 24 European Competition YAAAS! Youth Program, YAAAS! Competition European Panorama Working Worlds, Architecture and Society Tribute, Spotlight Night Sight Cinema Next Europe Local Artists Crossover 165 Cooperations 171 Index 210 Publishing Details 214

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EUROPE LOVES EUROPEAN FILM FESTIVALS A good place to meet and to exchange, festivals provide a vibrant and accessible environment for talent, stories and emotions – in short: European film. The Creative Europe – MEDIA Sub-program of the European Union aims to foster the European audiovisual industry’s competitiveness, to promote its richness and the transnational circulation of films. The program acknowledges the cultural and economic role of festivals in increasing audiences’ interest in European films by cofinancing around sixty of them across Europe every year. These festivals stand out with their rich and diverse European programming, their activities in support of young professionals, their commitment to audience development and film literacy, and the importance they give to networking and meeting opportunities for professionals and the public alike. In 2018, the festivals supported by the Creative Europe – MEDIA Sub-program proposed more than twenty thousand screenings of European works to nearly three million cinema-lovers. Creative Europe – MEDIA Sub-program is pleased to support the 16th edition of the Crossing Europe Film Festival Linz. We hope you enjoy a rich and stimulating event.

Liebe Filmfans! Die Einhaltung der Menschenrechte, der Respekt vor Andersdenkenden und die Unterst체tzung der Benachteiligten in der Gesellschaft sind zentrale Werte der Europ채ischen Union. Seit seiner Gr체ndung im Jahr 2004 stehen diese Themen auch im Zentrum des Crossing Europe Filmfestival Linz. Danke f체r diesen wichtigen kulturellen Beitrag zu einem starken, humanen, sozialen Europa! Dear festival audience! The respect of human rights, the respect for those of a different opinion and the support of the disadvantaged in society are core values of the European Union. Since its inception in 2004, these topics have also been at the centre of the Crossing Europe Film Festival Linz. Thank you for this important cultural contribution to a strong, humane, social Europe!

Grußworte Best Wishes

Gernot Blümel Bundesminister für EU, Kunst, Kultur und Medien

6 Best Wishes — crossing europe film festival 2019

Thomas Stelzer Federal Minister for the EU, Arts, Culture and Media

Landeshauptmann von Oberösterreich

Governor of the Federal Province of Upper Austria

Für ein Europa, das zusammenwächst, sind Veranstaltungen wichtig, die grenz überschreitende Begegnungen zulassen – ob in Person oder auf der Leinwand. Das Linzer Crossing Europe Filmfestival bietet seit Jahren ebendies und zudem Filmkultur auf hohem Niveau. Der diesjährige Schwerpunkt auf jungen Publikumsgruppen positioniert das Festival aktuell und zukunftsorientiert.

Crossing Europe bringt das nationale und europäische Filmschaffen nach Linz und Oberösterreich. 150 Spiel-, Dokumentar- und Kurzfilme stehen 2019 am Programm; alle mit Sorgfalt ausgewählt und präsentiert. Ich freue mich auf eine facettenreiche Woche mit vielen neuen Programmelementen ganz im Zeichen des zeitgenössischen Filmschaffens, und einen spannenden Wettbewerb.

A Europe that is growing together needs to have events that allow for crossborder encounters – be this in person or on screen. The Crossing Europe Film Festival in Linz has been offering that for years, as well as film culture on a high level. This year’s focus on young audiences positions the festival as being current as well as future orientated.

Crossing Europe brings national and European filmmaking to Linz and to Upper Austria. 150 feature films, documentaries and short films are on the program in 2019; all selected and presented with care. I am looking forward to a diverse week with many new program elements all dedicated to contemporary filmmaking, and an exciting competition.

Doris Lang-Mayerhofer

Klaus Luger Bürgermeister der Landeshauptstadt Linz

Mayor of the Provincial Capital City of Linz

Crossing Europe stellt mittlerweile einen fixen Programmpunkt des Linzer Kulturgeschehens dar. Das Festival wird auch in seiner 16. Ausgabe die internationale Aufmerksamkeit auf unsere Lebensstadt lenken sowie abermals Tausende Festivalgäste sowie Film- und Musikbegeisterte anlocken. Crossing Europe has by now become a program fixture of cultural life in Linz. This year’s 16th edition will once again garner international attention for our city, as well as attract thousands of festival guests and film and music enthusiasts.

Stadträtin für Kultur, Tourismus und Kreativwirtschaft der Stadt Linz

City Councilor for Culture, Tourism, and Creative Industries of the City of Linz

Für Linz als Unesco City of Media Arts ist Crossing Europe längst eines der wichtigsten internationalen Kulturfestivals. Mit dem großen Publikumszuspruch und seiner Internationalität ist Crossing Europe für die heimische Filmszene eine große Bühne und Ansporn. For Linz as a Unesco City of Media Arts, Crossing Europe has long been one of the most important international cultural festivals. With the large audiences it attracts and its international character, Crossing Europe is a big stage and stimulus for the local film scene.

7 Best Wishes — crossing europe ﬁlm festival 2019

Vorwort Preface

Europa: Jetzt oder …

Europe: Now or …

Christine Dollhofer Festival Director

8 Preface — crossing europe film festival 2019

Nie war die Diskussion um die Zukunft Europas so tonangebend wie in den letzten Monaten. Unter diesem Blickwinkel eröffnet das europäische zeitgenössische Filmschaffen vielgestaltige Sichtweisen – zeigt es doch authentisch und dramatisch zugleich, wie sich gesellschaftspolitische und soziale Risse durch unsere Lebenswirklichkeiten ziehen und wie groß die Gefahr der Verdrängung, des Nicht-Hinschauen-Wollens ist. Das Kino ermöglicht, unseren Blick zu schärfen, auch dorthin zu blicken, wo es schmerzt, wo vieles auseinanderzubrechen droht, was bisher unverrückbar zu sein schien. Auch wenn ein demokratiepolitischer Backlash deutlich spürbar ist, die europäische Filmlandschaft bleibt aufmüpfig und lebendig. Bereits zum 16. Mal widmet Crossing Europe Filmfestival Linz sein Programm dem Europa von heute. Die ausgewählten Filme erzählen von Liebe und Hoffnung, von Machtmissbrauch und Versöhnung, vom Fremdsein und Solidarität. Vom 25. – 30. April laden wir ein zum Schauen und Diskutieren, zum Vernetzen und

Never before has the discussion regarding the future of Europe been as predominant as it has been these last few months. Under this aspect, contemporary European cinema offers diverse ways of looking at it – it showing in both an authentic and dramatic manner, how socio-political and social rifts run through our living realities, how great the danger of repression, of not wanting to look is. Film makes it possible to sharpen our eyes, to look even to places where it hurts, where many things that seemed to be set in stone are on the verge of breaking apart. Even during times when the democratic backlash is palpable, the European cinema landscape remains alive and defiant. For the 16th time Crossing Europe Film Festival Linz will devote its program to the Europe of today. The selected films tell of

Feiern. Einen Monat später können wir unsere Stimme abgeben: Hinschauen auf die Probleme und gemeinschaftlich handeln, oder den Blick nach innen richten und wieder Mauern aufziehen. Europa wählt, wir haben die Wahl. Eine Wahl haben Sie auch bei der Gestaltung Ihres individuellen Festivalpfads. Internationale Filmhighlights und Entdeckungen, spezifische Programmreihen, die sich Arbeitswelten von Frauen oder dem Verhältnis von Raum, Zeit und Gesellschaft in den Specials widmen, Cinema Next Europe mit Familiengeschichten oder das Spotlight auf die albanische Filmpersönlichkeit Iris Elezi sowie das Tribute an den spanischen Regisseur Jaime Rosales sind nur einige Höhepunkte des aktuellen Programms. Das Genrekino wird ebenso wieder gewürdigt wie das regionale Filmschaffen. Die Qual der Wahl hatten auch die „Young Programmers“, sechs Jugendliche aus Oberösterreich, die den YAAAS! Wettbewerb kuratiert haben und ihn auch präsentieren werden. Darüber hinaus halten erstmals Workshops und Events speziell für Jugendliche Einzug ins Programm. 150 Filme aus 48 Ländern mit rund 140 anwesenden Filmgästen aus ganz Europa, Crossover-Formate, Filmgespräche, Konzerte und Ausstellungen ergeben wieder ein kompaktes, vielgestaltiges Festivalprogramm, welches nur durch die Unterstützung vieler möglich gemacht wird. Deshalb gilt unser großer DANK allen Fördergebern, Kooperations- und Veranstaltungspartnern und unseren Sponsoren, sowie allen Filmschaffenden, die uns ihre Filme anvertraut haben.

love and hope, of abuse of power and reconciliation, of being foreign and solidarity. From April 25 to 30 we invite the audience to watch and discuss, to connect and celebrate. One month later we will cast our vote: do we look directly at the problems and deal with them collectively, or turn around, focus on the inside, and build walls again? Europe will vote, it is our choice. You also have a choice regarding the path you take at the festival. International highlights and discoveries, programs dedicated to female working worlds or the relationship of space, time, and society, young filmmaking on family issues in the program Cinema Next Europe, the Spotlight section on Albanian cinematographic fixture Iris Elezi, or the Tribute to the Spanish director Jaime Rosales are only a few of the high points of this year’s program. Genre cinema as well as regional film also have their place. Also faced with the agony of choice were the “Young Programmers”, six youths from Upper Austria who curated the YAAAS! competition and will also present it. Additionally for the first time this year, workshops and events specifically for young audiences are introduced into the program. 150 films from 48 different countries, as well as around 140 festival guests from all over Europe, crossover formats, film talks, concerts, and exhibitions will make for packed and multifaceted festival experience that is only possible with the support by so many. That is why we wish to THANK all of our funding institutions, our cooperation and event partners, our sponsors, as well as all the filmmakers who trusted us with their films.

Dem einzigartigen Crossing Europe Team und seinen KollaborateurInnen möchte ich an dieser Stelle von ganzem Herzen meine Dankbarkeit aussprechen.

I want to wholeheartedly thank the exceptional Crossing Europe team and all of its collaborators.

Aufregende Festivaltage wünscht Ihnen im Namen des gesamten Festivalteams

On behalf of the entire festival team, I wish you inspiring festival days

Christine Dollhofer

9 Preface — crossing europe film festival 2019

Veranstaltungs- und Kooperationspartner Organization & Cooperation Partners

10 Partners — crossing europe film festival 2019

ACID — L’Association du cinéma indépendant pour sa diffusion, FR ADA – Austrian Directors’ Association, Wien afo architekturforum oberösterreich AHOI – Streetfood, Freistadt AK Oberösterreich / Kultur Akademie der bildenden Künste, Wien Anton Bruckner Privatuniversität, Oberösterreich ARGE Trödlerladen, Linz Ars Electronica Center, Linz Austrian Film Commission, Wien Bar Café Solaris, Linz Bauhaus-Universität Weimar Belvedere 21, Blickle Kino, Wien BG | BRG Freistadt Bigoli Bar Restaurant, Linz BORG Bad Leonfelden BORG Fadingerstraße, Linz BORG Grieskirchen Botschaft & Ständige Vertretung Dänemarks, Wien Café Bar Stern, Linz Camera Zizanio & Olympia FF, GR Cinema Next, Wien Coconut Thai-Restaurant, Linz Creative Europe Desk Austria – Culture Creative Europe Desk Austria – MEDIA CREATIVE REGION Linz & Upper Austria Days of European Films, Prague Diagonale – Festival des österreichischen Films, Graz Diskollektiv, Wien Doc Alliance Films dok.at, Wien DOK Leipzig, Int. Festival für Dokumentar- und Animationsfilm, DE Dok.Forum München, DE dorf tv., Linz East Silver Selection, CZ ELIA – solarCity, Linz enhazehn Kunstverein, Linz Entwicklungspolitische Film- und Dialogtage, Oberösterreich European Film Festival Palic, RS EYCA – European Youth Card Association, Wien EYE Film Instituut, NL Eye on Films, FR Fachhochschule Oberösterreich — Campus Hagenberg

Fachvertretung der Film- und Musikindustrie in Oberösterreich FC Gloria, Wien Festival de Cinéma Européen des Arcs, FR Festival del Cinema Europeo, Lecce, IT Festival Der Neue Heimatfilm, Freistadt FH Kufstein FH Salzburg Filmakademie Wien FilmFestival Cottbus, DE Filmgarten Filmverleih, Wien Filmladen, Wien Filmprojection21.org Filmring der Jugend, Oberösterreich flimmit.com FÖFF — Forum Österreichischer Filmfestivals, Wien forum Kunstuniversität Linz Four River Film Festival Karlovac, HR Gärtnerei und Baumschule, Magistrat Linz German Films, München gfk – Gesellschaft für Kulturpolitik Oberösterreich Goethe Institut Israel HBLA für künstlerische Gestaltung, Linz Heimwerk Hochschule Hannover, DE HOSI — Homosexuellen Initiative, Linz HTL1, Linz Institut Ramon Llull, Barcelona/Berlin Institute of Documentary Film, CZ Int. Documentary Film Festival Jihlava, CZ Kaffeeladen, Linz Katholische Privatuniversität Linz Kepler Salon, Linz Kolik, Wien KulturKontakt Austria, Wien kulturtankstelle, Linz Kulturverein KAPU, Linz Kunstuniversität Linz / Zeitbasierte und Interaktive Medien Kunstuniversität Linz Kulturplattform OÖ Lentos Kunstmuseum, Linz Media Literacy Award, Wien Medien Kultur Haus Wels Mezzanin.bar, Linz MICE – Mostra Int. Cinema Educatiu Valencia, ES

ÖH Kunstuniversität, Linz One World Filmclubs, Wien OÖ. Presseclub, Linz Ortweinschule, Graz Österreichisches Filmmuseum, Wien Polnisches Institut, Wien Polyfilm Filmverleih, Wien Posthof, Linz Programmkino Wels im Medien Kultur Haus Priesterseminar, Linz Pusch TV Restaurant Gelbes Krokodil, Linz Rumänisches Kulturinstitut, Wien San Sebastián International Film Festival, ES Scanorama Film Festival — European Film Forum, LT Schulzentrum Kreuzschwestern, Linz Schweizerische Botschaft, Wien Seville European Film Festival, ES sixpackfilm, Wien

SKICA Slowenisches Kulturinformationszentrum, Wien /slash Filmfestival, Wien Spielboden Dornbirn STWST Stadtwerkstatt, Linz Suuuper Sonntag, Linz tfm — Institut für Theater- Film- und Medienwissenschaft, Wien Thessaloniki Int. Film Festival, GR Tom Yam – Thai Kitchen Restaurant, Linz Verband Filmregie Österreich Verband Österreichischer FilmausstatterInnen video&filmtage – Festival des jungen Kurzfilms, Wien Votiv Kino, Wien Wirt am Graben, Linz YOUKI Int. Jugend Medien Festival, Wels Youth Cinema Network (YCN), DE Zukunftsdialog – BG Vöcklabruck

Medienpartner Media Partners

11 Hauptmedienpartner Main Media Partners

Medienpartner Media Partners

Partners — crossing europe film festival 2019

Förderer, Sponsoren Patrons, Sponsors

Förderer Patrons

12 Sponsors — crossing europe ﬁlm festival 2019

Wir danken unseren Förderern, Sponsoren und Kooperationspartnern, ohne die das Filmfestival in dieser Form nicht hätte stattfinden können.

We would like to thank our patrons, sponsors, and cooperation partners. Without their support the festival would not have been possible in this way.

Sponsoren Sponsors

13 Sponsors — crossing europe ﬁlm festival 2019 Weitere Sponsoren Additional Sponsors

Blue Danube Airport Linz Casino Linz Donauschifffahrt Wurm & Noé k.u.k. Hofbäckerei Linz Tourismus LIWEST Real-Treuhand Bau- und Facilitymanagement GmbH Schlossweingut Malteser Ritterorden

Festivalhotels Festival Hotels

– First Hotel Partner Austria Classic Hotel Wolfinger Hotel Mühlviertler Hof Hotel Schwarzer Bär Hotel Kolping Star Inn Hotel Linz Promenadengalerien, by Comfort

Awards

14 Awards — crossing europe film festival 2019

Crossing Europe Award — Best Fiction Film

€ 10,000 powered by Linz Kultur & Land Oberösterreich / Kultur

In der Sektion Competition Fiction laufen erste und zweite europäische Langspielfilme, die für eine Kinoauswertung produziert wurden. Die Jury Competition Fiction vergibt im Rahmen der Preisverleihung den Award an die Regisseurin/den Regisseur des prämierten Filmes.

The Competition Fiction comprises first and second European feature fiction films produced for theatrical release. During the awards ceremony the Jury Competition Fiction gives out the award to the director of the prize-winning film.

Crossing Europe Audience Award — Best Fiction Film

€ 1,000 powered by Crossing Europe

Die Regissseurin/der Regisseur des Gewinnerfilms erhält den Geldpreis in der Höhe von € 1.000, sowie einen Hotelgutschein (Wochenende für zwei im Park Inn by Radisson Uno City Vienna) gesponsert von Park Inn by Radisson Linz – First Hotel Partner of Crossing Europe.

The director of the winning film receives a cash prize of € 1,000, as well as a hotel voucher (weekend for two at Park Inn by Radisson Uno City Vienna) sponsored by Park Inn by Radisson Linz – First Hotel Partner.

Zusätzlich wird unter dem teilnehmenden Publikum ein weiterer Hotelgutschein (Wochenende für zwei im Park Inn by Radisson Nürnberg), gesponsert von Park Inn by Radisson Linz, und eine Festivalakkreditierung für die Viennale 2019 (sponsored by ray filmmagazin) und eine CrossingMovie Card (sponsored by Crossing Europe) verlost.

Hotel voucher sponsored by Park Inn by Radisson Linz — First Hotel Partner of Crossing Europe

There will also be a drawing among the participating audience for a hotel voucher (weekend for two Park Inn by Radisson Nürnberg) sponsored by Park Inn by Radisson Linz – First Hotel Partner, a festival accreditation for the Viennale 2019 (sponsored by ray filmmagazin) and a CrossingMovie Card (sponsored by Crossing Europe).

Crossing Europe Social Awareness Award — Best Documentary Film

€ 5,000 powered by gfk — Gesellschaft für Kulturpolitik OÖ

Der Preis wird an einen der Dokumentarfilme aus der Sektion Competition Documentary mit einer Mindestlänge von 60 Minuten vergeben und mit gesellschaftspolitischer/sozialer Relevanz, österreichischer Erstaufführung und Produktionsjahr 2018/19 vorausgesetzt. Der Preis geht an die Regisseurin/den Regisseur des prämierten Filmes.

This award is given out to one of the documentary films from the section Competition Documentary with a minimum length of 60 minutes which has socio-political/social relevance, is an Austrian premiere and was produced in 2018/19. The award goes to the director of the prize-winning film.

Crossing Europe Award — YAAAS! Youth Jury

€ 2,000 powered by Crossing Europe

Die YAAAS! Jugendjury bewertet die sechs Spielfilme der YAAAS! Competition und vergibt den Preis an die Regisseurin/den Regisseur des prämierten Films.

The YAAAS! Youth Jury awards the prize to the director of one of the six YAAAS! Competition titles.

Crossing Europe Award — Local Artist

€ 5,000 powered by Land Oberösterreich / Kultur

Im Wettbewerb sind alle Filme/Videos, die in der Programmsektion Local Artists präsentiert werden. Eine Fachjury vergibt die Preise an die Regisseurin/den Regisseur des prämierten Filmes.

All the films/videos presented in the program section Local Artists participate in the competition. An expert jury awards the prizes to the director of the prize-winning film.

€ 2,000 Voucher powered by THE GRAND POST — Audio & Picture Post Production

15 Crossing Europe Innovative Award — Local Artist

€ 3,500 powered by OÖ Kulturquartier

Der Preis wird von der Jury Competition Local Artist an einen der Wettbewerbsbeiträge dieser Sektion vergeben, der sich durch einen innovativen künstlerischen Ansatz auszeichnet. Der Preis geht an die Regisseurin/den Regisseur des prämierten Filmes.

The Jury Competition Local Artist awards the prize to one competition title for its innovative artistic approach. The award goes to the director of the prize-winning film.

CREATIVE REGION Music Video Award

€ 1,500 powered by CREATIVE REGION Linz & Upper Austria

Der von Crossing Europe und der CREATIVE REGION Linz & Upper Austria ausgelobte CREATIVE REGION MUSIC VIDEO Award wird von der Jury Competition Local Artist vergeben. Zur Auswahl kommen alle Musikvideos, die im Rahmen der Crossing Europe Programmsektion Local Artists 2019 gezeigt werden und deren Regisseurin/Regisseur in Linz bzw. Oberösterreich lebt/arbeitet.

The Jury Competition Local Artist gives out the CREATIVE REGION Music Video Award powered by CREATIVE REGION Linz & Upper Austria and C rossing Europe. The choice is between all the music videos presented in the program section Local Artists 2019 made by a director living/working in Linz or Upper Austria, respectively.

Awards — crossing europe film festival 2019

Juries Competition Fiction

Mahmut Fazıl Coşkun Turkey b. 1973

16 Juries

filmmaker

Mahmut Fazıl Coşkun’s fiction feature debut, Wrong Rosary (2009), won several awards, including International Film Festival Rotterdam’s Tiger Award and the Crossing Europe Award Best Fiction Film in 2009. His second film, Yozgat Blues (2013), premiered in San Sebastián. The Announcement premiered in Venice where it won the Special Jury Prize.

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Jean Perret France/Switzerland b. 1952

festival founder, university professor

Jean Perret is the author of numerous film publications and teaches seminars on semiotics, aesthetics and cinéma du réel. In 1990 he founded the Critics Week at Locarno Filmfestival and from 1995 to 2010 he was the festival director of Visions du Réel in Nyon. From 2010 to 2018 he was the head of the Cinema Department at the Geneva University of Art and Design.

Ana Lungu Romania b. 1978

filmmaker

Born in Bucharest in 1978, Ana Lungu studied psychology and film directing. Her films were selected for film festivals such as Locarno (2010, The Belly of the Whale), International Film Festival Rotterdam (2015, Self-Portrait of a Dutiful Daughter, which won the Crossing Europe Award Best Fiction Film in 2015) and Sarajevo (2018, One and a Half Prince).

Competition Documentary

Ralph Eue Germany b. 1953

festival curator, film publicist, journalist

Ralph Eue studied German, Romance languages and architecture. Since 1980 he has been working as a film publicist and translator. He teaches film history and theory at the German Film and TV Academy, the University of Arts in Berlin and at the University of Vienna. Eue is the head of program selection at DOK Leipzig.

Djamila Grandits Austria b. 1991

curator, cultural manager, festival worker

In 2016 and 2017 Djamila Grandits was the artistic director (with Julia Sternthal) of “this human world film festival” in Vienna. As a member of “CineCollective” she is responsible for “Kaleidoskop – Film und Freiluft am Karlsplatz”. She works at the intersections and on the deconstruction of theoretical concepts, political, artistic and activist forms.

17 Juries — crossing europe film festival 2019

Oksana Sarkisova Hungary b. 1974

festival director, researcher, lecturer

Oksana Sarkisova, born in Moscow, is the director of Verzio International Human Rights Documentary Film Festival in Budapest, researcher at Blinken OSA and head of the Visual Studies Platform at CEU, Budapest. She teaches and publishes on memory politics and documentary film and is the director of the summer program “Fields of Vision” in Budapest in 2019.

Juries Competition Local Artist

Sebastian Markt Germany b. 1979

curator, festival and cinema worker

Born in Linz, Sebastian Markt studied history and philosophy in Vienna and Berlin. He is program coordinator at Berlinale Generation, co-curator at DokÂ filmwoche Berlin, writes as a film critic (e.g. for Perlentaucher, Sissy and Indiekino) and works at several arthouse cinemas in Berlin.

Juries â&#x20AC;&#x201D; crossing europe film festival 2019

Katharina Weinberger-Lootsma Austria curator, cultural manager, b. 1974 lecturer Katharina Weinberger-Lootsma, born in Linz, studied art history in Innsbruck. She is a curator, cultural manager and lecturer. In 2016 she co-curated the Montenegro pavilion at the Venice Biennale of Architecture. Since 2018 she has been the curatorial head head of kulturtankstelle, the coop-lab of the Upper Austrian Culture Quarter and the University of Arts Linz.

Violetta Wakolbinger Austria

media artist, photographer, graphic designer

Violetta Wakolbinger is a media artist, photographer and graphic designer. After studying space and design strategies and time-based media at the University of Arts Linz, her focus has been on architecture photography. Her artistic work includes film and installation. Her films Open Tiles and Layer by Layer were screened at ÂCrossing Europe.

YAAAS! Youth Jury

Helin Bingöl 17 Jahre Zwettl an der Rodl

BORG Bad Leonfelden

Marlene Estermann 16 Jahre Bad Leonfelden

BORG Bad Leonfelden

19 Juries Nefise Gül 16 Jahre Rainbach im Mühlkreis

BORG Bad Leonfelden

Umut Sarikaya 15 Jahre Zwettl an der Rodl

BORG Bad Leonfelden

Jonah Mitter 16 Jahre Gallneukirchen

BORG Bad Leonfelden

— crossing europe ﬁlm festival 2019

Crossing × Danube

CROSSING X

DANUBE

20 Crossing Danube — crossing europe film festival 2019

Bundeskanzleramt Europäische und internationale Kulturpolitik

Von Linz die Donau stromauf- und abwärts streift das diesjährige Programm quer durch alle Sektionen wieder diverse Länder der Donauregion: Deutschland, Österreich (dazu zählen natürlich auch die im Programm vertretenen Filme der Local Artists aus Oberösterreich), Ungarn, Slowakei, Kroatien, Serbien, Bulgarien, Rumänien und – um dem „Crossing“ auch gerecht zu werden – die am Schwarzen Meer gelegenen Länder. Als kleiner Akzent sind diese Filme mit dem „Crossing Danube“-Button versehen, ein Hinweis auf die kulturelle Vielfalt der Länder dieser Region.

www.interreg-danube.eu/ approved-projects/ cultplatform-21

Across all sections, this year’s program crosses every country in the Danube region up- and downstream from Linz: Germany, Austria (including, of course, the selection of local artists from Upper Austria), Hungary, Slovakia, Croatia, Serbia, Bulgaria, Romania, and – to do justice to the “Crossing” – the countries on the Black Sea. All of these films are marked with a “Crossing Danube” button in the catalogue, as a reference to the cultural diversity of the countries in this region.

Der Lauf der Zeit hat den Donauraum als kulturell reiches und historisch vielschichtiges Territorium geprägt. Vieles in seiner Geschichte liegt noch im Verbor- The course of time has shaped the Danube genen oder ist in Vergessenheit geraten. region into a territory rich in culture and Das kulturelle Erbe, materiell oder imma- history. Yet many things in its past remain teriell, ist ein sichtbarer und unsichtbarer hidden or have been forgotten. The culZeuge der Geschichte. Das Interreg-Pro- tural heritage, be it material or immaterial, jekt „Kulturplattform Donauraum“ unter is a visible and invisible witness of its hisder Federführung des Bundeskanzler- tory. Under the leadership of the Federal amts widmet sich dem „Hidden Heritage“, Chancellery, the Interreg project “Dandem verborgenen Kulturerbe im Donau- ube Culture Platform” is devoted to the raum. Historische Orte und Ereignisse “Hidden Heritage” of the Danube Region. werden mit künstlerischen und digitalen Historic places and events are newly interFormaten neu interpretiert und für ein preted in artistic and digital formats and Publikum des 21. Jahrhunderts erschlos- thereby made accessible to twenty-first sen. Ziel ist es, gegen das Vergessen zu century audiences. The goal is to combat arbeiten, ein Bewusstsein für kulturelle forgetting, to raise awareness for cultural Vielfalt zu schaffen und die europäischen diversity, and to expand European culKulturrouten im Donauraum zu erweitern. tural routes in the Danube region.

Matthias Angoulvant, Josephine Aleyt, Melanie Atzlesberger, Birgit Atzmüller, Christa Auderlitzky, Amaury Augé, Manon Barat, Patrick Bartos, Herwig Bartosch, Catherine Ann Berger, Alfred Bergmair, Sylvia Bergmayer, Marion Biet, Magdalena Bielecka, Zdeněk Blaha, Ewa Bojanowska, Anatol Bogendorfer, Wilbirg Brainin-Donnenberg, Sebastian Brameshuber, Tanja Brüggemann, Florian Brüning, Bernd Buder, Brigitta Burger-Utzer, Monika Buttinger, Guillaume Calop, Valentin Carré, Claudine Castay, Salifu Ceesay, José Luis Cienfuegos, Daniela Cölle, Hanna Constant, Philippe Cotte, Gabriele Daghofer, Familie Dangl, Morgane Delay, Christina Demetriou, Aileen Derieg, Virginie Devesa, Thomas Diesenreiter, Robert Diesenreither, Frederik Due Rabenschlag, Anita Dumfahrt, Elodie Dupont, Andreas Dworschak, Elisabeth Eidenberger, Iris Elezi, Gernot Fellinger, Pierre-Emmanuel Finzi, Agnes Fogt, Petra Forstner, Barbara Fränzen, Christian Fressner, Harald Friedl, Stephanie Fuchs, Till Fuhrmeister, Gerhard Funk, Walter Gasperi, Eva Gassenbauer, Gudrun Glatz, Andrea Glawogger, Conny Goldacker, Ilaria Gomarasca, Peter Gottermeier, Aleksandar Govedarica, Waltraud Grausgruber, Grégoire Graesslin, Gregor Gschwendtner, Maëlle Guenegues, Wiltrud Katharina Hackl, Stefan Hahn, Daniela Hainberger, Martin Hainberger, Erich Haider, Eszter Hajdú, Marie-Christine Hartig, Veit Heiduschka, Anke Held, Claudia Helminger, Bettina Henkel, Franka Charlotte Hils, Gerhard Hinterleitner,

Christoph Hofinger, Magnus Hofmüller, Hedwig Hofstadler, Joanna Hogg, Sebastian Höglinger, Renate Holubek, Gerhard Höninger, Alexander Horwath, Ines Hubmaier, Barbara Infanger, Isabel Ivars, Vanja Jambrovic, Wouter Jansen, Manuela Kalina, Dominik Kamalzadeh, Nicole Kandioler, Michael Kavouras, Andreas Kepplinger, Gabriele Kepplinger, Dimitri Kerkinos, Herwig Kerschner, Markus Keuschnigg, Dimitri Kimplaire, Maria Klimitsch, Kathrin Kneißel, Nerina T. Kocjančič, Hans König, Franz Koppelstätter, Jitka Kotrlová, Elisabeth Kotvojs, Barbara Koželj Podlogar, Esther Krausz, Mario Kreindl, Tanja Krainhöfer, Franziska Krenmayr, Rainer Krumhuber, Markus Kuhn, Michaela Landauer, Rainer Landerl, Sabrina Lang, Martina Lattacher, Anne Laurent-Delage, Monica Lazurean-Gorgan, Carmen Leroi, Pierre Jean Levassor, Christina Liapi, Théo Lionel, Michael Loebenstein, Florence Lodo, Martin Loishandl, Georgia Mouton Lorenzo, Ekkehard Lughofer, Andreas Mayrhofer, Martina Maier, Sebastian Markt, Lukas Maurer, Steffen Maurer, Manfred Maurer, Kerstin Mayrhofer, Jurij Meden, Johanna Meyer, Clémence Michalon, Robert Mihlan, Susanna Millet Gómez, Helga Mitmasser, Monique Muhayimana, Claus Muhr, Erik Mund, Manuela Mödlhammer, Werner Müller, Peter Lataster, Familie Nell, Valeska Neu, Gerhard Niederleuthner, Clemens Nirnberger, Herbert Obermayr, Lucía Olaciregui, Lisette Olsthoorn, Michael Omasta, Lena Ortmayr, Martha Otte, Elisabeth Pacher, Karl Pangerl, Alexandra Panican, Werner Pfeffer, Wiktoria Pelzer, Pei-Hoa Pessl, Moritz Peters, Wilhelm Pilsner, Matthias Pleimer, Jürgen Pohl, Andrea Pollach, Stefan Povysil, Antonia Prochaska,

Daniela Praher, Anca Puiu, Harald Pühringer, Pascale Ramonda, Andrea Ratzenböck, Philipp Maurice Raube, José Luis Rebordinos, Karin Rechberger, Isabella Reicher, Margit ReischlNoé, Nicole Reitinger, Louise Rinaldi, Edgar Roche, Jaime Rosales, Ina Rossow, Dennis Ruh, Marketa Santrochova, Stefanie Satovich, Andrea Schabernack, Martin Schachinger, Roman Schanner, Karim Sattar, Peter Schatzl, Waltraud Schermaul, Peter Schernhuber, Magdalena Schlegl, Peter Schmid, Michael Schmidt, Maren Schneider-Wala, Gernot Schödl, Petra Schönberger, Barbara Schrödl, Johannes Schubert, Elfie Semotan, Elhum Shakerifar, Magadalena Sick-Leitner, Josef Sigl, Martina Sittenthaler, Claudia Slanar, Joachim Smetschka, Adnan Softić, Ada Solomon, Elfi Sonnberger, Ian Soroka, Fatmir Spahiu, Sergi Steegmann, Georg Steiner, Michael Stejskal, Elisabeth Stephan, Julius Stieber, Isabel Stief, Martin Stöbich, Sabine Stöcklmayer, Sarah Julia Stroß, Andrea Sturmbauer, Tanja Stürzl, Michael Stütz, Angela Summereder, Andrei Tănăsescu, Carola Taugwalder, Roland Teichmann, Verena Teissl, Norbert Trawöger, Dorota Trepczyk, Marco Urizzi, Marco Vanek, Kim Vanvolsom, Zita Waldhauser, Michaela Wallner, Julia Wanka, Gerhard Wasserbauer, Katharina Weinberger-Lootsma, Alexandra Westmeier, Pia Wiesauer, Walter Winetzhammer, Mounia Wissinger, Ursula Witzany, Nicole Woehrle, Constantin Wulff, Kate Wyhowska, Neil Young, Iris Zappe-Heller, Manfred Zaunbauer, Susanne Zellinger, Andre Zogholy, Sonja Ziegelwagner, Günther Ziehlinger, Marco Zinz und an alle MitarbeiterInnen von Moviemento und City-Kino, OÖ Kulturquartier, KAPU, AEC sowie der FestivalGastrobetriebe.

DANK / THANKS

Unser besonderer Dank gilt Martin Sturm (Künstlerische Leitung OÖ Kulturquartier), Wilhelm Schwind (Obmann Kinoverein Moviemento) und Wolfgang Steininger (Geschäftsführer Moviemento und City-Kino).

21 Thanks — crossing europe film festival 2019

FESTIVAL INFORMATION

Tickets Advance Ticket Sales April 11—24, daily 17–22:00 at Moviemento. (Reduced prices valid for tickets paid and claimed by April 24 only.) Ticket Sales April 25—30, daily 10—23:00 at Moviemento and City-Kino. Reservation April 11—24, daily 17—22:00 at Moviemento and by phone. April 25—30, daily 10—23:00 at Moviemento, City-Kino and by phone.

22 Festival Info — crossing europe film festival 2019

Online starting April 11: crossingeurope.at Reserved tickets must be picked up one hour before the start of the screening at the latest. For fully booked or sold-out screenings there is a waiting list. Remaining tickets will be sold lastminute at the box office.

Info & Ticket Hotline Ticket Prices (in €) Single Ticket / advance sale reduced* / advance sale MovieMembers and AK Members Block of 6 Tickets / reduced* Festival Pass / reduced* Youth Festival Pass CrossingMovie Card

9.50 / 8.50 8.50 / 7.50 7 49 / 43 65 / 55 35 75

Free Seating Free seating for all shows. Supporting Events Free admission to all events (Nightline, presentations, discussions, awards ceremony). Nightline OK Deck, OK Offenes Kulturhaus 4th floor April 25—30, 22–4:00 Priority Nightline entry for accreditation badge and festival pass holders! Der Standard treats you to one bottle of Obertrumer Bio Radler. Happy Hour: Between 22–23:00 you can redeem your cinema ticket of the day at the Nightline bar, OK Deck, 4th floor. Valid April 25–30. While stocks last. * Reduced Prices upon presentation of ID or membership card for: students, military and alternative service to society, apprentices, young persons till 19, senior citizens, IKEA Family Card, Kulturcard 365, Arbeiterkammer service card, Stadtbibliothek Linz, MovieMember, OÖNcard, Der Standard subscriber discount card, employees of Linz AG, Ö1 Club card, OÖ. Presseclub, OK Friends, 4you Card, EYCA – European Youth Card, Uni Credit Bank Austria clients, forumcard 2019, Hunger auf Kunst und Kultur. “Hunger auf Kunst & Kultur”: initiated in 2003 by Schauspielhaus Vienna and the Conference on Poverty (1 free ticket per person / subject to availability).

+43 (0) 680 / 506 1 506 April 11—24: daily 17—22:00 April 25—30: daily 10—23:00

crossingeurope.at Festival program, news, press, cinemas, locations, detailed information and much more. For film guests present, see crossingeurope.at/guests2019

Ars Electronica Center — Deep Space 8K Ars-ElectronicaStraße 1, 4040 Linz

RUDOLFSTRASSE

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City-Kino (1—2) Café Bar Stern Graben 30, 4020 Linz

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Festival Center at OÖ Kulturquartier OK Platz 1, 4020 Linz

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Guest / Press Office, Info Desk April 25—30, daily from 10:00 Ursulinenhof (ground floor) +43 (0) 732 785 700

DST RAS SE

Ursulinensaal, YAAAS! Lounge, OK Offenes Kulturhaus, OK Deck, Moviemento (1—3), Solaris Bar / Café, Bar Restaurant Gelbes Krokodil, kulturtankstelle Kulturzentrum KAPU Kapuzinerstraße 36, 4020 Linz Evening box office at the venue: April 26—30, daily from 19:30 LINZ M A I N S TAT I O N → TRAM LINES 1, 2, 3, 4

solarCity ELIA Pegasusweg 1–3, 4030 Linz

23 Festival Info — crossing europe film festival 2019

SUPPORTING PROGRAM

THURSDAY 18:00 Festival Opening starting 20:00 Opening Films

Hosts: Christine Dollhofer, Neil Young — “Systemsprenger” (“System Crasher”, DE 2019), see page 75 — “Petra” (ES/FR/DK 2018), see page 108 — “Bota” (AL/IT/XK 2014), see page 119 — “Danmarks sønner” (“Sons of Denmark”, DK 2019), see page 130 — “Elfie Semotan, Photographer” (AT 2019), see page 147

FRIDAY 16:00 Masterclass Hosts: Gorka Cornejo, Maya McKechneay, see page 103 Jaime Rosales (Tribute)

SATURDAY 13:00 Creative Europe Get-Together 16:00 S potlight Talk Iris Elezi 21:00 Trouble Features

Meet the Film Directors / Guests / Curators Host: Christine Dollhofer In Cooperation with Austrian Film Museum Host: Jurij Meden, see page 114 Screenings followed by discussion “Lissa ammetsajjel” (“Still Recording”, SY/LB/FR/DE/QA 2018) + a counterpart surprise film Hosts: Diskollektiv, see page 172

SUNDAY

24 Supporting Program — crossing europe film festival 2019

14:00 dok.at, kontroversiell! Host: Daniela Praher (dok.at) Talk: Filming Politicians with directors Ingeborg Jansen (“Sylvana, Demon or Diva”, NL 2018) and Eszter Hajdú (“Hungary 2018”, HU/PT 2018), see page 176 14:00 D eep Space Screening of selected Local Artists experimental shorts Experimental see page 169

MONDAY 19:30 Festival Awards Ceremony

Host: Karin Schmid

TUESDAY 14—16:00 P resentation YAAAS! Video Project 19:30 From the Day-to-Day to the Particular — Films by Edith Stauber 19:45 Closing Film

see page 50 Short film program, see page 142 “Gospod postoi, imeto i’ e Petrunija” (“God Exists, Her Name Is Petrunya”, MK/BE/SI/HR/FR 2019), see page 66, with director Teona Strugar Mitevska

WEDNESDAY

DAILY

Best-Of Crossing Europe and Award Winning Films

Award winning films and highlights

Exhibitions

— OK | Elfie Semotan — STANDING, WAITING (2007/2019), see page 166 — urbane StreuObstWiese — Installation and films, see page 168

OK Deck

��/�� 23:00 Live act: Catnapp (AR/DE) following DJ: Anna Leiser (AT)

Catnapp

NIGHTLINE Doors open 22:00 OK Deck

Ursulinensaal

23:00 Live act: Kurt Razelli (AT) following DJs: Crackstreet Girls (AT)

��/�� 23:00 Live act: Ankathie Koi (DE/AT) following DJ: Flip (AT) Anna Leiser

OK Deck Movie 3

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��/�� 22:00 DJs: Directors’ Disko (EU)

OK Deck

Ars Electronica Center, Deep Space 8K Kurt Razelli

Ursulinensaal

��/�� 22:00 DJs: turn|table|tennis � Crossing Europe (AT)

��/�� 23:00 Live act: Ebow (DE) following DJs: sound:frame girlstars (AT)

OK Deck ELIA, solarCity

City 1 + City 2

Ankathie Koi

Movie 1

OK Marktplatz, 1st floor

Ebow

kulturtankstelle

Supporting Program — crossing europe ﬁlm festival 2019

FESTIVAL TEAM

Festivalleitung, Programm Christine Dollhofer KuratorInnen Robert Hinterleitner (YAAAS! Jugendschiene), Markus Keuschnigg (Nachtsicht), Wiktoria Pelzer (Cinema Next Europe, Local Artists Shorts), Katharina Riedler (Arbeitswelten), Lotte Schreiber (Architektur und Gesellschaft), Dominik Tschütscher (Cinema Next Europe) Program Consultants Sabine Gebetsroither, Dominik Kamalzadeh, Jurij Meden, Sven von Reden, Isabella Reicher, Katharina Riedler Geschäftsführung Christine Dollhofer, Wolfgang Steininger

26 Festival Info — crossing europe film festival 2019

Programm- und Kopienkoordination Katharina Riedler Mitarbeit: Andrea Kienast Pressebüro Sabine Gebetsroither Mitarbeit: Andrea Kienast Gästebüro Michael Zeindlinger, Zorah Zellinger Mitarbeit, Jurybetreuung: Julia Santner Sponsoring Waltraud Steinlechner Produktion, Eventmanagement Claudia Dworschak, Lisa Brandstötter Mitarbeit: Johannes Fiebich, fisch, Adrian Kaczmarek, Mareen Primus, Matthias Tremmel, Madeleine Zierlinger

Marketing, Kooperationen Gerald Harringer, Melanie de Jong Mitarbeit: Petrunjela Sardi Grafische Umsetzung: Alexander Kremmers Web-Management Melanie de Jong, Gerald Harringer, Sabine Gebetsroither Social Media: Gerda Haunschmid, Sabine Gebetsroither Web-Design & Programmierung seam media group

YAAAS! Workshopbetreuung Monika Buttinger, Manuel Diepold, Julia Frisch, Simone Hart, Wolfgang Hoffelner, Pia Jaros, Christoph Kanter, Jürgen Kloihofer, Christine Ludwig, Magdalena Neuburger, David Panhofer, Bernhard Pusch, Birgit Reisenberger, Karin Schmid, Anna Strasser, Felix Sturmberger, Lisa Truttmann, Silvia Wimmer Protokoll Samira Saad

Corporate Design / Sujet Peter Schmid (d.signwerk) Foto: Gerhard Wasserbauer

Interne Kommunikation Gerda Haunschmid Grafik: Alexander Kremmers

Katalog Redaktion: Magdalena Miedl Mitarbeit und Lektorat: Thomas Taborsky Layout und grafisches Konzept: Alexander Kremmers Übersetzungen: Christopher Hütmannsberger

Controlling / Finanzen Andrea Strasser

FotografInnen-Team subtext.at

EDV-Betreuung Jörg Lehner

YAAAS! Jugendschiene Robert Hinterleitner, Sarah Oos, Sabine Gebetsroither Mitarbeit: Amanda Burzić, Michaela Schuhmann, Magdalena Simmer

Datenbank Markus Krottenhammer / JART

YAAAS! Young Programmers Nora Einwaller, Anna Haderer, Sophie Rieger, Vanessa Wagenhammer, Milan Wegscheider

Digital Operators / Kopienkontrolle Luzi Katamay, Christian Dietl, Leo Wegscheider, Philip-Marcel Michael Kinotechnik: Leo Wegscheider, Mike Mayerhofer

Buchhaltung / Lohnverrechnung Gattringer, Schiller & Partner; Karin Rechberger, Michaela Wallner, Helga Mitmasser

Fahrerinnen Noa Fischnaller, Manon Chauveau, Ophelia Reuter

Vorführung Andreas Eli, Michael Etzlstorfer, Philip-Marcel Michael, Reinhard Pachinger, Mario Pargfrieder, Paul Ploechl, Dorothea Schuster, Edith Stauber, Leo Wegscheider, Markus Zöchling

Saalregie Tina Amerstorfer, Romana Bund, Sigrid Gruber, Laura Nöbauer, Anna Spanlang, Tancredi Volpert Ticketing Manfred Peter Müller Ticketverkauf Leonie Brunner, Dominik Harrer, Eva-Kristina Heininger, Susi Heuschober, Dagmar Hölzl, Sigrid Hölzl, Christoph Kaltenböck, Judith Maule, Lisa Patscheider, Paul Ploechl, Marlies Stöger, Klaus Wolf Hotline: Sarah Hoffmann, Chiara Matschnig

Gastronomie Nightline Hermann Grabner, Hedi Hofstadler Mitarbeit: Jahn Brüggemann, Joanna Eder, Sabrina Gastinger, Anna-Lina Maria Glanzer, Christopher Haigermoser, Malina Mertlitsch, Larius Phoulivong, Klara Pötscher, Claudia Sommer, Otmar Schaumberger, Simone Schaumberger, Christian Teufel, Miriam Walcherberger-Kössler, Tamara Zeller Catering Wanderkoch Christoph Hofinger, tamu sana

Auswertung Audience Award Peter Müller

Reinigung Nimet Dalkilic, Elifhan Tuerk

Helping Hands Lena Bammer, Dominik Baumann, Evgeniia Boiko, Michael Burgstaller, Ivo Cerwenka, Lisa-Maria Feigl, Leo Fischnaller, Annamarie Gassler, Verena Groß, Philipp Kaiser, Felix Kristan, Roland Laimer, Jana Mitterbuchner, Nikolina Škulic, Larius Phoulivong, Marie Scholze, Barbara Walter

Crossing Europe Trailer 2019 Leni Gruber

Nightline OK Deck Booking / Betreuung: Samira Saad, Christian Haselmayr Licht- und Tontechnik: Joschi Viteka (Viteka & Lorenz) Gobo-Projektionen: Thomas Leitner (Goboworks)

In Kooperation mit: Ars Electronica Center Herwig Kerschner, Magdalena Sick-Leitner afo architekturforum oberösterreich Franz Koppelstätter AK Oberösterreich / Kultur Elfi Sonnberger Blickle Kino – Belvedere 21 Claudia Slanar Cinema Next Dominik Tschütscher, Katja Jäger CREATIVE REGION Linz & Upper Austria Patrick Bartos Diagonale – Festival des österreichischen Films Sebastian Höglinger, Peter Schernhuber Diskollektiv Andrey Arnold, Valerie Dirk, Iris Fraueneder, Martin Thomson, Ulrike Wirth dok.at Daniela Praher, Sebastian Brameshuber dorf tv. Gabriele Kepplinger, Andrea Schabernack

East Silver Selection Zdeněk Blaha Eye on Films Marco Urizzi FC Gloria Wilbirg Brainin-Donnenberg, Viktoria Schmid flimmit.com Isabella Stief gfk Gesellschaft für Kulturpolitik OÖ Wiltrud Katharina Hackl HOSI Linz Gerhard Niederleuthner KAPU Linz Günther Ziehlinger, Domenik Riedl Kepler Salon Norbert Trawöger, Martina Helml KulturKontakt Austria Roman Schanner kulturtankstelle Katharina Weinberger-Lootsma Kunstuniversitat Linz / Zeitbasierte und Interaktive Medien Gerhard Funk, Joachim Smetschka Medien Kultur Haus Wels Programmkino Johanna Meyer OÖ Kulturquartier Direktion: Gabriele Daghofer, Martin Sturm Projektleitung: Maria Falkinger, Werner Friesenecker Kuratorisches Team: Genoveva Rückert, Maria Venzl Produktion und Technik: Jarno Bachheimer, Rainer Jessl, David Kraxberger, Andreas Kurz, Josef Pfarrhofer, Andreas Steindl, Aron Rynda, Natascha Woldrich Veranstaltungsservice: Michael Dalpiaz Österreichisches Filmmuseum Michael Loebenstein, Jurij Meden /slash einhalb Markus Keuschnigg Spielboden Dornbirn Walter Gasperi solarCity / ELIA Martina Maier, Martin Schachinger, Sonja Zachhuber Votiv Kino Michael Stejskal, Sarah Stross

27 Festival Info — crossing europe film festival 2019

Competition Fiction Pages 27—37

28 — crossing europe film festival 2019

Competition Documentary Pages 38—48

Bait

Mark Jenkin Great Britain 2019 black and white, 87 min English Austrian Premiere

Die Idylle des Fischerdorfs in Cornwall ist trügerisch. Wo man früher von der Fischerei leben konnte, fallen nun Touristen ein und verdrängen die Einheimischen. Das Verhältnis der Brüder Steven und Martin ist angespannt: Martin ist Fischer ohne Boot, denn damit veranstaltet Steven lukrative Ausflugsfahrten. Das Familiencottage haben sie verkauft, mit den neuen Eigentümern gibt es Streit um einen küstennahen Parkplatz, die Lage eskaliert. Nahaufnahmen von Fischen, Netzen, Hummern und Knoten erinnern an Eisensteins Montage der Attraktionen, die Darstellung von Klassenverhältnissen an die sozialrealistische Tradition im britischen Kino. (Berlinale)

A drama on what might be the rather hackneyed theme of tourists ruining Cornwall becomes a bizarre expressionist melodrama. It has the huge closeups and crashingly emphatic narrative grammar of early cinema and, like home movies, it has non-diegetic sound, with dialogue overdubs and ambient noise which could well be taken from a sound effects LP. But it’s very effective, and the monochrome cinematography desentimentalises the Cornish landscape, turning it into an anti-picture postcard. The weirdness of Bait can’t be overestimated, like FW M urnau directing an episode of EastEnders. (Peter Bradshaw, The Guardian)

29 Competition Fiction — crossing europe film festival 2019

Biography Mark Jenkin was born in Cornwall, Great Britain, in 1976. Since 1997, he has made more than 50 short films. In 2012, he wrote the “Silent Landscape Dancing Grain 13 Film Manifesto”, which comprises 13 rules that he follows when making his own films.

Films — Selection — B ait (2019) — Tomato (2017, short) — A Forest (2016, doc) — The Road to Zennor (2016, short) — The Midnight Drives (2007)

Screenplay Mark Jenkin Cinematography Mark Jenkin Editing Mark Jenkin Music Mark Jenkin Cast Edward Rowe, Simon Sheperd, Mary Woodvine, Giles King, Isaac Woodvine, Chloe Endean, Jowan Jacobs, Georgia Ellery, Stacey Guthrie, Tristan Sturrock,

Janet Thirlaway, Morgan Val Baker, Martin Ellis Producers Kate Byers, Linn Waite Production Early Day Films World Sales The Festival Agency World Premiere Berlinale 2019

Fuga

Agnieszka Smoczyńska Poland / Czech Republic / Sweden 2018

Fugue

color, 103 min Polish Austrian Premiere

Alicja hat ihr Gedächtnis verloren und keinerlei Erinnerung daran, wie es passiert ist. Trotzdem ist es ihr gelungen, innerhalb von zwei Jahren ein neues unabhängiges Dasein aufzubauen, ohne das Bedürfnis, sich an ihre Vergangenheit zu erinnern. Als ihre Familie sie wiederfindet, soll sie jedoch wieder in ihre alten Rollen hineinpassen, die der Mutter, der Tochter, der Ehefrau, obwohl ihr diese Menschen völlig fremd sind. Auch ihr Sohn und ihr Ehemann erkennen sie nicht wieder. Was bleibt wenn du vergisst, dass du jemanden einmal geliebt hast? Ist es notwendig, sich an das Gefühl der Liebe zu erinnern, um Glück zu empfinden?

Alicja (Gabriela Muskała) is diagnosed with dissociative fugue, a condition that has made her forget her identity. When her family finds her, she learns that she has a husband and a five-year-old son. Initially, she wants to abandon them as soon as possible, but she becomes intrigued by the life she left behind. Fugue plays out a bit like a horror flick, but the subtle influences are combined into a coherent whole. Smoczyńska and Muskała, who also wrote the script, have moulded an intriguing character, a metaphor for many women in modern-day Poland, who are trying to free themselves from their traditional social roles. (Ola Salwa, Cineuropa)

30 Competition Fiction — crossing europe film festival 2019

Biography Agnieszka Smoczyńska is a graduate of the Krzysztof Kieślowski Film School in Katowice, Poland, and has also participated in master classes at the Wajda Film School. In 2015 she debuted with her feature film “The Lure” (CE’16), which experiments with musical and horror and received the Special Jury Prize at the Sundance Film Festival. In 2017 she received the Global Filmmaking Award at Sundance.

Films — Selection — Fuga (Fugue, 2018) — C órki Dancingu (The Lure, 2015, CE’16) — Viva Maria! (2010, short) — Aria Diva (2007, short)

Screenplay Gabriela Muskała Cinematography Jakub Kijowski Editing Jarosław Kamiński Sound Maria Chilarecka, Niklas Skarp Music Filip Míšek Cast Gabriela Muskała, Łukasz Simlat, Małgorzata Buczkowska, Zbigniew Waleryś, Halina Rasiakówna, Piotr Skiba

Producers Agnieszka Kurzydło, Karla Stojáková, Jonas Kellagher Production MD4, Axman Production, Common Ground Pictures, Odra Film, Mazowiecki i Warszawski Fundusz Filmowy, Magic Lab, Film i Väst World Sales Alpha Violet World Premiere Cannes Film Festival 2018

Irina

Nadejda Koseva Bulgaria 2018 color, 96 min Bulgarian Austrian Premiere

Am selben Tag, an dem Irina ihren Job als Kellnerin verliert, entdeckt sie, dass ihr Ehemann Shaso sie mit ihrer Schwester betrügt. Unmittelbar darauf hat Shaso einen schweren Unfall, den er zwar überlebt, doch seine Beine sind nicht mehr zu gebrauchen. Um ihre Familie weiter versorgen zu können, muss Irina also schnellstens ein neues Einkommen finden. Auf eine Onlineanzeige hin entscheidet sie sich für eine scheinbar einfache Lösung: Sie wird Leihmutter. Tatsächlich ist dieser Weg aber unglaublich schwierig. Wie soll Irina ertragen, dass in ihrer Gebärmutter ein Leben heranwächst, von dem sie sich für immer trennen wird?

Nadejda Koseva’s debut drama echoes the work of her compatriot Kristina Grozeva (The Lesson, shown at CE’15). Carried by newcomer Martina Apostolova in the title role, Koseva portrays a woman’s struggle with men and society in general: When she loses her job and her husband has an accident, she tries to earn money as a surrogate mother. Always ready to challenge inequality, Irina is full of passion and drive – but she must also discover what it means to love and to forgive. Koseva directs with great verve and confidence in this debut, building on the experience gleaned from her short films. (André Simonoviescz, Filmuforia)

31 Competition Fiction — crossing europe film festival 2019

CROSSING X

DANUBE

Biography Nadejda Koseva studied at NATFA, Sofia. Her debut short “The Ritual”, part of the omnibus film “Lost and Found” (CE’05), had its world premiere at Berlinale 2005. Her short “Omelette” received a Special Mention at Sundance 2009, “Take Two” got a Special Mention at Sarajevo Film Festival 2011. Koseva worked as a producer on Svetla Tsotsorkova’s feature “Thirst” (CE’16). “Irina” is her feature debut.

Films — Selection — I rina (2018) — Vtori dubal (Take Two, 2011, short) — Omlet (Omelette, 2009, short) — The Ritual (2005, short, part of “Lost and Found”, CE’05) — S adbata na Veronika (Veronika’s Destiny, 2002, doc short)

Screenplay Svetoslav Ovcharov, Bojan Vuletic, Nadejda Koseva Cinematography Kiril Prodanov Editing Nina Altaparmakova Sound Momchil Bojkov Music Petar Dundakov

Cast Martina Apostolova, Irini Jambonas, Hristo Ushev, Kasiel Noah Asher, Alexander Kossev, Krassimir Dokov Producer Stefan Kitanov Production Art Fest World Sales Alpha Violet World Premiere Warsaw Film Festival 2018

Light as Feathers

Rosanne Pel Netherlands 2018 color, 85 min Polish Austrian Premiere

Light as Feathers spielt in einer bäuerlichen Gegend in Polen, und handelt vom heranwachsenden Eryk, der mit seiner Mutter und seiner Großmutter, beides dominante Frauen, unter einem Dach lebt. Eryk beginnt sich für seine zwei Jahre jüngere Nachbarin Klaudia zu interessieren und geht mit ihr abwechselnd zärtlich und brutal um, weil er die Grenze zwischen Zuneigung und Missbrauch nicht zu ziehen gelernt hat. Die Geschichte ist zwar fiktional, aber alle Laiendarsteller spielen Versionen von sich selbst. Viele Szenen sind tatsächlich so passiert, die Wirklichkeit hat dem Film einige unerwartete Momente beschert. (Rosanne Pel)

Eryk lives with his mother and grandmother in a Polish village. He’s a big, handsome boy, likeable and naïve. His mother Ewa barely seems his elder; in fact, the two are sometimes mistaken for lovers and they share an alarming codependency. Yet Eryk is secretly trysting with his neighbour Klaudia, whom he treats with both tenderness and brutality, as though he doesn’t know the difference. Shot over several years, Rosanne Pel’s feature debut Light as Feathers captures the confusion of those dizzying transitional years into adulthood with unusual sensitivity and startling acuteness. (Michèle Maheux, Toronto International Film Festival)

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Biography Rosanne Pel, born in the Netherlands in 1987, received her master’s degree at the Netherlands Film Academy. She directed the award-winning short films “Uit Zicht,” “Newroz,” and “Heraut”. With the human condition of Hannah Arendt as the foundation of her research, she works on vengeance, punishment and forgiveness. “Light as Feathers” is her feature film debut.

Films — Selection — Light as Feathers (2018) — Heraut (2011, short) — Liquid Sun (2011, short) — Newroz (2010, short) — Uit Zicht (2010, short) — Terug (2009, short)

Screenplay Rosanne Pel Cinematography Aafke Beernink Editing Xander Nijsten Sound Leleane Lindenaar, Jaap Sijben Cast Eryk Walny, Ewa Makuła, Klaudia Przybylska Producer Floor Onrust Production Family Affair Films

World Sales Wide World Premiere Toronto International Film Festival 2018

Das melancholische Mädchen Aren’t You Happy?

Auf der Suche nach einem Schlafplatz streift das melancholische Mädchen durch die Großstadt. Sie begegnet jungen Müttern, die Mutterschaft als Erweckungserlebnis feiern, ﬁndet Unterschlupf bei einem abstinenten Existenzialisten, wartet in einer Drag Bar „auf das Ende des Kapitalismus“. Ihr Versuch, ein Buch zu schreiben, scheitert am ersten Satz des zweiten Kapitels. Statt sich um Anpassung zu bemühen, fängt das Mädchen an, ihre Depression als Politikum zu betrachten … Eine Forschungsreise durch unsere postmoderne Gesellschaft zwischen Prekarisierung und Self Marketing, serieller Monogamie, Neo-Spiritualität und Glückszwang. (Filmfestival Max Ophüls Preis)

Susanne Heinrich Germany 2019 color, 80 min German Austrian Premiere

Melancholy girls can be typified as follows: they roam around, talk, have sex and nothing else happens. Yet there's enough to see in the 14 episodes that make up this post-modern comedy. The episodes are as theatrical as they are colorful: from a ride on a unicorn through a neon-lit industrial area to aerobics with babies; nothing is too crazy in Susanne Heinrich’s fairy-tale, playful and absurdist world. However, behind the façade, there seems to be a void. The girl feels like a tourist in her own life. And in the conversations with her bed partners, she experiences no bonding, only an empty echo of herself. (International Film Festival Rotterdam)

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Biography German filmmaker Susanne Heinrich wrote four books between the ages of 19 and 25. She was nominated for the Ingeborg Bachmann Prize, received fellowships at Villa Aurora L.A. and Casa Baldi Olevano Romano, and she sings in several bands. She studies at the German Film and Television Academy in Berlin (dffb). “Aren’t You Happy?” is her first feature film and won the Film Festival Max Ophüls Preis 2019.

Films — Selection — Das melancholische Mädchen (Aren’t You Happy?, 2019)

Screenplay Susanne Heinrich Cinematography Agnesh Pakozdi Editing Susanne Heinrich, Benjamin Mirguet Sound Silvio Nauman, Wiebke Köplin, Niklas Kammertöns Music Moritz Sembritzki, Mathias Bloech

Cast Marie Rathscheck, Nicolo Pasetti, Monika Wiedemer, Yann Grouhel, Nicolai Borger, Pero Radicic Producers Jana Kreissl, Philippe Bober Production Deutsche Film- und Fernsehakademie Berlin, Essential Filmproduktion World Sales Coproduction Office World Premiere Filmfestival Max Ophüls Preis 2019

Monștri.

Marius Olteanu Romania 2019

Monsters.

color, 116 min Romanian Austrian Premiere

Dana kommt nach Bukarest zurück und beschließt, nicht nach Hause zu fahren. Sie bezahlt den Taxifahrer für die ganze Nacht. Zur selben Zeit geht Andrei zum Sport und hat danach Sex mit einem Mann. Am nächsten Morgen treffen sich Dana und Andrei im Ehebett und verbringen den Tag zusammen. Es könnte ihr letzter gemeinsamer sein. Eine Beziehungsgeschichte in drei Kapiteln und 24 Stunden, keine psychologische Annäherung, vielmehr das Einfangen von Stimmungen: Was ist geschehen? Weshalb können die beiden trotz der Nähe und Zärtlichkeit, die sie füreinander empfinden, einander keinen Halt mehr geben? (Berlinale)

“The trick is to keep breathing,” says Dana as she takes a drag off the first cigarette she’s had in years. It feels somewhat inevitable, as they are constantly offered to her by the Bucharest taxi driver whom she has engaged for the whole night. Smoking is one of the things you do on a stakeout, and how else would you describe hanging out outside your own apartment building, looking up at its darkened windows? Marius Olteanu’s Monsters. is a remarkable debut – wise, compassionate, surprising – about a couple staking out their own slowly imploding marriage like it’s a partially dismantled apartment with no one home. (Jessica Kiang, Variety)

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Biography Marius Olteanu was born in Bucharest in 1979. He graduated from the Film Directing Department of the National University of Theater and Film “I.L. Caragiale”, Romania. He received an MA in film directing from the National Film and Television School, United Kingdom. Marius Olteanu is also a published photographer. Following four short films, “Monsters.” is Olteanu’s first feature-length film.

Films — Selection — Monștri. (Monsters., 2019) — No Man’s Land (2017, short) — Tie (2015, short) — Why Don’t You Dance? (2008, short) — Sunday Afternoon (2007, short)

Screenplay Marius Olteanu Cinematography Luchian Ciobanu Editing Ioachim Stroe Sound Mihnea Bogos Cast Judith State, Cristian Popa, Alexandru Potocean, Șerban Pavlu, Dorina Lazăr, Gabriel Răuţă, Alina Berzunţeanu, Alina Tarbă, Rolando Matsangos, Rodica Lazăr

Producers Claudiu Mitcu, Robert Fiţa, Ioachim Stroe, Marius Olteanu Production Parada Film, Wearebasca World Sales Alpha Violet World Premiere Berlinale 2019

Oray

Mehmet Akif Büyükatalay Germany 2019 color, 100 min German, Turkish, Romani Austrian Premiere

Der junge Muslim Oray schleudert seiner Ehefrau Burcu im Streit die Scheidungsformel „talaq“, „Verstoßung", entgegen. Nach islamischem Recht folgt darauf eine dreimonatige Trennung  –  oder sogar die Scheidung? Oray versucht, die Dinge für sich zu klären, geht nach Köln, und engagiert sich in einer Moschee; er ist charismatisch und zieht Neulinge an, aber er möchte auch zurück zu Burcu. Mehmet Akif Büyükatalay gelingt die komplexe Darstellung eines Milieus. Oray bleibt unvorhersehbar – möglicherweise auch ein Indiz dafür, welch Unbekannte die türkisch-muslimische Welt im deutschen Spielfilm noch immer ist. (Carolin Weidner, Der Spiegel)

In an argument with his wife Burcu, Oray pronounces the Islamic word for separation, “talaq”. Oray must now part from Burcu for three months, and he uses the break to make a fresh start in Cologne. Here, he finds a job and seeks out a new Muslim religious community, led by the young Imam Bilal. When Burcu pays her husband a surprise visit, they realise they still love each other. Oray asks Bilal for advice, but is told: pronouncing “talaq” does not mean a break, but a divorce. Director M ehmet Akif Büyükatalay employs a quasi-documentary style to tell the story of a man caught between his belief in love and his love for his faith. (Berlinale)

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Biography Born in Bad Hersfeld, Germany, in 1987, Mehmet Akif Büyükatalay grew up in the German city of Hagen. He studied at the Academy of Media Arts Cologne with a focus on film and literature and is a fellow of the German Academic Scholarship Foundation. He currently lives and works in Cologne. For “Oray” he received the First Feature Award at Berlinale 2019.

Films — Selection — Oray (2018) — D er Metzger (2016, short) — 31 Szenen einer Jugend (2014, short) — Vor dem Tor des Ijtihad (2013, short) — Ömer, the Lord (2012, doc short) — Wie ich lernte Skifahren zu hassen (2001, short)

Screenplay Mehmet Akif Büyükatalay Cinematography Christian Kochmann Editing Denys Darahan Sound Armin Badde Cast Zejhun Demirov, Deniz Orta, Cem Göktaş, Faris Yüzbaşıoğlu, Mikael Bajrami, Fırat Barıs Ar, Kais Setti, Ferhat Keskin, Şahin Eryılmaz, Ramon Machtolf

Producers Bastian Klügel, Claus Reichel, Mehmet Akif Büyükatalay Production filmfaust Filmproduktion, Academy of Media Arts Cologne, ZDF – Das kleine Fernsehspiel World Sales Pluto Film World Premiere Berlinale 2019

Saf

Ali Vatansever Turkey / Germany / Romania 2018 color, 102 min Turkish, Arabic Austrian Premiere

Kamil ist erst 28 Jahre alt, aber seine wachsenden Sorgen lassen ihn viel älter wirken. Anfangs kann er sich nicht durchringen, auf einer der vielen Hochhausbaustellen zu arbeiten, sind diese Bauten doch dafür verantwortlich, dass die alteingesessenen Anwohner aus seinem Istanbuler Herkunftsbezirk Fikirtepe vertrieben werden. Schließlich siegt aber die finanzielle Verzweiflung über seine Ideale: Kamil nimmt heimlich einen Job als Bulldozerfahrer an, für den gleichen schwarz ausbezahlten, miesen Lohn, den zuvor ein syrischer Flüchtling bekommen hatte – sehr zum gewalttätigen Unmut seiner türkischen Kollegen. (Kerri Craddock, Toronto International Film Festival)

The Fikirtepe district of Istanbul. Urban transformation is sweeping away the poor communities, and Syrian refugees take shelter in deserted buildings. Kamil and his wife Remziye risk losing their home. Unemployed for a long time, Kamil has no choice but to secretly accept a job on a construction site. Not only is he taking the job from a Syrian refugee, he's also working for the company that's destroying the area next door. Oppression and anxiety in his neighborhood and at work, where he's accepted the low wages paid to refugees, gradually transform him. When Kamil disappears, Remziye has to face the consequences of his actions. (Cineuropa)

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Biography Ali Vatansever was born in Istanbul. He studied industrial design at Istanbul Technical University and film at Istanbul Bilgi University and the Rochester Institute of Technology. He made his directorial debut with “El Yazýsý” (2012). “Saf” is his second film.

Films — Selection — S af (2018) — E l Yazýsý (2012)

Screenplay Ali Vatansever Cinematography Tudor Vladimir Panduru Editing Evren Luş Sound Alexandru Dumitru Cast Saadet Işil Aksoy, Erol Afşin, Onur Buldu, Ummu Putgul, Kida Ramadan

Producers Selin Vatansever Tezcan, Oya Özden, Harry Flöter, Jörg Siepmann, Anamaria Antoci Production Terminal Film, 2Pilots Film, 4 Proof Film World Sales Doc & Film International World Premiere Toronto International Film Festival 2018

Tchelovek kotorij udivil vseh

Natasha Merkulova Aleksey Chupov Russia / Estonia / France 2018 color, 105 min Russian

The Man Who Surprised Everyone

Egor ist ein furchtloser Forstverwalter in der sibirischen Taiga. Er ist ein solider, von den DorfbewohnerInnen respektierter Familienmensch, seine Frau Natalia und er erwarten ein zweites Kind. Doch eines Tages erfährt Egor, dass er an Krebs erkrankt ist, und nur noch zwei Monate zu leben hat. Keine traditionelle Medizin kann ihm helfen, er konsultiert in seiner Verzweiflung sogar eine Schamanin. Schließlich findet er zu einer neuen Identität; seine Familie und seine Umgebung fühlen sich davon aber vor den Kopf gestoßen. Der Film vermischt spielerisch Folklore mit gesellschaftspolitischen Untertönen.

Austrian Premiere

A man dying of cancer in a poor Siberian village risks everything for a last-ditch cure that will surprise most audiences, for sure. Like the folk tale it supposedly updates, The Man Who Surprised Everyone is equal parts delightful, horrifying and thought-provoking, reaching deep into the characters’ psyches to expose their ingrained sexual prejudices. Its affecting condemnation of Russian attitudes to homosexuality makes one smart film about gender whose theme is capable of reaching well beyond the Rainbow Community. (Deborah Young, The Hollywood Reporter)

37 Competition Fiction — crossing europe film festival 2019

Biography Natasha Merkulova was born in Orenburg, Russia, in 1979, and attended the High Courses for Scriptwriters and Film Directors of Moscow. Alexey Chupov was born in Moscow in 1973, graduated from Moscow State University, and studied film history at Wake Forest University in the U.S. Together they directed the awardwinning debut “Intimate Parts“ in 2013. “The Man Who Surprised Everyone“ is their second feature.

Films — Selection — Tchelovek kotorij udivil vseh (The Man Who Surprised Everyone, 2018, Merkulova & Chupov) — S estry (Sisters, 2016, short, Merkulova) — Lestnitsa Rodchenko (Rodchenko’s Stairs, 2015, short, Merkulova) — I ntimnye mesta (Intimate Parts, 2013, Merkulova & Chupov)

Screenplay Natasha Merkulova, Aleksey Chupov Cinematography Mart Taniel Editing Vadim Krasnitsky Sound Vladimir Pryamov, Aleksandr Fedenyov, Stas Kreckov Music Andrey Kurchenko Cast Evgeniy Tsyganov, Natalya Kudryashowa, Yuriy Kuznetsov,

Vasiliy Popov, Pavel Maykov, Aleksey Filimonov, Elena Voronchikhina, Maksim Vitorgan Producers Katia Filippova, Katrin Kissa, Alexander Rodnyansky, Guillaume de Seille Production Pan-Atlantic Studio, Homeless Bob Production, Non-Stop Production, Arizona Productions World Sales Pluto Film World Premiere Venice International Film Festival 2018

Der Unschuldige

Simon Jaquemet Switzerland / Germany 2018

The Innocent

color, 114 min Swiss German Austrian Premiere

Eine trostlose Welt aus Vorstadt-Neubauten und anonymen Mehrzwecksälen – dies ist die Welt von Ruth, Labortechnikerin, Mutter zweier Töchter, verheiratet mit dem strenggläubigen Hanspeter. Als sie eines Tages ihren ehemaligen Verlobten Andreas wiederzusehen glaubt, der einst nach einer umstrittenen Verurteilung für einen Raubmord ins Gefängnis ging, gerät ihr Alltag aus den Fugen. Erst muss sie sich im Gottesdienst ihrer Freikirche übergeben, dann zieht sie sich die Haut um die Fingernägel ab, und bald schon sitzt jener Andreas nachts auf dem Familiensofa. Oder hat sich Ruth dieses Wiedersehen nur eingebildet? (Patrick Heidmann, Tagblatt)

A haunted, hollow-eyed fortysomething, Ruth saw her lover sent to prison 20 years before, charged with murder. Since then, she’s left her cosmopolitan life behind, taking a dull job at a medical laboratory. Grimly married, with two teenage girls, her only release comes at a Christian church, where speaking in tongues and casting out demons are regular parts of the services. But now it seems as if Ruth herself is becoming possessed – if not by the devil, then certainly by the past. The Innocent is an often perplexing film, combining Calvinist spiritual fervor with inexplicable human violence. (Stephen Whitty, Screendaily)

38 Competition Fiction — crossing europe film festival 2019

Biography Simon Jaquemet was born near Basel, Switzerland, and studied film directing at the Zurich University of the Arts. As a cinematographer, he has worked with numerous notable video artists like Elodie Pong, Knowbotic Research, or David Lamelas. His debut feature “Chrieg” won several awards, including the Jury Prize at the Marrakech International Film Festival and the Film Festival Max Ophüls Preis.

Films — Selection — D er Unschuldige (The Innocent, 2018) — Chrieg (2014, CE’15) — L auras Party (Laura’s Party, 2010, short) — Block (2007, short) — Die Burg (The Fortress, 2005, short)

Screenplay Simon Jaquemet Cinematography Gabriel Sandru Editing Christof Schertenleib Sound Roland Widmer Cast Judith Hofmann, Naomi Scheiber, Christian Kaiser, Thomas Schüpbach, Anna Tenta, Urs-Peter Wolters Producers Tolga Dilsiz, Aurelius Eisenreich

Production 8horses GmbH, Augenschein Filmproduktion World Sales Kinology World Premiere Toronto International Film Festival 2018

Vulkan

Roman Bondarchuk Ukraine / Germany 2018

Volcano

color, 106 min Ukrainian, English Austrian Premiere

Nach einer Reihe seltsamer Zufälle strandet der Übersetzer Lukas während einer OSZE-Mission irgendwo in der südukraini schen Steppe. Ohne Ahnung, wo er hin soll, findet er schließlich Zuflucht bei einem schrägen Einheimischen namens Vova. Sein Gastgeber konfrontiert Lukas mit einem anarchistischen Universum jenseits seiner Vorstellungskraft, wo das Leben völlig losgelöst von jeder erkennbaren Struktur erscheint. Fasziniert von Vova und dessen Tochter Marushka schmilzt Lukas’ Abneigung gegen das provinzielle Leben dahin und er begibt sich auf die Suche nach einem Glück, von dem er gar nicht wusste, dass es existiert. (kino-zeit.de)

One day Lukas, employed as an interpreter for an OSCE mission, becomes lost in the middle of the steppe in southern Ukraine. He ends up in a sleepy little town where he finds shelter with idiosyncratic local Vova and his daughter Marushka. His journey towards happiness will be flanked by a series of strange encounters and bizarre situations … As with his documentary Ukrainian Sheriffs, Roman Bondarchuk chose a tragicomic tone for his feature debut, and vividly portrays the colorful world of southern Ukraine, which bears unmistakable traces of the distant and nottoo-distant past. (Lenka Tyrpáková, Karlovy Vary International Film Festival)

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Biography Roman Bondarchuk graduated from the Kyiv State Institute of Theater and Cinema. “Ukrainian Sheriffs” (2015, CE’16) was his first feature-length documentary, won a Special Jury Award at IDFA 2015 and became the Ukrainian entry for the Oscars in 2017. Bondarchuk is the artistic director of Docudays UA in Kyiv. “Volcano” (2018) is his first full-length feature film.

Films — Selection — Vulkan (Volcano, 2018) — Ukrainian Sheriffs (2015, doc, CE’16) — Dixie Land (2015, doc) — Yevromaidan. Chornovyi montazh (Euromaidan Rough Cut, 2014, doc) — Mms (2009, short) — Radunytsya (Commemoration Day, 2007, short)

Screenplay Alla Tyutyunnik, Roman Bondarchuk, Dar’ya Averchenko Cinematography Vadym Ilkov Editing Mykola Bazarkin, Heike Parplies Music Anton Baibakov Cast Serhiy Stepansky, Viktor Zhdanov, Khrystyna Deilyk

Producers Olena Yershova, Michel Merkt, Tanja Georgieva-Waldhauer, Dar’ya Averchenko Production Tato Film, Elemag Pictures GmbH, KNM, South World Sales Pluto Film World Premiere Karlovy Vary International Film Festival 2018

Chris the Swiss

Anja Kofmel Switzerland / Croatia / Germany / Finland 2018 color / black and white, 90 min Swiss German, German, English, Spanish Austrian Premiere

„In diesem gottverdammten Land bringen sich die Leute gegenseitig um, verstümmeln sich gegenseitig zu einem Klumpen Fleisch. Fuck why?“ Diese Notiz findet Anja Kofmel in den Notizen ihres Cousins Christian Würtenberg. Er will vom Jugoslawienkrieg als Journalist berichten. Kofmel ist ein kleines Mädchen, als er 1992 in Kroatien umkommt. Was ist passiert? Im animierten Dokumentarfilm Chris the Swiss geht die Regisseurin 25 Jahre später auf Spurensuche. Sie findet heraus: Ihr Cousin hängte den Reporterjob an den Nagel und schloss sich einer rechtsextremen Söldnerbrigade an. Warum, wenn er den Krieg doch verabscheute? (Cynthia Ringgenberg, SRF)

The past can be a prickly thing. One of the strengths of Anja Kofmel’s part-animated documentary investigation into the death of her cousin Chris in Croatia in 1992 is that it does not attempt to sand the troubled history down to smoothness. Kofmel, who was a child when 27-year-old journalist Christian Würtenberg was found strangled in a field wearing the uniform of a mercenary unit, uses a variety of approaches – talking heads, newsreel footage, excerpts from Chris’ diaries and hand-drawn animation – to embody those con tradictions. It’s a multicolored wreath of roses to lay against her cousin’s legacy, thorns and all. (Jessica Kiang, Variety)

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Biography Anja Kofmel was born in Switzerland in 1982. After taking courses at the Zurich University of the Arts, she studied animation at the Lucerne School of Design and Art. In 2008, she received her diploma in visual design. Her highly acclaimed diploma film “Chrigi” dealt with the same topic as her recently finished anima-doc “Chris the Swiss”, which was awarded Best Documentary, Best Score and Best Editing at the Swiss Film Awards 2019.

Films — Selection — Chris the Swiss (2018, doc) — Chrigi (2016, doc short)

Screenplay Anja Kofmel Cinematography Simon Guy Fässler, Philipp Künzli, Gabriel Sandru Editing Stefan Kälin Sound Markus Krohn Music Marcel Vaid With Megan Gay, Joel Basman, Michael Würtenberg, Veronika Schwab,

Ilich Ramirez Sanchez, Sinisa Juricic, Heidi Rinke, Julio Cesar Alonso, Alejandro Hernandez Mora Producers Samir, Siniša Juricic, Heino Deckert, Iikka Vehkalahti Production Dschoint Ventschr Filmproduktion, Nukleus Film, ma.ja.de., IV Films World Sales Urban Distribution Intl World Premiere Cannes Film Festival 2018

La dernière d’entre elles The Last of Them

Pierre Goetschel France 2018 color / black and white, 70 min French, English World Premiere

Am Beginn stand ein unvollendetes Manuskript: Einige Wochen nach ihrer Rückkehr aus Auschwitz 1945 hatte meine Großmutter Fernande ihre schmerzvollen Erinnerungen niedergeschrieben. Über siebzig Jahre später fand ich auf wundersame Weise Rosette, die meine Großmutter „an diesem Ort“ gekannt hatte. Rosette war die Letzte einer kleinen Gruppe von Überlebenden, zu denen auch meine Großmutter gehört hatte. Kurz nach dem Krieg hatten einige der anderen Berichte über ihre Erfahrungen veröffentlicht. Ich wollte ihre Stimmen versammeln. Der Film erkundet die tiefsten Schatten von dem, was von Auschwitz heute bleibt. (Pierre Goetschel)

In the beginning, there was a manuscript that trailed off, unfinished. A few weeks after her return from Auschwitz in 1945, my grandmother Fernande had written down her painful memories. Over seventy years later, I miraculously discovered Rosette, who had known my grandmother “in that place.” Rosette was the last living member of the small group of survivors that included my grandmother. Immediately after the war, several of the other women had published accounts of their experience. I wanted to bring together their voices. Hence, the film explores the deepest shadows of what remains of Auschwitz today. (Pierre Goetschel)

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Biography Born in 1969, Pierre Goetschel is a documentary filmmaker. He devoted his latest films to the connections between memory and history. After “Les Mutins de la Courtine”, which goes back to the traces of the Russian soldiers’ mutiny in France in 1917 during the Russian Revolution, “The Last of Them” follows the work started with “L’héritage retrouvé” about fragments and memory’s material.

Films — Selection — L a dernière d’entre elles (The Last of Them, 2018, doc) — Les Mutins de la Courtine (2015, doc) — L’héritage retrouvé (2014, doc) — Rond-point (2010, doc)

Screenplay Pierre Goetschel Cinematography Jérome Colin Editing Isabelle Poudevigne Sound Laurent Herniaux, Yann Reiland With Rosette Levy, Dominique Blanc, Nathalie Richard, Bernadette Le Saché Producers Frédéric Féraud, Quentin Laurent

Production Les films de l’œil sauvage, France 3 Nouvelle Aquitaine, L’Heure D World Sales Les films de l’œil sauvage World Premiere Crossing Europe 2019

Domashni Igri

Alisa Kovalenko Ukraine / France / Poland 2018

Home Games

color, 86 min Russian, Ukrainian Austrian Premiere

Die 20-jährige Alina hat durch ihr Fußballtalent eine Chance, der Armut zu entfliehen. Gerade als sie ins ukrainische Nationalteam aufgenommen werden soll, stirbt jedoch ihre Mutter und hinterlässt zwei jüngere Geschwister. Entscheidet sich Alina für Fußball oder Familie? „Kaum jemand weiß, dass in der Sowjetunion unter Breschnew 1974 Frauenfußball verboten wurde, weil er gesundheitsschädlich wäre. Erst 1987 im Zuge der Perestroika wurde in der Ukraine der erste Frauenfußballclub gegründet. All diese Heldinnen meiner Kindheit, die ich mir sonntags auf dem Fußballplatz ansehen ging, mussten ihre Existenzen im Angesicht heftiger Widerstände neu aufbauen.“ (Alisa Kovalenko)

Alina, a 20-year-old girl from Kyiv, has a chance to escape from poverty by football. She is about to join the Ukrainian national team, when life throws her a new challenge: Her mother dies, leaving two young siblings. Now, Alina must choose: football or family. “Few people know that in 1974, under the Soviet Union led by Brezhnev, the authorities banned women from playing football, claiming it was bad for their health. In Ukraine, it was not until perestroika that the first women’s football club was founded in 1987. All the heroines of my childhood – these courageous girls whom I went to see playing on Sundays – had to reinvent their lives in adversity.” (Alisa Kovalenko)

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Biography Alisa Kovalenko is a Ukrainian documentary director born in 1987. She studied filmmaking at the Karpenko-Kary Theatre and Cinema University of Kiev and at the Andrezj-Wajda School of Cinema in Warsaw. “Home Games” is her third documentary feature, following the very personal “Alisa in Warland” which describes her journey from Euromaidan to the war in the east.

Films — Selection — D omashni Igri (Home Games, 2018, doc) — Alisa w krainie wojny (Alisa in Warland, 2015, doc) — Sister Zo (2014, doc) — Video-poetry of Maidan (2014)

Screenplay Alisa Kovalenko Cinematography Serhiy Stefan Stetsenko, Alisa Kovalenko Editing Olha Zhurba Sound Mariya Nesterenko Music Orianne Marsilli aka Ladylike Lily Cast Alina Shylova, Regina Khalilova, Renat Khalilov, Nadia Karatchuk, Raisa Shylova, Roman Khalilov

Producers Stéphane Siohan, Maxym & Valentyn Vasyanovych, Iya Myslytska, Miroslav Dembinski Production East Roads Films, Studio Garmata Film, DocEdu Foundation World Sales Syndicado Film Sales World Premiere Sheffield Doc/Fest 2018

draußen

Johanna Sunder-Plassmann Tama Tobias-Macht Germany 2018

outside

color, 80 min German Austrian Premiere

Die Dokumentaristinnen Tama Tobias- Macht und Johanna Sunder-Plassmann porträtieren vier Obdachlose, die in Köln auf der Straße leben. Schon in der ersten Szene fällt dabei ihr ausgeprägtes Interesse für die Objektwelt auf, für kräftige Farben und eine sorgfältige Bildkomposition. Der Film interessiert sich allerdings weniger für Wohnungslosigkeit in Deutschland als für einen Perspektivwechsel beziehungsweise eine Gegenerzählung zum Standard der Sozialreportage. Die Objekte werden dabei immer wieder zu Artefakten überhöht und zu kunstvollen Anordnungen arrangiert. (Esther Buss, filmdienst)

Homeless people, tramps, vagabonds and vagrants. Do those words all mean the same idea? Sometimes the choice of words can help to change perspectives. The film outside adopts a different perspective as well by following four people living on the streets. Matze, Elvis, Filzlaus and Sergio are all survivors. In order to hear their stories the two directors concentrate on the items that their protagonists carry about with them. They asked them to open the door to their world by allowing them to take a look inside their plastic bags, pockets and shopping trollies, as if they were entering someone’s home. (Berlinale)

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Biography Johanna Sunder-Plassmann, born in Munich in 1983, studied media art before getting a film degree at the Academy of Media Arts Cologne in 2013. She has been working as a freelance director and exhibition designer for several museums since. Tama Tobias-Macht, born 1982 in Jerusalem, studied photography in Jerusalem and cinema in Cologne as well. Since 2012 she has been working as a freelance director, editor and photographer.

Films — Selection — draußen (outside, 2018, SunderPlassmann & Tobias-Macht, doc) — Blending In (2017, SunderPlassmann & Tobias-Macht, doc) — I stanbul Collecting (2014, Sunder-Plassmann, doc) — L ady Macht (2011, Tobias-Macht, doc) — Passing Through Hansaring (2008, Tobias-Macht, doc)

Screenplay Johanna Sunder-Plassmann, Tama Tobias-Macht Cinematography Sophie Maintigneux Editing Johanna Sunder-Plassmann, Tama Tobias-Macht Sound Filipp Forberg With Elvis, Peter, Sergio, Matze Producer Titus Kreyenberg

Production unafilm GmbH World Sales unafilm GmbH World Premiere Berlinale 2018

Heimat ist ein Raum aus Zeit

Thomas Heise Germany / Austria 2019 black and white, 218 min German

Heimat Is a Space in Time

Was bleibt? Biografien hinterlassen Spuren. Die Zeitläufte auch. Wie sich das eine zum anderen verhält, untersucht Thomas Heise in Heimat ist ein Raum aus Zeit. Anhand von Dokumenten aus seinem Archiv – Briefe, Fotografien, Schulaufsätze, Tagebucheinträge – zeichnet er die Geschichte seiner Familie über vier Generationen zwischen Wien, Dresden und (Ost-)Berlin nach. Hinzu kommen aktuelle schwarzweiße Aufnahmen der in den Korrespondenzen erwähnten Orte und Landschaften. Anhand von Fragmenten aus einem Speicher persönlicher Erfahrungen erzählt Heise nicht weniger als die Geschichte Deutschlands im 20. Jahrhundert. (Birgit Kohler, Berlinale)

Austrian Premiere

A school essay on war, images of a torn-up highway, love letters, labour camps, children’s drawings and photographs all come together in Thomas Heise’s Heimat Is a Space in Time. The documentary carefully pieces together the story of three generations of the filmmaker’s family – a story that mirrors over 100 years of German history, starting before World War I, continuing through the Nazi era, depicting life in East Germany and almost taking us into present day. Heimat Is a Space in Time avoids presenting history as a wellrounded story, instead inviting its viewers to reflect on what led from one event to the other. (Ioana Florescu, Cineuropa)

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Biography Thomas Heise was born in Berlin, East Germany, in 1955. Since 1983, he has been working as a freelance writer and director in theatre, audio drama and documentary. Since 2013, he has been professor for film and media at the Academy of Applied Arts in Vienna. Since 2018 he is the director of the Film and Media Arts section at the Academy of Arts BerlinBrandenburg. “Heimat Is a Space in Time” won the Caligari Film Prize at Berlinale 2019.

Films — Selection — Heimat ist ein Raum aus Zeit (Heimat is a Space in Time, 2019, doc) — Die Lage (Condition, 2012, doc, CE’12) — S onnensystem (Solar System, 2011, doc) — I m Glück (Neger) (2006, doc, CE’06) — S tau – Jetzt geht’s los (1992, doc, CE’08) — Wozu denn über diese Leute einen Film (Why A Film About These People, 1980, doc, CE’06)

Screenplay Thomas Heise Cinematography Stefan Neuberger Editing Chris Wright Sound Johannes Schmelzer-Ziringer Producers Heino Deckert, Johannes Rosenberger, Constantin Wulff, Johannes Holzhausen Production Ma.ja.de., Navigator Film

World Sales Deckert Distribution Austrian Rights Filmgarten World Premiere Berlinale 2019

Hungary 2018

Eszter Hajdú Hungary / Portugal 2018 color, 82 min Hungarian Austrian Premiere

28 Jahre nach dem Fall des Kommunismus und am Vorabend der Präsidentschaftswahl steht Ungarn eine politische Weichenstellung bevor: Wird das Land vier weitere Jahre Rechtspopulismus unter Viktor Orbán erleben, oder wird der frühere Premier Ferenc Gyurcsány mit seiner proeuropäischen Linkspartei erfolgreich sein? Das Wahlergebnis wurde am 8. April 2018 bekanntgegeben, doch das schmälert nicht die Dringlichkeit der zentralen Frage dieses Films: Was motiviert Rechtswähler? Dies ist mehr als der unerschrockene und fesselnde Bericht einer politischen Schlacht. Es ist ein Film für alle, die den Aufstieg des Nationalismus besser verstehen möchten. (IDFA)

28 years after the fall of communism and on the eve of a new presidential election, Hungary has arrived at a political crossroads. Is the country about to embark on another four years of right-wing populism with V iktor Orbán in power, or will former Prime Minister Ferenc Gyurcsány and his pro-European left-wing party prevail? The results were announced on April 8, 2018, but that does nothing to diminish the urgency of this film’s central question: what motivates the rightwing voter? This is more than just a courageous and well-crafted account of a political battle. It’s a film for anyone seeking to better understand the rise of nationalism. (IDFA)

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Biography Eszter Hajdú is a film director born in Hungary in 1979. Her film “The Fidesz Jew” (2008) was the most provocative and most-viewed documentary of the past years in Hungary. Her films are mainly about social-political taboos. “Judgment in Hungary” (2013) was about the trial of serial killing against Roma people in Hungary, and won the Best Film Award at One World International Film Festival, Prague.

Films — Selection — Hungary 2018 (2018, doc) — J udgment in Hungary (2013, doc) — D emon Hands (2010, doc) — A fideszes zsidó, a nemzeti érzés nélküli anya és a mediáció (The Fidesz Jew, 2008, doc)

Screenplay Eszter Hajdú Cinematography Daniel Szandtner, István Szonyi, Anonym 1, Anonym 2, Anonym 3, Anonym 4 Editing Levente Pap, Menno Boerema Sound Peter Almassy, Anonym 5, Anonym 6 Music Sandor Mester With Ferenc Gyurcsány, Viktor Orbán

Producer Sandor Mester Production Miradouro Media LDA World Sales Miradouro Media LDA World Premiere IDFA 2018

L’île au trésor

Guillaume Brac France 2018

Treasure Island

color, 97 min French Austrian Premiere

Sommerferien. Kreischend hüpfen Kinder ins kühle Wasser. Ein Teenager flirtet das Mädchen an der Ticketkasse an – vielleicht bekommt er heute ihre Nummer? Ein paar Halbstarke springen von einer Brücke in den Fluss, als der Aufseher gerade nicht hinschaut. Wie eine kleine Oase erstreckt sich dieses Naherholungsgebiet in einer B anlieue unweit von Paris, wo weniger bemittelte Franzosen den Sommer verbringen. Es ist ein Ort voller Geschichten. So führt uns der Film durch einen Sommer, in dem das Kindsein mit all seinen rebellischen und kreativen Einfällen und das Erwachsenwerden mit all seinen Veränderungen und Regeln sichtbar werden. (Zurich Film Festival)

The summer season at a recreation center not far from Paris is in full swing, and the extensive park and swimming area have come alive with the tumult of visitors. Unbeknownst to the security guards, rowdy boys slip in without paying, vying for the favor of pretty girls with daring jumps off a high bridge into the water. Initially we find amusing character traits among the vacationers and center employees, but more troubled human lives permeate the situations presented here. A glimpse into the mindsets of French and immigrants who lack the means for a more exotic vacation. (Martin Horyna, Karlovy Vary International Film Festival)

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Biography Born in Paris in 1977, Guillaume Brac studied film at the Film School La Fémis. Initially he worked as an assistant to Emmanuel Mouret and Arnaud des Pallières. In 2009 he made the short film “Stranded”, followed by the medium-length film “A World Without Women”. His first feature film was “Tonnerre”, followed by “July Tales”. “Treasure Island” is his latest film.

Films — Selection — L’île au trésor (Treasure Island, 2018, doc) — C ontes de juillet (July Tales, 2017) — Le Repos des braves (2016, doc short) — Tonnerre (2013) — A World Without Women (Un monde sans femmes, 2011, mid-length) — Le naufragé (Stranded, 2009, short) — Le funambule (2006, short)

Cinematography Martin Rit Editing Karen Benainous Sound Nicolas Joly, Arnaud Marten Music Yongjin Jeong Producer Nicolas Anthomé Production bathysphere productions World Sales bathysphere productions

World Premiere Karlovy Vary International Film Festival 2018

Srbenka

Nebojša Slijepčević Croatia 2018 color, 72 min Croatian Austrian Premiere

Im Winter 1991 verteidigt sich Kroatien gegen die von Serbien ausgehende militärische Aggression. Zu den Opfern des Konflikts zählt Aleksandra Zec, eine grausam getötete Jugendliche serbischer Herkunft. Eine Generation später inszeniert Oliver Frljić „den Fall Zec“ als Theaterstück mit der 2001 geborenen Serbin Nina in der Hauptrolle. Die Proben werden zu einer kollektiven Psychotherapie. Slijepčevićs Film Srbenka über die Inszenierung befasst sich auch mit einer möglichen Funktion der Kunst: Meter für Meter die Kloake des Hasses trockenlegen, die von den Betreibern der ethnischen Säuberung immer noch gespeist wird. (Emmanuel Chicon, Visions du Réel)

Croatian society has been struggling with the subject matter since the murder of 12-year-old Serbian girl Aleksandra Zec in 1991, at the beginning of the war in Croatia. It has become a symbol of intolerance and ethnic cleansing. Srbenka follows the work on a theater play on the case by famous director O liver Frljić. This approach allows to explore the story through ideas of creative people, instead of an investigative form featuring interviews with witnesses, sociologists or political figures. Also, it helps to avoid over-the-top sentimentality. Just one crime-scene photo is enough to make any heart sink. (Vladan Petkovic, Cineuropa)

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Biography Nebojša Slijepčević was born in 1973 in Zagreb, Croatia. In 2005 he graduated in film directing from the Academy of Drama and Art in Zagreb. He directed numerous TV documentaries and series, and award-winning documentaries. His feature-length documentary comedy “Gangster of Love” (2013) received numerous prizes at film festivals in Croatia and abroad. “Srbenka” is his latest work.

Films — Selection — Srbenka (2018) — Dragi susjedi (Dear Neighbours, 2017, doc short) — Nešto o životu (Something About Life, 2016, doc short) — Pravda (Justice, 2015, doc short) — Gangster te voli (Gangster of Love, 2013, doc) — Za 4 godine (2007, doc short)

Screenplay Nebojša Slijepčević Cinematography Nebojša Slijepčević, Bojan Mrđenović, Iva Kraljević Editing Tomislav Stojanović Sound Tihomir Vrbanac Producer Vanja Jambrović Production Restart World Sales Restart

World Premiere Visions du Réel International Film Festival Nyon 2018

Svideteli Putina

Vitaly Mansky Latvia / Switzerland / Czech Republic 2018

Putin’s Witnesses

color, 102 min Russian Austrian Premiere

„Wenn Putin gewählt wird, ist die Medienfreiheit garantiert!“, verkündet der russische Präsident Boris Jelzin strahlend und ohne gewollte Ironie in der Wahlnacht von 1999. Als Dokumentarfilmchef eines staatlichen Senders hatte Regisseur Vitaly Mansky damals praktisch uneingeschränkten Zugang zu Putin und den inneren Zirkeln der russischen Führung. 20 Jahre später sitzt er im lettischen Exil und greift in sein Videoarchiv, um einmalige, nie gesehene, persönliche Einblicke in die Geschehnisse rund um Putins Machtübernahme zu liefern. (Zurich Film Festival)

Let’s go back to the last day of 1999 when the former head of the Federal Security Service, Prime Minister Vladimir Putin, ascended to the Russian presidency. Ukrainian-born Vitaly Mansky based his film on witness accounts of the events that happened in the years following that fateful day in December, perhaps the most important moment in 21st century Russian history. The director rounds these out with his own fascinating perspective and with the unique, long-standing experience of a man whom only a movie camera separated from the upper echelons of power. (Karel Och, Karlovy Vary International Film Festival)

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Biography Vitaly Mansky was born in Lviv, Ukraine. He studied film at the Russian State Institute of Cinematography and has won over fifty awards, including a Silver Dove at DOK Leipzig and the award for Best FeatureLength Documentary Film at the Karlovy Vary International Film Festival. His documentary “Close Relations” (2016) was awarded Best Documentary at Crossing Europe 2017.

Films — Selection — Svideteli Putina (Putin’s Witnesses, 2018, doc) — Rodnye (Close Relations, 2016, doc, CE’17) — V paprscích slunce (Under the Sun 2015, doc) — Truba (Pipeline, 2013, doc) — Rodina ili smert (Motherland or Death, 2011, doc) — N asha rodina (Gagarin’s Pioneers, 2004, doc) — Brodvey. Chernoe more (Broadway. Black Sea, 2002, doc)

Screenplay Vitaly Mansky Cinematography Vitaly Mansky Editing Gunta Ikere Sound Anrijs Krenbergs Music Kārlis Auzāns With Vladimir Putin, Boris Yeltsin, Mikhail Gorbachev

Producers Natalya Manskaya, Gabriela Bussmann, Vít Klusák, Filip Remunda Production Studio Vertov, Golden Egg Production, Hypermarket Film World Sales Deckert Distribution World Premiere Karlovy Vary International Film Festival 2018

Transnistra

Anna Eborn Sweden / Denmark / Belgium 2019 color, 93 min Russian, Romanian, Ukrainian Austrian Premiere

Transnistrien erklärte nach dem Zusammenbruch der Sowjetunion einseitig die Unabhängigkeit von Moldawien. Die schwedische Regisseurin Anna Eborn zeigt, welche Unsicherheit unter jungen Leuten herrscht: Sollen sie bleiben oder gehen? Transnistra folgt dem Alltag von sechs Teenagern: Tanya hat reihenweise Affären, obwohl sie im Ausland einen Freund hat. Sie nimmt die Burschen zum Schmusen in die Natur oder zu den verfallenden Wohnblocks mit. Begleitet von sinnlicher Musik suggerieren Eborns 16mm Aufnahmen, dass dieses Idyll in einem nicht-existierenden Land nur flüchtig ist. (International Film Festival Rotterdam)

There’s a breezy insouciance to this slice of realism set in the tiny unrecognised state of Transnistra, which split from Moldova after the civil war in 1992. Atmospherically shot on gritty 16mm, the documentary follows a group of close friends and their emotional ups and downs from the sultry days of summer to the bitterly cold winter. Technically the country doesn’t exist at all and that mood of uncertainty is conveyed by Anna Eborn’s freewheeling approach to her narrative and a seductive occasional score of woozy jazz tunes and ambient sounds that convey a feeling of surreal dispossession. (Meredith Taylor, Filmuforia)

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Biography Anna Eborn, born in Sweden in 1983, is self-taught and has directed various short films, feature films and documentaries. Her first feature-length documentary, “Pine Ridge” (2013), was chosen for the official selection of the Venice Film Festival and won Best Nordic Documentary at the Gothenburg Film Festival in 2014. “Transnistra” (2019) premiered in Rotterdam where it won the Big Screen Award, and best Nordic Documentary in Gothenburg.

Films — Selection — Transnistra (2019, doc) — Lida (2017, doc) — E pifanía (2016, doc/fiction hybrid) — Nothing Happens (2015, doc short) — Zmiivka (2014, doc short) — Pine Ridge (2013, doc) — B aba (2010, doc short) — Relative Wind (2009, doc short)

Screenplay Anna Eborn Cinematography Virginie Surdej Editing Anna Eborn Sound Thomas Jaeger, Ted Krotkiewski Music Walter Hus With Tanya, Tolya, Sasha, Burulya, Denis, Dima

Producers David Herdies, Michael Krotkiewski, Katja Adomeit, Hanne Phlypo Production Momento Film, Adomeit Film, Clin d’œuil Films World Sales CAT&Docs World Premiere International Film Festival Rotterdam 2019

We Did What Had to Be Done

Friederike Berat Ulrike Ertl Germany 2018 color, 90 min English World Premiere

Dieser Film basiert auf fünfzehn Interviews mit nordirischen Frauen, die wir im Zeitraum von 2009 bis 2017 geführt und zusammengestellt haben. Sie erlebten den Konflikt als Befreiung aus den Rollen, die ihre Gemeinschaften für sie vorgesehen hatten. Eine Befreiung, die sich im Laufe des Friedensprozesses Schritt für Schritt wieder zu ihrer Ausgangssituation zurückentwickelte. Ihre Namen sind – anders als die Namen ihrer männlichen Mitstreiter und Genossen – nicht im öffentlichen Narrativ des Konflikts zu finden. Diese Dokumentation möchte ihre Geschichte erzählen. (Friederike Berat und Ulrike Ertl)

We Did What Had to Be Done is a documentary about the roles that women played in the Northern Irish Troubles. “We did what had to be done” is a phrase nearly all interview partners used to describe their involvement. Depending on their political affiliation, however, they meant very different things: to work in a British Army store, to break out of the women’s prison in Armagh, to transport bombs or to educate their children to become Republican fighters or British soldiers  … Unlike their male combatants, they are rarely mentioned in the history books or in the wartime narrative. This documentary seeks to tell their stories.

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Biography Friederike Berat, born in Berlin in 1971, is a curator and filmmaker in Berlin. She studied directing at the film school ETTIC Paris, and makes documentary films and video installations. Ulrike Ertl, born in Baden near Vienna in 1971, is radio host, author, musician and performer in Berlin. She studied performing arts with Marina Abramovic and is a member of the feminist radio collective SissiFM/RadioF*.

Films — Selection — We Did What Had to Be Done (2018, doc, Berat & Ertl) — M ach’s einfach (2017, mid-length doc, Berat & Ertl) — Die Schrippenkirche (2006, mid-length doc, Berat) — Friedrichshain – 10 Jahre Sanierung (2004, mid-length doc, Berat)

Cinematography Alison Miller, Friederike Berat Editing Friederike Berat Sound Ulrike Ertl With Evelyn B., Veronica, Debbie, Beryl, Emma, Sharon, Susie, Kathe, Nuala, Evelyn G., Jacqueline, Janice, Jo-Anne, Marie, Eva Producers Ulrike Ertl, Friederike Berat, Friederike Lorenz, Nadine Coquemer, Frank Thiele

World Sales sixpackfilm Austrian Rights sixpackfilm World Premiere Crossing Europe 2019

YAAAS! Youth Program 51 â&#x20AC;&#x201D; crossing europe film festival 2019

YAAAS! Competition

YAAAS! Jugendschiene

YAAAS! zu rufen bedeutet euphorisch „JA!“ zu sagen – „JA!“ zur neuen Programmschiene bei Crossing Europe, die sich gezielt an ein junges Publikum richtet. Mit der YAAAS! Jugendschiene soll ein ganzheitliches Angebot an Filmvermittlung, Erwerb von Medienkompetenz und DIY-Videoproduktion etabliert werden.

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YAAAS! richtet sich an Jugendliche von 15 bis 20 Jahren, die sich mit internationalen Medienprofis austauschen können, neue Fertigkeiten erlernen, Filme sehen und diskutieren sowie eigene Arbeiten im Rahmen eines professionellen Filmfestivals präsentieren können. Neben Filmscreenings, einer Jugendjury und einem mehrtägigen Videoprojekt bietet YAAAS! auch eine Reihe von praxisnahen Workshops und niederschwelligen Events zum Kennenlernen der Filmbranche. YAAAS! versteht sich als Ergänzung zum Medienunterricht der Sekundarstufe. Konkret geht es um die Förderung der Medienkompetenz durch praktische Arbeit mit dem Medium Film und dessen Rezeption. YAAAS! Young Programmers Fünf Jugendliche – Nora Einwaller, Anna Haderer, Sophie Rieger, Vanessa Wagenhammer, Milan Wegscheider – wurden eingeladen, die neue Sektion YAAAS! Competition zu kuratieren. Diesen Herbst haben sie zahlreiche Filme gesichtet und sich letztendlich für sechs Spielfilme entschieden, die sich auf unter-

YAAAS! Youth Program

To call out YAAAS! means to euphorically say “Yes! – “Yes!” to a new program at Crossing Europe that is directed specifically at young audiences. The YAAAS! Youth Program is intended to establish a holistic offer in terms of film education, acquiring media competencies, and DIY video production. YAAAS! is aimed at youths between the ages of 15 and 20, who will get the chance to enter into an exchange with international media professionals in order to learn new skills, see films and discuss them, as well as present their own works in the context of a professional film festival. Aside from film screenings, a youth jury, and a multiday video project, YAAAS! also offers a series of practice orientated workshops and accessible events to get to know the film industry. YAAAS! understands itself as complementary to media education in secondary school. More specifically, it is about promoting media competency through practical work with the medium film and its reception. YAAAS! Young Programmers 5 youths – Nora Einwaller, Anna H aderer, Sophie Rieger, Vanessa Wagenhammer, Milan Wegscheider – were invited to curate the new section YAAAS! Compe-

schiedliche Weise mit den Lebensrealitäten von Jugendlichen und jungen Erwachsenen auseinandersetzen. Zudem übernehmen die Young Programmers Einführungen und Q&As bei den YAAAS! Filmscreenings und kümmern sich um die Workshop-TeilnehmerInnen. YAAAS! Competition & Jugendjury Die Wettbewerbsfilme der YAAAS! Competition wurden von den YAAAS! Young Programmers nominiert und werden von den fünf Mitgliedern der YAAAS! Jugendjury bewertet, die an ihren Favoriten den mit € 2.000,- dotierten CROSSING EUROPE Award – Jugendjury vergeben. Drei Filme werden zusätzlich als Schulvorstellungen präsentiert. – Details zu den Mitgliedern der diesjährigen YAAAS! Jugendjury auf S. 17. YAAAS! Workshoprally & YAAAS! Videoprojekt Bei der YAAAS! Workshoprally gibt es die Möglichkeit, sich an einem Tag in verschiedenen Fachgebieten (z. B. Kamera, Schauspiel, Ausstattung, Ton, Licht) praktisch weiterzubilden. Im Rahmen des mehrtägigen YAAAS! Videoprojekts realisieren Teams von sechs bis acht Jugendlichen eigene Beiträge zu einem vorgegebenen Thema. YAAAS! Events Mit den Formaten YAAAS! Face-ToFace und der Abschlusspräsentation des YAAAS! Videoprojekts sollen ein fachlicher Austausch und das Kennenlernen der Filmbranche gefördert werden. Bei Face-To-Face können Jugendliche im Rahmen eines Speed-Datings Filmprofis aus dem In- und Ausland treffen und dabei unterschiedliche Filmberufe erkunden. Die Abschlusspräsentation des Videoprojekts ist als offenes Forum für Feedback und Erfahrungsaustausch angelegt.

Die YAAAS! Jugendschiene wurde von Robert Hinterleitner (Künstler, Medien- und Filmpädagoge, Lehrer an der HBLA für

künstlerische Gestaltung Linz) in Zusammenarbeit mit Crossing Europe entwickelt und ist seit 2019 Mitglied im Youth Cinema Network (YCN).

tition. This fall they watched numerous films from which they selected six feature films that deal with the living realities of youths and young adults in different ways. The Young Programmers will additionally be in charge of the introductions and Q&A sessions during the YAAAS! film screenings, and will take care of the workshop participants. YAAAS! Competition & Youth Jury The competition films in the YAAAS! Competition were nominated by the YAAAS! Young Programmers and will be judged by the five members of the YAAAS! Youth Jury, who will then select the winner of the Crossing Europe Award – Youth Jury, which is endowed with € 2,000. In addition, three films within this section will be presented in special school screenings. For details on the members of this year’s YAAAS! Youth Jury see page 17. YAAAS! Workshop Rally & YAAAS! Video Project The YAAAS! Workshop Rally offers the chance to extend one’s knowledge of different fields (e.g. cinematography, acting, set decoration, sound, lighting) over the course of one day. During the YAAAS! Video Project teams of six to eight youths will create their own contributions to a given topic within several days. YAAAS! Events The formats YAAAS! Face-To-Face and the final presentation of the YAAAS! Video Project should further professional exchange and getting to know the film industry. At Face-To-Face, youths will be able to meet local and international professionals from the film industry in the style of speed dating and thereby explore different professions in the industry. The final presentation of the Video Project is intended as an open forum for feedback and exchange of experiences.

The YAAAS! Youth Program was developed by Robert Hinterleitner (artist, educator for media and film, teacher at the HBLA for Artistic

Design Linz) in collaboration with Crossing Europe and became a member of the Youth Cinema Network (YCN) in 2019.

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Danmark

Kasper Rune Larsen Denmark 2017

Denmark

color, 90 min Danish Austrian Premiere

Die Ratlosigkeit und Unsicherheit, mit der Teenager durchs Leben schlittern, ist in Denmark gut nachvollziehbar. Mit wenig Dialog und vielen Nahaufnahmen hat das Publikum Zeit, die Mimik zu lesen und selbst nachzudenken. Auch wenn der Stil etwas eigenwillig ist, hat mich dieser Film sehr angesprochen. In fast allen Charakteren konnte ich Personen aus meinem eigenen Freundeskreis wieder erkennen. Mir persönlich hat dieser Film gut gefallen, weil er so lebensnah wirkt und die Geschichte dennoch einen absurden Touch hat. Die ruhige Erzählweise finde ich in Zeiten wie diesen sehr mutig. (Milan Wegscheider, YAAAS! Young Programmer 2019)

Norge and his friends live in the moment: drinking, smoking and partying. When 16-year-old Josephine tells Norge that she is pregnant, there is only a brief moment of silence. As they grow closer, the two start to develop feelings which challenge their views of life and of themselves – although “love” is not necessarily a word they would use. The camera attentively registers gestures and glances, observing what the two bodies and faces are saying or not saying to each other. With respectful proximity, Kasper Rune Larsen's debut film paints a realistic portrait of young people and the complex multiplicity of their realities. (Berlinale)

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Biography Born in Vejle, Denmark, in 1986, Kasper Rune Larsen started making films when he was 12. His first projects were inspired by console games and films like “Bad Taste”. Later, he directed several films featuring a mix of skateboarding, heavy drinking and breakneck stunts. In 2010 he began a film degree, graduating with the short film “Epoch”. “Denmark” is his debut feature film.

Films — Selection — Danmark (Denmark, 2018) — The Man Who Didn’t (2013, short) — E poch (2011, short)

Screenplay Kasper Rune Larsen Cinematography Claus Lill Hagedorn Editing Martin Nygaard Friis Hansen Sound Simon Oxholm Cast Frederikke Dahl Hansen, Jonas Lindegaard Jacobsen, Jacob Skyggebjerg, Jens “JK” Kristian, Marta Holm

Producers Henrik Underbjerg, Martin Fugl Chabert, Stefan Frost Production Radiator Film, Anti Film World Sales Wide World Premiere CPH:PIX 2017

Khrustal

Darya Zhuk Belarus / Germany / USA / Russia 2018

Crystal Swan

color, 95 min Russian Austrian Premiere

In den 1990er Jahren, kurz nach Ende der Sowjetunion, sucht die junge Velya einen Weg, ihre Heimat Belarus und die dortige Armut hinter sich zu lassen. Ihre Leidenschaft ist die gerade erst aufkommende House-Musik. Abends arbeitet sie als DJ, mit dem Traum, in den USA durchzustarten. Dafür braucht sie jedoch ein Visum. Der Film zeigt den komplizierten Weg, diesem Ziel näher zu kommen. Die atemberaubende Performance der Hauptdarstellerin macht den Film zu etwas Besonderem. Ich kann mich gut in sie hineinversetzen: wild, neugierig und ein wenig verrückt, eben so wie viele Jugendliche. (Nora Einwaller, YAAAS! Young Programmer 2019)

Crystal Swan may be set in the context of mid-1990s Minsk, but there are restless young women like Velya in every backwater town. Velya is anxious to escape the provincialism of her homeland and seek her fortune as a club DJ in Chicago, the home of house music. She is in the early stages of applying for a U.S. visa but she knows her scrappy employment record could wreck her chances, so she lies about having a job. Though mostly a celebration of youthful individualism, Crystal Swan takes some dark turns. Zhuk still handles these events lightly, maintaining a tone between farce and black comedy. (Stephen Dalton, The Hollywood Reporter)

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Biography Darya Zhuk left Minsk, Belarus, at the age of 16 to study in the US. Six years later with a cum laude B.A. degree from Harvard, she started making films first as a video artist, then as a producer and today as a director. She is a proud honors graduate of the Columbia University MFA program in Directing. Her films have been selected for festivals like SXSW, Tarkovsky, Oaxaca, Atlanta and Palm Springs.

Films — Selection — K hrustal (Crystal Swan, 2018) — The Real American (2015, short) — What Doesn’t Kill You (2015, short) — E at the Tourists (2014, short) — Wax (2013, short) — The Air Inside Her (2011, short) — H alf-Life (2011, short)

Screenplay Helga Landauer Cinematography Carolina Costa Editing Sergey Dmitrenko, Michal Leszczylowski Cast Alina Nasibullina, Ivan Mulin, Yury Borisov, Svetlana Anikey, Ilya Kapanets Producers Valery Dmitrotchenko, Birgit Gernböck, Olga Goister, Debbie Vandermeulen

Production Turnstyle TV LLC., Demarsh Film, Unfound Content, Fusion Features, Vice Films, Inspiration Films, Crystal Goose World Sales Loco Films World Premiere Karlovy Vary International Film Festival 2018

Posledice

Darko Štante Slovenia / Austria 2018

Consequences

color, 95 min Slovenian Austrian Premiere

Posledice handelt vom 18-jährigen Andrej, der zum Aufenthalt in einem Heim für straffällige Jugendliche verurteilt wird. Schnell erkennt er im sozialen Gefüge den Unterschied zwischen Freund und Feind und versucht mit zweifelhaften Aktionen, Anschluss zu finden. Damit verfängt er sich mehr und mehr in einem Netz aus schlechtem Gewissen, Verzweiflung, Wut und Gleichgültigkeit. Der Film offenbart Emotionen, mit denen Jugendliche oft konfrontiert sind, und zeigt, dass man damit nicht allein ist – und dass die Entscheidung, welchen Weg man einschlägt, letztlich bei einem selbst liegt. (Vanessa Wagenhammer, YAAAS! Young Programmer 2019)

A troubled teen must adapt to the harsh hierarchy of a youth detention centre and come to terms with his sense of self in Darko Štante’s debut feature, based on his own experiences working with youths in a correctional facility. A hard-hitting emotional portrayal of teenage angst and fragile burgeoning masculinity, Consequences takes an unflinching look at the raw impulses of adolescence and the insecurity that lies beneath, and pulsates with authenticity and muscular emotionality, never sinking into the cliché trappings of at-risk youth films. (Dimitri Eipides, Toronto International Film Festival)

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Biography Darko Štante was born in 1975 in Ljubljana, Slovenia. He is currently pursuing a master’s degree in film directing at the Ljubljana Academy of Theatre, Radio, Film and Television. His work includes the shorts “Intimacy” and “Them”. “Consequences” is his debut feature, and earned the Art Cinema Award at CineFest in Miskolc, Hungary.

Films — Selection — Posledice (Consequences, 2018) — Oni/Them (2014, short) — I ntima (Intimacy, 2011, short)

Screenplay Darko Štante Cinematography Rok Kajzer Nagode Editing Sara Gjergek Sound Julij Zornik Cast Matej Zemljič, Timon Šturbej, Gašper Markun, Rosana Hribar, Blaž Setnikar, Lovro Zafred, Lea Cok

Producers Jerca Jerič, Andraž Jerič, Rok Biček, Teo Rižnar, Julij Zornik Production Temporama, Zwinger Film, NuFrame, 100 World Sales Wide World Premiere Toronto International Film Festival 2018

Schwimmen

Luzie Loose Germany 2018

Swimming

color, 102 min German Austrian Premiere

In der Schule wird Elisa als die „Neue“ gehänselt und steht gehörig unter Druck. Als sie unerwartet eine neue Freundin findet, ist Elisa so happy, dass sie bei allem mitmacht, was diese anzettelt. Langsam eskaliert die Situation … Der Film zeigt aktuelle Probleme von Jugendlichen auf und spielt mit Moral, Rache und der Tatsache, dass nicht immer alles nur schwarz oder weiß ist, sondern es immer mehrere Seiten einer Geschichte gibt. Außerdem werden fatale Konsequenzen von unüberlegten und von Emotionen geleiteten Handlungen thematisiert, die oft um einer Freundschaft willen vollzogen werden. (Anna Haderer, YAAAS! Young Programmer 2019)

Swimming is the story of Elisa and Anthea, two very different girls, whose friendship gives them orientation and stability in the most difficult time of their young lives. But their innocent friendship soon turns into co-dependency. To maintain their cohesion, they develop a game – which turns them from victims into offenders. They start recording everything they do with their cell phone cameras. Soon they turn the camera around and secretly film their classmates, particularly the ones who used to bully Elisa. Their friendship takes on a destructive dynamic, which becomes highly dangerous for those who get in the duo’s way.

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Biography Luzie Loose was born in 1989 at the Baltic Sea and grew up in Berlin. She studied at the University of Fine Arts in Berlin and worked for German cinema and TV-productions as well as for international indie projects. Until spring of 2018 she studied directing for fiction film and commercial film at Film Academy Baden-Württemberg. “Swimming” is her first feature film.

Films — Selection — A New Normal (2018, short) — S chwimmen (Swimming, 2018) — French Fries (2015, short) — Memphis (2013, short) — D er Zauberer (2012, short) — Pretty Much the Same (2012, animated short)

Screenplay Luzie Loose Cinematography Anne Bolick Editing Marco Rottig Sound Frank Schubert Music Andreas Pfeiffer Cast Stephanie Amarell, Lisa Vicari, Alexandra Finder, Jonathan Berlin, Bjarne Meisel

Producers Christoph Holthof, Daniel Reich Production kurhaus production, Filmakademie Baden-Württemberg, SWR World Sales kurhaus production Film & Medien World Premiere Busan International Film Festival 2018

Seule à mon mariage Alone at My Wedding

Marta Bergman Belgium / France / Romania 2018 color, 121 min French, Romani, Romanian, Flemish Austrian Premiere

Pamela ist eine Romni Anfang 20, die mit ihrer Großmutter und ihrer zweijährigen Tochter in einem Dorf am Stadtrand von Bukarest lebt. Da ihre Eltern tot sind und es keine echten beruflichen Perspektiven gibt, sieht sie im Verlassen ihrer Familie die Chance für ein besseres Leben und geht als „Katalog-Braut“ mit einem Belgier eine Ehe ein. Der Film macht deutlich, dass Ehen manchmal mehr aus der Not als aus Liebe geschlossen werden. Der bittersüße Ton, die lebhafte Performance der Hauptdarstellerin und die außergewöhnliche Geschichte sprechen für diesen sehenswerten Film. (Sophie Rieger, YAAAS! Young Programmer 2019)

Pamela is a Roma woman who lives with her grandmother and two-year-old daughter in a snow-covered village on the outskirts of Bucharest. Her parents are dead and there are no real job prospects in the area, so Pamela wants to get out of there. In Marta Bergman’s heartfelt directorial debut, the wedding described in the title never happens, although being alone is very much what the movie is about. Following a young mail-order bride who travels from Romania to Belgium to marry an older man she met online, this character study is a keenly observed look at how marriage can be more about survival than love. (Jordan Mintzer, The Hollywood Reporter)

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Biography Marta Bergman is a Bucharestborn director known for her documentary films, in which she has explored Romania and, more specifically, the Roma communities. Her documentaries have been shown at prestigious festivals such as Visions du réel and DOK Leipzig. “Alone at My Wedding” is her narrative feature debut.

Films — Selection — S eule à mon mariage (Alone at My Wedding, 2018) — Clejani Stories, Histoires, Povesti… (2005, doc) — Heureux séjour (2000, short) — Un jour mon prince viendra (1999, doc) — Bucarest, visages anonymes (1994, short) — L a ballade du serpent, une histoire Tsigane (1991, short)

Screenplay Marta Bergman, Laurent Brandenbourger Cinematography Jonathan Ricquebourg Editing Frédéric Fichefet Sound Quentin Jacques, Frédéric Fichefet, Ingrid Ralet, Emmanuel de Boissieu Music Vlaicu Golcea Cast Alina Serban, Tom Vermeir, Rebeca Anghel, Marie Denarnaud, Marian

Samu, Viorica Tudor, Johan Leysen, Karin Tanghe, Jonas Bloquet Producers Jean-Yves Robin, Cassandre Warnauts, Ada Solomon, Nadia Turincev, Julie Gayet, Caroline Bonmarchand, Sophie Leclercq Production Frakas Productions, HiFilm Productions, Avenue B Productions, Zelila Films World Sales Cercamon World Premiere Cannes Film Festival 2018 (L’ACID)

Všechno bude

Olmo Omerzu Czech Republic / Slovenia / Poland / Slovak Republic 2018

Winter Flies

color, 85 min Czech Austrian Premiere

Winter Flies erzählt mit wunderschönen Bildern die Geschichte einer Odyssee zweier Jugendlicher, die einmal aus ihrem Alltag ausbrechen und einfach von zu Hause weg wollen. Die ungewöhnliche Freundschaft der beiden Jungen und ihre skurrilen Erlebnisse auf der Reise durch Tschechien sind in ästhetischer und lustiger Weise erzählt und machen diesen Film zu einem sehr sehenswerten, kurzweiligen Werk. Der Film überzeugt mit seiner Bildgewalt und der originellen Erzählweise, die sowohl Witz als auch Tragik erlaubt, dabei jedoch nicht übertrieben wirkt, sondern einfach durch und durch echt. (Anna Haderer, YAAAS! Young Programmer 2019)

Did you know you can bring a fly back from the verge of drowning by covering it in warming, drying cigarette ash? Fifteen-yearold Mára (Tomáš Mrvík) does – it’s a bit of useless lore he picked up from his grandfather. He demonstrates it to the police interrogator who brings him into custody when his quixotic journey in a stolen Audi with fellow runaway Heduš (Jan František Uher) comes to an abrupt halt. Olmo Omerzu never overworks the metaphor, but the Winter Flies that buzz on windowsills throughout his third feature are, like the boys, a nuisance, but there’s something admirable about their tenacity. (Jessica Kiang, Variety)

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Biography Olmo Omerzu was born in Ljubljana in 1984. During his studies at FAMU in Prague he directed several short films and the 40-minute feature “The Second Act”. In 2011, Omerzu graduated from FAMU with his first fiction feature “A Night Too Young”, a Czech-Slovenian co-production. His second feature, “Family Film”, (2015) was named Best Film of the Year by the Czech film critics and Best Fiction Film at the Czech Film Awards 2019.

Films — Selection – Všechno bude (Winter Flies, 2018) – Rodinný film (Family Film, 2015) – Pevnost (Fortress, 2013, short) – Příliš mladá noc (A Night Too Young, 2012, mid-length)

Screenplay Petr Pýcha Cinematography Lukáš Milota Editing Jana Vlčková Music Šimon Holý, Monika Midriaková, Paweł Szamburski Cast Tomáš Mrvík, Jan František Uher, Eliška Křenková, Lenka Vlasáková, Martin Pechlát

Producers Jiří Konečný, Rok Biček, Natalia Grzegorzek, Ivan Ostrochovský Production Endorfilm, Česká Televize, Cvinger Film, Koskino, Punkchart Films, Rouge International World Sales Cercamon World Premiere Karlovy Vary International Film Festival 2018

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European Panorama Documentary

Amin

Philippe Faucon France 2018 color, 91 min French, Wolof Austrian Premiere

Vor neun Jahren kam Amin aus dem Senegal zum Arbeiten nach Frankreich, zurück blieben seine Frau Aïsha und ihre drei Kinder. Seine Arbeit ist sein Leben, seine Freunde die Männer, die mit ihm gemeinsam wohnen. Aïsha sieht ihren Mann nur ein- oder zweimal pro Jahr, für wenige Wochen. Sie akzeptiert diese Situation als Notwendigkeit; das Geld, das Amin heimschickt, versorgt im Senegal mehrere Menschen. Eines Tages begegnet Amin der Krankenschwester Gabrielle, und eine Affäre beginnt. Anfangs ist Amin reserviert; da ist einerseits die Sprachbarriere, und außerdem seine gewohnte Zurückhaltung. Amin weiß, dass er wachsam bleiben muss …

Amin revolves around the titular protagonist, a Senegalese immigrant working construction jobs in a Paris suburb, and the people who populate his world: his wife, Aïsha, and three kids back in Senegal, whom he visits a few times a year bearing money and gifts; his Moroccan co-worker Abdelaziz; and Gabrielle, a chic, middle-aged white nurse whose house Amin is hired to help renovate. Faucon’s compassion for his subjects and their sacrifices is unquestionable. This measured, methodical, deeply empathetic filmmaker gives voice to those who form France’s sizable and diverse underclass. (Jon Frosch, The Hollywood Reporter)

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Biography Philippe Faucon was born in Oujda, Morocco, in 1958, as a son of French parents. He studied in Aix-en-Provence. Many of his works are about society issues like homosexuality and the problems of migrants in France. His first six films were produced by Humbert Balsan. In 2005, he founded Istiqlal Films with Yasmina Nini-Faucon.

Films — Selection — Amin (2018) — Fatima (2015) — L a désintégration (The Disintegration, 2011) — Dans la vie (Two Ladies, 2007) — L a trahison (The Betrayal, 2005) — S amia (2000)

Screenplay Philippe Faucon, Yasmina NiniFaucon, Mustapha Kharmoudi Cinematography Laurent Fénart Editing Sophie Mandonnet, Matilde Grosjean Sound Pascal Ribier Music Amine Bouhafa Cast Moustapha Mbengue, Emmanuelle Devos,

Marème N’Diaye, Noureddine Benallouche, Moustapha Naham, Jalal Quarriwa, Fantine Harduin, Samuel Churin Producers Olivier Pere, Yasmina Nini-Faucon, Rémi Buran, Philippe Faucon Production Istiqlal Films World Sales Pyramide International World Premiere Cannes Film Festival 2018

Anons

Mahmut Fazıl Coşkun Turkey / Bulgaria 2018

The Announcement

color, 94 min Turkish Austrian Premiere

22. Mai 1963: Unzufrieden mit der politischen Situation in der Türkei, plant eine Gruppe von Militäroffizieren einen Staatsstreich gegen die Regierung in Ankara. Parallel sollen Mitverschwörer in Istanbul das nationale Radio übernehmen und eine Verlautbarung verlesen. Nichts läuft aber nach Plan. Angesichts diverser Hindernisse, darunter Platzregen und fehlende Radiotechniker, und ohne Rückmeldung aus Ankara behaupten die Verschwörer bereits den Erfolg des Staatsstreichs – noch ohne zu wissen, ob der überhaupt stattgefunden hat. Erzählt innerhalb weniger Nachtstunden, ist Anons ein pointierter Kommentar zur politischen Vergangenheit der Türkei – und ihrer Gegenwart.

The intimate story of a 1963 Turkish army coup attempt allows Mahmut Fazıl Coşkun the scope to take his mordant wit to new heights in his deadly serious yet deeply sardonic third feature, The Announcement. Rigidly composed camera shots designed to heighten the atmosphere of entrapment do double duty as a self-reflexive commentary on the nature of characters who follow orders with no thought, while the stationary lens parallels the deadpan humor. It’s unquestionably a commentary on the Turkish present as much as the past, yet aiming for an enigmatic quality likely to confound the country’s censorship-happy authorities. (Jay Weissberg, Variety)

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Biography Turkish director Mahmut Fazıl Coşkun made his first fiction film, “Wrong Rosary”, in 2009, for which he won several international awards, among others the Crossing Europe Award European Competition. His second film, “Yozgat Blues”, was completed in 2013 and premiered at the San Sebastián Film Festival. His latest effort, “The Announcement”, premiered in the Orizzonti section of the 2018 Venice Film Festival.

Films — Selection — Anons (The Announcement, 2018) — Yozgat Blues (2013) — 8 ülke 8 yönetmen & Sinan (2010, doc short) — D omates Orucu Bozmaz (2009, short) — Uzak Ihtimal (Wrong Rosary, 2009, CE’09)

Screenplay Ercan Kesal, Mahmut Fazıl Coşkun Cinematography Krum Rodrigues Editing Çiçek Kahraman Sound Boris Trayanov Music Okan Kaya Cast Ali Seçkiner Alici, Tarhan Karagöz, Murat Kiliç, Şencan Güleryüz

Producers Halil Kardaş, Tarık Tufan, Borislav Chouchkov Production Filmotto Production, Chouchkov Brothers, BKM World Sales Heretic Outreach World Premiere Venice International Film Festival 2018

Bêtes blondes

Alexia Walther Maxime Matray France / Switzerland 2018

Blonde Animals

color, 101 min French Austrian Premiere

Fabien (Thomas Scimeca), einstiger Star einer Sitcom aus den neunziger Jahren, trinkt heute hauptsächlich – und zwar viel zu viel, um sich noch an alles erinnern zu können, was er tut. Daher kann ihn kaum noch etwas überraschen. Als er also auf den weinenden Soldaten Yoni (Basile Meilleurat) trifft, ist er nicht erstaunt, in dessen Tasche den abgetrennten Kopf eines anderen jungen Mannes zu entdecken, traumschön, zugleich Erinnerung und entsetzlicher Vorwurf. Das gemeinsame Langfilmdebüt des französisch-schweizerischen Regieduos Maxime Matray und Alexia Walther ist ein exzentrisch-surreales Abenteuer mit versteckter romantischer Ader.

Fabien, a fallen 90’s TV star, wants to go to Paris, but his failing memory is turning the journey into a long obstacle course, until a young and romantic soldier decides to help him out. During this strange road trip, people meet again by chance, and patterns keep repeating. The film feels as if in a dream, a bit like the main character. The film transforms his impediment into comic and dramatic driving forces. Despite its light feel, Blonde Animals also talks of absence and the difficulty of being, and is a deeply liberating and daring film that can be absurd or even gory at times. (Chloé Cavillier, Entrevues Belfort Festival)

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Biography Alexia Walther (1974) is Swiss and graduated from the ESAV in Geneva. Maxime Matray (1973) is French and studied at the École Nationale Supérieure d’Arts à la Villa Arson in Nice. In 2006, they directed the short film “Twist”, which won the Grand Prix at the Entrevues Belfort Film Festival. Since then, they have directed several shorts together. “Blonde Animals” is their first feature.

Films — Selection — B êtes blondes (Blonde Animals, 2018) — M alfaisant (2013, short) — Les Ambassadeurs (2012, short) — L’Élan (2008, short) — L’Été (2008, short) — E ntrevues (Twist, 2006, short)

Screenplay Alexia Walther, Maxime Matray Cinematography Simon Beaufils Editing Martial Salomon, Jeanne Sarfati Sound Colin Favre-Bulle, Luc Meilland, Sébastien Pierre Cast Thomas Scimeca, Basile Meilleurat, Agathe Bonitzer, Youssef Hajdi, Alyzée Lalande, Pierre Moure

Producer Emmanuel Chaumet Production Ecce Films, Garidi Films World Sales Ecce Films World Premiere Venice International Film Festival 2018

Deva

Petra Szöcs Hungary 2018 color, 76 min Romanian, Hungarian Austrian Premiere

In der Kleinstadt Deva bekommt das Teenagermädchen Kató, das in einem Waisenhaus lebt, beim Haareföhnen einen Stromschlag. Dieser scheinbar banale Zwischenfall stellt alles auf den Kopf: Das Waisenhaus wird von Elektrikern übernommen, eine neue Freiwillige namens Bogi soll die Ordnung wiederherstellen. Kató verliebt sich in sie, so sehr, dass sie alles infrage stellt. „2005 habe ich in einem Kinderheim in Deva ein dreijähriges Albinomädchen kennengelernt. Wir haben uns angefreundet, sie war das Vorbild für die Geschichte. Deva handelt vom Übergang zwischen Kindheit und Erwachsensein und der Ungewissheit, die dieses Alter ausmacht.“ (Petra Szöcs)

In the small town of Deva, Kató, a teen girl living in an orphanage, gets electrocuted while drying her hair. This apparently banal event will turn things upside down. The orphanage is invaded by electricians, and a new volunteer, Bogi, is hired to help restore the order. Kató will become infatuated by her to the point of reconsidering the way she views her world. “In 2005 I met a 3-year-old albino girl in a children’s home in Deva. We became friends, and she inspired the story. Deva is a film about the transition between childhood and adulthood and the ambiguity of this age.” (Petra Szöcs)

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Biography Petra Szöcs was born in Cluj, Romania, in 1981. She lives and works as poet, screenwriter and director in Budapest. Her short films have been shown at international festivals, and she has won several awards for her poetry. “Deva” is her feature film debut.

Films — Selection — D eva (2018) — C soszogj úgy (Limp Like That, 2016, short) — A kivégzés (The Execution, 2014, short) — Aki bújt (Hide-and-Seek, 2009, short)

Screenplay Petra Szöcs, Gergő V. Nagy Cinematography Zoltán Dévényi Editing László Dunai Sound Imre Madácsi Cast Csengelle Nagy, Fatma Mohamed, Boglárka Komán, Botond Páll Producer Péter Fülöp Production FP Films

World Sales Wide World Premiere Venice International Film Festival 2018

Dreissig

Simona Kostova Germany 2019

Thirty

color, 114 min German, English, French Austrian Premiere

Vierundzwanzig Stunden mit einer Gruppe von FreundInnen, an irgendeinem Freitag im Oktober, in Berlins hippem Arbeiterkiez Neukölln: Övünç leidet an einer Schreibblockade, Pascal und Raha haben sich vor kurzem getrennt und versuchen FreundInnen zu bleiben. Kara vermietet ihre Wohnung ständig unter, um selbst in Bewegung zu bleiben. Henner verbringt die Tage in einer Bar und trifft dort auf Anja. An diesem Abend feiern alle den 30. Geburtstag von Övünç, und lassen sich durchs Nachtleben der Stadt treiben. Der Film porträtiert sechs junge Leute in ihrem Ringen mit dem Alltagstrott in Berlin, und der bösen Realität des Älterwerdens.

In hip Berlin neighbourhood Neukölln, we experience 24 hours in the lives of a group in their late twenties. While writer Övünç struggles with a feeling of emptiness, former lovers Pascal and Raha try to let go of each other. Kara, Henner and Anja are also facing problems within their group of friends. In the evening, they celebrate Övünç’s birthday, then leave the confines of their apartments for Berlin’s bustling nightlife. Thirty captures the mood of young urbanites on the verge of a quarter-life crisis. “It’ll all be alright”, Anja says when Kara collapses weeping into her arms. Maybe it will – but when? (International Film Festival Rotterdam)

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Biography Simona Kostova, born in Bulgaria in 1983, studied acting in Sofia, followed by several roles in theatre performances. While working as an actress, she became increasingly interested in the field of directing. In 2009 she moved to Berlin where she began to study directing at the German Film and Television Academy Berlin in 2010.

Films — Selection — Dreissig (Thirty, 2019)

Screenplay Simona Kostova Cinematography Anselm Belser Editing Simona Kostova Cast Övünç Güvenisik, Pascal Houdus, Raha Emami Khansari, Kara Schröder, Henner Borchers, Anja Langer Producers Ceylan Ataman-Checa, Jörg Daniel

Production German Film and Television Academy World Sales Stray Dogs World Premiere International Film Festival Rotterdam 2019

Egy Nap

Zsófia Szilágyi Hungary 2018

One Day

color, 99 min Hungarian Austrian Premiere

Anna (Zsófia Szamosi) hat keinerlei Hobbys oder Leidenschaften – oder zumindest fehlt ihr die Zeit. Sie lebt nur noch als Managerin ihrer Familie: Kinder wecken, Klamotten bereitlegen, Frühstück machen, Spülmaschine füllen, Spielzeug wegräumen, zum Kindergarten bringen oder zur Schule, zum Ballett, zum Fechten, zum Cellounterricht, ihrem Mann hinterher telefonieren … Ein Tag im Leben einer Mutter – hinter diesem unspektakulär klingenden Plot verbirgt sich ein Drama des Stolperns, Scheiterns, Weinens und Verzweifelns, und ein realistischer Blick auf eine von vielen möglichen Ausprägungen von Mutterschaft. (Martin Gobbin, critic.de)

Zsófia Szilágyi’s debut film One Day is a study in the purgatory of motherhood and is riddled with the sound of children; of howling and the thumping of their bodies as they throw themselves to the ground without mind or reason, the subsequent wailing, snuffling and sneezing, with laboured breathing through blocked noses. Even in moments of respite – where Anna’s love for her children is clear – it’s still clear that she’s on duty. One Day is a truly brilliant and original perspective on motherhood, a refusal to shy away from or prettify the gruelling work that having children entails. (Another Gaze)

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Biography Zsófia Szilágyi graduated from the University of Pécs in 2002. She continued her education as a film and TV director at the Academy of Film and Drama of Budapest until 2007. In 2011 she won the Scholarship of Goethe Institute in Hamburg. She also worked as assistant to director Ildiko Enyedi on the Oscar nominated “On Body and Soul”. “One Day” is her first feature film and premiered in Cannes.

Films — Selection — E gy nap (One Day, 2018) — H a bírsz (Impasse, 2013, doc) — Budapest ostroma (The Siege of Budapest, 2009, TV doc)

Screenplay Zsófia Szilágyi, Réka Mán-Várhegyi Cinematography Balázs Domokos Editing Máté Szórád Sound Tamás Székely Music Máté Balogh Cast Zsófia Szamosi, Leo Füredi, Ambrus Barcza, Zorka VargaBlaskó, Márk Gárdos, Annamária Láng, Éva Vándor, Károly Hajduk

Producers Ági Pataki, Edina Kenesei, Gábor Kovács, Judit Romwalter Production Partnersfilm, Sparks, Filmpartners, Prop Club, Hungarian Filmlab World Sales Films Boutique World Premiere Cannes Film Festival 2018

Els dies que vindran The Days to Come

Carlos Marques-Marcet Spain 2019 color, 97 min Catalan, Spanish Austrian Premiere

Vir (30) und Lluís (32) haben soeben rausgefunden, dass Vir schwanger ist. Es war ungeplant und sie sind erst seit einem Jahr zusammen. Gegen Elternschaft sind sie nicht, aber passt der Zeitpunkt? Sie lernen einander doch erst kennen! Sie entscheiden sich zum Abbruch, doch in der Nacht vor dem Termin können beide nicht schlafen. Also schreiben sie eine Pro-Kontra-Liste – und in den frühen Morgenstunden entscheiden sie sich für die Schwangerschaft. Doch geht das alles zu schnell, oder lieben sie einander genug, um es hinzukriegen? Die folgenden Monate zeigen, dass sie nicht erst auf die Geburt warten müssen, um die Antwort zu erfahren.

Lluís starts giggling when he takes a look at the pregnancy test, as does his girlfriend Vir. This really isn’t the time for parenthood. Is it? In no time, an abortion is on the agenda. But then Lluís starts expressing his doubts. And that’s how it starts, the ninemonth period during which Vir and Lluís are deliriously happy one moment and on verge of disaster the next. Pure and honest, this is an intimate glimpse of future parenthood, not at least because protagonists Maria Rodríguez and David Verdaguer surrender themselves entirely to the process: during shooting, they really are expecting their first child. (International Film Festival Rotterdam)

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Biography Carlos Marques-Marcet, born in Spain in 1983, is a director, writer and editor. He studied audiovisual communication in Barcelona and received a Master’s degree in film direction from UCLA School of Theater, Film and TV, in Los Angeles. He has directed ten short films that won numerous awards. His feature debut “10.000 km” won awards all over the world, including the Audience Award at Crossing Europe 2014.

Films — Selection — E ls dies que vindran (The Days to Come, 2019) — Anchor and Hope (2017, CE’18) — 10.000 km (aka Long Distance, 2014, CE’14) — The Yellow Ribbon (2012, short) — E l día que la conicimos (2012, doc short) — I ’ll Be Alone (2010, short)

Screenplay Carlos Marques-Marcet, Clara Roquet, Coral Cruz Cinematography Alex García Editing Óscar de Gispert, Juliana Montañés, Ana Pfaff, Carlos Marques-Marcet Sound Borja Barrena, Diego Casares, Jonathan Darch, Dani Zacarías Music Maria Arnal

Cast David Verdaguer Ruiz, Maria Rodríguez Soto, Albert Prat Producers Sergi Moreno, Tono Folguera, María Zamora, Stefan Schmitz Production Lastor Media, Avalon P.C. World Sales Film Factory Entertainment World Premiere International Film Festival Rotterdam 2019

Gospod postoi, imeto i’ e Petrunija

Teona Strugar Mitevska Macedonia / Belgium / Slovenia / Croatia / France 2019 color, 100 min Macedonian

God Exists, Her Name Is Petrunya Gott ist eine Frau und heißt Petrunya Wie ein Rudel Wölfe scharren die Männer am Ufer der eiskalten Otinja und warten, dass der Priester das Kreuz in den Fluss wirft, nach dem sie alle um die Wette tauchen wollen. Doch es wird in diesem Jahr keinen Sieger geben, denn Petrunya ist schneller als all ihre männlichen Konkurrenten. Ihr Triumph löst einen Konflikt aus, in dem religiöse Borniertheit und geifernde Misogynie ihr hässliches Gesicht zeigen. Gospod postoi, imeto i’ e Petrunija ist ein feministisches Manifest, das archaischen Strukturen, dem Patriarchat der orthodoxen Kirche und der Verachtung weiblicher Selbstbestimmung satirisch den Kampf ansagt. (Joachim Kurz, kino-zeit.de)

Austrian Premiere Closing Film “Tell them you’re 24”, advises Petrunya’s mother as her daughter heads off to another job interview. But Petrunya is 31, and she has studied history, which no one in Macedonia seems to need. On her way home – naturally, she did not get the job – Petrunya takes the plunge. It is Epiphany, and young men are diving for a holy cross thrown into the icy river. Petrunya is the fastest, and she will defend her victory against the closed ranks of the male world. Teona Strugar Mitevska delivers an angry satire that questions the democratic status in Macedonian society and passes scathing judgement on the church, the judiciary and the media. (Berlinale)

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Biography Teona Strugar Mitevska was born in Skopje, Macedonia, in 1974. She now lives there and in Brussels. She has a degree in graphic design and studied film at the Tisch School of the Arts in New York. With her siblings Vuk and Labina she runs the Sisters and Brother Mitevski production company. “God Exists, Her Name Is Petrunya” won the Guild Film Prize at Berlinale 2019.

Films — Selection — Gospod postoi, imeto i’ e Petrunija (God Exists, Her Name Is Petrunya, 2019) — Koga denot nemase ime (When the Day Had No Name, 2017, CE’17) — The Woman Who Brushed Off Her Tears (2012, CE’12) — J as sum od Titov Veles (I Am from Titov Veles, 2008, CE’08) — K ako ubiv svetec (How I Killed a Saint, 2004, CE’04)

Screenplay Elma Tataragić, Teona Strugar Mitevska Cinematography Virginie Saint-Martin Editing Marie-Hélène Dozo Sound Hrvoje Petek Music Olivier Samouillan Cast Zorica Nusheva, Labina Mitevska, Simeon Moni Damevski, Suad Begovski

Producers Labina Mitevska, Sébastien Delloye, Danijel Hocevar, Zdenka Gold, Marie Dubas, Elie Meirovitz Production Sisters and Brother Mitevski, Entre Chien et Loup, Vertigo, Spiritus Movens, Deuxième Ligne Films, EZ Films World Sales Pyramide International Austrian Rights Polyfilm World Premiere Berlinale 2019

L’heure de la sortie School’s Out

Sébastien Marnier France 2018 color, 103 min French Austrian Premiere

Schule, das ist der Ort, an dem Jugendliche zu sich selber finden und fürs Leben lernen sollen. Gerade in Frankreich mit seinem elitären Schulsystem ist es aber vor allem ein Ort, an dem entschieden wird, wer einmal die Geschicke des Landes leiten soll. Was aber, wenn diese Jugendlichen erkennen, dass man sie betrogen hat? Alle reden über ihre großartigen Perspektiven, obwohl sie doch sehen, dass die Welt keine Zukunft mehr hat. – In der flirrenden Hitze eines Hochsommers geht der Lehrer durch die Reihen der Schüler auf das Fenster zu und springt. So beginnt L’heure de la sortie von Sébastien Marnier. (Lucia Wiedergrün, kino-zeit.de)

A high school teacher throws himself from the classroom window before the terrified eyes of his students. Despite the tragedy, six of them remain oddly cool and unemotional. Pierre, the new substitute teacher, notices the hostile behaviour of this close-knit clique. Smart and precocious, the six teenagers seem to be preparing a mysterious plan after school. Pierre becomes obsessed with them and is quickly sucked into their sinister game. His life soon turns into a nightmare. (Venice Film Festival) “Do we always have to wait for a catastrophe to occur before our collective conscience can begin taking shape?” (Sébastien Marnier)

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Biography Sébastien Marnier was born in Lilas, France, in 1979. He works as a novelist, screenwriter and filmmaker in Paris, directed several short films. His debut feature, “Faultless”, starred Marina Foïs and Benjamin Biolay. “School’s Out”, the adaption of a novel by Christophe Dufossé, is his second feature film.

Films — Selection — L’Heure de la sortie (School’s Out, 2018) — I rréprochable (Faultless, 2016) — Le Beau Jacques (2003, short, with Élise Griffon) — Le Grand Avoir (2002, short, with Élise Griffon)

Screenplay Sébastien Marnier, Elise Griffon Cinematography Romain Carcanade Editing Isabelle Manquillet Sound Benjamin Laurent, Emmanuel Croset Music Zombie Zombie Cast Laurent Lafitte, Luàna Bajrami, Victor Bonnel, Emmanuelle Bercot, Pascal Greggory, Gringe,

Grégory Montel, Véronique RuggiaSaura, Thomas Scimeca, Adèle Castillon, Matteo Perez, Thomas Guy, Léopold Buchsbaum Producer Caroline Bonmarchand Production Avenue B Productions, 2L Production World Sales Celluloid Dreams World Premiere Venice International Film Festival 2018

Išgyventi vasarą

Marija Kavtaradzė Lithuania 2018

Summer Survivors

color, 91 min Lithuanian Austrian Premiere

Die angehende Psychologin Indrė ist seit Kurzem im Team einer großen Klinik in Vilnius. Paulius, ein junger Patient mit bipolarer Störung, muss zu einer anderen Klinik am Meer gebracht werden, und Indrė soll ihn begleiten. Sie tut es nur unter der Bedingung, dadurch Privilegien zu bekommen, muss aber außerdem die selbstmordgefährdete Justė mitnehmen. Danguolė, die leitende Krankenpflegerin, wird sie begleiten. Der Roadtrip und vor allem diese unerwartete Reise ans Meer wird für alle in dieser zusammengewürfelten Gruppe zum Anlass, innere Kämpfe und Überlebensstrategien offenzulegen. (Vassilis Economou, Cineuropa)

Indrė (Indrė Patkauskaitė), a recent psychology postgraduate, has just joined a clinic when she’s tasked with escorting Paulius (Paulius Markevičius), a patient who has bipolar disorder, to another facility. Tagging along are Justė (Gelminė Glemžaitė), a quiet young woman under observation following a recent suicide attempt, and the clinic’s lead nurse. Marija Kavtaradzė’s light-hearted but emotionally piercing Summer Survivors recalls the compassionate cinema of John Hughes and its humorous approach to coping with life’s bitter truths. The film accompanies its protagonists on their road trip - and on an illuminating journey. (Dimitri Eipides, TIFF)

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Biography Lithuanian director-scriptwriter Marija Kavtaradzė has already directed a handful of short films, with one of her latest, “I’m Twenty Something”, winning the Best Student Film Award at the 2015 Lithuanian Film Academy Awards. As a scriptwriter, she co-penned Andrius Blaževičius’ debut “The Saint” (CE’17), which proved highly successful in its home country. “Summer Survivors” is Kavtaradzė’s debut feature.

Films — Selection — I šgyventi vasarą (Summer Survivors, 2018) — I glu (Igloo, 2015, short) — M an Dvim Keli (I’m Twenty Something, 2014, short) — Normalūs žmonės nesisprogdina (Normal People Don’t Explode Themselves, 2013, short) — Pasakyk, kad neskaudės (Youngblood, 2013, short)

Screenplay Marija Kavtaradzė Cinematography Laurynas Bareiša, Vytautas Katkus Editing Domas Petronis Sound Julius Grigelionis Cast Indrė Patkauskaitė, Paulius Markevičius, Gelminė Glemžaitė, Darius Meškauskas, Vilija Grigaitytė

Producers Marija Razgutė, Klementina Remeikaitė Production M-Films, Afterschool World Sales Heretic Outreach World Premiere Toronto International Film Festival 2018

Kaotični život Nade Kadić The Chaotic Life of Nada Kadić

Marta Hernaiz Pidal Mexico / Bosnia and Herzegovina 2018 color, 85 min Bosnian Austrian Premiere

Nada improvisiert sich durch ihr Leben. Sie erzieht ihr autistisches Kind alleine, muss Geld verdienen, sich an starre Kita-Zeiten halten und die ständigen Nachfragen des Amtes nach Belegen für den Förderbedarf des Mädchens befriedigen. Sie schafft das, mit Ach und Krach – und einem unbändigen Kämpferinneninstinkt. Kaotični život Nade Kadić lotet auf ultrarealistische Weise die Belastungsgrenzen eines ohnehin verwundeten Menschen aus. Die eigentliche Verletzung wird erst spät offenbar, traurige Pointe eines liebevoll erzählten Films. Ganz nebenbei kommentiert er die traumatisierenden Folgen des Krieges. (Maurice Wojach, Märkische Allgemeine)

The parakeet flits through the apartment, Nada dyes her hair while watching a music video. Her small daughter experiments with the dirty dishes whilst balancing dangerously on a kitchen stool. Then the fridge breaks down. At least the television maintains its hypnotic effect. This all seems just like the chaotic daily life of a young single mother. But Nada’s daughter Hava has been diagnosed with a form of autism, an additional challenge that leads to absurd situations with the authorities. No wonder Nada wants to escape Sarajevo. So the mother and daughter set off in an old Yugo for an adventure in the rainy Bosnian countryside. (Berlinale)

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Biography Marta Hernaiz Pidal was born in Mexico City in 1988. After graduating from Centro de Diseño Cine y Televisión in 2011, she co-produced and shot the feature film “La Asunción de José” by Juan Rocha. “The Chaotic Life of Nada Kadić” is her first feature film as a director, and was made in Bosnia and Herzegovina, after Hernaiz Pidal graduated from film. factory in Sarajevo.

Films — Selection — K aotični život Nade Kadić (The Chaotic Life of Nada Kadić, 2018) — D obro (2016, short) — The Empty Nest (2015, short) — Pollito Chicken, Gallina Hen (2012, short)

Screenplay Marta Hernaiz Pidal, Aida Hadžibegović Cinematography Jorge Bolado Editing Marta Hernaiz Pidal, Mariana Rodríguez Sound Daniel Loustaunau Music Jorge Bolado Cast Aida Hadžibegović, Hava Đombić

Producers Marta Hernaiz Pidal, Jorge Bolado, Alen Ljubunčić Production Cine Vendaval World Sales Cine Vendaval World Premiere Berlinale 2018

Lajka

Aurel Klimt Czech Republic 2017

Laika

3D / color, 88 min Czech Austrian Premiere

Das Leben ist kein Zuckerschlecken für Laika, Straßenköter am Rande einer russischen Großstadt. Sie wird eingefangen und abgerichtet, um zur Weltraumpionierin zu werden, und bald folgen ihr weitere Tiere, eilig von Houston und Baikonur aus ins All geschossen. Durch ein Schwarzes Loch gelangen sie zu einem fernen Planeten, wo sie sich in Koexistenz mit den dortigen BewohnerInnen ansiedeln. Als aber der erste menschliche Kosmonaut landet, ist alles in Gefahr. Es ist faszinierend, mit welcher Überheblichkeit Menschen über Existenz oder Nicht existenz anderer Wesen entscheiden. Ich halte das für eines der wichtigsten Themen der Gegenwart. (Aurel Klimt)

This Czech puppet animation takes a wry, cynical look at the early days of the Soviet space program as viewed by Laika, the first living creature shot into space. In 1957, Laika became a world-renowed, heroic-cutesy figure – until children asked their parents when she’d be coming home, and the Russian space agency had to admit that she’d been sent on a suicide mission. This isn’t the first fiction to imagine a happier outcome for Laika and her animal comrades, but it is quite probably the strangest. It’s so heroically unsuitable for children that many kids will love it, even if they don’t get all the perverse alien sex jokes. (Kim Newman)

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Biography Aurel Klimt was born in Žilina in Slovakia in 1972. He graduated from the Animation Department of FAMU in Prague in 1999 and has been teaching there since. In 2000 he founded Zvon Studio in Malešov and started writing, producing, animating and editing his own films. His latest feature, “Laika” (2017), was awarded the Czech Lion. Aurel Klimt also writes theatre plays and produces commercials.

Films — Selection — L ajka (Laika, 2017) — Hrbáci z Damasku, Segment of Fimfárum 2 (Filmfarum 2, 2006, omnibus film) — Fimfárum, Franta Nebojsa, Segment of Fimfárum Jana Wericha (Filmfarum, 2002, omnibus film) — K rvavý Hugo (Bloody Hugo, 1998, short) — M askin zabil Koskina (Maskin Kills Koskin, 1996, short)

Screenplay Aurel Klimt Cinematography Radek Loukota Editing Aurel Klimt Sound Marek Musil Music Marek Doubrava, Josef Čermák Voices Jan Budar, Petr Čtvrtníček, Helena Dvoráková, Miroslav Táborský, Jan Vondráček, Karel Zima

Art Design František Lipták, Martin Velíšek Animation Jan Štencl, Olívie Dolanská, Aurel Klimt Producer Aurel Klimt Production Studio ZVON, Universal Production Partners, Studio Bystrouška, Česká televize World Sales Studio ZVON Festival Premiere Karlovy Vary Int. Film Festival 2018

Ozen

Emir Baigazin Kazakhstan / Poland / Norway 2018

The River

color, 108 min Kazakh Austrian Premiere

Eine Familie, ein abgelegenes Dorf: Der älteste Sohn Aslan ist verantwortlich für die Arbeit und ihre Verteilung an seine vier jüngeren Brüder. Wenn Fehler passieren, hilft er und nimmt den väterlichen Tadel auf sich. Eines Tages nimmt Aslan die anderen zum Schwimmen im Fluss mit. Ab nun kreist das Leben um diese Nachmittage. Dann aber kommt ein Fremder ins Dorf, zeigt den Kindern Tablet und Computerspiele und wird zum Anführer. Irgendwann nimmt Aslan ihn zum Fluss mit. Der Stadtjunge verschwindet, der paradiesische Fluss ist zum Styx geworden, und die Brüder müssen einen Weg finden, mit der Tragödie umzugehen. (Venice International Film Festival)

Five brothers living under the watch of an authoritarian father find their delicate dynamic threatened by the presence of the outside world in Emir Baigazin’s hypnotic family portrait. The final chapter in a trilogy of films depicting teenage life in rural Kazakhstan, Baigazin combines moments of surrealism with political allegory to illustrate why the economically depressed steppes of post-Soviet Kazakhstan might not be the best place to start a family. A rigorously composed and austere film about power and persuasion, The River casts a spell that will entice admirers of uncompromising cinema. (Patrick Gamble, Little White Lies)

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Biography Born in Kazakhstan in 1984, Emir Baigazin worked as a theatre actor before studying film and television directing at the Kazakh National Academy of Arts in Almaty. In 2007 he was selected to participate in the Asian Film Academy in Busan, South Korea, and he is an alumnus of the 2008 Berlinale Talent Campus. In 2013 his feature debut “Harmony Lessons” screened in competition at the Berlinale.

Films — Selection — Ozen (The River, 2018) — Ranenyy Angel (Wounded Angel, 2016) — Uroki Garmonii (Harmony Lessons, 2013)

Screenplay Emir Baigazin Cinematography Emir Baigazin Editing Emir Baigazin Sound Daut Zhantasov Music Justyna Banaszczyk Cast Zhalgas Klanov, Eric Tazabekov, Zhasulan Userbayev, Ruslan Userbayev, Bagdaulet Sagindikov,

Sultanali Zhaksybek, Kuandyk Kystykbayev, Aida Iliyaskyzy Producers Emir Baigazin, Klaudia Smieja, Hilde Berg, Ludmila Cvikova Production Emir Baigazin Production, Madants, Norsk Filmproduksjon, Ludmila Cvikova C&P World Sales Films Boutique World Premiere Venice International Film Festival 2018

Quién te cantará

Carlos Vermut Spain / France 2018 color, 124 min Spanish Austrian Premiere

In den Neunzigern war Lila Cassen die erfolgreichste Sängerin Spaniens. Dann verschwand sie aus der Öffentlichkeit, von einem Tag auf den anderen. Zehn Jahre später bereitet Lila nun ein triumphales Comeback vor; kurz davor hat sie jedoch einen Unfall und verliert ihr Gedächtnis. Violetas Alltag ist komplett ihrer aggressiven Tochter Marta unterworfen. Nur Abends fühlt sie sich frei, wenn sie in einer Karaokebar als Lila-Cassen-Imitatorin auftritt. Eines Tages bekommt sie ein faszinierendes Angebot: Violeta soll der echten Lila beibringen, wieder Lila zu sein – ein düsterverwickelter Thriller in Almodóvar-Tradition über einen Popstar und seinen größten Fan.

A super fan of a popular singer’s best case scenario is to meet their hero and be acknowledged by them, perhaps getting a backstage pass attached to their ticket to a show. Quién te cantará flips the fan-superstar-relationship on its head: The famous singer has to reach out to her biggest fan for help. Quién te cantará is an original take on the ultra fans’ relationship with their idol. At one point during practice, Lila asks Violeta if she had thought of this moment alone with her in her house before and if so, how she imagined it going. The answer pales in comparison to what actually occurs on screen. (Francis McKay, Flickhunter)

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Biography Carlos Vermut was born in Madrid and studied illustration at the city’s Escuela de arte número diez. He has directed three shorts and independently launched his first feature “Diamond Flash” (2011). With his second feature “Magical Girl” (2014) he won the Golden Shell for Best Film at the San Sebastián Film Festival.

Films — Selection — Quién te cantará (2018) — M agical Girl (2014) — Diamond Flash (2011) — D on Pepe Popi (2012, short) — M aquetas (2009, short) — Michirones (Micherons, 2009, short)

Screenplay Carlos Vermut Cinematography Eduard Grau Editing Marta Velasco Sound Daniel de Zayas Music Alberto Iglesias Cast Najwa Nimri, Eva Llorach, Natalia de Molina, Carme Elías Producer Enrique López Lavigne

Production Apache Films, Las Películas del Apache, Áralan Films, Les Films du Worso World Sales Film Factory World Premiere Toronto International Film Festival 2018

Sibel

Çağla Zencirci Guillaume Giovanetti France / Germany / Luxembourg / Turkey 2018 color, 95 min Turkish Austrian Premiere

Sibel ist 25 Jahre alt und lebt mit ihrem Vater und ihrer Schwester in einem abgelegenen Bergdorf am Schwarzen Meer in der Türkei. Sie ist stumm, aber kann dank einer in der Region verbreiteten Pfeifsprache kommunizieren. Von den DorfbewohnerInnen ausgeschlossen, folgt Sibel insgeheim einem Wolf, der sich im nahen Wald herumtreiben soll und der Gegenstand der Fantasien und Ängste der Frauen im Dorf ist. Bei einem ihrer Streifzüge trifft Sibel auf einen verwundeten Flüchtling. Bedrohlich und verletzlich zugleich, sieht der Mann sie mit ganz anderen Augen als die anderen. (Locarno Film Festival)

Sibel (Damla Sönmez) lives with her family in a remote mountain village. She knows her way around a rifle and is determined to slay a wolf that has been spotted prowling the woods. Mute since the age of five, Sibel is a pariah among the women who regard her as bad luck. But she maintains friendship with her father, with whom she communicates via an ancient whistled language. Sibel’s routine is interrupted by the arrival of Ali, an alluring, wounded fugitive. Giovanetti and Zencirci have sculpted this lovely film with a balance of fairy tale elements, unfussy realism, and character and location-driven camerawork. (Kerri Craddock, Toronto International Film Festival)

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DANUBE

Biography French-Turkish couple Çağla Zencirci and Guillaume Giovanetti have been co-directing films, and their lives, since 2004. After multiple short films (selected in Berlin, Locarno and ClermontFerrand) and two features, “Noor” (2012), screened in Cannes ACID, and “Ningen” (2013), shown in Toronto, their third feature film, “Sibel”, premiered in the International Competition in Locarno.

Films — Selection — Sibel (2018) — Ningen (2013) — Noor (2012) — Camera Obscura (2012, short) — Six (2009, short) — Ata (2008, short)

Screenplay Çağla Zencirci, Ramata Sy, Guillaume Giovanetti Cinematography Eric Devin

Editing Véronique Lange Sound Tim Stephan, Stephan Konken Music Bassel Hallak, Pi Cast Damla Sönmez, Emin Gürsoy, Elit İşcan, Meral Çetinkaya, Erkan Kolçak Köstendil Producers Marie Legrand, Rani Massalha, Michael Eckelt, Johannes Jancke, Marsel Kalvo, Nefes Polat, Christel Henon, Lilian Eche

Production Les Films du Tambour, Riva Filmproduktion, Bidibul Productions, Mars Production, Reborn Production World Sales Pyramide International Austrian Rights Arsenal World Premiere Locarno Film Festival 2018

The Souvenir

Joanna Hogg Great Britain 2019 color, 115 min English Austrian Premiere

England, Anfang der 1980er-Jahre: Die scheue Filmstudentin Julie will die Welt durch die Linse ihrer Kamera besser verstehen. Ihre Privilegiertheit ist ihr bewusst, die Kamera sieht sie als Ausweg. Unaufgeregt werden wir in Julies studentisches Milieu eingeführt, in das unerwartet Anthony tritt, der älter und distinguierter ist. Er hütet ein Geheimnis, das auf dramatische Weise alles verändern wird. Joanna Hoggs semiautobiografischer Film ist ein Blick auf die kreative Produktivität der gehobenen Mittelklasse, zugleich hochkonzentrierte Betrachtung von Räumen, Landschaften, Abhängigkeitsverhältnissen und nicht zuletzt des Mediums Film. (Berlinale)

Early in The Souvenir, over drinks and flirting, two soon-to-be lovers rehash the old life-versus-art debate. One, a filmmaker, is preoccupied with honoring reality as faithfully as possible. The other, an observer, rolls his eyes: “We don’t want to see life played out as it is, we want to see it as it is experienced.” Joanna Hogg takes a little of both positions in her fourth feature, a work of memoir shattered and reassembled into a universally truthful fiction, at once the coming-of-age story of many women and a specific creative manifesto for one of modern British cinema’s most singular writer-directors. (Guy Lodge, Variety)

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Biography Joanna Hogg, born in London in 1960, studied at the National Film & Television School. Her graduation film “Caprice” (1986) starred Tilda Swinton. Hogg’s TV work includes episodes of “Casualty” and “London Bridge”. In 2007 she made her feature film debut with “Unrelated”. Crossing Europe dedicated the 2014 Tribute to her. In 2019 she won the World Cinema Grand Jury Prize at Sundance.

Films — Selection — The Souvenir (2019) — E xhibition (2013, CE’14) — Archipelago (2010, CE’11) — Unrelated (2007, CE’08) — London’s Burning (1999, TV Series, CE’14) — Caprice (1986, short, CE’14)

Screenplay Joanna Hogg Cinematography David Raedeker Editing Helle le Fevre Sound Jovan Ajder Cast Honor Swinton Byrne, Tom Burke, Tilda Swinton, Richard Ayoade Producers Luke Schiller, Joanna Hogg

Production BBC Films, British Film Institute, JWH Films, Sikelia Productions World Sales Protagonist Pictures World Premiere Sundance Film Festival 2019

Systemsprenger

Nora Fingscheidt Germany 2019

System Crasher

color, 119 min German Austrian Premiere Opening Film

Benni, ein zartes Mädchen mit ungestümer Energie, ist ein „Systemsprenger“. So nennt man Kinder, die radikal jede Regel brechen und nach und nach durch alle Raster der deutschen Kinder- und Jugendhilfe fallen. Wo immer die Neunjährige aufgenommen wird, fliegt sie schon nach kurzer Zeit wieder raus. Und genau darauf hat sie es abgesehen, denn sie sehnt sich danach, wieder bei ihrer Mutter zu leben – einer Frau, die maßlos überfordert ist von der Unberechenbarkeit ihrer eigenen Tochter. Nora Fingscheidt inszeniert ein intensives Drama über die unbändige Sehnsucht eines Kindes nach Geborgenheit, und das darin liegende Gewaltpotenzial. (Berlinale)

Benni is a traumatized nine-year-old girl who regularly and violently assaults herself and others. Since her single mother is unable to cope, the government’s childcare services try to find a favourable environment for her. As she is passed between foster parents, shelters and hospitals, it becomes clear that there is no permanent solution, despite tireless efforts of social worker Mrs Bafané. Benni’s last hope lies in Micha, an experienced coach for intractable young teenagers. Their relationship becomes very intense, and after a few weeks together in the forest, a turning point appears to be on the horizon. (Teresa Vena, Cineuropa)

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DANUBE

Biography Nora Fingscheidt was born in Braunschweig, Germany, in 1983. Between 2008 and 2017 she studied fiction directing at the Film Academy Baden-Württemberg. For her second-year film, “Synkope”, she was nominated for the German Short Film Award. She completed her degree with the documentary “Without This World”, which won, among others, the Max Ophüls Prize in 2017. “System Crasher” won a Silver Bear at Berlinale 2019.

Films — Selection — Systemsprenger (System Crasher, 2019) — Ohne diese Welt (Without This World, 2017, doc) — Die Lizenz (2016, short) — B oulevard’s End (doc short, 2014) — Brüderlein (2013, mid-length) — Zwischen den Zeilen (2011, short) — Synkope (2010, short)

Screenplay Nora Fingscheidt Cinematography Yunus Roy Imer Editing Stephan Bechinger, Julia Kovalenko Sound Dominik Leube, Oscar Stiebitz Music John Gürtler Cast Helena Zengel, Albrecht Schuch, Gabriela Maria Schmeide, Lisa Hagmeister, Melanie Straub

Producers Peter Hartwig, Jonas Weydemann, Jakob D. Weydemann, Frauke Kolbmüller Production Kineo Filmproduktion, Weydemann Bros., Oma Inge Film World Sales Beta Cinema Austrian Rights Filmladen World Premiere Berlinale 2019

To thávma tis thálassas ton Sargassón The Miracle of the Sargasso Sea

Elisabeth ist Polizeichefin im griechischen Küstenstädtchen Mesolongi. Sie trinkt zu viel, flucht permanent und schläft mit einem verheirateten Arzt. Die Versetzung aus Athen in das kleine Fischerdorf vor zehn Jahren macht ihr immer noch zu schaffen. Ihr halbwüchsiger Sohn Dimitris kennt die Launen seiner Mutter. Die Fabrikarbeiterin Rita stammt aus Mesolongi, ihr Bruder ist eine lokale Szenegröße. Bei seinen Club-Auftritten holt er sie manchmal auf die Bühne. Doch auch Rita ist unzufrieden. Als ein Tod das ohnehin brüchige Beziehungsnetz der DorfbewohnerInnen zerreißt, zeigt sich, dass die darunterliegende Struktur noch kaputter ist. (Berlinale)

Syllas Tzoumerkas Greece / Germany / Netherlands / Sweden 2019 color, 121 min Greek Austrian Premiere

In a small eel-farming town in the west of Greece, two women live solitary lives while dreaming of getting away. Elisabeth is a once-ambitious policewoman forced to relocate from Athens ten years ago who now lives a joyless, hung-over life; Rita is the quiet, mysterious sister of a lounge singer in the local disco. When a sudden death upsets the town and turns the local community upside-down, the two women who had been ignoring each other’s existence begin drifting towards each other. As the secrets hidden in the swamps begin to surface, they will have a chance to become each other’s saviors.

78 European Panorama Fiction — crossing europe film festival 2019

Biography Syllas Tzoumerkas was born in Thessaloniki, Greece, in 1978. He writes, directs and is an actor in film and theatre. His debut feature film, “Homeland”, premiered at Venice Critics’ Week in 2010 and went on to screen at international film festivals. His second feature, “A Blast”, premiered at Locarno and was shown at over 80 festivals worldwide.

Films — Selection — To thávma tis thálassas ton Sargassón (The Miracle of the Sargasso Sea, 2019) — A Blast (2014, CE’15) — Homeland (2010)

Screenplay Youla Boudali, Syllas Tzoumerkas Cinematography Petrus Sjövik Editing Andreas Wodraschke Sound Felix Siewert Music Jean-Paul Wall, drog_A_tek, Phoebus Cast Angeliki Papoulia, Youla Boudali, Christos Passalis, Argyris Xafis, Thanasis Dovris, Laertis Malkotsis,

Maria Filini, Michalis Kimonas, Christian Culbida, Michalis Mathioudakis Producers Maria Drandaki, Titus Kreyenberg, Ellen Havenith, Olle Wirenhed, Anthony Muir Production Homemade Films, unafilm, PRPL, Kakadua Filmproduktion, Film I Väst World Sales New Europe Film Sales World Premiere Berlinale 2019

Un prinţ și jumătate One and a Half Prince

Ana Lungu Romania 2018 color, 108 min Romanian Austrian Premiere

Drei FreundInnen leben zusammen in einer Wohngemeinschaft in Bukarest: Iris ist Single, Marius geschiedener Vater und Istvan ist schwul. Die drei sind auf ihre Art eine glückliche Familie. Doch als L ászló auftaucht, gerät das Gleichgewicht in Gefahr: Iris verliebt sich in den charmanten Schriftsteller aus Transsylvanien, die anderen sind eifersüchtig und nennen László einen Bauern. Aber für Iris ist der attraktive Mann, der Tiere liebt und Pferde reitet, ein Prinz. Un prinț și jumătate ist eine Art Fortsetzung zum Coming-of-Age-Drama Autoportretul unei fete cuminţi, für das Ana Lungu 2015 den Crossing Europe Award – Best Fiction Film erhielt.

There’s a uninhibited, casual intimacy to this portrait of a trio of friends. Iris (Iris Spiridon), Marius (Marius Manole) and István (István Téglás) live together as a defacto family unit in an apartment in Bucharest. But their close inter-dependence is threatened when Iris develops a crush on László (László Mátray), a physically imposing poet who lives in rural Transylvania, where he gallops around on horses like some kind of modern-day fairytale prince. The romance of the idea of him is clearly a big part of the appeal for highly-strung and impulsive Iris. (Wendy Ide, Screen Daily)

79 European Panorama Fiction — crossing europe film festival 2019

CROSSING X

DANUBE

Biography Ana Lungu was born in 1978 in Bucharest, Romania. She studied psychology and film directing and has worked as script supervisor and assistant director. She co-directed “The Belly of the Whale” (with Ana Szel), which was selected for the Locarno Festival. “Self-Portrait of a Dutiful Daughter”, her feature debut, premiered at the Rotterdam International Film Festival and won the CE’15 Award – Best Fiction.

Films — Selection — Un prinţ și jumătate (One and a Half Prince, 2018) — Autoportretul unei fete cuminţi (Self-Portrait of a Dutiful Daughter, 2015, CE’15) — Burta Balenei (The Belly of the Whale, 2010, with Ana Szel)

Screenplay Ana Lungu, Iris Spiridon Cinematography Luchian Ciobanu Editing Dana Bunescu Sound Vlad Voinescu Cast Iris Spiridon, Marius Manole, István Téglás, László Mátray, Dantes Bobăianu, Emilian Oprea, Răzvan Alexe, Radu Afrim Producer Anca Puiu

Production Mandragora World Sales Mandragora World Premiere Sarajevo International Film Festival 2018

Avevo un sogno

Claudia Tosi Italy / France 2018

I Had a Dream

color, 84 min Italian Austrian Premiere

Zwei Männer flankieren diesen Film: Silvio Berlusconi, der 2008 zum vierten Mal italienischer Ministerpräsident wurde, und Donald Trump, der ein Jahrzehnt später als US-Präsident vereidigt wurde. Für die Abgeordnete Manuela Ghizzoni und die Lokalpolitikerin Daniela Depietri ist dieser Zeitraum Inbegriff für politischen Regress. Seit Jahren kämpfen sie in Italien für Gleichberechtigung, bessere Gesetze zum Schutz vor häuslicher Gewalt und für diversere politische Verantwortungsträger. 2018 unterlagen die Demokraten deutlich gegen die populistische, europaskeptische Fünf-Sterne-Bewegung. Ist die Politik tot? (Lukas Stern, DOK Leipzig)

Manuela Ghizzoni and Daniela Depietri dream of changing their country, Italy, but have to meet the harsh reality. From the feminist fights against Berlusconi to the recent elections of 2018, the film explores the past ten years of Italy through the political and everyday life of the two women. Supported only by their friendship and political passion, Manuela, a member of parliament, and Daniela, active on a local level, face the Italian women-non-friendly political environment and witness a change that they would have never expected: the death of politics and rise of populism. Still, their refreshing humor casts unexpected lightness on the dark times faced by Italy.

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Biography Claudia Tosi was born in Modena in 1970. She studied philosophy at the University of Bologna, and started working as a creative documentary director and producer in 2003. In 2004 she founded Movimenta, a production company focused on creative documentaries. “I Had a Dream” won her the Golden Dove at DOK Leipzig 2018.

Films — Selection — Avevo un sogno (I Had a Dream, 2018, doc) — Verso Casa (2016, doc) — The Perfect Circle (2015, doc) — Mostar United (2009, doc) — Private Fragments of Bosnia (2004, doc)

Screenplay Claudia Tosi Cinematography Claudia Tosi, Andrea Gioacchini Editing Marco Duretti Sound Diego Schiavo Music Daniele Rossi, Enrico Pasini With Manuela Ghizzoni, Daniela Depietri Producers Claudia Tosi, Nathalie Combe

Production Movimenta, Cosmographe Production, France Télévision World Sales Deckert Distribution World Premiere DOK Leipzig 2018

Barcelonaa odottamassa Waiting for Barcelona

Juho-Pekka Tanskanen Finland 2018 black and white, 85 min English, Spanish, Wolof, French Austrian Premiere

Liebesaffären, Freundschaften, die Barcelona’s streets are the epitome Polizei an den Fersen: Barcelona odottamassa of romantic city life – as long as you don’t live folgt Europas Unsichtbaren, Immigran- on them. But 27-year-old Mou does. He left his ten ohne Aufenthaltsgenehmigung, die homeland as a 12-year-old and has since lived mit gesammeltem Altmetall handeln und a homeless life around Las Ramblas. Mou is gefälschte Handtaschen verscherbeln. Auf not just streetwise, he is also a popular man. Straßenniveau in hartem Schwarzweiß ge A love affair with a Spanish girl gives him hope, filmt, zeigt der Film uns eine Welt des Leides but the past and the mental pressures of an und der Träume an den Rändern einer der impossible situation catch up with his otherbegehrtesten Städte für TouristInnen aus wise so positive spirit. Filmed at street-level aller Welt. Das Idealbild des Daseins in die- in black and white, Waiting for Barcelona is ser Stadt ist für alle ähnlich – die Praxis hängt reminiscent of the social-realist tradition of nur davon ab, ob Geld und Papiere vorhanden street photography, and avoids the cliché of sind. “giving Mou a voice” – for Mou already has one. (CPH:DOX)

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Biography Juho-Pekka Tanskanen was born in 1988 in Helsinki, Finland. He graduated in cinema studies from the Lahti University of Applied Sciences and has worked in the Finnish film industry since 2014. He is co-founder of the production company Danish Bear Productions. “Waiting for Barcelona” is Tanskanen’s first feature-length film.

Films — Selection — B arcelona odottamassa (Waiting for Barcelona, 2018, doc) — L aita ittes likoon (2017, doc short) — S amin elokuva (Sami’s film, 2016, doc short)

Screenplay Juho-Pekka Tanskanen Cinematography Jeremias Nieminen Editing Suvi Solja, Juho-Pekka Tanskanen Sound Toivo Kallio Music Erik Michelsen Producer Isabella Karhu Production Danish Bear Productions

World Sales Syndicado World Premiere CPH:DOX 2018

De chaque instant

Nicolas Philibert France 2018

Each and Every Moment Zu jeder Zeit

color, 105 min French Austrian Premiere

Jedes Jahr beginnen Zehntausende vor allem weibliche Studierende ihre Ausbildung in einer Krankenpflegeschule. Dort werden sie ihre Zeit zwischen theoretischen Kursen, praktischen Übungen und Praktika verbringen, ein intensiver und aufreibender Prozess, in dem sie sich enormes Wissen erarbeiten, technische Prozeduren erlernen und sich auf ihre große Verantwortung vorbereiten. Der Film zeigt die Höhen und Tiefen einer Lehre, die junge Erwachsene schon sehr früh mit der Fragilität des Menschseins, mit Leid und Krankheit an Körper und Seele konfrontiert. Und damit handelt er von uns allen, von unserer Menschlichkeit.

In January 2016, documentarian icolas Philibert (To Be and to Have) was N sent to the emergency room after suffering an embolism. Whilst in hospital, he decided to make good on an idea that he’d had for a number of years, to make a film as a tribute to healthcare staff. His documentary Each and Every Moment follows nurses being trained in the Institut de la Croix Saint-Simon in Montreuil. Philibert takes a direct-cinema, observational approach to the film. There is no music on the soundtrack, and it’s a celebration of the hard work and the learning that goes into training the oft-underappreciated group. (Kaleem Aftab, C ineuropa)

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Biography Born in Nancy in 1951, Nicolas Philibert studied philosophy before he co-directed, with Gérard Mordillat, his first documentary, “His Master’s Voice”, in 1978. His extensive body of work includes “To Be and to Have” (2002), which was awarded the Prix Louis-Delluc and was nominated for Best Film at the César Awards. “Each and Every Moment” is his latest feature documentary.

Films — Selection — D e chaque instant (Each and Every Moment, 2018, doc) — L a Maison de la radio (2012, doc) — Nénette (2010, doc) — Retour en Normandie (Back to Normandy, 2006, doc) — Être et avoir (To Be and to Have, 2002, doc) — Le pays des sourds (In the Land of the Deaf, 1992) — L a Ville Louvre (Louvre City, 1990)

Cinematography Nicolas Philibert Editing Nicolas Philibert Sound Yolande Decarsin Producer Denis Freyd Production France 3 Cinéma, Longride, Archipel 35 World Sales Doc & Film International

Austrian Rights Polyfilm World Premiere Locarno Film Festival 2018

Hamburger Gitter

Steffen Maurer, Luise Burchard, Luca Vogel, Marco Heinig

Hamburg Grids

Germany 2018 color, 77 min German

170 Ermittler arbeiten an Hunderten Verfahren gegen militante Demonstranten und Menschen, die sich an Ausschreitungen und Plünderungen beteiligten. Harte Strafen wurden gefordert und in bisher über 40 Fällen auch verhängt. Der Staat verlor im Sommer 2017 die Kontrolle in Hamburg und versucht sie nun zurück zu gewinnen. Die Dokumentation konzentriert sich auf den Umgang mit den Protesten und die staatliche Sicherheitspolitik. Versammlungsfreiheit, Bewegungsfreiheit und Pressefreiheit spielen in den Betrachtungen eine ebenso große Rolle wie die Veränderung der polizeilichen Strategien. (Steffen Maurer)

Hamburg, July 2017. 31,000 policemen, 20 governments, 100,000 protesters – a city seemingly traumatised. One year after the G20 summit government officials call for severe punishment and the police pulls out all stops in their search for hunderts of suspects. Could the summit signal a new approach in dealing with protest?

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Biography Steffen Maurer started realizing his first few film projects already during his school days. In 2013, while in Mexico, he created his first short documentary film. Shortly thereafter he studied directing at “FilmArche”, a time during which he produced countless short documentaries about protest and social movements. Luise Burchard, Luca Vogel, Marco Heinig are video activists and filmmakers.

Films — Selection — H amburger Gitter (Hamburger Grids, 2018, doc) — ZWI3 (2016, short) — S omos Viento (2013, doc short)

Screenplay Marco Heinig, Steffen Maurer, Luise Burchard, Luca Vogel Cinematography Steffen Maurer, Michael Zimmer, Ole Jacobs, Arne Büttner, a.o. Editing Marco Heinig, Luise Burchard Sound Florian Beck Music Robin Plenio

With Heribert Prantl, Benjamin Derin, Gabriele Heinecke, Rafael Behr, Christiane Schneider, Katharina Schipkowski, Halil, Leo, Nils, Julia a.o. Producers Mischa Pfisterer, Sophie Krause Production leftvision World Premiere Kino International, Berlin 2018

Jij bent mijn vriend You Are My Friend

Petra Lataster-Czisch Peter Lataster Netherlands 2018 color, 77 min Dutch, Arabic, Macedonian Austrian Premiere

Der erste Schultag ist immer aufregend, und ganz besonders für den sechsjährigen Branche. Er ist mit seinen Eltern aus Mazedonien in die Niederlande gekommen, er kennt niemanden an der Schule und niemand kann Mazedonisch. Branche ist in einer speziellen Klasse für Kinder, die Holländisch erst lernen, die selbe Klasse und die schon in Petra Lataster-Czischs und Peter Latasters Film De kinderen van juf Kiet vorkam. In Jij bent mijn vriend gelingt den beiden erneut ein herzerwärmender Film in ihrem charakteristischen, observierenden Stil, mit geduldiger Kamera auf Kinderaugenhöhe. (IDFA)

The first day at a new school is always nerve-racking, and all the more so for sixyear-old Branche. He has come with his parents from Macedonia to the Netherlands, he doesn’t know anyone at the school, and nobody understands Macedonian. Branche is in a special class for children who are still learning Dutch – the same class that previously featured in Petra Lataster-Czisch’s and Peter Lataster's film Miss Kiet’s Children. In You Are My Friend, they again deliver a heartwarming film in their characteristic observational style, with the patient camera always at the child’s eye level. (IDFA)

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Biography Petra Lataster-Czisch was born in Dessau, Germany, in 1954, and grew up in East Germany. She studied script writing and film sciences. In 1981 she moved to the Netherlands. Together with her partner, Peter Lataster (born 1955 in Amsterdam), she has been directing documentaries, shorts and dance films since 1989. Many of their works have been awarded, nationally and internationally.

Films — Selection — J ij bent mijn vriend (You Are My Friend, 2018, doc) — D e kinderen van juf Kiet (Miss Kiet's Children, 2016, doc, CE’17) — D e Nood Aan Dansen (The Need To Dance, 2014, doc) — Wakker in een boze droom (Awake In A Bad Dream, 2013, doc)

Cinematography Peter Lataster Editing Mario Steenbergen Sound Gertjan Miedema Producer Peter Lataster Production L&F Productions World Sales NPO Sales World Premiere IDFA 2018

Lep pozdrav iz svobodnih gozdov

Ian Soroka Slovenia / Croatia / United States 2018 color, 98 min Slovenian, Serbian, English

Greetings from Free Forests

Beim Streunen durch die dicht bewaldete Landschaft Südsloweniens trifft Ian Sorokas Lep pozdrav iz svobodnih gozdov auf Geschichten, die aus dem Land selbst kommen: Der Film unternimmt den Versuch einer visuellen Archäologie, indem er die Schichtungen von Erinnerung und Geschichte aufgräbt, die in Sloweniens majestätischen Wäldern verborgen sind. Das Ergebnis ist ein experimenteller Dokumentarfilm, der Zeitzeugenberichte, Landschaftsbilder, Nachrichtenarchivmaterial und Szenen aus Partisanenfilmdramen kombiniert, und dabei die Verbindung zwischen Mensch und Natur, Geschichte und Erinnerung erkundet. (Carlota Centonze, Cineuropa)

Austrian Premiere

Greetings from Free Forests paints a vivid picture of the forests of southern Slovenia, where the landscape is alive with memory. The film’s attractively verdant visuals are layered with a variety of voices exploring the forest’s past and present, with particular focus on its role as a commune for partisans during WWII. The film moves discursively rather than didactically; offering a mixture of perspectives on the landscape’s past and present. Soroka’s film not only conveys what makes this land such strange sanctuary, but also what makes landscape in general such a bountiful resource for non-fiction filmmakers. (Matt Turner, The Brooklyn Rail)

85 European Panorama Documentary — crossing europe film festival 2019

Biography Ian Soroka, born in Colorado in 1987, studied cinema and philosophy at the University of Colorado, in Prague at FAMU, and Art, Culture and Technology at MIT. His work has screened internationally in festival, gallery and museum contexts including Centre Pompidou, Haus der Kulturen der Welt, and Kinoteka, Ljubljana. “Greetings from Free Forest” was the winner of the international competition at DocLisboa 2018.

Films — Selection — Lep pozdrav iz svobodnih gozdov (Greetings from Free Forest, 2018, doc) — Nevada: Of Landscape And Longing (2012, short) — Nostalgia (2007, doc short)

Screenplay Ian Soroka Cinematography Ian Soroka Editing Ian Soroka Sound Anna Winter, Barbara Rosenberg Music Anders af Klintberg Voice Saša Hajzler

Producers Ian Soroka, Barbara Rosenberg, Luka Rukavina, Sarah Noor Phoenix, Anna Winter Production Pica Pica Productions, Plan 9 Produkcija, Antitalent, 100 World Premiere Festival of Slovenian Film 2018

Lissa ammetsajjel

Saeed Al Batal Ghiath Ayoub Syria / Lebanon / France / Germany / Qatar 2018

Still Recording

color, 120 min Arabic Austrian Premiere Saeed ist ein junger Filmliebhaber, der im syrischen Ost-Ghuta anderen das Filmemachen lehrt. Sein Freund Milad lebt unter Assads Regime, er studiert in Damaskus Kunst. 2011 entscheidet Milad, sich Saeed und der Revolution in Duma anzuschließen. Dort überschlagen sich die Ereignisse: Die jungen Einwohner werden vom revolutionären Eifer ergriffen, doch bald kehrt der Krieg in die Stadt zurück. Über vier Jahre dokumentieren Saeed und Milad mit ihrer Kamera, von der Euphorie des arabischen Frühlings bis zur Verzweiflung während des Krieges: ein Blick auf die Realität der Belagerung, aber auch auf die Sehnsucht nach Kunst und Freiheit. (Lux Film Fest)

Saeed is a young cinema passionate trying to teach other young people in Eastern Ghouta, in Syria, the rules of filming, but the reality they face is too harsh to respect any rule. His friend Milad is on the other side of the fence, in Damascus, under the control of the regime, finishing his studies in Fine Arts. At one point, Milad decides to leave the capital and joins Saeed in besieged Douma where they set up a local radio station and a recording studio. They hold the camera to film everything until one day it is the camera that films them … (festivalscope)

86 European Panorama Documentary — crossing europe film festival 2019

Biography Born in 1988 in Tartus, Syria, Saeed Al Batal is a journalist, photographer and filmmaker. He is one of the founders of an online gallery titled “Sam Lenses” and the Humans of Syria project. Ghiath Ayoub is a filmmaker and visual artist born in Yabrud, Syria, in 1989. In 2013, he graduated from the faculty of Fine Art at the University of Damascus, and now works as a videographer and sound recordist.

Films — Selection — Lissa ammetsajjel (Still Recording, 2018, doc)

Screenplay Saeed Al Batal, Ghiath Ayoub Cinematography Abed AlRahman, Saeed Al Batal, Rafat Bearam, Ghith Beram, Milad Amin, Ghiath Ayoub, Tim Siofi Editing Qutaiba Barhamji, Raya Yamisha Sound Pierre Armand Producers Mohammed Ali Atassi, Jean-Laurent Csindis, Meike Martens

Production Bidayyat for Audiovisual Arts, Films de Force Majeure, Blinker Filmproduktion World Sales Pascale Ramonda World Premiere Venice International Film Festival 2018

Trouble Features @Crossing Europe see page 172

Normal

Adele Tulli Italy / Sweden 2019 color, 70 min Italian Austrian Premiere

Adele Tullis gradliniges FilmdokuAdele Tulli’s Normal is a journey ment handelt von starren Genderrollen, through stereotypes about gender, in a socidie Regisseurin richtet die Kamera auf All- ety such as the Italian one, between patriartägliches: wie Mädchen zu Prinzessinnen chal traditions and breaks from the pattern. geschminkt werden, wie ein Vater seinen From childhood on, we are “educated” to be Sohn auf ein Motorradrennen begleitet und “proper” male and female. Normal is what is wie Teeniemädchen sich mit dem angehim- subject to the norm, not what is “natural.” The melten YouTube-Star ablichten lassen. Sie preparation of a wedding with the suggestions zeigt Jungs beim Ego-Shooter-Spielen, das for the bride-to-be; the coach teaching the Fotoshooting eines frisch verheirateten Paa- boys how to hook up with girls; the selections res, ausufernde Junggesellinnenabschiede, for Miss Italy exposing the paradox of girls filmt einen Kurs, der jungen Männern zeigen who dream to become scientists while showsoll, wie man zum Alphamännchen wird. In ing themselves off in bikini … Normal shows a der kommentarlosen Aneinanderreihung ist complex, multilayered gaze that questions the letzten Endes dann doch ein Kommentar ent- viewer. (Cristiana Paternò, Cinecittà News) halten. (Berlinale)

87 European Panorama Documentary — crossing europe film festival 2019 —

hosted by

Biography In 2018, Adele Tulli completed her PhD at the University of Roehampton in London where she explored subversive film aesthetics within queer and feminist contexts. She is interested in gender studies and visual anthropology. Her films “365 Without 377”, about the struggles of the LGBT community in India, and “Rebel Menopause”, about the feminist activist Thérèse Clerc, have won several awards.

Films — Selection — Normal (2019, doc) — Rebel Menopause (2014, doc short) — 365 Without 377 (2011, doc)

Cinematography Clarissa Cappellani, Francesca Zonars Editing Ilaria Fraioli, Elisa Cantelli, Adele Tull Sound Davide Pesola Music Andrea Koch Producers Valeria Adilardi, Luca Ricciardi, Laura Romano

Production FilmAffair, AAMOD – Audiovisual Archive of the Democratic and Labour Movement, Istituto Luce Cinecittà, Intramovies, RAI Cinema, Ginestra Film World Sales Slingshot Films World Premiere Berlinale 2019

A Northern Soul

Sean McAllister Great Britain 2018 color, 73 min English Austrian Premiere

Nach seinem Dokumentarfilm A Syrian Love Story kehrt Sean McAllister zurück in seine Heimatstadt Hull in Yorkshire, um dort die Eröffnungszeremonie für das „City of Culture“-Jahr 2017 zu inszenieren. Während er daheim bei seinen neunzigjährigen Eltern lebt, reflektiert McAllister die Veränderungen dieser Stadt, die von harten Sparmaßnahmen betroffen und vom Brexit geteilt ist, und in der eines von drei Kindern in Armut lebt. Am Stadtrand trifft McAllister auf Steve Arnott und beginnt ihn zu filmen: Tagsüber schuftet Steve in einem Lagerhaus, abends tritt er als Hip-Hop-Performer auf und hegt einen eigenen kreativen Traum. (Sheffield Doc/Fest)

Filmmaker Sean McAllister returns to home ground for A Northern Soul, having been appointed creative director of the opening ceremony marking his native Hull’s term as 2017 UK City of Culture. After years of austerity and a divisive Brexit vote, might this be the moment to turn the place around after decades of neglect? In warehouse worker Steve Arnott, McAllister finds a kindred soul: here’s someone who wants to transform his fortunes – and help others do the same – through the liberating power of hip-hop, but is faced with the suffocating pressures of exactly what it means to be among the UK’s many working poor. (Sight&Sound, Trevor Johnston)

88 European Panorama Documentary — crossing europe film festival 2019

Biography After leaving school at 16 Sean McAllister worked in a series of low-paid factory jobs in his hometown of Hull before finding a camera and filming his way into the National Film and Television School, graduating in 1996. Since then he has been making films, working in the UK and internationally. His candid, frank works depict with extraordinary intimacy the lives of ordinary people.

Films — Selection — A Northern Soul (2018, doc) — A Syrian Love Story (2015, doc) — The Reluctant Revolutionary (2012, doc) — J apan: A Story of Love and Hate (2008, doc) — The Liberace of Baghdad (2004, doc)

Cinematography Sean McAllister Editing Johnny Burke Music Terence Dunn With Steve Arnott, Sean McAllister and his parents Producers Sean McAllister, Elhum Shakerifar Production 10ft Films Ltd

World Sales 10ft Films Ltd World Premiere Sheffield Doc/Fest 2018

Sylvana, Demon or Diva

Ingeborg Jansen Netherlands 2018 color, 90 min Dutch Austrian Premiere

Seit die ehemalige TV-Moderatorin ylvana Simons lautstark ihre Stimme gegen S Rassismus erhoben und die politische Arena in den Niederlanden betreten hat, ist die Schwarze Frau mit Feindseligkeiten aus Teilen der Bevölkerung konfrontiert. Der Film begleitet die Spitzenkandidatin der von ihr gegründeten Partei BIJ1 („Zusammen“) in den Monaten vor Amsterdamer Lokalwahlen. Mit ihrer direkten Art, für eine gerechtere Gesellschaft zu kämpfen, provoziert Simons immer wieder extreme Reaktionen. Trotz ihres kämpferischen Auftretens in der Öffentlichkeit und bei TV-Debatten hinterlassen die Angriffe ihrer GegnerInnen Spuren.

When former TV personality Sylvana Simons enters the Dutch political arena, it is tougher than she ever expected. She used to host music shows on Dutch TV, but now she’s the figurehead of the political party BIJ1 (“Together”). As a woman of color, she knows how it feels to be treated as a minority. Her outspoken style in fighting for a world in which everyone has equal rights sometimes provokes extreme reactions. We follow her in the months leading up to the local elections. During TV debates, we see Simons standing up for her opinions, but when she’s at home, she shows her vulnerable side. What if she fails to win a seat on the city council? (IDFA)

89 European Panorama Documentary — crossing europe film festival 2019

Biography Ingeborg Jansen was born in Amsterdam in 1965, studied theatre and film at the University of Amsterdam and documentary film and editing at the Dutch Film and TV Academy. Her short film “1 for the Boys, 10 for the Girls” (2001) won the Prize of the Children’s Short Film Competition at Oberhausen International Short Film Festival. “Sylvana, Demon or Diva” is her latest film.

Films — Selection — Sylvana, Demon or Diva (2018, doc) — A Greek Winter (2016, doc) — K inderen met kopzorgen (Troubled Children, 2013, doc) — Bijna 18 (2012, doc) — I n the Shadow of a Mosque (2008, TV doc) — 1 for the Boys, 10 for the Girls (2001, doc short)

Cinematography Rogier Timmermans, Joost van Herwijnen, Victor Horstink, Diderik Evers Editing Patrick Janssens Sound David Spaans, Susanne Helmer With Sylvana Simons Producer Eric Velthuis Production KVFILMS

World Sales KVFILMS World Premiere IDFA 2018

Working Worlds

Arbeitswelten In Cooperation with:

Pages 89—94

Architektur und Gesellschaft

90 — crossing europe film festival 2019

Pages 95—101

Architecture and Society In Cooperation with:

Independent Women

Die Darstellung von arbeitenden Frauen im Film bedient oft Stereotypen – zwischen Hardcore-Business-Lady, gestresster Mutter und hoffnungsloser Romantikerin finden sich nur wenige lebensnahe und differenzierte Darstellungen. In der Realität verdienen berufstätige Frauen in ganz Europa bei gleicher Ausbildung immer noch weniger als Männer und sind von Altersarmut und finanzieller Abhängigkeit bedroht. Sie haben geringere Aufstiegsmöglichkeiten und wann immer soziale Unterstützungen gekürzt werden, sind sie eher davon betroffen. Immer noch ist konservative Rollenverteilung präsent und, durch rechte politische Strömungen gefördert, sogar wieder auf dem Vormarsch. Auch halten immer noch genug Männer ihre Karriere für wichtiger als die ihrer Partnerin und haben Frauen mit der Doppelbelastung Haushalt/Kinderbetreuung und Beruf zu kämpfen. Die Arbeitswelten 2019 versammeln zwei Dokumentar- und zwei Spielfilme, die jeweils eine arbeitende Frau zum Mittelpunkt ihrer Erzählungen machen. Vier Filme, vier individuelle Geschichten, vier Frauen, die ihre Entschlossenheit eint und die als Einzelkämpferinnen in Erscheinung treten. Sie streben nach Unabhängigkeit und sind konfrontiert mit dem Druck, der auf sie einwirkt, von der Familie, den Vorgesetzten oder der Gesellschaft. Eine glaubwürdige Darstellung von sozialem und persönlichem Abstieg einer Frau Ende dreißig liefert der Spielfilm Reise nach Jerusalem. Seit sie in ihrem Job durch eine Praktikantin ersetzt wurde, hantelt sich die alleinstehende Publizistin von einem erfolglosen Bewerbungsgespräch zum nächsten, während sie vom

Essay Working Worlds

Katharina Riedler curator

The filmic depiction of working women frequently employs stereotypes – between hardcore business ladies, stressed-out mothers and hopeless romantics, it can be hard to find realistic and differentiated portrayals. The reality is that working women with the same training still earn less than men all over Europe and are threatened by old-age poverty and financial dependence. They have fewer career opportunities and whenever social supports are cut, they are more likely to be affected. The conservative role allocation lives on, and, through right-wing political trends, is even on the rise. Also, there are still more than enough men who value their careers over their partners', and women who struggle with the double burden of taking care of both household and children and their jobs. Working Worlds 2019 brings together two documentaries and two feature films that each revolve around a working woman. Four films, four individual stories, four women linked through their determination, who all appear as lone fighters for their cause. They strive for independence and are confronted with pressure from their families, their bosses, or society as a whole. A credible portrayal of the social and personal downfall of a woman in her late thirties can be found in the feature film The Chair’s Game. Ever since she was replaced

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Arbeitsamt zu sinnlosen Weiterbildungsmaßnahmen verpflichtet wird. In einer Gesellschaft, die sich über Erfolg definiert, kämpft sie um ihren sozialen Status und gegen die Verarmung – bis es ihr reicht. Als sich die finanzielle Situation ihrer Familie im krisengebeutelten Griechenland zuspitzt, reicht es auch der Hausfrau Panayota, und sie nimmt zum ersten Mal in ihrem Leben einen Job an. In der Arbeit trifft die funktionale Analphabetin auf ausbeuterische Zustände, geringe Bezahlung und Kurzzeitverträge, aber auch auf Solidarität unter Kolleginnen. Ihr arbeitsloser Ehemann nimmt sie und ihren Job als Putzfrau nicht ernst und fühlt sich bedroht, als sich die Machtverhältnisse im konservativen Haushalt verschieben. Trotz der widrigen Umstände ist in Nikos Labôts lebensnaher Studie I doulia tis die Anstellung für die Hauptfigur eine befreiende Kraft und ein kleiner Schritt in Richtung Emanzipation und ökonomische Autonomie.

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Einer neuen Herausforderung stellt sich auch die Jungjournalistin Astrid, die für einen französichen TV-Sender zum ersten Mal von einem Wahlkampf berichtet. Der Dokumentarfilm Première campagne begleitet sie bei ihrer Arbeit, die von Zeitdruck und dem medialen Gedränge rund um den Präsidentschaftskandidaten Emmanuel Macron geprägt ist. Chez Jolie Coiffure hingegen zeigt in eine Arbeitswelt, die vor allem der weißen Bevölkerung Europas wohl nur vom Blick durch ein Schaufenster bekannt ist. Die aus Kamerun stammende Sabine managt einen winzigen Friseursalon im Viertel Matongé in Brüssel, der ausschließlich von Frauen aus Afrika frequentiert wird. Sabines Weg nach Belgien führte sie zunächst über den Libanon, wo sie nur Leid und Ausbeutung vorfand. Also brach sie vor sieben Jahren nach Europa auf, in ein Arbeitsumfeld inmitten der Unsicherheit über den eigenen Aufenthaltsstatus, während vor der Tür weiße TouristInnen vorbeispazieren und die Polizei Razzien durchführt.

by an intern, a publicist living alone muddles through one unsuccessful job interview after the other, while the employment office forces her to attend pointless training programs. In a society that defines itself through success, she is fighting for her social status, and against poverty – until she has had enough. When her family’s financial situation in crisis-ridden Greece takes a turn for the worse, the housewife Panayota has had enough as well, and takes a job for the first time in her life. At work the functionally illiterate woman is confronted with exploitative conditions, low pay, and short-term contracts, but she also encounters solidarity among her colleagues. Her unemployed husband does not take her or her job as a cleaner seriously, and feels threatened by the shift of power in the conservative household. Despite the adverse conditions, employment is a liberating force and a small step towards emancipation and economic autonomy for the protagonist in Nikos Labôt’s realistic study Her Job. The young journalist Astrid must also face a new challenge in doing her first election coverage for a French TV station. The documentary First Campaign accompanies her in her job that is defined by time pressure and the media crowd surrounding the presidential candidate Emmanuel Macron. At Jolie Coiffure looks at a different working world, one that Europe's white population in particular may only know from the look through a shop window. Sabine from Cameroon runs a tiny hairdresser's in the Matongé neighborhood in Brussels that is almost exclusively frequented by women from Africa. Sabine’s journey to Belgium first led her to Lebanon, where she only found suffering and exploitation. Seven years ago she set out on her way to Europe, into a working environment marked by the uncertainty about her residential status, all while white tourists walk by and the police execute raids outside her door.

Chez Jolie Coiffure At Jolie Coiffure

Rosine Mbakam Belgium 2018 color, 70 min French Austrian Premiere

„Jolie“ ist ein winziger Friseursalon im Brüsseler Viertel Matongé. Sabine, selbst aus Kamerun, betreibt den Laden, der auch sozialer Treffpunkt für Frauen aus Afrika ist. Die ZuseherInnen werden mitten hineingeworfen in das kleine Geschäftslokal, das wie ein Aquarium wirkt und voller Spiegel, Haare und Gespräche ist. Es wird frisiert und geflochten; kosmetische, finanzielle und private Probleme werden besprochen und gelöst, Beziehungstipps gegeben und eine lokale Spargruppe gegründet. Nur wenn die Kundinnen einmal länger ausbleiben wird es ruhig, und Sabine erzählt von ihrer eigenen Geschichte. (Katharina Riedler)

Rosine Mbakam is invited to step in Sabine’s small hairdresser’s because it is dangerous in the street. She accepts and pushes in with her camera. This is how Mbakam’s second feature-length documentary At Jolie Coiffure begins. Shot via mirrors, Sabine’s salon appears bigger than it actually is. Sabine’s stories and the customers’ joys, worries, problems and fears bring depth and life into the premises. At times, it feels like the entire African quarter of Brussels had squeezed in. Laughter abounds, anecdotes and life stories elicit emotions, and a male visitor brings a touch of flirt into the salon. (Helsinki Documentary Film Festival)

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Biography Rosine Mfetgo Mbakam was born in Cameroon in 1980 and started working at the NGO COE where she was trained in editing and directing and made several documentaries. In 2003, she joined the team of STV (Spectrum Television) where she made audiovisual programs. Mbakam left Cameroon to study film at INSAS in Belgium in 2007. In 2018 she founded Tândor Productions, together with Geoffrey Cernaix.

Films — Selection — Chez Jolie Coiffure (2019, doc) — Les deux visages d’une femme Bamiléké (The Two Faces of a Bamiléké Woman, 2016, doc) — Tu seras mon allié (2012, short) — Les portes du passé (2011, doc short)

Cinematography Rosine Mbakam Editing Geoffroy Cernaix Sound Rosine Mbakam, Loïc Villiot With Sabine Amiyeme Producers Geoffroy Cernaix, Rosine Mbakam Production Tândor Productions

World Sales WIP – Wallonie Image Production World Premiere DOK Leipzig 2018

I doulia tis

Nikos Labôt Greece / France / Serbia 2018

Her Job

color, 90 min Greek Austrian Premiere

Panayiota (schauspielerisch brillant: Marisha Triantafyllidou) lebt mit Kindern und Mann in Athen. Der verspielt das bisschen Arbeitslosengeld, anstatt einen schlecht bezahlten Job anzunehmen. Panayiota kümmert sich um den Haushalt und hat nicht viel zu sagen. Als sich die finanzielle Lage zuspitzt, nimmt sie, zum ersten Mal in ihrem Leben, einen Job an – als unterbezahlte Putzkraft im neu errichteten Einkaufszentrum, nicht gerade zur Freude ihres Ehemanns. Mit Bedacht und realitätsnah erzählt Nikos Labôt in seinem Debüt von einer Frau, die erste Schritte Richtung Emanzipation wagt. (Katharina Riedler)

Panayiota, a 37-year-old functionally illiterate housewife, leads a quiet life with her husband and their children in a modest neighborhood in Athens, Greece. To cope with the recession that has been affecting her family for some time, Panayiota goes for the first time in her life and finds a job as a cleaner in a shopping mall. Despite the ruthlessness of her work environment, Panayiota breaks free from domestic monotony and gradually gains the respect she never had from her family. When a series of layoffs starts, she will have to face her personal dead ends anew. But Panayiota cannot be the same anymore.

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Biography Nikos Labôt, born in Athens in 1976, studied film directing in Athens. He has worked on feature and short films in Greece and France, TV series and TV shows. He has directed three short films, a creative documentary, music videos and stage plays. His short film “The Dog” participated in numerous international film festivals. “Her Job”, his first feature, won Best Film at Warsaw Film Festival.

Films — Selection — Her Job (I doulia tis, 2019) — The Immortals at the Southern Point of Europe (2013, doc, with Yiorgos Moustakis) — O skylos (The Dog, 2009, doc short) — I mpro Walk (2005, doc short)

Screenplay Katerina Kleitsioti, Nikos Labôt Cinematography Dionysis Efthymiopoulos Editing Dounia Sichov Sound Benoît Gargonne, Jean-Guy Veran, Yannis Anitpas Music Jean Christophe Onno Cast Marisha Triantafyllidou, Dimitris Imellos, Konstantinos Gogoulos, Maria Filini, Eleni Karagiorg

Producers Maria Drandaki, Julie Paratian, Milan Stojanovic Production Homemade Films, Sister Productions, Sense Production, ERT World Sales Jour2Fête World Premiere Toronto International Film Festival 2018

Première campagne First Campaign

Audrey Gordon France 2018 color, 72 min French Austrian Premiere

Als die junge Journalistin Astrid ezmorian ihre neue Stelle beim Fernseh M sender France Télévisions antritt, wird sie beauftragt, zum ersten Mal eine Wahlkampfkampagne zu begleiten: die richtungsweisende des Präsidentschaftskandidaten Emmanuel Macron. Die Einsteigerin verbringt diesen zweimonatigen Marathon unterwegs, mitten im medialen Gedränge, hinter und vor der Kamera, immer mit Stift oder Mikro in der Hand. Der Dokumentarfilm Première campagne begleitet sie bei dieser aufregenden Tour de Force und eröffnet zugleich einen spannenden Blick hinter die Kulissen der politischen Berichterstattung. (Katharina Riedler)

Freshly landed in the political department of TV station France 2, Astrid Mezmorian has to follow the youngest presidential candidate, Emmanuel Macron, for the start of his election campaign. It means two months of marathon for two novices … For the one, it is the opportunity for an unprecedented reflection on her job, for the other it is the chance to conquer the Elysée. First Campaign is both an exceptional dive behind the scenes of France Télévisions, and reveals a new perspective on the presidential campaign.

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Biography Audrey Gordon started out as a journalist at Libération and France 3. In 2013 she directed her first documentary, “Kinderlekh”, for France 3. In 2014, she realized her first fiction feature, “Edith & Lucile”. Since then, she has made several TV documentaries. Between 2016 and 2018 she made her documentary “Siblings”, about brothers and sisters who were put into seperate foster homes and reunite annually at a summer camp.

Films — Selection — Première campagne (First Campaign, 2018, doc) — Siblings (2018, doc) — Edith & Lucile (2014) — Kinderlekh (2013, TV doc)

Screenplay Audrey Gordon Cinematography Audrey Gordon Editing Baptiste Saint-Dizier Sound Benjamin Silvestre With Astrid Mezmorian, Emmanuel Macron Producers Nora Rotman, Michel Rotman Production Les Ecuries, Kuiv

World Sales Jour2Fête World Premiere Politikos Festival du Film Politique 2018

Reise nach Jerusalem The Chair’s Game

Lucia Chiarla Germany 2018 color, 118 min German Austrian Premiere

Alice lebt in der Hipsterhochburg Berlin, ist Ende dreißig, Single und, seit sie ihren Job als Texterin verloren hat, schon eine Weile arbeitslos. Ehemaligen KollegInnen schwindelt sie erfolgreiche Selbstständigkeit vor, dabei ist ihr Konto längst leergefegt. Sie versucht ihre Motivation aufrecht zu erhalten, aber zahlreiche Bewerbungen gehen schief; und das Jobcenter verdonnert sie auch nur zu sinnlosen Weiterbildungskursen – bis Alice die Nase voll davon hat. Lucia Chiarla stellt eine kämpferische Frau und deren sozialen und persönlichen Abstieg ins Zentrum eines Dramas, das mit zahlreichen komischen Momenten gespickt ist. (Katharina Riedler)

Alice (Eva Löbau) is unemployed, but she can no longer tolerate the disgrace of daily life and refuses to get along with the requirements of the job center. Defiantly, she keeps afloat with petrol vouchers that she receives for odd jobs at market research institutes. The main strength of the film is the authenticity of its dialogue and its careful observation of everyday life. In her debut film, Lucia Chiarla uses a laconic narrative style, which enables the film to swing between black comedy and drama. It amuses and disturbs at the same time. In accordance with the principle of Murphy’s law, the story develops a destructive draw. (Theresa Vena, Cineuropa)

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CROSSING X

DANUBE

Biography Lucia Chiarla was born in Genova, Italy, and studied acting at the Civic School of Theater Paolo Grassi in Milano. She also studied literature at the University of Genova, and worked as an actress in theater and film productions. In 2005 she moved to Berlin. Her first film, “Bye Bye Berlusconi” which she wrote and acted in, was shown at Berlinale in 2006. “The Chair’s Game” is her fiction feature debut.

Films — Selection — Reise nach Jerusalem (The Chair’s Game, 2018) — Reise nach Jerusalem (The Chair’s Game, 2011, short)

Screenplay Lucia Chiarla Cinematography Ralf Noack, Steve Scholl Editing Aletta von Vietinghoff Sound Dmitriy Petrovski, Rico Prauss Music Tobias Vethake Cast Eva Löbau, Veronika Nowag-Jones, Axel Werner, Beniamino Brogi, Julia Sophie Mink, Constanze Priester, Christian Schmidt, Nils Schulz

Producers Giulio Baraldi, Lorenzo Baraldi, Claudine Castay Production Kess Film, Schiwago Film, Camelot Berlin World Sales Slingshot Films World Premiere Filmfestival Max Ophüls Preis 2018

Raum, Zeit, Geschichte

Raum speichert die Zeit, die sich ihm einschreibt. Er ist eine allgegenwärtige Zeitmaschine, die uns in Form von Städten, Dörfern und einer schier unüberschaubaren Anzahl von Bauwerken begegnet. An gebautem Raum lässt sich unsere Geschichte ablesen, er spiegelt Gesellschaftsmodelle, politische Systeme und historische Umwälzungen ebenso wider wie individuelle Existenzen. In jüngeren kulturhistorischen Untersuchungen wird zunehmend berücksichtigt, Architektur nicht mit ihrer Fertigstellung als abgeschlossen zu betrachten, sondern verstärkt den gesellschaftlichen Umgang und ihre beständige Transformation ins Blickfeld zu rücken. Durch ihren immanenten Öffentlichkeitscharakter ist Architektur beständig kollektiven Identitäten und deren Interessen unterworfen. Praktiken der Gestaltung und der Aneignung von Räumen verändern sich im Lauf der Geschichte, sie produzieren Schichten durch Überbauungen, Ab- und Umnutzung, Renovierung, gewaltsame Zerstörung, Abriss oder Verfall, die unsere gebaute Umwelt mitbestimmen. Unter dem Titel „Raum, Zeit, Geschichte“ geht die Programmsektion Architektur und Gesellschaft als erfolgreiche Kooperation von Crossing Europe mit dem afo architekturforum oberösterreich in diesem Jahr bereits in die zehnte Runde. Sie bildet den konkreten Auftakt zum aktuellen inhaltlichen Schwerpunkt des architekturforums, der im Herbst 2019 als Ergebnis des Forschungsprojekts „Kontaminierte Orte“ der Öffentlichkeit präsentiert wird. Im Zentrum einer geplanten Ausstellung stehen in Folge ausgesuchte

Space, Time, History

Essay Architecture and Society

Lotte Schreiber filmmaker and artist, Vienna

Space stores the time that en graves itself in it. It is an omnipresent time machine that we encounter in the shape of cities, villages and a seemingly innumerable amount of buildings. We can read our history in constructed space, it mirrors models of society, political systems, and historic upheavals just as much as individual lives. Newer cultural history studies increasingly consider treating architecture not to be final when construction is completed, but rather focus on how buildings are treated by society and on their continuous transformation. Architecture, because of its inherent public character, is constantly subjected to collective identities and their interests. Practices of designing and the appropriation of space change throughout the course of history, they produce layers through additional constructions, abrasion, repurposing, renovation, destruction, demolition or dereliction, which co-determine our built environment. Under the title of “Space, Time, History”, the program section Architecture and Society, the successful collaboration of Crossing Europe and the afo architektur-

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Orte in Oberösterreich, denen unterschiedliche Geschichten des Desasters, des Verbrechens und gesellschaftlicher Verwerfungen eingeschrieben sind. Vor diesem Hintergrund versammelt das diesjährige Filmprogramm am Crossing Europe Filmfestival einen Kurzfilm und vier Dokumentarfilme, die auf unterschiedliche Weise historische und gesellschaftlich-kulturelle Schichten und Geschichten aus Räumen frei legen. So begegnen wir in Alexandra Westmeiers bildgewaltigem Dokumentarfilm Lost Reactor den ProtagonistInnen Olga, Vitaly und Sergey, die in der Ruine eines Atomkraftwerks auf der Halbinsel Krim einen Zufluchtsort gefunden haben. Der Lauf der Geschichte, vom Zusammenbruch des sowjetischen Imperiums bis hin zur Annexion der Krim, trifft auf individuelle Lebenswelten.

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Temporäres Refugium für Menschen, die am Rande der Gesellschaft stehen, ist auch die zentrale Busstation von Tel Aviv. Tomáš Elšíks Central Bus Station porträtiert dieses mächtige Verkehrsbauwerk als Sammelbecken der israelischen Gesellschaft und gibt dabei auf beeindruckende Weise Einblick in die Geschichte des Landes. Eine tatsächliche Zeitkapsel ist die bis unter den Plafond vollgeräumte Altbauwohnung in Nora Agapis preisgekröntem Film Timebox, ein intimes Porträt der rumänischen Filmemacherin über ihren Vater, der, selbst Filmer und Fotograf, zu den wichtigsten Chronisten der rumänischen Gesellschaft zählt. Adnan Softić’s Kurzfilm Bigger Than Life widmet sich der nordmazedonischen Hauptstadt Skopje und hinterfragt auf pointierte Weise anhand des dortigen Baugeschehens die Konstruktion einer fiktiven Geschichte. Eine facettenreiche Annäherung an die belgische Industriestadt Charleroi gelingt Guy-Marc Hinant mit seinem essayistischen Dokumentarfilm Charleroi, le pays aux 60 montagnes, der von der Vergangenheit des Orts erzählt und dabei gleichzeitig den Blick auf dessen Zukunft richtet.

forum oberösterreich celebrates its tenth edition. The program also represents the kick-off to the current content focus of the architekturforum that will be presented to the public in fall 2019 as the result of the research project “Kontaminierte Orte”. The focus of the planned exhibition will be on specifically selected sites in Upper Austria that tell various stories of disaster, crime, and social upheaval. Set against this backdrop, this year’s film program at Crossing Europe is a collection of four documentaries and one short film that in different ways uncover the historical and cultural layers and stories of spaces. In Alexandra Westmeier’s visually stunning documentary Lost Reactor, we will meet the protagonists Olga, V italy, and Sergey who found a place of refuge in the ruins of a nuclear reactor on the Crimean peninsula. The course of history, from the fall of the Soviet Empire up to the annexation of Crimea, meets individual living realities. Another temporary refuge for people living on the fringes of society is Tel Aviv’s main bus terminal. Tomáš Elšík’s Central Bus Station portrays this immense transportation building as a melting pot of Israeli society, thereby giving us impressive insight into the history of the country. An old apartment, crammed up to the ceiling with stuff and memories, turns out to be a real time capsule in Romanian filmmaker Nora Agapi’s award-winning film Timebox. It is an intimate portrait of Agapi’s father, a photographer and filmmaker himself, who is one of the most important chroniclers of the country. Adnan Softić’s short film Bigger Than Life deals with the North Macedonian capital Skopje and poses pointed questions about the construction of a fictitious history through local building activity. Guy-Marc Hinant accomplishes a multifaceted approach to the Belgian industrial city of Charleroi in his essayist documentary Charleroi, the Land of 60 Mountains that tells of the history of the city while simultaneously taking a look at its future.

Bigger Than Life

Adnan Softić Germany / Macedonia / Italy 2018 color, 30 min English Austrian Premiere

In Skopje entsteht nach Regierungsplänen seit einigen Jahren ein nagelneues antikes Stadtzentrum, das die nordmazedonische Hauptstadt mit Rom und Athen in eine Reihe stellen soll. Unter Einbeziehung des sozialistischen Baubestands entsteht so eine Stadt, die ihre Zukunft in einer fiktiven Geschichte sucht. In einer Art Video-Oper konfrontiert uns der Filmemacher durchaus humorvoll mit einem Gedankenpuzzle über Vielvölkerstaaten und das Phantasma ethnischer Reinheit, über Romantisierung und Liebe, das Verhältnis von persönlicher Erinnerung und kollektivem Gedächtnis und darüber, wie auf Behauptung basierende Geschichte konstruiert wird.

In Bigger Than Life present-day Skopje becomes an archaeological dig. We can follow in real time how antiquity is constructed, how historical singularities are manufactured via mimicry, and how the boundary between truth and falsification becomes blurred the minute something is recorded often enough on postcards. A variety of ways of looking at the ongoing construction in Skopje produces a puzzle about multi-ethnic states and the phantasm of national purity, about romanticism and love, the relationship between personal memories and collective memory, and about how a history built on empty claims can actually take on substance. (blinkvideo)

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Biography Adnan Softić, born 1975 in Sarajevo, Bosnia and Herzegovina, studied film and aesthetic theory at the Hochschule für bildende Künste in Hamburg. He is an author, visual artist and director, dealing in his works with the issues of history and remembrance politics. His installations and multimedial works have been on display in numerous exhibitions throughout Europe.

Films — Selection — Bigger Than Life (2018, mid-length doc) — Wie Schnee von gestern (Like Water under the Bridge, 2013, short) — Ground Control (2009, short) — Luk – Onion – Zwiebel (2007, mid-length) — Nema problema / Es gibt kein Problem / There is no Problem (2001, short)

Screenplay Adnan Softić Cinematography Helena Wittmann, Adnan Softić Editing Nina Softić Sound Daniel Dominguez Teruel Music Daniel Dominguez Teruel, Adnan Softić With Alexey Liosha Kokhanov, Pauline Jacob, Victor Moomen

Producer Adnan Softić Production Adnan Softić World Sales Adnan Softić World Premiere International Short Film Festival Oberhausen 2018

Central Bus Station

Tomáš Elšík Czech Republic 2018 color, 75 min English, Hebrew Austrian Premiere

Der 1967 geplante und erst 1993 fertig gestellte zentrale Busbahnhof in Tel Aviv ist einer der größten seiner Art. Dieser überdimensionierte Bau sollte durch seine bewusst komplizierte Innenarchitektur die Menschen dazu verleiten, sich darin zu verlieren und dabei einem Kaufrausch zu verfallen. Im Laufe der Zeit ist dieser Moloch aus Beton jedoch immer mehr zu einer temporären Zufluchtsstätte für Menschen geworden, die am sozialen Rand stehen – Flüchtlinge, Kriminelle, Prostituierte. Elšíks persönlicher Film führt uns in dieses Sammelbecken der israelischen Gesellschaft und gibt uns dabei auf ungewöhnliche Weise Einblick in die Geschichte dieses Landes.

Only recently, Tel Aviv’s Central Bus Station was still the largest in the world. But this oversized space serves more than its original purpose to bring in masses of people who, confused by its complicated interior design, succumb to shopping fever. Over time this concrete monster, which won’t be easy to tear down, has become a temporary refuge for people on the margins of society – refugees, criminals, prostitutes. Like its main protagonist, the tourist guide Yonatan, the film’s director is fascinated by one of the wonders of the world of redundancy and the microcosm of the people who live here. (Jihlava International Documentary Film Festival)

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Biography Tomáš Elšík (b. 1986) originally graduated from FAMO in Písek and later studied editing at FAMU. His medium-length documentary “Message from Dement” (2012) about the punk and anti-fascist scene in São Paulo won an award at FAMUfest. He has also worked as an editor on several film and television projects, including director Kristina Nedvědová’s upcoming film “Snowing!”.

Films — Selection — C entral Bus Station (2018, doc) — Message from Dement (2018, mid-length doc)

Screenplay Tomáš Elšík Cinematography Ondřej Belica, Tomáš Elšík Editing Mariana Kozáková Sound Dominik Dolejší Music Dominik Dolejší, Simeon Hudec Producers Jitka Kotrlová, Ondřej Šejnoha, Petr Novák, Michal Mocňák

Production Frame Films, R.U.R., Studio FAMU, Studio Bystrouška World Sales Frame Films World Premiere Sheffield Doc/Fest 2018

Charleroi, le pays aux 60 montagnes Charleroi, the Land of 60 Mountains Mit dieser phänomenologischen Untersuchung des belgischen Industriestandortes Charleroi schafft der Filmemacher ein vielschichtiges Porträt einer europäischen Stadt im Umbruch. Ehemals Zentrum der Kohle- und Stahlindustrie, war Charleroi lange Zeit auf dem Abstellgleis. Inzwischen ist die Stadt im Strukturwandel angekommen. Doch wie der Begriff verrät, ist auch das nicht Zustand, sondern Übergang. Der Film erzählt von der Vergangenheit des Orts und blickt dabei in die Zukunft, widmet sich René Magritte und dem Entdecker des Urknalls. Die BewohnerInnen eines Obdachlosen-Camps kommen gleichermaßen zu Wort wie Schlüsselfiguren der Stadterneuerung.

Guy-Marc Hinant Belgium 2018 color / black and white, 126 min French Austrian Premiere

I have always wanted to leave Charleroi and always wanted to film it – to record the passing of time there. I return to the city, caught between a buried past and a future yet to be invented. This is the portrait of an industrial city with its collapses, mutations, landscapes and language. A film that features René Magritte, a camp of homeless people, key figures in urban revival, the inventor of the Big Bang, Les Zèbres (Royal Charleroi Sporting Club), socialism, the mute astonishment of childhood … A back and forth through different spacetimes from which emerge, backlit, the lights of the Black Country. (Guy-Marc Hinant)

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Biography Guy-Marc Hinant (b. 1960) co-founded the Brussels-based label Sub Rosa that has been releasing experimental musical and literary recordings since 1987. Between 2000 and 2017 he co-produced with Dominique Lohlé numerous documentaries on figures in avant-garde music, such as David Toop, Leo Küpper and Luc Ferrari. He also wrote several graphic novels which were illustrated by Dominique Goblet.

Films — Selection — Charleroi, le pays aux 60 montagnes (Charleroi, the Land of 60 Mountains, 2018, doc) — RAGE (2017, doc, with Dominique Lohlé) — Birobidjan, le nid est tombé dans les flammes (Birobidjan – The Nest Has Fallen Into The Flames, 2015, doc, CE’16) — Ghost of Silence – Tom Pauwels plays Fausto Romitelli (2014, doc, with Dominique Lohlé)

Screenplay Guy-Marc Hinant Cinematography Vincent Pinckaers Editing Simon Arazi Sound Laszlo Umbreit Music Xavier Hinant Producers Cyril Bibas, Manu Riche, Geneviève De Bauw, Isabelle Christiaens, Annick Lernoud, Philippe Antoine

Production Centre Vidéo de Bruxelles, Riche & Riche, RTBF – Unité Documentaire World Sales Centre Vidéo de Bruxelles World Premiere DOK Leipzig 2018

Lost Reactor

Alexandra Westmeier Germany 2018 color, 76 min Russian Austrian Premiere

Wie es wohl wäre, in einem Atomreaktor zu leben? Vitaly, Sergey und Olga, die drei charismatischen HauptprotagonistInnen in Westmeiers bildgewaltigem Dokumentarfilm, haben die Ruine eines Atomkraftwerks auf der Halbinsel Krim zu ihrem Lebensmittelpunkt erkoren. Das Kraftwerk, einst teuerstes Projekt in der sowjetischen Geschichte, war niemals in Betrieb. Nach der Katastrophe von Tschernobyl wurde seine Fertigstellung unterbrochen und nach dem Zerfall des Imperiums nicht wieder aufgenommen. Der markante Bau befindet sich heute im Zentrum des komplexen Konflikts zwischen der Ukraine und Russland. Dieser Umstand jedoch scheint seine BewohnerInnen kaum zu beunruhigen.

Ever thought of what it’d be like to live inside a nuclear reactor? Well, these three do: Olga, a squatter, with her animals; Sergey, an escapist; and, on a makeshift ship nearby – Vitaly, once the head of construction of the Crimean Nuclear Power Plant. The plant that never lets go of those who helped build it. It was the most costly project in Soviet history. Yet this plant has never been in operation, not for a single day. For the empire collapsed, and the annexation of the Crimea changed the course of history for Russia. But in which direction? Yet still here they live. An extraordinary tale of Russian hopes, dreams and perseverance.

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CROSSING X

DANUBE

Biography Alexandra Westmeier was born in 1973 in Chelyabinsk, Russia. She studied directing at the State Academy of the Theatrical Arts in St. Petersburg for five years and in Moscow for four more years. In 2001 she moved to Germany. Her first documentary “Alone in four Walls” had its premiere in Sundance in 2008. The film received 16 national and international awards.

Films — Selection — Lost Reactor (2018, doc) — M ariinsky on Track (2012, doc) — Allein in vier Wänden (Alone in four Walls, 2007, doc, CE’08) — “ Mama, mir geht es gut …” (2007, TV doc)

Screenplay Alexandra Westmeier, Svetlana Titova Cinematography Ben Bernhard Editing Philipp Gromov Sound Evgenij Kamkov, Markus Glunz Music Trimay With Vitaly Toropov, Nikolay Meshcheryakov, Olga Belyavskaya, Vanya Belyavsky,

Sergey Kondratyev, Oleg Xmyp, Alexey Grishakov Producers Alexandra Westmeier, Michael Haase Production Linger On Filmproduction World Sales Linger On Filmproduction World Premiere International Documentary Film Festival Amsterdam 2018

Timebox

Nora Agapi Romania 2018 color, 70 min Romanian Austrian Premiere

Nora Agapis preisgekrönter Dokumentarfilm ist eine Liebeserklärung der Filmemacherin an ihren Vater, Ioan-Matei, der selbst sein Leben lang als Filmer und Fotograf das gesellschaftliche und politische Geschehen in Rumänien dokumentiert hat. Wir erhalten einen intimen Einblick in seine Wohnräume, in denen er seit Jahrzehnten in Einklang mit unüberschaubar vielen Objekten, Filmnegativen und Fotografien lebt. Seine Sammlung repräsentiert nicht nur die Erinnerung an das Leben eines Einzelnen, sondern spiegelt das kollektive Gedächtnis eines ganzen Landes wider. Die Harmonie trübt sich, als er von einer Räumungsklage bedroht wird. (Lotte Schreiber)

Professor Ioan-Matei Agapi, an 80year-old photographer and cameraman from Iași, Romania, owns a unique collection of 16mm films and photographs documenting almost fifty years of the city’s history. His daughter, also a filmmaker, has decided to make a film about her father’s archives. In the surroundings of his old apartment, he reminisces about the past until one day, Ioan is informed that he must leave the apartment where he has spent the past 40 years. Ioan's work suddenly transforms into a burden, and the film changes into a drama which reveals old conflicts within the family. (Jihlava International Documentary Film Festival)

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Biography Nora Agapi, born in 1974, graduated from the University of Drama and Cinematography in Bucharest. As a cinematographer she shot several documentaries and fictional films. She also works as a photographer with National Geographic magazine, The Sunday Times, and other major media. Her feature-length debut “Timebox” was awarded Best Documentary at the Jihlava International Film Festival 2018.

Films — Selection — Timebox (2018, doc) — Travailler pour 110 euros par mois (2007, TV doc)

Screenplay Nora Agapi, Maxim Carlan Cinematography Nora Agapi Editing Rita Bakacs Sound Florian Tăbăcaru Music Flora Pop With Ioan-Matei Agapi, Nora Agapi Producer Monica Lazurean-Gorgan

Production Manifest Film World Premiere Astra Film Festival Sibiu 2018

Tribute: Jaime Rosales Pages 103—113

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Spotlight: Iris Elezi Pages 114—124

In Cooperation with:

Jaime Rosales

Jaime Rosales, 1970 in Barcelona geboren, besuchte Filmhochschulen in Kuba und Australien. Mit seinem Debüt, dem Serienkillerfilm Las horas del día, gewann er 2003 den FIPRESCI-Preis der Filmkritik beim Festival in Cannes, das seine Arbeiten seither immer wieder in verschiedenen Sektionen zeigt. Wie sein Vorbild Robert Bresson arbeitet auch Rosales gern mit Laiendarstellern, die er oft professionellen Darstellern zur Seite stellt. In Interviews erklärt der Regisseur, Drehbuchautor und Produzent, dass er den „Optimismus“ für eine negative, von Politik und Medien überschätzte Eigenschaft halte – er vielmehr glaube an die „Hoffnung“.

Masterclass Jaime Rosales Hosts: Gorka Cornejo and Maya McKechneay 26 April, 16:00 OK Deck

Filmography — Petra (2018) — Hermosa juventud (Beautiful Youth, 2014) — Sueño y silencio (Dream and Silence, 2012) — Tiro en la cabeza (Bullet in the Head, 2008) — L a soledad (Solitary Fragments, 2007) — L as horas del día (The Hours of the Day, 2003, CE’04)

Jaime Rosales, born in Barcelona in 1970, attended film school in Cuba and Australia. His debut film, the serial killer drama The Hours of the Day, won him the FIPRESCI prize of film critics at Cannes Film Festival in 2003. Ever since, Cannes has shown his films again and again in different sections. Just as Robert Bresson, who reportedly is a big influence, Rosales likes to work with amateurs, who he often putsside by side with professional actors. In interviews the director, screen writer, and producer has explained that he finds “optimism” a rather negative attribute that is overrated by politics and the media. Personally, he prefers to believe in “hope”.

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Essay Tribute to Jaime Rosales

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Schwache Killer, starke Frauen

Das Schicksal ist ein punktgenauer Schütze, zumindest im Werk von Jamie Rosales. Sieht es irgendwo eine Schwachstelle, zielt es und – boom – ist die Hoffnung erloschen. Dabei haben es die Figuren sowieso schon nicht leicht. Die meisten Drehbücher des Regisseurs spielen während der Wirtschaftskrise, die die sozial Schwachen, die in der Peripherie spanischer Städte vor sich hinwursteln, besonders hart trifft. So wie Natalia, die wunderschöne Hauptfigur von Hermosa juventud (2014). Die junge Frau versucht, alles richtig zu machen. In der engen Wohnung, die sie mit ihrer alleinerziehenden Mutter und dem aufmüpfigen Bruder teilt, will sie Streit schlichten, will Geld dazuverdienen. Doch sie findet keinen Job. Und schon holt das Schicksal aus – und Natalia wird schwanger von ihrem Freund, einem Träumer und Gelegenheitsbauarbeiter, der wie sie selbst noch daheim bei seiner pflegebedürftigen Mutter wohnt. „Wenn man den Frauen sagen würde, wie hart es ist, würden sie keine Kinder mehr bekommen und die Menschheit müsste aussterben“, sagt Natalias Mutter – bevor

Weak Killers, Strong Women

Maya McKechneay film critic, filmmaker, author

Fate is a pinpoint marksman, at least in Jamie Rosales’s work. If it spots a weakness anywhere, it takes aim and – boom – all hope is lost. Even without, his characters do not have easy lives. Most of the director’s films take place during the economic crisis that hit the socially vulnerable in the peripheries of Spanish cities particularly hard. Like Natalia, the gorgeous protagonist in Beautiful Youth (2014). The young woman tries to do everything right. In the tight apartment that she shares with her single mother and her unruly brother, she tries to mediate, tries to earn some extra

sie Vorbereitungen trifft, um ein weiteres Maul zu stopfen. Hermosa juventud ist ein Film über Frauensolidarität und das Versagen der Männer, die – unfähig, Verantwortung zu tragen – lieber über Pornos, Videospiele und Fußball reden. Diese Perspektive auf die Geschlechter zieht sich wie ein roter Faden durch das Werk des 49-jährigen Rosales: Da sind auf der einen Seite starke Frauen, die kämpfen, um die Wahrheit zu finden, um Gefühlen zu ihrem Recht zu verhelfen – oder ganz einfach, um finanziell zu überleben. Und auf der anderen Seite die Männer, die keinen Kontakt zur eigenen Gefühlswelt finden und sich stattdessen in zwielichtige Unternehmungen stürzen. So wie Abel (Àlex Brendemühl), der zerrissene Held von Rosales’ Debütfilm Las Horas del Dia, mit dem der Regisseur 2004 seinen Linz-Einstand im Wettbewerb von Crossing Europe gab. Abel erscheint als fügsamer, schweigsamer Boutiquenbesitzer ohne besondere Merkmale. „Schau dich doch an, nichts erregt dich!“, klagt seine Freundin Tere, bevor sie ihn verlässt. Doch Tere irrt, Abel hat durchaus eine Passion: Er liebt es, Menschen zu erwürgen. Das Publikum sieht, was Abels Mutter, seine Kollegin und die (Ex-)Freundin nicht ahnen: Wie er eine Taxifahrerin zu ihrer letzten Fahrt in die Sümpfe lockt. Und wie er auf leisen Sohlen einem alten Mann in die U-Bahn-Toilette folgt. Wahllos sucht er seine Opfer, denn es ist weniger das Leben als das Töten, das ihn interessiert. Schon in diesem Debütfilm findet man den für Rosales so typischen Kamerablick von außen hinein in die Räume. Seine langsam geschnittenen Gesprächsszenen wirken, als stünde man am Fenster einer Vorstadtwohnung und blicke durch die Küche ins dahinter liegende Esszimmer. Dabei hat dieser Blick, der statisch bleibt und nicht atmet, so gar nichts Voyeuristisches, er betont vielmehr das Zufällige der Auswahl: Diese Familie beobachten wir. Aber es könnte genauso

money. Yet she cannot find a job. And so fate takes a swing. Natalia’s boyfriend, a dreamer and occasional construction worker, who also still lives with his mother, gets her pregnant. “If someone were to tell women how hard it is, they would stop having children and the human race would perish,” says Natalia’s mother – before she begins to make preparations to feed another mouth. Beautiful Youth is a film about female solidarity and the deficiencies of men, who, incapable of taking responsibility, rather talk porn, video games, and soccer. Taking a look at gender is something of a common theme in the works of 49-yearold Rosales: on the one side you have strong women who fight for truth and for doing justice to their own emotions – or simply to survive financially. On the other you have men who cannot find a way to get in touch with their own emotions, leaping at any shady opportunity instead. Like Abel (Àlex Brendemühl), the torn hero in Rosales’s debut film The Hours of the Day, which marked the Linz debut for the director in the competition section of Crossing Europe 2004. Abel appears to be a docile, quiet owner of a boutique without any particular attributes. “Look at you, nothing excites you!” his girlfriend Tere complains just before she leaves him for good. Yet Tere is wrong, Abel does have a passion: he loves to strangle people. The audience sees what Abel’s mother, his colleague, and his (ex-)girlfriend do not suspect: how he lures a taxi driver into the swamps. How he quietly sneaks after an old man, into the subway toilets. He chooses his victims at random, as he is less interested in life than in the act of killing. Already in this debut you can find the camera peeking from the outside into a room, which has since become a trademark perspective for Rosales. The dialogue scenes, filmed in long takes, make the viewer feel as if standing outside an apartment window, looking through the kitchen into the dining room behind it. Yet this point of view that remains static and does not

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gut jene einen Stock höher oder jene im Nebenhaus sein. Die großen Themen, die R osales’ Kino verhandelt – Angst vor Armut, Loslassen im Alter, schmerzvolle Liebe und plötzlicher Tod – betreffen schließlich alle. So wie die Wirtschaftskrise im Übrigen auch. Das Beispielhafte seiner Filmstoffe mag Rosales seinem deklarierten Vorbild Robert Bresson abgeschaut haben, der sich weniger für das Individuum interessierte als für „Modelle“ als Stellvertreter der Gesellschaft. Rosales’ sechs Filme ähneln einander, indem sie ihre Figuren betrachten, ohne zu psychologisieren, und dennoch experimentiert jeder mit einer eigenen Form.

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breathe does not contain anything voyeuristic, but rather underlines the randomness of the selection: we observe this family. But it might as well be the family one floor up, or in the next house. The issues that Rosales deals with – fear of poverty, letting go in old age, painful love and sudden death – affect us all, as does the financial crisis. Maybe Rosales’s “casual” and seemingly detached approach is influenced by Robert Bresson, who was less interested in the individual as in “models” as representatives for society. Rosales’s six films are similar in that they take a hard look at the characters without becoming overly psychological, and yet they all experiment with a different form.

Das formal radikalste Experiment wagt Rosales im Anti-Thriller Tiro en la Cabeza: Hier wächst sich der oben beschriebene distanzierte Blick zum tele-objektivischen Abstand aus. Einmal braust sogar der Verkehr einer Straße zwischen der Kamera und dem „Helden“ des Films, einem Mann mittleren Alters, dessen Unterhaltung man durch die Scheibe einer Bar sieht, ohne sie zu hören, weil auch der Ton auf der anderen Straßenseite bleibt. Dieser Film hat den Charakter einer Observation – und tatsächlich wird sich herausstellen, dass die Hauptfigur unter polizeilicher Beobachtung steht. Sie hat einen Plan, wie auch der Film einen Plot hat, doch beides zu erkennen verlangt vom Publikum Geduld.

Rosales’s most radical experiment in style is his anti-thriller Bullet in the Head: here the observing, distanced point of view described above grows into a telephoto-like distance. At one point the traffic breezes past in between the camera and the “hero” of the film, a middle-aged man who you see through the window of a bar and whose conversation is seen but not heard as the sound also stays on the other side of the street. This film has the characteristics of a stake-out – and indeed it does turn out that the protagonist is under police surveillance. He has a plan, the same way the film has a plot, yet it demands patience from the audience to realize both.

Vergleichsweise harmonisch und deutlich narrativer beginnt jene Arbeit, die Rosales vor Tiro en la cabeza in Cannes präsentierte: La soledad ist ein klug gebautes Alltagsdrama, dessen Splitscreens die Einsamkeit der Figuren betonen. Da ist Adela, eine alleinerziehende Mutter, die ihren Sohn in der Provinz großzieht. Der Vater des Buben pumpt sie an, statt Alimente zu z ahlen. Schließlich packt Adela Kind und Koffer und wagt den Neustart in Madrid. Sie zieht in die WG von Ines, deren Familiengeschichte ein paralleler Handlungsstrang erzählt. Doch gerade als die beiden Frauen sich verbünden, nimmt sie das Schicksal ins Visier.

Solitary Fragments, the work that Rosales presented in Cannes before Bullet in the Head, takes off comparatively harmoniously and much more on the narrative side: this everyday life drama emphasizes the loneliness of its characters by capturing them in split screens. One of them is Adela, a single mother raising her son in the countryside. The father keeps hitting her up for money instead of paying alimony. Eventually the mother packs her bags and heads to Madrid with her child to make a fresh start. She moves into an apartment with Ines, whose family background is told in a parallel plot. Just as the two women join forces, fate strikes.

Ähnlich Kindern im Kasperltheater möchte man den Handelnden in solchen Momenten „Vorsicht, das Krokodil!“ zurufen, um sie vor den Tücken des Drehbuchs zu warnen. Aber vielleicht braucht es diese Härte, weil Rosales’ Figuren ihren wahren Charakter erst in der Krise offenbaren, wie Petra zum Beispiel, die im gleichnamigen, 2018 in Cannes vorgestellten Film zur Heldin einer großen Tragödie wird. Ohne zu viel zu verraten: Petra ist eine Art weiblicher Ödipus-Sage, deren Heldin vielfach leidgeprüft wird. Aber immerhin, durch eine menschliche Geste triumphiert sie am Ende doch über ihr Schicksal – oder sollte man besser sagen, über das von Männern über sie gebrachte Leid. Bleibt noch das subjektiv schönste Werk des Tributes: Sueño y silencio (2012). Der einzige Film der Reihe, der außerhalb von Spanien – in Paris – gedreht ist, erzählt von einem Paar, sie Lehrerin, er Architekt, das bei einem Autounfall eine der beiden Töchter verliert. Nach dem Crash fehlt dem Vater jede Erinnerung an das tote Kind, er lebt weiter, als sei nichts passiert, und lässt die Mutter in ihrem Schmerz allein. Hier kippt der Film ins Wundersame und zeigt uns in einer überirdisch schönen, minutenlangen Plansequenz die Wiedervereinigung der Mutter mit beiden Töchtern. Vielleicht – siehe Titel! – handelt es sich um den Traum einer Frau, die das Schweigen ihres Mannes nicht mehr erträgt. Vielleicht haben wir es aber auch mit guten Geistern zu tun; wer weiß. Ein magisches Schutzschild ist jedenfalls genau das, was man Rosales’ Figuren wünscht – um die Kugeln des Schicksals auch mal zurückzuschleudern und einfach nur glücklich zu sein.

Like children do in the puppet theater, Rosales’s dark script twists make you want to warn the characters by shouting “Watch out for the crocodile!” But maybe all these hardships are necessary, as Rosales’s characters only reveal their true colors in crisis. Like Petra, who becomes the titular hero of a great tragedy presented at Cannes in 2018. Without giving too much away: Petra is something of a female version of the tale of Oedipus, with its heroine having to suffer many trials. Yet in the end, by performing an act of humanity, she triumphs over fate – or more precisely over the suffering brought on to her by men. Which leaves the subjectively most beautiful work of the tribute: The Dream and the Silence (2012). The only film of the tribute that was shot outside of Spain – in Paris – tells of a couple, a teacher and an architect, who lose one of their daughters in a car accident. After the crash, a concussion and trauma eradicate the father’s memory of the dead child, he continues on with his life as if nothing had happened, leaving his wife alone with the pain. Here the film drifts into the fantastic and gives us a supernaturally beautiful single long shot of many minutes celebrating a reunion of the mother and both daughters. Maybe – see its title! – this is but a dream of a woman who can no longer stand her husband’s silence. Maybe this is the doing of good spirits, who knows. A magical shield is exactly what you would wish for, for Rosales’s characters – to fight off and throw back fate’s bullets, and maybe just be happy once in a while.

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Petra

Jaime Rosales Spain / France / Denmark 2018 color, 107 min Spanish, Catalan Austrian Premiere Opening Film

Petra hat nie erfahren, wer ihr Vater ist. Nach dem Tod ihrer Mutter geht sie auf die Suche nach dem Unbekannten, und trifft auf Jaume, einen berühmten Künstler und mächtigen, ruchlosen Mann. Bei ihrem Versuch, die Wahrheit zu ergründen, begegnet sie auch Jaumes Sohn Lucas und dessen Mutter Marisa, Jaumes Ehefrau. Die Geschichten dieser Figuren beginnen sich miteinander zu verweben, in eine Spirale aus Missgunst, Familiengeheimnissen und Gewalt, die sie alle an den Rande des Abgrunds treibt. Doch die grausame Logik des Schicksals kann ausgehebelt werden, ein Ausweg führt zu Hoffnung und Vergebung.

Fate is unpredictable, unstoppable and cruel. Homer was aware of this, and history and time both serve to underpin said assertion. This also goes for Petra, the main character in the eponymous film by Jaime Rosales. After the death of her mother, she goes off in search of her unknown father, in a world that will lead her down unthinkably dreadful roads. On paper, this may sound like a runaway soap opera but it is brought under control by the director with a calm, steady and graceful hand. The human coexists harmoniously alongside the intangible, and Rosales injects a ghostly aura into what is one of his the best works. (Alfonso Rivera, Cineuropa)

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Screenplay Michel Gaztambide, Clara Roquet, Jaime Rosales Cinematography Hélène Louvart Editing Lucía Casal Sound Nicolas Tsabertidis Music Kristian Selin Eidnes Andersen

Cast Bárbara Lennie, Àlex Brendemühl, Joan Botey, Marisa Paredes, Petra Martínez, Carme Pla, Oriol Pla, Chema del Barco Producers Antonio Chavarrías, Bárbara Díez, Jérôme Dopffer, Katrin Pors, Mikkel Jersin, Eva Jakobsen, José María Morales Production Fresdeval Films, Wanda Vision, Oberon Cinematográfica, Les Productions Balthazar, Snowglobe Films

World Sales Film Factory World Premiere Cannes Film Festival 2018

Hermosa juventud

Jaime Rosales Spain / France 2014

Beautiful Youth

color, 102 min Spanish, German Austrian Premiere

Ein junges, desillusioniertes Paar aus Madrid schlägt sich mit Gelegenheitsjobs oder als Pornodarsteller durchs Leben. Gern würden die beiden zusammenwohnen, doch die erdrückende Wirtschaftskrise hat all ihre Energien geraubt. Als die Frau schwanger wird und eine Tochter zur Welt bringt, ändert sich ihr Dasein radikal. Der illusionslose Film kreist um ein bleiernes Lebensgefühl und porträtiert eine verlorene Generation. Auch wenn Inszenierung und HauptdarstellerInnen bei aller sozialen Melancholie leichtere Töne anklingen lassen, steht im Mittelpunkt des Prekariatsdramas die Normalität der Verelendung. (Wolfgang Hamdorf, Filmdienst)

Natalia and Carlos are a twenty-yearold couple from the outskirts of Madrid. Natalia lives with her two younger siblings and her mother, the latter the sole breadwinner in the family. Natalia spends most of her time strolling around shopping centres or sleeping. Carlos, in contrast, supports his invalid mother thanks to a few badly paid construction jobs. Tired of being poor, Natalia and Carlos decide to take part in an amateur adult production as a quick way to earn some easy cash. Trouble starts when, shortly after, Natalia finds out she is pregnant. (Raquel Martínez, Spanish Film Review Club)

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Screenplay Jaime Rosales, Enric Rufas Cinematography Pau Esteve Birba Editing Lucía Casal Sound Nicolás Tsabertidis Music Juan Gómez-Acebo

Cast Ingrid García-Jonsson, Carlos Rodríguez, Inma Nieto, Fernando Barona, Juanma Calderón, Patricia Mendy, Miguel Guardiola Producers Jaime Rosales, José María Morales, Jérôme Dopffer Production Fresdeval Films, Wanda Vision, Les Productions Balthazar

World Sales Luxbox World Premiere Cannes Film Festival 2014

Sueño y silencio

Jaime Rosales Spain / France 2012

The Dream and the Silence

Oriol (Oriol Roselló) und Yolanda (Yolanda Galocha) leben zusammen mit ihren beiden Töchtern in Paris. Sie führen ein normales Leben und sind gut in die Gesellschaft integriert. Während Yolanda als Sprachlehrerin arbeitet, beschäftigt sich Oriol als Architekt mit künstlerischen Bauten. Als in den Ferien in Süd-Katalonien ein Unfall passiert und eine ihrer Töchter ums Leben kommt, bricht das ganze Leben der Familie zusammen. Vor allem Yolanda hat große Mühe, die vergangenen Geschehnisse zu verarbeiten.

color / black and white, 110 min Spanish, French

With his fourth feature The Dream and the Silence, Jaime Rosales brings a delicate meditation on mourning, focussed on the void left by a tragic death. After a car crash, killing a family’s eldest teenage daughter, all attempts at communicating between the parents are deafened by the brutal silence left by her absence. Eventually, the film evolves into an evocatively emotional look at family dynamics that maintains its delicate, tightrope nature throughout, and confirms the director, on the face of his growing body of work, as one of the finest filmmakers working in contemporary Spain. (Jorge Mourinha, The Flickering Wall)

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Screenplay Jaime Rosales, Enric Rufas Cinematography Óscar Durán Editing Nino Martínez Sosa Sound Eva Valiño Cast Oriol Roselló, Yolanda Galocha, Alba Ros Montet, Celia Correas, Jaume Terradas, Laura Latorre Producers Jaime Rosales, José María Morales, Jérôme Dopffer

Production Fresdeval Films, Wanda Vision, Les Productions de Balthazar World Sales The Match Factory Austrian Rights Stadtkino Filmverleih World Premiere Cannes Film Festival 2012

Tiro en la cabeza

Jaime Rosales Spain / France 2008

Bullet in the Head

Basierend auf dem wahren Fall zweier spanischer Polizisten, die in Frankreich von mutmaßlichen baskischen Separatisten ermordet wurden, entwickelt Jaime Rosales’ Tiro en la cabeza ein faszinierendes filmemacherisches Experiment. Aus der Perspektive eines außenstehenden Beobachters folgt die Kamera einem unbekannten Mann, als würde sie ihn stalken, blickt durch offene Türen, beobachtet seinen Alltag aus der Distanz: einen One Night Stand, ein Telefonat, eine Begegnung. Es ist ein spröder Film, dessen Tonspur nur aus Umgebungsgeräuschen besteht, während die Kamera diesen Mann begleitet, der am Ende zur Waffe greifen wird.

color, 85 min Spanish

Ion is apparently a normal guy. He gets up in the morning, has breakfast, sorts his things, meets his lawyers. One night he meets a girl at a party. They spend the night together at her flat. His life follows its course uneventfully. A phone call in a phone box; a meeting with a friend; small, unimportant everyday situations. One day he gets into a car with another two people. They drive across the border to France. They spend the night at a couple’s house. The next morning, after a chance meeting in a roadside cafe, they kill two civil guards in plain clothes. (Cineuropa)

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Screenplay Jaime Rosales Cinematography Óscar Durán Editing Nino Martinez Sosa Sound David Machado Cast Ion Arretxe, Íñigo Royo, Jaione Otxone, Ana Vila, Asun Arretxe, Stephanie Pecastaing Producers Jaime Rosales, José María Morales, Jérôme Dopffer

Production Fresdeval Films, Wanda Vision, Les Productions de Balthazar World Sales The Match Factory World Premiere San Sebastián International Film Festival 2008

La soledad

Jaime Rosales Spain 2007

Solitary Fragments

Die Alleinerzieherin Adela lässt ihre baskische Heimat zurück und zieht nach Madrid. Sie nimmt einen unbefriedigenden Job an, um sich und ihrem kleinen Sohn eine neue Existenz aufbauen zu können. Doch ein Terroranschlag auf einen Bus wird ihr Leben in tausend Stücke zerbrechen, und sie wird sich neu zurechtfinden müssen … Antonia führt einen kleinen Supermarkt. Die Witwe lebt ein ruhiges Dasein mit ihrer Arbeit, ihrem Freund Manolo und ihren geliebten Töchtern Inés, Nieves und Helena. – In vier Kapiteln folgt La Soledad diesen beiden Frauen, zeigt uns die Menschen, die ihnen wichtig sind und verknüpft ihre Leben allmählich miteinander.

color, 130 min Spanish

Single mother Adela leaves behind her pastoral Basque setting and moves to Madrid. She takes an unfulfilling job to support her new life, in which everything is centered around her infant son. A terrorist attack on a bus will shatter her life, with her eventually having to accept that she has to return to a new daily routine … Antonia owns a small supermarket. The widow leads a quiet life centered around work, her boyfriend Manolo and her beloved daughters, Inés, Nieves and Helena. – In four chapters, Solitary Fragments follows these two women through their lives, showing us the people that matter to them, and slowly tying their lives together.

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Screenplay Jaime Rosales, Enric Rufas Cinematography Óscar Durán Editing Nino Martínez Sosa Sound Eva Valiño Cast Sonia Almarcha, Petra Martínez, Miriam Correa, Nuria Mencía, María Bazán, Jesus Cracio Producers Ricard Figueras, José María Morales, Jaime Rosales

Production In Vitro Films, Fresdeval Films, Wanda Visión World Sales The Match Factory World Premiere Cannes Film Festival 2007

Las horas del día

Jaime Rosales Spain 2003

The Hours of the Day

Mörder sind, will man den Zeitungen glauben, auch nur ganz gewöhnliche Menschen. Jaime Rosales’ Spielfilmdebüt zeigt nüchtern ein solches Dasein: Abel lebt mit seiner Mutter in einer Kleinstadt bei Barcelona. Sein langweiliges Leben spielt sich zwischen dem Bett seiner Lebensgefährtin, seiner Kleiderboutique und den umliegenden Cafés ab, bis er eines Tages ohne offensichtlichen Grund eine Taxifahrerin tötet. Der fast ungeschickte Mord wird im gleichen Tatsachentonfall erzählt wie die restlichen Alltagsroutinen. Rosales verweigert psychologische Erklärungsmuster, stattdessen starrt er durch die Kameralinse auf die fantastische Banalität.

color, 103 min Spanish

Abel lives with his mother in an apartment in the Barcelona suburbs. His father is dead and he helps run the family boutique. When not working, Abel helps his friend Marcos start up a new business venture, looks for an apartment with his girlfriend Tere and fulfills sundry other everyday activities. He is, also, a compulsive murderer, whom we see kill two complete strangers over the course of a few weeks. The Hours of the Day demonstrates that there is still mileage in the serial killer film by playing things low key and realistic, avoiding all elements of sensationalism and opting for an open-ended (non)conclusion. (Keith Hennessey Brown, eyeforfilm)

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Screenplay Jaime Rosales, Enric Rufas Cinematography Óscar Durán Editing Nino Martínez Sosa Sound Eva Valiño Cast Alex Brendemühl, Ágata Roca, Vicente Romero, María Antonia Martínez, Pape Monsoriu, Isabel Rocatti, Armando Aguirre

Producers Jaime Rosales, Ricard Figueras Production Fresdeval Films, In Vitro Films World Premiere Cannes Film Festival 2003

Spotlight on Iris Elezi

“We must rid ourselves of this collective amnesia.” — Iris Elezi on preserving Albanian cinema

Biography Iris Elezi is an award-winning Albanian filmmaker and lecturer. She studied at the Tisch School of the Arts and co-founded the initiative The Albanian Cinema Project, and is head of the Albanian National Film Archive. “Bota” premiered at the Karlovy Vary International Film Festival and won the FEDEORA Award for Best Film. For filmography see page 119

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Iris Elezi ist eine wahre Renaissancefrau der zeitgenössischen europäischen Filmkultur. Sie studierte Filmtheorie und -kritik, Anthropologie, Gender Studies und Filmproduktion. Sie ist eine aktive Filmkonservatorin, erfahrene Lehrende und Produzentin, Autorin und Regisseurin und mit Abstand die leidenschaftlichste Botschafterin und Kuratorin von albanischem Kino im Ausland. Nachdem sie bei einer Reihe von Dokumentarfilmen Regie geführt und produziert hatte, wurde ihr Spielfilmdebüt Bota (Regie gemeinsam mit ihrem Ehemann Thomas Logoreci) am Karlovy Vary International Film Festival 2014 uraufgeführt, wo es den FEDEORA (Federation of Film Critics of Europe and Mediterranean) Preis gewann, gefolgt von einer erfolgreichen Tour auf internationalen Festivals und dreizehn weiteren Preisen. Elezi lebt und arbeitet in Tirana, wo sie auch Filmgeschichte unterrichtet. Sie ist die Direktorin des Albanischen Filmarchivs.

Iris Elezi is a proper renaissance woman of contemporary European film culture. She studied film theory and criticism, anthropology, women’s studies and film production studies. She is an active film preservationist, an accomplished teacher and producer, an original writer and director, and by far the most passionate advocate and curator of Albanian cinema abroad. After directing and producing a series of documentary films, her debut feature Bota (co-directed by her husband Thomas Logoreci) premiered at Karlovy Vary International Film Festival in 2014, where it won the FEDEORA (Federation of Film Critics of Europe and Mediterranean) award, and then embarked on a successful international festival run where it won thirteen additional awards. Iris lives and works in Tirana, where she also teaches film history. She is the director of the Albanian National Film Archive.

“Now my parents have a better idea why I became the first Albanian filmmaker that studied film theory and criticism.” Would we be correct to assume that you are performing certain of your duties out of inner necessity and inspiration, as a vocation and something that gives you energy, while others are simply tiresome but tremendously important work needs to be done, and nobody else will do it if you don’t?

Jurij Meden Head of Film Program at the Austrian Film Museum, Vienna

Jurij Meden: Dear Iris, given the immense diversity of your engagements, is there perhaps a difference in your approach to these different roles? Iris Elezi: I can humbly say that I do not take a different approach to being an advocate for the protection of our endangered archive and being a filmmaker. All I can do is move forward on both fronts to the best of my ability. My own professional growth has been difficult and amazing, and like much in real life, it makes sense only in due time … For example, I recall while studying film theory and criticism at the University of Lincoln, Nebraska – UNL in 1995, no one in my country understood why I would study film theory and criticism first if I had wanted to be a film director since I had been in 7th grade in communist Albania. And then, I distinctively recall having a moment of joy after successfully conducting a 90-minute masterclass with Francis Ford Coppola at the Durres International Film Festival back in 2012. At the end, I shook his hand, smiling, and said:

Coming from an isolated culture like mine, I had to create my own path. My attention was drawn to the conditions in our archive seven years before I stepped into the shoes of the director of the Albanian National Film Archive (AQSHF). We took some Dutch artists to visit the AQSHF complex on the outskirts of our capital where our entire film heritage is stored. Even as we walked through the front door, there was no escaping the smell of vinegar coming down the hall from the vaults. When we entered the main negative vault, we put our hands out and touched the wall. It was wet with mold and condensation. From that moment on, I was determined to do everything I could to stop Albania's films from dissolving into vinegar. At the time, I was doing rewrites and pre-production on my first feature film Bota. I was well aware that if I did not do anything, nobody else would. The staff at the archive had done the best they could with what they had. However, they were unable to go out into the world and make a case for Albanian film, as I have been able to. I studied filmmaking in the USA and feel fortunate that I belong to that generation that got to shoot and edit on 16 mm film at NYU, while also in my last year, AVID became available for editing. In addition, I belong to the Albanian generation that still remembers the past regime and our way of life, therefore I strongly feel that I have an obligation both to the past and to the future. It is a huge responsibility knowing that the damage that is happening to our film legacy is irreversible. That is why I am simply

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putting to good use my knowledge and network as a filmmaker. Of course, I am still learning what film preservation is all about. Yet I think everything that I do in the archive – from programming screenings to interviewing surviving directors from our communist time – has deepened my understanding of Albanian film legacy and the need to save all of it. I hope that this in turn will inform my filmmaking craft. So yes, it is true. I could not sleep calmly knowing what I knew about the dire situation at AQSHF, just as I knew well that no one else was going to try to look beyond our borders for archival support. Therefore, we established the initiative The Albanian Cinema Project — ACP with the fantastic American archivist PhD Regina Longo, and now much of it is part of the history books.

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The program you have curated for Crossing Europe lies at the crossroads between Albania’s past and present. A simplistic approach to Albania’s recent (not only film) history is always centered around the upheaval that represents the end of the so-called Hoxha era. How did, in your opinion, Albania’s filmmaking succeed in transitioning into a new era? Can one talk about trends or strains of filmmaking in Hoxha’s times, and how diverse is Albanian filmmaking today? Moreover, just how influential is the memory of those times for contemporary Albanian filmmakers? This past summer, I programmed an extensive eighteen-week retrospective of Albanian cinema from the 1990s. These were films made in the first decade after the fall of the communist dictatorship under our leader Enver Hoxha. On the roof of the old Soviet-built Palace of Culture, outdoors, we screened not only fiction films and documentaries but also an incredible selection of rarely seen animations. The audience was mostly young people who had been just babies when these films were made. The atmosphere during the screenings was electric. You could feel the energy in the audience, a kind of shock of the unknown. It is import-

ant to understand that during the 1990s, all these Albanian filmmakers no longer had government support. All these films were made independently; some were made under incredibly difficult circumstances. During these tough years, my country went through many different crises. Some of these films took years to complete. What really struck me about the rooftop shows was meeting audience members afterwards and realizing none of them had seen these films before. Albania was in so much chaos then that the films were often seen only a couple of times and then completely disappeared. This is one of the key dangers in our culture. We are so eager to move into the future that we cannot look back at the past. I think it has been difficult for us as Albanians to shake off the years under Enver Hoxha. The rule was so absolute. All religious faith was banned, all artistic expression was controlled. Even names for babies had to be approved by the state. A trauma like this is deep. It will take years to heal. I really think the films from the communist era are endlessly fascinating, now even more as historical documents of a time long gone by ... It is true we did not have a cinema of dissent as they did in Poland, Czechoslovakia and Yugoslavia. Nevertheless, Albania does have wonderful examples of films made outside the confines of socialist realism like the amazingly satirical Kapedani (1972), a film whose directors had to atone for later. Each of these films provides extraordinary evidence about four decades of life under totalitarian rule. The discovery of Albanian movies from the 1990s by young people this past summer shows the impact of our archival programming. Creating Albania's first cinematheque helps to mend the disconnect people have with their own movie heritage. If our young artists want to be the next generation of Albanian filmmakers, then they have to understand what has come before. It is as simple as that. We must rid ourselves of this collective amnesia. Only then can there be healing and stronger cinematic works.

Even the most well-informed cinephiles usually draw a blank when it comes to Albanian cinema, probably the blindest of all blind spots on the horizon of your average European film viewer. Nevertheless, as soon as one scratches the surface, astonishing riches appear that could stand side by side with any other European film history. How do you explain this odd situation that persists even today, and what are the greatest obstacles on your mission to preserve and promote Albanian culture? One of the greatest obstacles to getting Albanian movies to the outside world comes from Albania itself. I think there is a lot of residual shame people feel about the films made during the communist time. The control was so rigid, the terror reached into every corner of peopleâ&#x20AC;&#x2122;s lives. Only the dreams we had while we were sleeping were our own. If you dared to stand up and speak out, you and your entire family could be sent to a prison camp. There is so much lost opportunity in our cinema. A man who could have taken Albanian documentary to unexpected places, Viktor Stratoberdha, was accused of making a joke about Enver Hoxha and locked away for thirty years. There were many actors, actresses and directors who were sucked into this maelstrom. Everybody lived in fear. Many people now do not want to think about this time. It is just too painful. For many years, almost none of the films from the communist era were subtitled into other languages. I think the complicated feelings people have about this time and what these films represent are at the root of this. However, if Albanians do not move past this and do everything we can to protect and preserve these images, we will be lost as a people. To rob our future generations of historians and directors of these films is criminal. That is why we have been working hard to translate our films and to share them with academics and festival programmers around the world. We know that it is the only way to generate interest beyond simple nostalgia. In the meantime, I am proud to share that there is a new generation

of Albanian film critics being educated abroad. I bet their fresh perspectives onto our cinematic legacy will soon be echoed in books we intend to publish at AQSHF. You are correct, Albanian film has riches waiting to be discovered. Just as the 2016 poster exhibition at the Albanian National Art Gallery â&#x20AC;&#x201C; GKA showed, the Albanian poster graphic art tradition deserves critical attention and exhibition, just as much as the Czechoslovakian one. In addition, our film music and Albanian film animation are truly unique and priceless. In a way, I envy all the film scholars who will soon discover them, for in the times we live in it is almost impossible to be and feel like a pioneer, yet for the courageous ones who will take the journey into the Albanian unknown cinematic practices, their patience and love will surely be rewarded.

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Spotlight Talk Iris Elezi Host: Jurij Meden 27 April, 16:00 OK Deck

Nëntor i ftohtë

Ismet Sijarina Kosovo / Albania / Macedonia 2018

Cold November

color, 93 min Albanian / Serbian Austrian Premiere

In den frühen Neunzigerjahren beendete die jugoslawische Regierung die Autonomie des Kosovo, löste das Parlament auf und sperrte das nationale Fernsehen zu. Alles institutionelle Leben wurde von den neuen Behörden umorganisiert, während der Großteil der Bevölkerung dagegen demonstrierte. Während dieser schlimmen Zeit muss sich der Archivar Fadili zwischen zwei Optionen entscheiden, die beide falsch sind. Also schluckt er seine Scham hinunter, erträgt den Druck von allen Seiten, und nimmt das schlechte Gerede auf sich – um weiter für seine Familie sorgen zu können. (San Sebastián International Film Festival)

Kosovo, early 1990s. The heating in adili’s apartment is out again. There has been F widespread concern throughout Prishtina since the Yugoslav government no longer recognises the autonomy status of the region. Regardless, the Albanian archivist Fadili has kept his optimism and cares lovingly for his family. When one day a Serb replaces his boss and Fadili’s Albanian colleagues quit their jobs as an act of protest, he is faced with an impossible decision. With an authentic 1990s look, director Ismet Sijarina tells of the dilemma faced by a man who wants to protect his family at all costs, but does not want to betray his political convictions.

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Biography Ismet Sijarina was born in Prishtina, Kosovo, in 1975. Since 1998 when he started to study film directing in Prishtina, Sijarina has directed many short films, documentaries, and music videos, and he works as a lecturer at the University of Prishtina. His documentary “Beyond the Rainbow” and his feature film “Hold my Hand” were celebrated by both audience and critics. “Cold November” is his second feature film.

Films — Selection — Nëntor i ftohtë (Cold November, 2018) — Ama Doren (Hold My Hand, 2003) — B eyond the Rainbow (2007)

Screenplay Ismet Sijarina, Arian Krasniqi Cinematography Sevdije Kastrati Editing Vladimir Pavlovski Sound Igor Popovski Music Petrit Çergaxhiu Cast Kushtim Hoxha, Adriana Matoshi, Emir Hadzihafizbegovic, Fatmir Spahiu,

May-Linda Kosumovic, Bislim Mucaj, Lum Veseli, Aurita Agushi Producers Fatmir Spahiu, Arian Krasniqi, Paskal Semini Production Buka Production, Thumbs Up, AlbaSky Film World Sales Idea Media Sales World Premiere San Sebastián International Film Festival 2018

Bota

Iris Elezi Thomas Logoreci Albania / Italy / Kosovo 2014 color, 100 min Albanian Opening Film

Albanien. Juli, Nora und Ben leben und arbeiten in einem isolierten Dorf am Rande eines mystischen Sumpfes. Während der kommunistischen Herrschaft wurden ihre Familien hierher abgeschoben. Ben und Nora beginnen eine Affäre, Juli nimmt das missbilligend zur Kenntnis. Ben träumt davon, sein Geschäft auszuweiten. Doch mit dem Ausbau einer Autobahn ganz in der Nähe des Dorfes hört ihre friedvoll-verträumte Welt auf zu existieren. Ein letztes Mal feiern die DorfbewohnerInnen in geschützter Abgeschiedenheit ein rauschendes Fest, bevor sich Juli, Ben und Nora mit dem anbrechenden Tag einem Geheimnis aus ihrer Vergangenheit stellen müssen.

Albania. Nearby a haunted swamp, Juli, Nora, and Ben work together in an isolated village where their families were exiled during the communist rule. Under the disapproving eyes of Juli, Ben juggles an affair with Nora while dreaming of expanding his café into the Balkans. Their quiet world ceases to exist when a highway crew begins to widen the road. Juli falls for the engineer Mili but worries about her ailing and confused grandmother, Noje. As the new road approaches, the village inhabitants have one last glorious night of fireworks and celebration. But at the break of dawn, Juli, Ben, and Nora must face a secret from their traumatic past.

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Biography Thomas Logoreci is an Albanian producer and filmmaker. As a cinematographer and editor, he has collaborated with such filmmakers as Caveh Zahedi, Jay Rosenblatt, and Mark Cousins. For Iris Elezi’s Biography see page 114

Films — Selection — B ota (2014, CE’15, Elezi and Logoreci) — Disposable Heroes (2005, short doc, Elezi) — Modern Times Roma (2007, short doc, Elezi) — Lesser of Two Evils (2006, short doc, Elezi) — O f Mice and Men (2005, short doc, Elezi) — Welcome (2004, short, Elezi)

Screenplay Iris Elezi, Thomas Logoreci Cinematography Ramiro Civita Editing Walter Fasano Sound Nenad Vukadinovic, Pellumb Ballata Music Walter Fasano, Nathalie Tanner Cast Flonja Kodheli, Artur Gorishti, Fioralba Kryemadhi, Tinka Kurti

Producers Sabina Kodra, Andrea Stucovitz, Iris Elezi, Thomas Logoreci, Burim Berisha Production Erafilm, PMI World Sales Erafilm World Premiere Karlovy Vary International Film Festival 2014

Here Be Dragons

Mark Cousins Great Britain 2013 color, 79 min English, Albanian Austrian Premiere

2012 wurde der irische Filmemacher Mark Cousins als Juror zu einem albanischen Filmfestival eingeladen. Cousins nütze die Gelegenheit, das Land zu bereisen, besuchte Tirana und seine Außenbezirke, drehte haufenweise Material von Galerien, dem Straßenleben und der berühmt-berüchtigten Pyramide des UFO-artigen, mittlerweile verfallenden Museums, errichtet zu Ehren des einstigen Diktators Enver Hoxha. Sein dokumentarischer Essay ist ein bemerkenswerter Rückblick auf das konfliktreiche Erbe des Kommunismus für das albanische Kino und Filmkünstlerinnen wie Xhanfise Keko.

In 2012, Irish cinema writer and filmmaker Mark Cousins was invited to serve as a juror on Albania’s national film festival. Cousins took advantage of the opportunity to crisscross the capital, Tirana, and its outskirts, recording hours of footage of galleries, street life and the notorious pyramid, the ruined, flying saucer-like monument built in honor of the former leader, Enver Hoxha. His first-person essay doc is a striking rumination on the complicated legacy of communism on Albanian cinema and film artists like Xhanfise Keko.

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Biography Mark Cousins, born in Coventry, Great Britain, in 1965, and grown up in Northern Ireland, is a filmmaker, film critic, author and festival programmer. A prolific producer and director, he is best known for his 15-hour 2011 documentary “The Story of Film: An Odyssey”, and shot several essay films. He is the co-founder (with Tilda Swinton) of the 8½ Foundation.

Films — Selection — Women Making Films: A New Road Movie Through Cinema (2018, doc) — The Eyes of Orson Welles (2018, doc) — I Am Belfast (2015, doc) — Atomic, Living in Dread and Promise (2015, doc) — 6 Desires: DH Lawrence and Sardinia (2014, doc) — Here Be Dragons (2013, doc) — The Story of Film: An Odyssey (2011, TV series doc) — The First Movie (2009, doc)

Screenplay Mark Cousins, Thomas Logoreci Cinematography Mark Cousins, Gentian Koci Editing Timo Langer Sound Ali Murray Music Immigrant Suns, Elizabeth Temple With Mark Cousins, Iris Elezi, Thomas Logoreci, Fatmir Koci, Regina Logo

Producers Don Boyd, Genc Permeti Production Hibrow Productions World Premiere London Film Festival 2013

Përrallë nga e kaluara Tale From the Past

Dhimitër Anagnosti Albania 1987 color, 86 min Albanian Austrian Premiere

Përrallë nga e kaluara spielt in den 1930er Jahren und handelt von einer armen Dorffamilie, die eine Heirat zwischen ihrer erwachsenen Tochter Marigo und dem minderjährigen Sohn eines reichen Paares arrangiert. Marigo ist in einen Mann verliebt, aber die Tradition zwingt sie, die absurde Zeremonie mitzumachen und den Buben zu heiraten. Für die Kommunisten war es ein positiver Aspekt, die rückständigen Sitten im Albanien vor Enver Hoxha zu zeigen. Darüber hinaus findet Dhimitër Anagnosti in dem Material reichlich surrealen Humor, indem Marigo ihre neuen Schwiegereltern gegeneinander austrickst, um die Ehe zu zerstören. (Thomas Logoreci)

Tale from the Past is set in the 1930s and tells the story of a poor village family who arrange a marriage between their grown daughter, Marigo, and the underage son of a wealthy couple. Marigo is in love with a man, but the tradition of arranged marriages forces her to follow through with the absurd ceremony and wed the boy. For the communists, showing the backward customs of Albania before Enver Hoxha was a positive aspect of the film. But beyond that Dhimitër Anagnosti found a wealth of surreal humor in the material, as Marigo wickedly plays her new in-laws against each other in order to break up her unwanted marriage. (Thomas Logoreci)

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Biography Dhimitër Anagnosti, born in Albania in 1936, is a director, writer and cinematographer, who, as a young cinema enthusiast, was sent to study in the Soviet Union to learn the craft of motion pictures. Some have labelled Dhimitër Anagnosti as being one of the biggest advocates of ideals during the Enver Hoxha regime, yet several of his documentaries were shelved or censored.

Films — Selection — Gjoleka djali i abazit (Father and Godfather, 2007) — Kthimi i ushtrisë së vdekur (Return of the Dead Army, 1989) — Përrallë nga e kaluara (Tale From the Past, 1987) — Kujtime nga Gjirokaster (Memories from Gjirokaster, 1983, doc) — Vëllezër dhe shokë (Brothers and Friends, 1980) — Duel i heshtur (Silent Duel, 1967) — Komisari i dritës (Commissary of the Light, 1966)

Screenplay Dhimitër Anagnosti Cinematography Pëllumb Kallfa Editing Shpresa Papapavllo Sound Spiro Konduri Music Limos Dizdari

Cast Elvira Diamanti, Admir Sorra, Robert Ndrenika, Hajrie Rondo, Xhevdet Feri, Teli Stefani, Mimika Luca, Medi Malkaj, Zef Mosi, Xhemil Tagani, Mira Minga, Baftjar Cena Production Kinostudio Shqipëria e re World Sales Arkivi Qendror Shtetëror I Filmit

Kur po xhirohej një film When Shooting a Film

Xhanfise Keko Albania 1981 color, 61 min Albanian Austrian Premiere

Xhanfise Keko und die Kinderbuchautorin Shpresa Vreto behandeln das in Albanien tabuisierte Thema Scheidung. Der sensible Kinderdarsteller in einem Partisanendrama versucht, seine getrennten Eltern wieder zu vereinen. Nachdem ihr Ehemann, der Dokumentarfilmmacher Endri Keko, 1979 bei einem Autounfall schwer verletzt wurde, begann Xhanfise nach ernsteren Filmstoffen zu suchen. Vieles an Kur po xhirohej një film entstand aus den Erfahrungen mit einem ihrer kindlichen Akteure, dessen Eltern sich am Set von Tomka dhe shokët e tij stritten.

Xhanfise Keko and children’s book author Shpresa Vreto tackle Socialist Albania’s taboo subject of divorce. A sensitive child acting in a partisan drama tries to reunite his separated parents. After her husband, documentary filmmaker Endri Keko, was seriously injured in a 1979 car accident, Xhanfise began searching for more serious screen material. Much of When Shooting a Film’s story was drawn from the director’s personal observations of one of her child actors and his fighting parents on the set of Tomka and His Friends.

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Biography Albanian director Xhanfise Keko (1928–2007) utilized the children’s film genre to express personal concerns not found in the work of her male contemporaries. In the 1950s, Keko studied documentary filmmaking in Moscow. She then spent a decade shooting and cutting newsreels of military parades and communist party conferences. From 1971 to 1984, Keko directed a remarkable run of nearly a dozen features.

Films — Selection — Taulanti kërkon një motër (1985) — Një vonesë e vogël (1983) — Kur po xhirohej një film (When Shooting a Film, 1981) — Partizani i vogël Velo (1980) — Tomka dhe shokët e tij (Tomka and His Friends, 1977) — M alësorët pas komisarëve (1976, doc) — Tingujt e luftës (1976) — Qyteti më i ri në botë (The Newest City in the World, 1974) — Mimoza llastica (Spoiled Mimoza, 1973)

Screenplay Xhanfise Keko, Shpresa Vreto Cinematography Petraq Lubonja Editing Shpresa Papapavllo Sound Gezim Sula Music Aleksander Peçi Cast Gentian Basha, Viktor Zhusti, Marjeta Ljarja, Violeta Dede, Sokol Angjeli

Production Kinostudio Shqiperia e re World Sales Arkivi Qendror Shtetëror I Filmit World Premiere Albanien 1981

Tomka dhe shokët e tij Tomka and His Friends

Xhanfise Keko Albania 1977 black and white, 74 min Albanian Austrian Premiere

Eine Knabengruppe plant Rache, nachdem die Nazi-Besatzer ihren Fußballplatz in ein Militärlager umfunktioniert haben. Zur Unterstützung lokaler kommunistischer Partisanen spionieren und sabotieren die Kinder äußerst effizient, vergiften sogar den geliebten Schäferhund des Lagers. Keko und ihr Kameramann Faruk Basha lassen die an Suspense reiche Geschichte in Albaniens malerischer Festungsstadt Berat spielen. Tomka dhe shokët e tij, in Albanien ein immens beliebter Fernsehklassiker, erlebte erst dreißig Jahre nach der Uraufführung seine Kinopremiere in Großbritannien.

A group of young boys plot revenge on the Nazi occupiers after their soccer field is turned into a German military camp. Aiding local communist partisans, the industrious children, spy, sabotage and even poison the camps pet German shepherd. Keko and cinematographer Faruk Basha suspensefully frame the story in Albania’s charged atmospheric fortress city of Berat. An immensely popular staple of Albanian television, Tomka and His Friends received a UK theatrical release thirty years after its national premiere.

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For biography and filmography see page 122.

Screenplay Nasho Jorgaqi Cinematography Faruk Basha Editing Shpresa Papapavllo Sound Vangjel Leka Music Aleksandër Lalo Cast Enea Zhegu, Herion Mustafaraj, Genci Mosho, Artan Puto, Fluranc Ilia, Selma Sotillari, Zehrudin Dokle, Xhelal Tafaj

Producer Nikollaq Taja Production Kinostudio Shqiperia e re World Sales Arkivi Qendror Shtetëror I Filmit World Premiere Albania 1977

Mimoza llastica

Xhanfise Keko Albania 1973

Spoiled Mimoza

In Mimoza llastica wird ein kleines eigensinniges Mädchen von den Kindern ihres Wohnblocks abgelehnt, weil es sich weigert, ihr geliebtes Spielzeug mit ihnen zu teilen. Eines Tages sieht ein Zimmermann, der in der Nähe arbeitet, wie sie sich benimmt, und es gelingt ihm, sie von Toleranz und Bescheidenheit zu überzeugen. Entstanden am Ende einer liberalen Periode für die albanischen Künste, unterstreicht dieses Drama Kekos einzigartige Fähigkeit, ihre Kinderschauspieler zu starken Leistungen zu führen, und das mit einwandfrei sozialistischem Ergebnis.

black and white, 40 min Albanian

In Spoiled Mimoza, a little stubborn girl who lives with her grandmother is rejected by the children in her apartment block after refusing to share her prized toys. One day a mason working nearby sees her behaviour, and manages to persuade her to be tolerant and modest. Shot at the end of a period of liberalization in Albanian arts, this drama highlights Keko’s singular ability to elicit strong performances from her child actors, always with the proper socialist outcome.

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For biography and filmography see page 122.

Screenplay Nasho Jorgaqi Cinematography Ilia Terpini Editing Emine Kasapi Sound Abdulla Osmanlliu Music Robert Radoja, Aleksander Lalo Cast Zhaklina Dhimojani, Violeta Manushi, Teuta Doçi, Ema Shteto, Anila Kardhashi, Teuta Profi, Elena Dilo,

Olizema Pasko, Silvana Banja, Rudina Pema, Pavlina Mani, Ilia Shyti, Ahmet Pasha, Ilir Grezda Production Kinostudio Shqiperia e re World Sales Arkivi Qendror Shtetëror I Filmit World Premiere Albania 1973

Nachtsicht

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Tanz die Angst! Dance Your Fear! Dancing with fear Dancing with in my eyes fear in my eyes

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Christoph Schlingensief nannte sie „Angst-Monopolisten“, diejenigen, die von einer politischen Kanzel auf den Einzelnen unablässig herunter predigen, wovor er sich zu fürchten habe. (Migration! Migration! Migration!) „Jeder Mensch hat das Recht auf seinen eigenen Terror!“ lautete als Antwort darauf ein Glaubens-Axiom der von ihm auf der Kunst-Biennale in Venedig 2003 errichteten „Kirche der Angst“; ein Grundsatz, dem sich auch die heurige Nachtsicht-Auslese verschreibt. Das diffuse Angst-Gewitter in unseren Köpfen und Herzen darf nicht von einigen wenigen zwecks Machterhalt missbraucht werden. Wenn jeder Mensch sich seinen individuellen Terror zurückerobert, ihn umarmt und feiert, ihn „tanzt“, dann beginnt die Revolution. Den Anfang macht wie so oft das Kino: Fünf unterschiedliche Sichtweisen auf den europäischen Fantastischen Film ergeben ebensoviele Angstwelten. Ein junger Mann mit irakischen Wurzeln wird im Dänemark der sehr nahen Zukunft durch sich häufende rassistische Übergriffe radikalisiert und lässt sich von Angstschürern zum Teenie-Attentäter aufrüsten, in der Hoffnung, das komplexe Problem mit einer einfachen Lösung bewältigen zu können. Ulaa Salims provokantes Spielfilm-Debüt Sons of Denmark ist aus guten Gründen diesjähriger Nachtsicht-Opener, feuert gleich mehrere Fäuste Richtung Magengrube und postuliert allgemeine Verunsicherung als neues pan-europäisches Lebensgefühl.

Markus Keuschnigg curator, film critic, director of the /slash film festival

Christoph Schlingensief called them the “fear monopolists”, those who preach down at individuals from their political pulpit on what they should be afraid of. (Migration! Migration! Migration!) “Every person has a right to their own terror!” was his answer in the form of a spiritual axiom at the Church of Fear he erected at the Art Biennale in Venice in 2003; a tenet shared by this year’s selection for the Nightsight. This scattered thunderstorm of fear in our hearts and minds must not be abused by the few for their preservation of power. Only when every person reconquers their own individual terror, embraces and celebrates it, “dances” it, then the revolution can begin. As is so often the case, the beginning is a cinematographic one: five different ways of looking at European Fantastic Film give just as many worlds of fear. A young man with Iraqi roots is radicalized by an increase in racist assaults in the very near future, and lets himself be turned into a teen assassin by fearmongers, hoping to overcome a complex problem with a simple solution. There are many good reasons why Ulaa Salim’s provocative feature film debut Sons of Denmark is this year’s Nightsight opener. It throws multiple punches into the collective gut, and postulates a universal uncertainty as the new pan-European attitude towards life.

Auch im ländlichen Irland grassiert die Angst: Eine junge alleinerziehende Mutter entfremdet sich immer weiter von ihrem kleinen Sohn, nachdem der Schritt für Schritt wesensverändert erscheint. Wenn das, was uns vertraut ist, plötzlich fremd wird, hilft kein Weglaufen oder Durchdrehen, dann muss man allen Mut zusammenkratzen, seine Angst kontrollieren und sich dem Grund stellen: Das ist im Fall dieses exzellenten Horrorthrillers das titelgebende Hole In The Ground. Was aber, wenn keine Anderen mehr bleiben, vor denen man sich fürchten kann? Was, wenn man in absoluter Isolation ohne Hilfestellung und unter widrigsten Umständen ums Überleben kämpfen muss? In Joe Pennas (beinahe) wortlosem Survival-Drama Arctic ist ein abgestürzter Mads Mikkelsen in der Eiswüste auf sich allein gestellt: neunzig Minuten filmische Extremerfahrung in einem außergewöhnlichen Beispiel von zeitgenössischem Cinéma pur. Die Antipode dazu brettert als Neon-Giallo um die Kurve, der seine Markenzeichen bereits im Titel führt: Un couteau dans le coeur des unverschämt talentierten Jungfranzosen Yann Gonzalez taucht ab in die Pariser Schwulenporno-Szene der späten Siebzigerjahre, wo Vanessa Paradis als Erfolgsregisseurin jenen Serienmörder jagt, der ihre Darsteller-Riege dezimiert, und die grausame Wirklichkeit zugleich als Stoff für ihre nächsten Produktionen verwendet. Und dann ist da noch dieses Kinderlied, welches sich in Johannes Nyholms Albtraum Koko-di Koko-da ganz tief in die Seele seiner Figuren (und des Publikums) frisst: Aus dem dunklen Wald kriechen groteske Finsterlinge, tanzend, lachend, mordend und immer wieder singend. Jede Flucht führt Richtung Tod, erst die Auseinandersetzung mit der grausamen Wirklichkeit bringt Linderung, birgt den Keim fürs Weiterleben. Für diesen Film gilt wie für das gesamte Nachtsicht-Programm (und zwecks allgemeiner Weltverbesserung): Lauf nicht davon. Bleib stehen. Dreh dich um. Schau ihr in die Augen und dann Tanz die Angst!

Fear is also rampant in rural Ireland: a young single mother drifts further and further apart from her little son whose character shows increasing signs of transformation. When something so close to us suddenly turns strange, there is no running away or losing your mind, all you can do is gather all of your strength, regain control of your fear, and face its roots: in the case of this excellent horror thriller, it is the eponymous Hole In The Ground. But what if there are no other people left to be frightened of? What if you have to fight for your survival under the most adverse circumstances while in absolute isolation and without any form of help? In Joe Penna’s (almost) silent survival drama Arctic, a crash-landed Mads Mikkelsen is left to his own devices in the icy wilderness: with its ninety minutes, this cinematographic extreme experience is an extraordinary example of contemporary Cinéma Pur. The antithesis to this comes around the corner in the form of a neon Giallo that already carries its most important hallmarks in its name: Knife + Heart by the unabashedly talented young Frenchman Yann Gonzalez dives into the Parisian gay porn scene of the late 1970s where an acclaimed director played by Vanessa Paradis is hunting down a serial killer who is decimating her troupe of actors, while simultaneously using this savage reality as a basis for her next productions. And then there is that nursery rhyme that eats itself deep into the souls of the characters (and the audience) in Johannes Nyholm’s nightmare Koko-di Koko-Da: crawling out of the dark forest come grotesque creatures of darkness, dancing, laughing, killing, and always falling back on singing. Every means of escape ends in death, only the confrontation with the harsh reality can bring relief and holds the seed to live on. For this film as well as for the entire Nightsight program (and for a general betterment of the world) this must hold true: do not run away. Stop. Turn around. Look fear into its eyes and then Dance Your Fear!

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Arctic

Joe Penna Iceland 2018 color, 97 min English Austrian Premiere

Ein Mann ohne Vergangenheit kämpft nach einem Flugzeugabsturz in der Arktis ums Überleben. Soll er in der relativen Sicherheit der Absturzstelle auf Rettung waren oder einen Treck durch die Eiswüste riskieren? Joe Penna reduziert sein intensives Langfilmdebüt auf die Essenz des Survival-Thrillers und findet dafür in Mads Mikkelsen einen kongenialen Partner. Seine wenigen gesprochenen Worte gellen als Haikus durch die Unwirtlichkeit, zumeist aber erzählen lediglich Mimik und Gestik vom seelischen und körperlichen Ausnahmezustand des Abgestürzten. Arctic ist pures Kino ohne Pomp und Ornament, ein Film als Grenzerfahrung. (Markus Keuschnigg)

It doesn’t take long for Joe Penna’s Arctic to establish itself as one of the best movies ever made about a man stranded in the wilderness. In fact, there’s a small but crystalline moment in the first act when this hellishly cold portrait of human endurance claws ahead of the pack and never looks back. The context is easy to describe - the conflict frozen across Mads Mikkelsen’s face is not. (David Ehrlich, IndieWire) There are no cut corners, no overly blatant only-in-the-movies gambits. Mikkelsen’s stranded pilot has little to rely on beyond his will, so we feel at every step that he could truly be us. (Owen Gleiberman, Variety)

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Biography Joe Penna was born in São Paulo, Brazil, in 1987, and now is based in Los Angeles. He began his career on YouTube, where he has garnered nearly 3 million subscribers for his channel MysteryGuitarMan. He is a director and writer of TV series and several shorts, such as “Instant Getaway” (2014) and “Beyond (2015). “Arctic” is his first feature film and premiered in Cannes.

Films — Selection — Arctic (2018) — B eyond (2015, short) — I nstant Getaway (2014, short) — Meridian (2012, short)

Screenplay Joe Penna, Ryan Morrison Cinematography Tómas Örn Tómasson Editing Ryan Morrison Music Joseph Trapanese Cast Mads Mikkelsen, María Thelma Smáradôttir

Producers Noah C. Haeussner, Christopher Lemole, Tim Zajaros, Martha De Laurentiis, Manu Gargi, Einar Thornsteinsson Production Armory Films, The Joker Films, XYZ Films World Sales XYZ Films Austrian Rights Koch Films World Premiere Cannes Film Festival 2018

Un couteau dans le cœur Knife + Heart

Yann Gonzales France / Mexico / Switzerland 2018 color, 100 min French Austrian Premiere

Paris, Sommer 1979: Pornoregisseurin Anne wird von ihrer Freundin Loïs verlassen. Während sie sich in die Arbeit an ihrem Magnum Opus „Homocidal“ (!) stürzt, hat es ein Serienmörder (mit Switchblade-Dildo) auf ihre Darsteller abgesehen. Die Polizei zeigt kein Interesse an derartigen Milieu-Morden, weshalb sich Anne selbst auf die Jagd nach dem Killer macht. Das neonlichterne Prachtstück Un couteau dans le cœur ist Abfeierung des urbanen Hedonismus am Vorabend der AIDS-Epidemie im Gewand eines Giallo, gleichzeitig auch Liebesbrief an die abenteuerlustige (Porno-)Filmkultur der späten Siebziger. Wild, brutal, sinnlich, geil. (Markus Keuschnigg)

Dripping with the stylistic residue of the era’s B-thrillers, and soundtracked by a lush, synthetic score by the director’s brother (aka electronic producer M83), Knife + Heart re-creates a period of sexual freedom and optimism that, like its subjects, was under nascent threat by unseen forces that would soon do irreparable damage. (Jordan Cronk, Film Comment) If Dario Argento, Brian De Palma and Kenneth Anger conceived a three-way love child while watching Cruising and listening to a Giorgio Moroder mix tape, the result would be something like French director Yann Gonzalez’s Knife + Heart. (Jordan Mintzer, The Hollywood Reporter)

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Biography Yann Gonzalez was born in Nice, France, in 1977. After starting as a film critic, he went into directing with the short film “By the Kiss” (2006). He made several other shorts before taking the leap to feature length with “You And The Night” (2013), which premiered at Cannes Critic’s Week. “Knife + Heart” screened in competition in Cannes and won him Best Picture at the Athens film festival.

Films — Selection — Un couteau dans le cœur (Knife + Heart, 2018) — Les îles (Islands, 2017, short) — Les rencontres d'après minuit (You And The Night, 2013, CE’14) — Nous ne serons plus jamais seuls (2012, short) — By The Kiss (2006, short)

Screenplay Yann Gonzalez, Cristiano Mangione Cinematography Simon Beaufils Editing Raphaël Lefèvre Sound Jean-Barthélémy Velay Music M83 (Anthony Gonzalez, Nicolas Fromageau) Cast Vanessa Paradis, Nicolas Maury, Kate Moran, Jonathan Genet, Khaled Alouach, Félix Maritaud,

Noé Hernandez, Thibault Servière, Bastien Waultier, Bertrand Mandico Producers Charles Gillibert, Julio Chavezmontes, Consuelo Frauenfelder Production CG Cinéma, Piano, Garidi Films, Arte France Cinéma, RTS Radio Télévision Suisse, Le Fresnoy World Sales Kinology Austrian Rights Salzgeber World Premiere Cannes Film Festival 2018

Danmarks sønner

Ulaa Salim Denmark 2019

Sons of Denmark

color, 119 min Danish, Arabic Austrian Premiere Opening Film

Dänemark, 2025: Ein Jahr nach einem Terror-Anschlag in Kopenhagen, bei dem 23 Menschen starben, häufen sich rassistische Übergriffe, während die als Antwort auf den Anschlag gegründete rechtspopulistische Partei „National Movement“ die bevorstehenden Wahlen gewinnen dürfte. In diesem aufgeheizten, toxischen Klima lässt sich der 19-jährige Zakaria vom alten Hassan rekrutieren, um den baldigen Premierminister Dänemarks auszulöschen, noch bevor dieser an die Macht kommt. Danmarks sønner ist ein akuter und bestürzender Polit-Thriller, der seiner sensiblen Thematik mit viel emotionaler Intelligenz begegnet. (Markus Keuschnigg)

Denmark 2025. One year after a major bomb attack in Copenhagen radicalisation has intensified and ethnic tensions are running high. The next election is near, and the extremely nationalist political leader Martin Nordahl is set for a landslide victory. 19-yearold Zakaria gets involved in a radical organisation, where he forms a bond with Ali. The two men cannot agree with the current state of the country, which is turning on its own citizens because of their migration background, and decide to act. As the men try to make their mark, their brotherhood will be tested and their actions will have grave consequences. (Danish Film Institute)

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Biography Ulaa Salim was born in Denmark in 1987, and studied at the National Film School of Denmark. He uses his personal experience as his inspiration. Together with his producing partner Daniel Mühlendorph, he created the production company Hyæne Film. “Sons of Denmark” is his first feature and had its world premiere at the International Film Festival Rotterdam.

Films — Selection — Danmarks Sønner (Sons of Denmark, 2019) — Fædreland (Land of Our Fathers, 2017, short) — Vore fædres sønner (Our Father’s Son, 2016, short)

Screenplay Ulaa Salim Cinematography Eddie Klint Editing Jenna Mangulad Music Lewand Othman Cast Zaki Youssef, Mohammed Ismail Mohammed, Rasmus Bjerg, Morten Holst, Elliott Crosset Hove, Bjørn Olaf Johannessen, Imad Abul-Foul, Özlem Saglanmak

Producers Daniel Mühlendorph Production Hyæne Film World Sales New Europe Film Sales World Premiere International Film Festival Rotterdam 2019

The Hole in the Ground

Lee Cronin Ireland / Belgium / Finland 2018 color, 90 min English Austrian Premiere

Sarah und ihr kleiner Sohn ziehen in ein altes Haus am irischen Land. Unweit davon, in einem finsteren Wald, klafft ein gewaltiges Sinkloch, das unablässig Grund und Boden unter die Erde zieht. Eines Abends verschwindet der Bub zwischen den Bäumen und taucht erst Stunden später wieder auf, allerdings komplett wesensverändert. Es dauert nicht lang, bis Sarah erste Zweifel kommen, ob das Kind in ihrem Haus tatsächlich ihr Sohn ist. Lee Cronins Spielfilm-Debüt ist ein eleganter, abgründiger Horrorthriller, gebaut um einen Riss (oder: ein Sinkloch) im Realitäts-Gewebe, gestützt von famosen Darstellern und einem Gänsehaut-Score. (Markus Keuschnigg)

The terrific Seána Kerslake gives an anchoring performance, suggesting a slightly young-seeming mother beginning to question the evidence of her own tranquilliser-heavy eyes and having to trust her instincts anew. It’s a film in animated conversation with genre history – even a casual survey of that sinkhole might discern traces of Carrie White’s corpse, The Descent’s doomed spelunkers and the victims of The Vanishing. Yet it always finds new, invariably cinematic ways to nudge us towards its final leap into the abyss. Cronin feels like a real find for our especially insecure moment. (Mike McCahill, The Guardian)

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Biography Lee Cronin grew up in a seaside village in Ireland. He considered being a fisherman, a clown, and a ghostbuster. He realized storytelling ticked all three boxes. His film “Ghost Train” won the Méliès d’Argent for best European fantastic short. He is always casting his net, seeking out mysteries, fables, and tall tales. “The Hole in the Ground” is his feature debut.

Films — Selection — The Hole in the Ground (2019) — Ghost Train (2013, short) — Billy & Chuck (2011, short) — Through the Night (2010, short) — Wilbur & Anto (2004, short)

Screenplay Lee Cronin, Stephen Shields Cinematography Tom Comerford Editing Colin Campbell Sound Quentin Collette, Jeroen Truijens, Philippe Charbonnel Music Stephen McKeon Cast Seána Kerslake, James Quinn Markey, James Cosmo, Kati Outinen, Simone Kirby, Steve Wall

Producers John Keville, Conor Barry, Benoît Roland, Ulla Simonen Production Savage Productions, Wrong Men, made World Sales Bankside Films Austrian Rights Filmladen World Premiere Sundance Film Festival 2019

Koko-di Koko-da

Johannes Nyholm Sweden / Denmark 2019 color, 86 min Swedish, Danish Austrian Premiere

Elin und Tobias waren mal glücklich. So richtig glücklich. Vor vielen Jahren. Aber seitdem ist zu viel passiert, zu viel ist verloren gegangen. Ein gemeinsamer Zelturlaub soll retten, was zu retten ist. Aber gleich in der ersten Nacht schält sich ein Trio grotesker Figuren aus dem Finsterwald und attackiert das Paar, alldieweil ein Kinderlied singend. Koko-di Koko-da ist albtraumhafte Familienaufstellung als exzentrisches und experimentelles Kunsthorrorstück inklusive Animationssequenzen und Schattierungen von Torture Porn und Slapstick-Comedy: schwer zu kategorisieren und lange nachwirkend. (Markus Keuschnigg)

Writer-director Johannes Nyholm’s fable about grief is at once brutal and childlike, a horror-show that hums along to a nursery rhyme that gives Koko-di Koko-da its name. Not that children should be allowed anywhere near Nyholm’s bloody nihilism, where even his handmade cartoons of a bunny family bouncing around a monochromatic forest could give a kid nightmares. Nyholm uses every tool to make people anxious, from the way Elin rages at Tobias for buying her the wrong ice cream flavor to the buzzing mosquito sounds he adds to their tent for an extra twist of tension. (Amy Nicholson, Variety)

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Biography Johannes Nyholm, born in Sweden in 1974, is a director, producer, screenwriter and animator. He was educated in film, art, new media and animation, and manages his own production company. Nyholm first gained recognition for his animated film series “The Tale of Little Puppetboy” (2008). He debuted as a feature filmmaker with “The Giant” in 2016.

Films — Selection — Koko-di Koko-da (2018) — J ätten (The Giant, 2016) — L as Palmas (2011, short) — Drömmar från skogen (Dreams from the Woods, 2009, short) — D ockpojken (Puppetboy, 2008, short) — S agan om den lilla Dockpojken (The Tale of Little Puppetboy, 2008, short)

Screenplay Johannes Nyholm Cinematography Johan Lundborg, Tobias Höiem-Flyckt Editing Johannes Nyholm Music Simon Ohlsson, Olof Cornéer Cast Ylva Gallon, Leif Edlund Johansson, Peter Belli, Katarina Jacobson, Morad Khatchadorian, Brandy Litmanen

Producers Johannes Nyholm, Maria Møller Christoffersen Production Johannes Nyholm Produktion, Beofilm World Sales Stray Dogs World Premiere Sundance Film Festival 2019

Cinema Next Europe In Cooperation with:

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The Family Issue

Dominik Tschütscher Cinema Next

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In Je vois rouge geht die 30-jährige Filmemacherin Bojina Panayotova den Verbindungen ihrer Eltern zur Nomenklatura im sozialistischen Bulgarien nach. Eine Szene aus ihrem Dokumentarfilm steht symbolhaft für den diesjährigen Fokus von Cinema Next Europe, der Programmreihe für junge, neue Stimmen im Kino Europas.

In her film I See Red People, the thirty-year-old filmmaker Bojina Panayotova investigates her parents’ connections to the nomenklatura in Socialist Bulgaria. A scene from the documentary is emblematic for this year’s focus in the Cinema Next Europe program, the section for young, new voices in European cinema.

Bojina filmt ihre Mutter, die soeben Einsicht hatte in ein Dokument, das sie als Bojina films her mother, who just had Kollaborateurin der Geheimpolizei von access to a document that outs her as a damals outet. „Du filmst nicht mehr, oder collaborator with the secret police from doch?“, fragt sie ihre Tochter, die bislang that time. “You’re not recording anymore, alles mit der Kamera dokumentierte. Die are you?”, she asks her daughter, who had Tochter lügt: „Nein.“ – „Okay“, sagt die documented everything up to that point Mutter, spricht weiter, bemerkt aber ein with her camera. The daughter lies: “No.” – rotes Licht an der Kamera, die offenbar “Ok,” says the mother and continues doch noch aufnimmt, und reagiert zornig: talking until she sees the red light on the „Was du tust, ist unerhört!“ camera which is apparently still recording, reacting angrily: “What you’re doing Auf der Suche nach Geschichten lan- is outrageous!” den junge FilmemacherInnen oft bei sich selbst und ihren eigenen Familien. Sie Searching for stories, young filmmakwollen Familienprobleme dokumentie- ers often end up looking at themselves, ren, wie Valentina Primavera die Tren- or at their families. They want to docunung ihrer Eltern in Una Primavera ment problems within families, dealing und Felicitas Sonvilla die Beziehung zu like Valentina Primavera with the sepaihrem Bruder in Mein Bruder kann tan- ration of her parents in Una Primavera, zen. Sie wollen Familiengeheimnissen or Felicitas Sonvilla with the relationauf den Grund gehen, wie Arthur Gillet ship to her brother in Mein Bruder kann dem Leben seiner Großmutter aus Bel- tanzen. They want to get to the bottom gisch-Kongo in Un amour rêvé und eben of family secrets, like Arthur Gillet in A Bojina Panayotova in Je vois rouge. Oder Dreamed Love, where the filmmaker deals sie begleiten eine Familie in ihrem Alltag, with the life of his grandmother in the Belwie Leonor Teles in Terra Franca. gian Congo, or the aforementioned Bojina

Nur: Oft fehlt den FilmemacherInnen die Distanz. Die Kamera lauert in jeder Ecke, jedes Skype-Gespräch wird mitgefilmt, die Rollen von FilmemacherIn und Familienmitglied vermischen sich und die Grenzen, wie weit man für den Film gehen darf, verschwimmen. Plötzlich wird der Prozess der (auch sehr persönlich ausgetragenen) Auseinandersetzung im Film sehr präsent; oder die FilmemacherInnen verlieren die Kontrolle, wenn ihre ProtagonistInnen streiken oder die Regie manipulieren; oder sie tauchen immer tiefer ein in Bilder, Erinnerungen und Fantasien, sodass sie sich im Laufe des Filmens immer wieder fragen müssen, worum es im Film jetzt eigentlich geht: Ist das ein Film über die Familie? Über die Gesellschaft, deren Teil die Familie ist? Oder doch über sich selbst? Leonor Teles’ Porträt über den portugiesischen Fischer Albertino ist die (fast möchte man schreiben: fiktionalisierte) Ausnahme in unserer diesjährigen Reihe der „Familien-Filme“, bei dem die Filmemacherin sich nicht selbst einbringt, zumindest nicht vordergründig. Wie ein Kind, das immer am Tisch oder im Boot dabeisitzt und alles mitbekommt, begleitet sie Albertino und seine Familie bei der Arbeit, zu Hause beim Essen, bei der Vorbereitung zur Hochzeit einer seiner beiden Töchter. Ebenso wie die anderen legt auch dieser Film Familienstrukturen frei, allerdings hier ohne auf deren Verlauf und Verhältnisse direkten Einfluss zu nehmen.

Panayotova with her film I See Red People. Or they accompany a family in their daily lives, like Leonor Teles in Ashore. Yet what filmmakers often lack is distance. The camera is always lurking in the corner, every Skype conversation is recorded, the roles of filmmaker and family member intertwine and the boundaries of how far to go when making the film blur. Suddenly, the process of confrontation (often carried out on a very personal level) carries over into the film. The filmmakers lose control when their protagonists go on strike or try to manipulate the directing, they delve ever further into images, memories and fantasies, so that they have to constantly remind themselves what the film is actually about: is it a film about the family? About society, of which the family is a part? About themselves? Leonor Teles’ portrait of the Portuguese fisherman Albertino is the (one almost feels tempted to write fictionalized) exception in this year’s selection of “family films”, as the filmmaker does not take part herself, at least not in an obvious manner. Like a child that always sits at the table or on the boat and takes notice of everything, she accompanies Albertino and his family at work, at home during meals, during the preparation for the wedding of one of his daughters. Like with the others, this documentary also sheds light on family structures, yet here the filmmaker does not exert any direct influence on the course of events and relationships.

„Warum schreibst du keine Fiktion?“, fragt der verärgerte Vater in Je vois rouge “Why don’t you write fiction?” the upset seine in der Familiengeschichte wüh- father asks his daughter who is poking lende Tochter: „Geheimnisse zu haben around in the family history in I See Red ist ein Menschenrecht, und jeder hat das People. “Having secrets is a human right, Recht, mit diesen zu sterben.“ Das Recht and everybody has the right to die with einer jungen Generation neugieriger Fil- them.” But the right of a young generation memacherInnen ist es aber, ihren Fragen of inquisitive filmmakers is to find answers nachzugehen und daraus etwas zu gestal- to their questions, and to make something ten, das für mehr steht als nur die dabei from them that stands for more that just freigelegten Geheimnisse. Im besten Fall the uncovered secrets. The best case sceverbindet sich dann eine therapeutische nario is that such a film can have a theraWirkung für die Familie mit Erkenntnis- peutic effect on the family, combined with sen über das Leben, die auch für Außen- insights into life that are also revealed to stehende offenbar werden. the outside world.

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Un amour rêvé

Arthur Gillet Belgium 2018

A Dreamed Love

color, 71 min French Austrian Premiere

Als Kind ist Arthur fasziniert von der idyllischen Liebesgeschichte seiner Groß eltern, einer wunderschönen kongolesischen Frau, die einen belgischen Siedler geheiratet hat. Kurz nach dem Tod seiner Großmutter entdeckt der junge Regisseur aber Familienaufzeichnungen, die seine Kindheitserinnerungen zerstören. Diese Aufzeichnungen sind der Ausgangspunkt für eine Recherche über das koloniale Erbe einer ethnisch gemischten Familie, deren Leiden unter einem Mantel des Schweigens verborgen waren.

As a child, Arthur is fascinated by the idyllic love story between his grandparents, a beautiful Congolese woman married to a Belgian settler. But shortly after his grandmother’s death, the young director uncovers some family records which shatter his childhood memories. These records form the starting point for an exploration into the colonial heritage of a mixed-race family, whose sufferings had been cloaked in silence.

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Biography Born in 1987 in Namur, Belgium, Arthur Gillet lives and works in Brussels. After growing up at the stage academy, he first encountered the world of the silver screen at the Cours Florent in Paris. It was director Juan Pittaluga who introduced him to editing and production. He then studied for two years at IAD, where his interest led him to documentary films.

Films — Selection — Un amour rêvé (A Dreamed Love, 2018, doc)

Screenplay Arthur Gillet Cinematography Benjamin Morel Editing Ariane Mellet Sound Cyril Mossé, Arthur Gillet Music Moaga, Christelle Lassort Producers Rosa Spaliviero, Ellen Meiresonne

Production Atelier Graphoui, RTBF Télévision belge, Wallonie Image Production, Media International World Sales WIP — Wallonie Image Production World Premiere Bozar — Palais des Beaux Arts Brussels 2018

Je vois rouge

Bojina Panayotova France / Bulgaria 2018

I See Red People

color, 83 min Bulgarian, French Austrian Premiere

Als 1989 der Eiserne Vorhang fiel, war Bojina acht Jahre alt. Wenig später nahm ihr Vater sie aus Bulgarien nach Paris mit. 25 Jahre später kehrt die junge Frau allein nach Sofia zurück. Sie spürt, dass in der Vergangenheit ihrer Familie Unausgesprochenes lauert. Waren ihre Eltern privilegiert? Gab es Verbindungen zur Geheimpolizei? Bojina beginnt, ihre Eltern mit unangenehmen Fragen zu konfrontieren und gräbt immer tiefer in der Familiengeschichte. Was sie findet, gefällt weder ihr, den Eltern, der Großmutter, noch ihrem Fahrlehrer: Ihr Filmprojekt könne fatal sein, sagt dieser, „du könntest es dein Leben lang bereuen.“

After twenty-five years spent in France, filmmaker Bojina Panayotova returns to Bulgaria, camera in hand, with a vertiginous suspicion: what if her family collaborated with the political police of the communist regime? And what if they were part of the “red trash” that the demonstrators on the street want to see disappear? She decides to investigate and to film, constantly, ready for anything. Her adventure transforms itself into a tragicomic odyssey, a mix of espionage and family film.

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CROSSING X

DANUBE

Biography Bojina Panayotova was born in Bulgaria in 1982. She was 8 years old when she came to France. Panayotova acquired a Master’s in philosophy from the Ecole Normale Supérieure and then enrolled at La Fémis. She directed several shorts selected for many international festivals and also works as a scriptwriter. “I See Red People” is her first feature film as director.

Films — Selection — J e vois rouge (I See Red People, 2018, doc) — C osmonautes (Cosmonauts, 2014, short) — Gospel Bulgare (Bulgarian Gospel, 2011, mid-length doc) — À domicile (Home Match, 2009, short) — Si je tombe (If I Fall, 2008, short)

Screenplay Bojina Panayotova Cinematography Bojina Panayotova, Xavier Sirven Editing Léa Chatauret, Elsa Jonquet, Bojina Panayotova Sound Bojina Panayotova, Xavier Sirven Music Emilian Gatsov With Bojina Panayotova, Milena Mikhaïlova Makarius, Nicolaï Panayotov,

Toshka Mikhaïlova, Silvina Mikhaïlova, Kamen Draganov, Xavier Sirven Producers Roy Arida, Arnaud Dommerc Production Stank, Andolfi World Sales Syndicado Film Sales World Premiere Berlinale 2018

Mein Bruder kann tanzen

Felicitas Sonvilla Austria / Germany 2019 color, 61 min German In cooperation with Diagonale – Festival of Austrian Film

„Ich reise mehr als du. Ich bin erfolgreicher als du. Ich werd früher Geld verdienen als du. Ich werd schönere Kinder kriegen als du.“ Ob Silvius das nur zum Spaß sagt oder seine Schwester auch provozieren will, ist nicht ganz klar. Felicitas will mit ihrem Doku-RoadMovie der aktuell nicht so funktionierenden Geschwisterbeziehung nachgehen und muss sich dafür vom jüngeren Bruder allerlei gefallen lassen, inklusive Musikvideodreh, bei dem sie eine Nutte spielen soll. Am Ende wird daraus eine Reflexion über das Familienleben, und die beiden äußern den Wunsch, noch einmal gemeinsam auf Reisen zu gehen – ohne Kamera. (Dominik Tschütscher)

Somewhere over the past several years, she lost her brother. With a joint film project, the director Felicitas Sonvilla hopes to win him back. On the road trip to the sites of their childhood, the camera is always there. The siblings are radically honest and ruthless in dealing intimately with their conflicts, ideas, and difficulties. Two hard-heads. What exactly was the problem again? (Diagonale ’19)

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Biography Felicitas Sonvilla was born in 1988, and grew up in Vienna, Brussels, Helsinki, Paris and Montpellier. She took theatre, film and media studies at University of Vienna, and studies of film and television documentary at HFF – Hochschule für Fernsehen und Film in Munich. Her documentary shorts were shown at many international film festivals. Her first fiction short premiered at Berlinale 2017.

Films — Selection — Mein Bruder kann tanzen (2019, doc) — Tara (2017, short) — Hinterwelten (2014, mid-length doc, with Lion Bischof, Jonas Heldt) — N acht Grenze Morgen (2013, doc short, with Tuna Kaptan)

Screenplay Felicitas Sonvilla Cinematography Nina Wesemann Editing Sebastian Schreiner Sound Silvius Sonvilla Music Silvius Sonvilla With Miriam Ohlmeier, Felicitas Sonvilla, Silvius Sonvilla, Nina Wesemann Producers Florian Brüning, Thomas Herberth

Production Horse&Fruits Filmproduktion, Hochschule für Fernsehen und Film München World Sales Horse&Fruits Filmproduktion World Premiere Filmfestival Max Ophüls Preis 2019

Terra Franca

Leonor Teles Portugal 2018

Ashore

color, 82 min Portugese Austrian Premiere

Wie ein stilles Kind, das immer dabei ist und alles mitbekommt, begleitet die Filmemacherin Leonor Teles den Fischer Albertino und sein Leben in einer Stadt nahe Lissabon. Die Zeit und Ereignisse rauschen an ihm vorbei wie die Züge und der Autoverkehr durch seinen Ort: der Kampf um die berufliche Existenz, Geburtstagsfeiern, die ältere Tochter wird bald heiraten, die jüngere kündigt an, von zuhause auszuziehen. Ein normales Familienleben eben. Die Zeit steht dort still, wo sie keine Rolle spielt: im Boot, auf dem Wasser. (Dominik Tschütscher)

Terra Franca portrays the life of lbertino Lobo and his family who live in a A small ancient fishing village near Lisbon, Portugal: the local culture, relationships and families, from work-filled everyday life to fancy boat parades and weddings. Between the pressure of rule dictating distant authorities and the ever-changing world, they try to keep up their old ways of life. In the end, the most important things in life are the connections between people and family. And that the dad spins his daughter with joy during her wedding dance.

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Biography Leonor Teles was born in Portugal in 1992. She graduated from Lisbon National Film School in cinematography and directing and has a Master’s degree in audiovisual and multimedia. “Batrachian’s Ballad”, her first work after film school, won Best Short Film at Berlinale 2016. Teles currently works as a filmmaker and cinematographer. “Ashore” won her the SCAM International Award at Cinéma du Réel.

Films — Selection — Terra Franca (Ashore, 2018, doc) — B alada de um Batráquio (Batrachian’s Ballad, 2016, doc short) — Rhoma Acans (2013, doc short)

Screenplay Leonor Teles Cinematography Leonor Teles Editing Luís a Homem, João Braz Sound Rafael Gonçalves Cardoso, Bernardo Theriaga Producers Filipa Reis, João Miller Guerra Production Uma Pedra no Sapato

World Sales filmdelights Austrian Rights filmdelights World Premiere Cinéma du Réel 2018

Una Primavera

Valentina Primavera Austria / Germany / Italy 2018 color, 80 min Italian In cooperation with Diagonale – Festival of Austrian Film

„Ich habe zu filmen begonnen, um einen Moment des Mutes festzuhalten, als ein Zeichen meiner Bewunderung und Dankbarkeit“, sagt die Regisseurin Valentina Primavera zu Beginn ihres Films. Als ihre Mutter nach 40 Jahren Ehe ihren Mann in Italien verlässt und für kurze Zeit Zuflucht in Valentinas Wohnung in Berlin findet, entscheidet sich die Tochter, die weiteren Schritte der Mutter mit der Kamera zu begleiten. Doch ihr Grund für die Loslösung von ihrem Mann und der Versuch der Emanzipierung, vor allem in einer Gesellschaft, in der die Familie über allem steht, wird nicht von allen verstanden. ( Dominik Tschütscher)

Following the latest episode of domestic violence, Fiorella, mother of three, decides to leave her husband, their house and life after 40 years of marriage. At the age of 58 she finally applies for legal separation in search of freedom and new ways of being. Equipped with a hand camera her daughter Valentina follows her first steps into an unknown future. A complex journey begins, leading both to confront themselves and the community with its patriarchal structures while questioning the meaning of family and society.

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Biography Valentina Primavera is a graduate from the School of Arts in Rome. Since 2010 she has been living in Berlin, where she completed a M.A. in stage design and scenography from TU Berlin in 2014. Since then she has been working as a stage and costume designer. “Una Primavera” is her debut work as a director.

Films — Selection — Una Primavera (2018, doc)

Screenplay Valentina Primavera, Federico Neri Cinematography Valentina Primavera Editing Federico Neri Sound Macarena Solervicens, Azadeh Zandieh Music Macarena Solervicens With Fiorella di Gregorio, Alessia Camilletti, Chiara Primavera

Producer Johannes Schubert Production Johannes Schubert World Sales filmdelights Austrian Rights Stadtkino Filmverleih World Premiere DOK Leipzig 2018

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Local Artists Special: Edith Stauber 142–144 Feature Length and mid-length 145–152 Shorts 153–163 Festival Trailer 164

Vom Alltäglichen ins Besondere — Filme von Edith Stauber

Michael Omasta film critic and author

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Nennen Sie drei Künstlerinnen heißt eine Auftragsarbeit, für die sie 2003 Besucher und Besucherinnen des Kunstmuseums Lentos interviewt hat. „Schwer“, sagt ein junger Mann, „mir liegt eine auf der Zunge.“ Und eine Frau antwortet mit der Gegenfrage: „Derfn’s a Männer sein?“ Würde man heute nach österreichischen Animationsfilmkünstlerinnen fragen, müsste Edith Stauber unbedingt genannt werden. Sie ist 1968 in Linz geboren, hat in Linz studiert, lebt und arbeitet in Linz. Und in Analogie zu Wien-, Parisoder New-York-Filmen könnte man bei ihren Werken von Linz-Filmen sprechen. Das gilt für den großen Dokumentarfilm Über eine Straße (mit Michaela Mair, Eröffnungsfilm CE’04), gilt aber ebenso für ihre Animationsfilme seither, in denen sich Alltägliches mit Autobiografischem und also mit spezifisch Linzer Locations verbindet: mal emblematisch, wie in Linz / Martinskirche, mal in Details wie der Wanduhr in Stunden Minuten Tage, die nicht nur die Zeit, sondern dazu noch eine historische Ansicht des Hauptplatzes zeigt. Intensität und Flüchtigkeit zeichnen Edith Staubers Arbeiten aus, eine luzide Bildsprache, durch die der Rest der Welt stets leise durchschimmert. Jeder ihrer Filme ist auch ein brillantes Hörstück; selbst die gerahmten 3 Miniaturen aus dem Leben mit 47, in deren Protagonistin unschwer die Filmerin zu erkennen ist. Hier wird Autobiografie zum Kinostoff, werden Migräne und Kontemplation zu selbstironischen Chiffren „typisch weiblicher“ Befindlichkeit.

From the Dayto-Day to the Particular — Films by Edith Stauber

Name Three Female Artists is the name of a commissioned work for which Edith Stauber interviewed visitors at the Lentos art museum in 2003. “That’s hard,” said a young man, “it’s on the tip of my tongue.” And one woman answered by posing a counter question: “Can they be men too?” If one were to ask about Austrian female animation artists today, Edith S tauber would have to be named. She was born in Linz in 1968, studied in Linz, lives and works in Linz. As an analogy to films about Vienna, Paris, or New York, you could say that she makes Linz films. That holds true for her feature documentary About a Street (with Michaela Mair, CE’04 opening film), but also for all the animation films she has made since, in which everyday elements are combined with autobiographical elements and locations that are very specific for Linz: sometimes emblematic, as in Linz / St Martin’s Church, sometimes detailed, like the wall clock in Hours Minutes Days that not only shows the time but stands for a historic view of the main square in Linz. Intensity and transience shape Edith Stauber’s work, a lucid imagery through which the rest of the world steadily and quietly shimmers though. Each of her films is also a brilliant auditory piece; even the framed 3 Miniatures from Life at 47, where the filmmaker can easily be recognized as the protagonist. Autobiography here becomes cinema material, migraines and contemplation become self-ironic codes of “typically female” sensitivities.

Linz / Stadtpfarrkirche Stunden Minuten Tage Linz / City Parish Church AT 2019 color, 15 min The perception of a sacred building in an everyday environment: rhythmically alternating between the inside and outside of the church, the photographic animation observes various events throughout the day.

Hours Minutes Days

AT 2017 color, 9 min A day in the life of a woman seen only fleetingly. What is important is not the woman as an observer, but rather what is to be observed: the everyday images and sounds. Put together like Lego blocks, a poetic density emerges, a rhythmic sound image.

145 Local Artists

3 Miniaturen aus dem Linz / Martinskirche Linz / St. Martin’s Church Leben mit 47 3 Miniatures from Life at 47 AT 2015 color, 2 min Three episodes from everyday life. A few almost static images combined with soft humor and irony generate an atmospheric picture of mid life – between weariness and comfort, between communication and contemplation.

AT 2014 color, 3 min Reality is almost in reach in this modern life vignette, right down to the ladder in the small church a tourist wants to take a look at. A physical barrier keeps him out, and one of a different nature, his phone, won't get him any closer.

— crossing europe film festival 2019

Nachbehandlung After Treatment

AT 2012 color, 11 min Patients with bandages, diagnostic reports and free newspapers are waiting to be called up. An everyday situation turns into a sonic-optically choreographed mosaic, the description of a microcosm, a snapshot of life.

Stradella

Crossing Europe Festivaltrailer 2011 AT 2011 color, 1 min Both an affectionate reference to the era of analog radio and a beautiful analogy for the title Crossing Europe, the 2011 festival trailer takes us along on an imaginary journey forming the sound of multilingual Europe.

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Eintritt zum Paradies um 3€20

Admission to Paradise for 3€20 AT 2008 color, 12 min The story focuses on the visitors of a public outdoor pool. It turns out to be a kind of democratic paradise, an institution, and, unlike the exclusiveness of the Garden of Eden, open to everyone for just a small fee.

Edith Stauber was born in Linz, Upper Austria, in 1968. A graduate from the University of Arts Linz (visual media design, film and video), she is also a trained carpenter and film projectionist. Her films have gained her numerous accolades and invitations to festivals. Stauber's documentary “About a Street” (2004; co-director with Michaela Mair) opened the 2004 edition of Crossing Europe. In 2012, her animated short “Nachbehandlung” (2012) won the Crossing Europe Award – Local Artist.

Atomlos durch die Macht Nuclear Free Power to the People

Markus Kaiser-Mühlecker Austria 2019 color, 72 min German, English World Premiere

Österreich ist das einzige Land mit einem funktionsfähigen, aufgrund einer Volksabstimmung 1978 nie ans Netz gegangenen Atomkraftwerk. Der Film zeigt die Bürgerbewegung, die zum Verbot von Atomkraft in Österreich führte. Doch der Kampf geht weiter, Österreich ist umgeben von Atomkraftwerken. Katastrophen wie in Tschernobyl oder Fukushima zeigen, wie zentral unser Interesse ist, diese undemokratische Form der Energieproduktion zu bekämpfen. Der Film gibt auch einen Ausblick auf Alternative und Erneuerbare, da der Klimawandel DIE ökologische und politische Herausforderung des 21. Jahrhunderts ist. (Markus Kaiser-Mühlecker)

Austria is the only country with a fully functional nuclear power plant which, due to a popular vote in 1978, never powered up. The film shows the civic movement which led to the everlasting ban of nuclear power in Austria. But the struggle continues, as Austria remains surrounded by nuclear power plants. Catas trophic events like Chernobyl or Fukushima have shown the vital interests of us as a people to fight this very undemocratic form of power production. The film also takes an outlook into alternatives and renewables, as climate change is becoming THE environmental and political challenge of the 21st century. (Markus Kaiser-Mühlecker)

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Biography Markus Kaiser-Mühlecker, born in Upper Austria in 1979, studied film, video and audio at the University of Applied Sciences Salzburg and sociology at the University of Vienna. Since 2005 he has been living and working as a documentary and corporate filmmaker near Linz.

Films — Selection — Atomlos durch die Macht (Nuclear Free Power to the People, 2019, doc) — Alkbottle – 20 Joa in Ö (2011, mid-length doc) — Wie Gott in Schlierbach (2009, mid-length doc) — Attwenger Adventure (2007, doc, CE'07) — Echte Bauern (2005, mid-length doc) — Von Haider zu Hader (2003, doc short)

Screenplay Markus Kaiser-Mühlecker, Gabriele Schweiger Cinematography Dieter Schaufler, Robert Hack, Markus Kaiser-Mühlecker Editing Markus Kaiser-Mühlecker With Hannes Androsch, Rudi Anschober, Josef Pühringer, Gabi Schweiger, Roland Egger, Mathilde Halla, Friedrich Witzany, Martin Wassermair

Producers Markus Kaiser-Mühlecker Production KM Film World Premiere Crossing Europe 2019

Bewegungen eines nahen Bergs

Sebastian Brameshuber Austria / France 2019 color, 86 min Igbo, German, English

Movements of a Nearby Mountain

Ein aufgelassenes Industriegelän de unweit einer jahrhundertealten Erzmine in den steirischen Alpen: Hier führt ein selbstgelernter Mechaniker einen Handel mit gebrauchten Autos und Ersatzteilen zwischen Österreich und seiner alten Heimat Nigeria. Während er für sich allein und mit wundersamer Gelassenheit sein Tagwerk verrichtet, beginnen sich Vergangenheit, Gegenwart und Zukunft zu überlagern. Ein mysteriöses Versprechen nie versiegender Ressourcen trifft auf Erinnerungen an eine verloren geglaubte Freundschaft.

In a remote, abandoned industrial site near a centuries-old ore mine in the Austrian Alps, a self-taught mechanic runs a business exporting used cars and parts to his native Nigeria. As he pursues his lonely day-to-day activities with wondrous serenity, past, present and future begin to overlap, and memories of a lost friendship resurface against the backdrop of a mysterious promise of everlasting resources.

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Biography Sebastian Brameshuber, born in Gmunden, Austria, in 1981, studied scenography at the Vienna University of Applied Arts and cinema at the French audiovisual research center Le Fresnoy – Studio National des Arts Contemporains. Since 2004 his work has been presented and awarded at several major film and media art festivals. “Movements of a Nearby Mountain” won the Grand Prix at Cinéma du Réel in Paris.

Films — Selection — B ewegungen eines nahen Bergs (Movements of a Nearby Mountain, 2019, doc) — I n, Over & Out (short, 2015, CE’16) — O f Stains, Scrap & Tires (doc short, 2014, CE’15) — Und in der Mitte, da sind wir (And There We Are, In The Middle, 2014, doc, CE’14) — Muezzin (2009, doc, CE’09)

Screenplay Sebastian Brameshuber Cinematography Klemens Hufnagl Editing Sebastian Brameshuber, Dane Komlijen Sound Johannes Schmelzer-Ziringer With Clifford Agu, Magnus Ogbonna, Ferenc Sütöri, Ibolya Farkas, Gusztav Horváth, Sarlem Rasuli, Mladen Mladonov, Iliyan Tudorov

Producers Ralph Wieser, David Bohun Production Mischief Films, Panama Film Austrian Rights Filmgarten World Premiere Cinéma du Réel, Paris 2019

Elfie Semotan, Photographer

Joerg Burger Austria 2019 color, 80 min German, English Preview Opening Film

Die in Oberösterreich geborene Elfie Semotan ist seit den 1980er Jahren eine der begehrtesten und sicher eigenwilligsten Modefotografinnen der Welt. Seit mehr als einem halben Jahrhundert arbeitet die heute 77-jährige Semotan erfolgreich an der Schnittstelle von Kunst-, Mode- und Werbefotografie. Viele ihrer raffinierten visuellen Arrangements sind legendär geworden. Ihr – zum Teil kontroversielles – Werk ist geprägt von ihrer starken Persönlichkeit und kontinuierlichem Widerstand gegen den Mainstream. Elfie Semotan, Photographer ist eine Hommage nicht nur an eine große Künstlerin, sondern auch an die Passion des Fotografierens selbst.

Since the 1980s, Elfie Semotan, born in Upper Austria, has been one of the most sought-after and also idiosyncratic fashion photographers in the world. For more than half a century the now 77-year-old Semotan has been successful at the intersection between art, fashion and commercial photography, with many of her sophisticated arrangements having become legendary. Semotan’s sometimes controversial oeuvre is characterized by her strong personality and a continuous opposition to anything mainstream. Elfie Semotan, Photographer is an hommage not only to a great artist but also to the passion of photography itself.

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Biography Joerg Burger was born in Austria in 1961. He is an artist, filmmaker and cinematographer, has worked in New York and Vienna, and is also a teacher at the Schule für künstlerische Fotografie Friedl Kubelka. His photographs have been shown in various exhibitions in Austria and abroad.

Films — Selection — E lfie Semotan, Photographer (2019, doc) — Un solo colore (2016, doc) — Focus on Infinity (2014, doc) — Way of Passion (2011, doc) — Wolf Suschitzky – Fotograf und Kameramann (2010, doc) — Gibellina – Il terremoto (2007, doc, CE’08)

Screenplay Joerg Burger Cinematography Joerg Burger Editing Dieter Pichler Sound Nora Czamler Producers Johannes Rosenberger, Johannes Holzhausen, Constantin Wulff Production Navigator Film Produktion

Exhibition STANDING, WAITING see page 166

Nevrland

Gregor Schmidinger Austria 2019 color, 88 min German, English

Der 17-jährige Jakob lebt mit seinem Vater und dem Großvater in einer kleinen Wohnung in Wien. Er will bald auf die Uni und jobbt inzwischen in einem Schlachthaus, aber seine Angststörung nimmt bald überhand. Eines Nachts begegnet er in einem Sex-CamChat dem 26-jährigen Kristjan. Ihre Unterhaltung führt zu einer virtuellen Freundschaft, und auch in der realen Welt kreuzen sich die Wege der beiden Männer auf unheimliche Weise. Nach einem erschütternden persönlichen Verlust nimmt Jakob allen Mut zusammen, um den geheimnisvollen Fremden zu treffen. Als die beiden sich endlich gegenüberstehen, gibt es längst kein Zurück mehr.

17-year-old Jakob lives with his father and grandfather in a small apartment in Vienna. Planning to start college soon, he takes a temporary job at a slaughterhouse, but his anxiety disorder gets out of control. One night he meets the 26-year-old artist K ristjan on a cam-chat sex site. Their conversation leads to a virtual friendship, and in the real world, too, though they never really meet, the two men’s paths cross in uncanny ways. After a devastating personal loss, Jakob musters all his courage and arranges to hook up with the mysterious stranger. By the time the two find themselves face to face, Jakob has already passed the point of no return.

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Biography Gregor Schmidinger was born in Linz in 1985. He studied digital television at the Salzburg University of Applied Sciences, and screenwriting at the University of California in Los Angeles. Schmidinger also works as a social media strategist for films and is co-founder of the Porn Film Festival Vienna. At the Max Ophüls Award, “Nevrland” won the Prize of the Youth Jury and Best Young Actor.

Films — Selection — Nevrland (2019) — Homophobia (2012, short, CE’13) — The Boy Next Door (2008, short)

Screenplay Gregor Schmidinger Cinematography Jo Molitoris Editing Gerd Berner Music Gerald van der Hint Cast Simon Frühwirth, Paul Forman, Josef Hader, Wolfgang Hübsch, Anton Noori Producer Ulrich Gehmacher

Production Orbrock Filmproduktion World Sales Edition Salzgeber Austrian Rights Filmladen World Premiere Filmfestival Max Ophüls Preis 2019

Nowhere

Natalie Halla Austria 2018 color, 61 min German, Vietnamese, English Austrian Premiere

Auf der Flucht vor den Repressionen des kommunistischen Regimes in Vietnam und dem Krieg mit den Roten Khmer, überlebt der achtjährige Ngoc eine dreiwöchige Bootsfahrt nur knapp, dank der Menschlichkeit eines malaysischen Fischers. Vierzig Jahre später beschließt er, mittlerweile erfolgreicher österreichischer TCM Arzt, ankommende Bootsflüchtlinge auf Lesbos medizinisch zu versorgen. Dabei wird ihm schmerzhaft bewusst, dass sich sein Schicksal in dieser neuen Flüchtlingsgeneration wiederholt. Um seiner eigenen Geschichte auf den Grund zu gehen, beginnt er eine schwierige Reise zurück in die Vergangenheit.

When fleeing from the oppression of the communist regime in Vietnam, eight-yearold Ngoc managed to survive alone on a boat odyssey for three weeks. Thanks to an Austrian family who already had four small children of their own, he managed to completely integrate into Austrian society and grew up to become a renowned TCM doctor. Forty years later he decides to give medical aid to arriving boat refugees on the island of Lesbos. There he realises that his own destiny is repeated in the fate of this new generation of refugees. Intent on finding peace, together with his 12-year-old son Kai he embarks on a difficult journey into his own past.

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Biography Natalie Halla was born in Linz in 1975. She studied law and translation and learned the tools for documentary film making as an autodidact. Since 2010 she has been the producer, script writer and director of several award winning feature-length documentaries, mainly focussing on humanitarian and social issues.

Films — Selection — Nowhere (2018, doc) — Life in Four Elements (2017, doc) — Wurzelkinder (Children of the Forest, 2015, doc) — E in Spiel der Gene (The Heir Of Liszt, 2014, doc) — S eparated (2012, doc, CE’13) — Gaelle (2011, doc)

Screenplay Natalie Halla Cinematography Teemu Liakka, Natalie Halla Editing Natalie Halla Music Michael Andreas Haeringer With Ngoc Levan, Kai Levan, Verena Levan Producer Natalie Halla

Production Creative Movies World Premiere International Film Festival Valladolid 2018

Spreeland Fontane

Bernhard Sallmann Germany 2018 color, 79 min German International Premiere

Fast in jeder Einstellung dieses filThis is the third part of a four-part mischen Streifzugs durch die brandenbur- project about Theodor Fontane’s (1819–1898) gischen Spreegebiete sehen wir Wasser – “Wanderungen durch die Mark Brandenburg”. bewegtes, stehendes, klares, trübes, ausu- The film follows the river Spree and finds its ferndes, eingedämmtes, flüssiges, gefrore- themes with Fontane’s feuilletons about the nes. Nach Oderland. Fontane und Rhinland. region south of Berlin. The landscape is on Fontane legt Bernhard Sallmann mit Spree- the one hand an eternal landscape but on the land Fontane nun die dritte filmessayistische other it is totally transformed by surface minBearbeitung der fünfbändigen Reiseschilde- ing. Fontane speaks to our present with the rung „Wanderungen durch die Mark Bran- voice of Judica Albrecht. The cinematography denburg“ vor. Im Off rezitiert die glasklare records wind, light and micro-movements. Stimme von Judica Albrecht Passagen aus den Eindrücken von Theodor Fontane, während im On die Stellen freigelegt werden, an denen Geschichte und Gegenwart ineinander strömen. (Lukas Stern, DOK Leipzig)

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Biography Bernhard Sallmann was born in Linz in 1967. He completed his studies of media studies, German and sociology in Salzburg and Berlin, as well as film directing at Film University Babelsberg. Since 2004 he has been a freelance filmmaker based in Berlin. Sallmann received numerous awards, among others the DEFA Förderpreis for “Träume der Lausitz” and the Local Artists Award at Crossing Europe 2017 for “Oderland. Fontane”.

Films — Selection — Spreeland Fontane (2019, doc) — Rhinland. Fontane (2017, doc, CE’18) — O derland. Fontane (2016, doc, CE’17) — Die Welt für Sich und die Welt für Mich (2013, doc, CE’14) — Fastentuch 1472 (Lenten Veil 1472, 2015, doc) — Das schlechte Feld (The Bad Field, 2011, doc, CE’11) — Träume der Lausitz (2009, doc) — Die Lausitz 20X90 (2004, doc, CE’06)

Screenplay Bernhard Sallmann Cinematography Bernhard Sallmann Editing Christoph Krüger Sound Klaus Barm Producer Bernhard Sallmann Production Bernhard Sallmann World Premiere DOK Leipzig 2018

Der Stoff aus dem Träume sind

Michael Rieper Lotte Schreiber Austria 2019 color, 75 min German

Such Stuff as Dreams Are Made On Anhand von fünf Meilensteinen selbstorganisierten und selbstverwalteten Wohnbaus in Österreich nähert sich der Dokumentarfilm kooperativen Planungsprozessen von 1968 bis heute. Wir besuchen die Pioniere des PKWs (Projekt Kooperatives Wohnen) in Graz-Raaba, treffen die Architekten und BewohnerInnen der Terrassenhaussiedlung in Graz, erkunden die Ökosiedlung Gärtnerhof und die Siedlung Lebensraum im niederösterreichischen Gänserndorf, sprechen mit BewohnerInnen des Wohnprojekts Wien über den Entstehungsprozess und lassen uns von den Linzer AktivistInnen des Projekts Willy*Fred erzählen, wie sich Häuser vom Immobilienmarkt freikaufen lassen.

World Premiere

Based on five milestones of self-organized and self-managed housing projects in Austria, this documentary explores a variety of topics related to cooperative planning processes from 1968 to the present. Through interviews with participants and residents of these individual housing projects, such as the activists of the project Willy*Fred in Linz, or the ecological settlement Gärtnerhof in Lower Austria, the film not only examines their social and economic demands, and sociopolitical significance, but also provides insight into the small and large daily conflicts, discussions and benefits that life in a collective involves.

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Biography Michael Rieper is a Vienna based architect, works in the fields of architecture, film, art & design, and teaches at TU Wien. Lotte Schreiber is a Vienna based filmmaker, and won the Diagonale Prize for Innovative Cinema 2015, the Best Short Film at Edinburgh Filmfestival 2013, and the Outstanding Artist Award 2011 of the Bundeskanzleramt.

Films — Selection — D er Stoff aus dem Träume sind (Such Stuff as Dreams Are Made On, 2019, doc, Rieper & Schreiber) — S abaudia (2018, doc short, Schreiber, CE’19) — M anchmal also denkt man, weil es sich bewährt hat. Wittgensteins Haus (2016, doc short, Schreiber) — Leben in der Sargfabrik (2013, mid-length doc, Rieper, with Alex Dworschak, Christine Schmauszer)

— GHL (doc short, 2012, Schreiber, CE’13) — Tlatelolco (doc, 2011, Schreiber, CE’12)

Screenplay Michael Rieper Cinematography Johannes Hammel Editing Elke Groen Music Luca Pivetz, Neonschwarz Producers Michael Rieper Production MVD Austria World Premiere Crossing Europe 2019

Beyond Magdalena Reichinger Anna Prischl Austria / Germany 2018

154 Local Artists

Fleischwochen color, 47 min German, English Austrian Premiere

Joachim Iseni Austria 2018

color, 37 min German

Während Forschung und Technik für die dauerhafte Besiedelung des Mars stetig voranschreiten und die Gründe für eine Kolonisierung immer dringlicher erscheinen, bereiten sich zwei Menschen auf ihren One-Way-Trip zum Mars vor, stetig hin- und hergerissen zwischen Träumen von einem zukünftigen Leben am Mars und ihrer gegenwärtigen Lebensrealität auf der Erde.

Tätigkeiten und Ablauf der Woche, in der Fleisch hergestellt wird, stehen dem Konflikt der beiden Protagonistinnen gegenüber: Die 81-jährige Bauernhof-Besitzerin Rosa Feichtmair zählte seit gut zwanzig Jahren auf die Unterstützung ihrer Tochter Margarete. Als diese durch die immense Belastung erkrankt, sind sich die beiden über die Zukunft des Hofs uneins.

While scientific research and advancing technology more than ever make a permanent habitat conceivable, two people are preparing for their one-way trip to Mars. Their personal reasons for colonizing the red planet appear quite concerning to all of us. Both are torn between dreams of a prospective life on Mars and their current reality on Earth.

The farm of the Feichtmair family has been producing moderate amounts of meat since the sixties. The 81-year-old owner, Rosa Feichtmair, has counted on the support of her daughter Margarete for about 20 years. When Margarete falls ill because of the immense work at the farm, there is a disagreement between the two about its future.

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Biography Magdalena Reichinger was born in Linz in 1991. She studied cultural and social anthropology in Vienna and is currently graduating her master’s program “Visual Anthropology” at Georg-AugustUniversity Göttingen. Anna Prischl hails from Wels, where since 2018 she is one of the directors of the youth media festival YOUKI. She lives and works as a curator in Vienna.

Films — Selection — Beyond (2019, doc) Cinematography Magdalena Reichinger Editing Magdalena Reichinger Cast Elaheh Nouri, Günther Golob World Premiere Kino Lumière Göttingen 2019

Biography Joachim Iseni was born in 1986. He lives and works in Linz and studies time-based and interactive media at the University of Arts in Linz. He is currently working on his second documentary film.

Films — Selection — Fleischwochen (2018, doc) Screenplay Joachim Iseni Cinematography Joachim Iseni Editing Joachim Iseni, Lisa Bickel Producer Joachim Iseni World Premiere Diagonale 2019

Local Artist shorts (films <30 min)

× Distribution: sixpackfilm www.sixpackfilm.com

• Music Video

155 Local Artists

0436 — Scheibsta und die Buben

60 Elephants. Episodes of a Theory

Philipp Pamminger

Michael Klein Sasha Pirker

AT 2018 color, 4 min •

AT / FR 2018 color, 22 min ×

After work many young people go dancing. Nightlife becomes the highlight of the week and some misjudgments can lead to an awful end of the party. The music video visualizes the story as told by the rap crew Scheibsta und die Buben.

Yona Friedman’s architectural and urbanistic theories are famous, starting with those of “self-planning”. While they date back to half a century ago, they seem to have become topical. (Jean-Pierre Rehm, FID Marseille)

Philipp Pamminger (b. 1981 in Linz) studied art education at the University of Arts Linz.

Michael Klein, born in Grieskirchen, and Sasha Pirker live and teach in Vienna.

Another recent music video by him is “MINI – Ash My Love” (2017; CE’18).

In their work they address the intersections of culture, politics and the built environment.

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Am eigenen Leibe — Die Experimente des Dr. Zasch

Amazing — Gospel Dating Service

Reinhard Zach

Felix Sturmberger Florian Schwarz Stefan Mayerhofer

AT 2018 color, 10 min

IT 2018 color, 3 min •

During the sixties in a small town in Upper Austria, Dr. Zasch researched the effects of hallucinogenic drugs made of goat excrement. This documentary finds out more about the well-known scientist and his self-experiments.

Rumingo called to tell you that DJ Cioccolata drops margherita today and has no time for you. Meanwhile, Bassonare fueled his scooter with diesel just because he can. Greetings from Limone. Nice place indeed – Gospel Dating Service

Reinhard Zach is an arts and culture mediator at the Medien Kultur Haus Wels, where

Sturmberger (1989, Linz) is a sound designer, Schwarz (1988, Linz) a filmmaker and

the film was created during the Remembrance Year 2018 summer project.

Mayerhofer (1986, Amstetten) a photographer. The latter two also form the collective Captif.

156 Local Artists — crossing europe film festival 2019

animistica Nikki Schuster

Cats, Rats & Lovebirds AT / DE / MX 2018 color, 7 min ×

Luzi Katamay

AT 2018 color, 17 min

animistica forages around in the borderlands of the horror genre. And as is true of its most exciting practitioners, Schuster boldly immerses herself in the darkness, revels in its creepiness, and celebrates the splendor of decay. (Andrey Arnold)

An ill-fated double date, and a cinematic approach to basic research. It deals with fundamental aspects of silicon photonics, and in particular electrically driven germanium quantum dot lasers towards on-chip applications.

Nikki Schuster, Steyr-born animation film artist. Based in Berlin, her recent experimental

Luzi Katamay (b. 1982) studied audiovisual design in Linz. Co-founder of Las Gafas Films

works include “Absent” (2015; CE’16) and “Mexico Recyclers” (2016; CE’16).

together with her production and directing partner Christian Dietl.

The Courser

Dance Slowly — Vetter_Huber

Lisa Truttmann

Elisa Unger

AT 2018 color, 12 min

AT 2018 color, 6 min •

A static group of white horse sculptures is animated by the soundscape of a herd at full gallop, until the camera introduces the setting: Shanghai, at the intersection of two major, multi-leveled urban freeways, a world in motion.

A car, a man and his job. It takes more than passion to blink and shine.

Lisa Truttmann is an artist, filmmaker, and university assistant at the University of Arts

Elisa Unger, a freelance director, lives and works in Linz. In addition to her short

Linz. Her moving images have been shown internationally since 2005.

films and docs such as “Mind the Map” (2016; CE’17), she produces music videos.

157 Local Artists

DONT KNOW WHAT

Fahrvergnügen — Chris Imler

Thomas Renoldner

Dagmar Schürrer

AT 2018 black and white, 8 min

AT / DE 2018 color, 4 min × •

DONT KNOW WHAT combines elements of mainstream cinema, like an entertaining dramatic composition or slapstick-like effects, with strategies of avant-garde cinema, like formal reduction of the imagery or sound experiments.

A multifaceted remix that in its combination of alienated found footage elements, rectangles and shots of the singer mirrors his lyrics: “Do I deserve to run off the rails with all the other trains? Or maybe crashing is also the fun of the ride?”

Thomas Renoldner (b. 1960 in Linz) is a musician, curator, animation lecturer, historian,

Dagmar Schürrer, b. 1980 in Upper Austria, is a video artist and holds a BA from Central

producer and filmmaker, with works like “Fuck the Cancer!”(2016; CE’16).

Saint Martins College of Art and Design, London. She is currently based in Berlin.

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False Memories

Franz Josef

Michael Simku Marlene Maier Ulrich A. Reiterer

Peter Resch Magdalena Bloder

AT 2018 color, 22 min

AT 2018 black and white, 10 min

False Memories investigates China’s goal of becoming the world’s center of fictional storytelling. The film draws connections between the construction of memories, the means of fictional storytelling and its political impact.

A 16 mm short film portrait about the sculptor Franz Josef Altenburg. The analogue material creates a unique atmosphere in which you can get in touch with the sculptor and his objects made of ceramics.

Simku (1985, Steyr), Maier (1989, Steyr) and Reiterer (1982, Graz) studied at the

Resch (b. 1994, Upper Austria) studies at the Academy of Fine Arts Vienna. Bloder (b. 1992,

Academy of Fine Arts Vienna. They previously made “The God of the Labyrinth” (2016; CE’17).

Graz) studied at Ortweinschule Graz and Schule Friedl Kubelka, Vienna.

158 Local Artists — crossing europe film festival 2019

Geh Vau

Sexual Intercorse Marie Luise Lehner

AT 2018 color, 20 min

Great Wall Something Hannahlisa Kunyik Kilian Immervoll

AT / CN 2018 color, 12 min

Two women are chatting in the bathroom when a friend enters their flat. One of the two women knows him, the other doesn’t. After he shows up, a short comedy – of misunderstandings, female desire, and uncomfortable situations – begins.

Countless myths surround China’s Great Wall. The protagonists of the film are a landscape, surveillance devices, a story by Kafka, and the breath. These myths are taken apart and reassembled into an intimate yet volatile narrative.

Marie Louise Lehner, born 1995, lives and works in Vienna and Linz. An author and film-

Kilian Immervoll (b. 1989 in Bad Ischl) and Hannahlisa Kunyik (b. 1986) are visual

maker, one of her latest works is the clip “Squirten – Schapka” (2017; CE’18).

artists based in Vienna.

Hure × 552

Halima Sarkaut Mostefa

Whore × 552 AT 2019 color, 16 min

Anatol Bogendorfer

AT 2018 color, 5 min

Halima is an asylum-seeker living illegally in Europe with her husband and son. She tries to find out who is responsible for handing them a negative decision.

An anonymous person’s expression of hatred on a social media platform, read out aloud from beginning to end. What this generates is not just a kind of mantra, but content and text also acquire something physical.

Sarkaut Mostefa is a Kurdish filmmaker born in Iraq in 1986. He now lives in Linz. A selection

Anatol Bogendorfer (b.1979) is a sound and film artist and fixture in the Upper Austrian

of his prior works was shown at Crossing Europe 2018.

cultural scene. In 2013 his debut feature “Innere Blutungen” (2013) opened Crossing Europe.

159 Local Artists

In Trance it Reinhold Bidner

It has to be lived once and dreamed twice AT 2018 color, 6 min

Rainer Kohlberger

AT / DE 2019 color, 28 min ×

Inspired by and based on a visit to the Museum of Art History. Dusty paintings decide to become moving images to get noticed by an overwhelmed art audience. The successor work to In Transit (created 10 years ago in Paris).

A future world uninhabited by human beings provides perspective on an era of hysterical images. Was the world merely a lucid dream? (Stefan Grissemann)

Reinhold Bidner, media freelancer since 2006, director of, e.g., “The Why Cycle” (2017;

Rainer Kohlberger, b. 1982 in Linz, is a freelance visual artist living in Berlin. In 2013,

CE’18). Collective: gold extra. Teaches at the University of Arts Linz.

he won the CE Award – Local Artist with “humming, fast and slow” (2012).

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Kaplun-Miyazato

Linz / Stadtpfarrkirche

Jonatan Salgado Romero

Edith Stauber

AT 2018 black and white, 5 min

Linz / City Parish Church AT 2019 color, 15 min

If our only reality is a mask, is our dance still real? If our only reality is dance, is the mask still real?

The perception of a sacred building in an everyday environment: rhythmically alternating between the inside and outside of the church, the photographic animation observes various events throughout the day.

Jonatan Salgado Romero, b. 1987 in Spain, is an ensemble dancer at Landestheater Linz.

Edith Stauber (b. 1968) is also the subject of the Local Artist showcase “From the

As a filmmaker, he seeks a symbiosis between movement and image.

Day-to-Day to the Particular”. For more information see pages 150–152.

160 Local Artists — crossing europe ﬁlm festival 2019

MC — TTR Allstars

Mit anderen Worten

Dominik Galleya Clemens Niel

Melanie Ludwig

AT 2018 color, 4 min •

In Other Words

AT / ES 2018 color, 14 min

Music video for the Austrian hip hop supergroup TTR Allstars comprising Texta, Hinterland, Da Staumtisch, Average and Kayo.

A travel diary and a photo album from 1953 bring back memories. The old person’s recollection is already fragmentary, it gets mixed up with fantasy and speculation. An associative visual collage of photo, film and animation material.

Dominik Galleya (b. 1989) and Clemens Niel (b. 1991) work at the intersection

Melanie Ludwig, b. 1985 in Linz, studied fine art at the University of Arts Linz. One of

between installation and timebased media. They studied at the University of Arts Linz.

her recent works is the animation video “Physical Education” (2016; CE’17).

Mnemotop Martin Weichselbaumer Samira Fux

muto AT 2018 color, 30 min

Dominik Thaller

AT 2018 color, 20 min

Petrova gora, Mauthausen, Bleiburg – by looking at the three historic places which commemorate crimes during the Second World War, different perspectives of and changes in remembrance become visible.

Be naughty and wild and wonderful. At the restaurant muto, you can follow Pippi Longstocking’s hedonistic call with wild garlic ice cream, ersatz coffee and soil. The film accompanies the two protagonists as they live out their passion.

Martin Weichselbaumer (b. 1986 in Wels) and Samira Fux collaborate under the moni-

Dominik Thaller (b. 1983) lives, works and studies in Linz and once was a chef himself.

ker Bauchselfux. They graduated from resp. study at the Academy of Fine Arts Vienna.

Previously made the football doc “Again and Again the Sun Rises (2017; CE’18).

161 Local Artists

NDB Sofia Zabranovic Clemens Roesch

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Newcomer RS / AT 2018 color, 9 min

Ashkan Nematian Parisa Ghasemi

AT / IR / DE 2019 color, 15 min

The short documentary NDB is about the civic movement “Ne da(vi)mo Beograd” – “We won’t let Belgrade d(r)own” which has formed in recent years as a response to reckless construction projects in Belgrade.

An Iranian couple living in Austria for several years is visited by the woman’s brother from Iran. A conflict arises when the husband finds out that his wife has hidden the fact that his brother-in-law wants to stay as a refugee.

Sofia Zabranovic (b. 1984) studied video at the Academy of Fine Arts Vienna.

Ashkan Nematian (b. 1988) and Parisa Ghasemi (b. 1987) have been living and studying

Clemens Roesch (b. 1982, Schärding) studied slavistics at the University of Vienna.

in Linz since 2014. “Newcomer” is their third film as a writer-director team.

NIRWANA — folkshilfe

noisescapes

Felix Sturmberger David Ruhmer

Eginhartz Kanter

AT 2018 color, 3 min •

AT 2019 color, 13 min

Sick, tired, poor, scared? NIRWANA will change your life. Be rich, healthy, beautiful, rich, strong, sexy, rich, successful and rich. Call now and get a second NIRWANA with patented Infinitypowermode. Too good to be true.

An experimental depiction of how noise barriers divide and thereby redefine our surroundings. Built to prevent acoustic disturbance, they become an allegory for the otherwise invisible noise and create spaces with a unique ambiance.

Felix Sturmberger (b. 1989, Linz) and David Ruhmer are sound technicians. Sometimes

Eginhartz Kanter, b. 1984, lives and works in Linz and Vienna. Previous work includes

they make music videos and intentionally move the boom into the picture.

the shorts “Aufstieg” (2016, CE’17) and “taking away” (2018, CE’18).

162 Local Artists — crossing europe ﬁlm festival 2019

Oben Bleiben

Roots — Kensee

Dominik Galleya Clemens Niel

Kensee

Stay Up

AT 2019 color, 20 min

AT / PL / PT 2018 color, 4 min •

Leo’s golden age has already passed. For a while now the spaced-out skater has been seeing Klara who takes him to parties and introduces him to new people. In his irregular job as a mover he sees his own dreams being lived by others.

A skateboard in an empty street, broken in two. Tadpoles. A kite, left in a basket. A journey back in time, not just memory-wise.

Dominik Galleya (b. 1989) and Clemens Niel (b. 1991) started collaborating while

Kensee (Karol Kensy) is a Linz-based multimedia artist focusing on hip hop culture. He

studying at the University of Arts in Linz. “Stay Up” is their first narrative short.

has made many music videos, such as “Schene neie Wöd – Kensee” (2016; CE’17).

ROYALBLAU

Sabaudia

Dinko Draganovic

Lotte Schreiber

ROYAL BLUE

AT 2018 color, 21 min

AT 2018 b/w & color, 24 min

On the way to bring his daughter to her training, a gambling-addicted father stops by a betting office, leaving his daughter in the car. When he returns, nothing is as it was before.

Mussolini’s Fascist utopia, the efforts of leftist intellectuals like Pier Paolo Pasolini to reconcile with this architecture and the reality of today’s urban life in Sabaudia meet in this powerful portrait of a landscape and a city.

Dinko Draganovic (b. 1988) studied at the University of Arts Linz and directed shorts like

Lotte Schreiber (b. 1971), artist, filmmaker, CE curator. Taught at the University of

“Daddy’s Pride” (2012; CE’12). His first feature film is in the works.

Arts Linz, director of the documentary “Tlatelolco” (2011; CE’12), and others.

163 Local Artists

Sehr Lauwarm

SELFIE TEST #2

Lisa Maria Bickel

Sybille Bauer

Lukewarm

AT 2018 color, 17 min

AT 2018 black and white, 2 min

Luca has a lot of plans. If she could just decide. For now, she spends the hot summer days at a kiosk with her flirty colleague Sophie, watching people roller-skating, slowly becoming aware of the aimlessness of her own life.

An investigation into the transition of the photographic concept of the selfie to a filmic one. The attention is not on the moment of the picture itself but rather on the process of self-fashioning for the picture.

Lisa Maria Bickel (b. 1995 in Vorarlberg) currently lives in Linz where she studies time-

Sybille Bauer (b.1989), documentary and experimental filmmaker. She studied time-

based media at the University of Art and Design.

based media at the University of Arts Linz. Recent work: “No Half Life” (2018; CE’18).

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Testa Karl-Heinz Klopf

TINGLE TINGLE AT / AR 2018 color, 18 min ×

Gloria Gammer Haydee Jimenez

AT 2018 color, 9 min

This experimental arrangement explores the National Library of Argentina by Clorindo Testa. The movements between the massive concrete structural elements become a furious visual game with the spatial sense of orientation.

Plastic surfaces massage one another. Image and sound augment the encounter. A sensory miniature created in a collaboration during the Picture Your Sound Your Picture residency awarded at Crossing Europe 2018.

Karl-Heinz Klopf is a Linz-born artist and filmmaker whose work, e.g. “Tower House”

Gloria Gammer (b. 1985, Linz), film director and video artist, also won the CE Local Artist

(2013; CE’14) focuses on the built environment in its various manifestations.

Atelier Award in 2010. Haydee Jimenez (US) is a sound artist and musician.

164 Local Artists — crossing europe film festival 2019

Triohatala — Christian Zehnder

Turninglights — helahoop

Thomas Radlwimmer

System Jaquelinde

CH / DE 2018 color, 4 min •

AT 2018 color, 4 min •

Swiss vocal and instrumental artist Christian Zehnder gets to unleash his virtuosity in this video: hu loin-de-u ah / wabbi-didl-loin dej-o / hu-de hu-de loinde-u / wabbi-didl-loin dejo.

In a sensitive dialogue with the music, different interpretations and perspectives of light, costume, choreography and camera are spontaneously interwoven and condensed directly on the set.

Thomas Radlwimmer, born in Schärding, travels all over the world. The enthusiastic

System Jaquelinde from Linz follow their passion of combining analogue and digital

filmmaker, photographer and artist recently also made “By this River” (2017; CE’18).

techniques. Many exhibitions and videos, e.g. “Von Astern und Eseln” (2017; CE’18).

Urban Reflectors

W O W (Kodak)

Katharina Gruzei

Viktoria Schmid

JP / AT 2019 color, 8 min

AT 2018 color, 2 min ×

The urban periphery along a river is the site of a strange occurrence. An elusive silver form appears, starts to move. Accompanied by a dystopian sound it expands into a weird metamorphosis between organism and architecture.

In the regenerative movement, the implosion turns into an act of constituting. And thus, the reducing to rubble of the building parts becomes a spectacular reconstruction. (Melanie Letschnig)

Katharina Gruzei (b. 1983), interdisciplinary artist based in Linz and Vienna.

Viktoria Schmid, b. 1986. Visual artist and filmmaker with an MA from the University of

“Die ArbeiterInnen verlassen die Fabrik” (2011) won her the CE Award Local Artist 2012.

Arts Linz. “A Proposal to Project” (2016; CE’17) is one of her recent works.

165 Local Artists

Water and Clearing

Where Do We Go

Siegfried A. Fruhauf

AT 2018 color, 5 min ×

Fruhauf has been described as a “master of the wave”. If he pulverizes things down to their smallest components, it is so he can reconstitute them into numerous possible worlds, using the energy waves of image-sound fusion. (Adrian Martin)

Siegfried A. Fruhauf, b. 1976 in Grieskirchen. In 2018, the prolific maker of avant-garde

films like “Vintage Print” (2015; CE’16) received the Austrian Art Award.

AT 2018 color, 4 min × •

With Where Do We Go, Fruhauf further develops his structuralist cinema, focusing on the rhythmic quality of montage and the continuity of something in between, to transmit the original fascination of motion pictures. (Shilla Strelka)

Siegfried A. Fruhauf grew up in Heiligenberg, Upper Austria, and studied experi-

mental visual design in Linz. He created “Phantom Ride” (2004), the inaugural CE Trailer.

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Crossing Europe Festival Trailer 2019 Brace for Impact Leni Gruber Austria 2019 color, 1 min Cinematography Angelika Spangel

166 Local Artists — crossing europe film festival 2019

Brace for impact! Bereitmachen für den Aufprall! Die Kommandos der FlugbegleiterInnen sind eindringlich und unmissverständlich. Notfall! Sitzgurte öffnen! Schwimmweste anziehen! Raus! Dichter Rauch quillt in die Kabine. Es bleibt keine Zeit zum Überlegen. Im diesjährigen Crossing Europe Trailer begleitet Leni Gruber TeilnehmerInnen eines Flugsicherheitstrainings und zeigt in dokumentarischen Aufnahmen eine simulierte Bruchlandung. Proben für den Ernstfall.

Films — Selection — Brace for Impact (2019, short, CE’19) — S chneemann (2018, short, CE’18) — It Is No Dream (2015, short) — Wösside – Wös Rap Rec (2015, short, CE’16)

Biography Leni Gruber (*1991) is a twotime award winner at Crossing Europe. She studies screen writing and dramaturgy as well as production at the Film Academy Vienna. Next to her own work as a director and screen writer, she has also been successful as a producer, e.g. of the internationally acclaimed documentary “Sand und Blut” (“Sand and Blood”, 2017) by Matthias Krepp and Angelika Spangel.

Brace for impact! The commands from the flights attendants are insistent and cannot be misunderstood. Emergency! Open your safety belts! Put on your life vests! Out! Thick fog seeps into the cabin. There is no time left to think. In this year’s Crossing Europe trailer, Leni Gruber accompanies participants in a flight safety training and shows a simulated crash landing in documentary footage. Rehearsal for the emergency.

167 — crossing europe film festival 2019

OÖ Kulturquartier Crossing Europe @ Ars Electronica Center

166–168 169–170

Crossover

OÖ Kulturquartier Elfie Semotan “STANDING, WAITING, 2007/2019” 12 light boxes, 220 × 100 × 20 cm Photo: Otto Saxinger

168 Cross Over — crossing europe film festival 2019

Seit Anbeginn ist das OK als Centrum für Gegenwartskunst ein wichtiger Veranstaltungspartner und Impulsgeber für das Crossing Europe Filmfestival. Nicht nur räumlich – mit dem OÖ Kulturquartier als Festivalzentrum – sondern auch durch die inhaltliche Zusammenarbeit ergibt sich ein lebendiger „bildgebender“ Dialog. Auch heuer bringt sich das OK als Ausstellungshaus wieder mit eigenen Projekten im Crossover zwischen Film und Bildender Kunst ein.

Ever since the beginning, the OK as a center for contemporary art has been an important event partner and impulse generator for the Crossing Europe Film Festival. Not only spatially – the Upper Austrian Culture Quarter acts as the festival center – but the cooperation on the content level also yields a lively “visual” dialogue. This year, the OK as an exhibition space once again participates with its own projects at the crossover between film and visual art.

In den 2018 dazu gewonnen Räumen der kulturtankstelle in der Dametzstraße gibt das OK im OÖ Kulturquartier experimentellen, prozesshaften Projekten Raum und zeigt zum Festival 2019 die Forschungsinstallation urbane StreuObstWiese von Ton Matton (NL/AT).

In the additional space of the kulturtankstelle in Dametzstraße gained in 2018, the OK in the Upper Austrian Culture Quarter provides room for experimental, processual projects and will show the research installation urbane StreuObstWiese by Ton Matton (NL/AT).

Im OK selbst wird die Einzelausstellung STANDING, WAITING, 2007/2019 der renommierten österreichischen Fotografin Elfie Semotan präsentiert, eine Eigenproduktion für ein Vorläuferprojekt des bekannten Publikumsformats „Höhenrausch“.

In the OK itself there will be the solo exhibition STANDING, WAITING, 2007/2019 by the renowned Austrian photographer Elfie Semotan, an in-house production made for a precursor project of the well known public format “Höhenrausch”.

OK | Elfie Semotan (AT/US) STANDING, WAITING, 2007/2019

In 2007 the renowned fashion photographer Elfie Semotan produced the portrait series STANDING, WAITING for the exhibition SCHAURAUSCH at the OK, which as a precursor project to Linz09 brought art to display windows, shops, and malls in Linz.

For this, Semotan photographed 24 selected sales persons from shops in Linz, and presented the portraits on two meter high light boxes in the vacant passage of the Casino Linz. In the course of this, they should not be regarded as ama2007 produzierte die renommierte Mode- teur (publicity) models, but shown as fotografin Elfie Semotan die Porträtserie “urban people”, according to the artist. STANDING, WAITING für die OK-Ausstellung SCHAURAUSCH, die als Vor- Twelve years later the OK will revive läuferprojekt von „Linz09“ Kunst in die STANDING, WAITING on the occasion of Schaufenster, Geschäfte und Passagen of the premiere of the film Elfie Semotan, von Linz brachte. Photographer at Crossing Europe with a selection of 12 photographs. Elfie Dafür lichtete Semotan 24 ausgewählte Semotan’s tribute to the vendors of the VerkäuferInnen aus Linzer Geschäften ab city can been seen on the way to the cinund präsentierte sie auf zwei Meter hohen ema hall on the first floor. Leuchtkästen in der leer stehenden Passage des Casino Linz. Die VerkäuferIn- Elfie Semotan, born 1941 in Wels, Austria, nen sollten dabei nicht als amateurhafte began her career in the 1960s in Vienna (Werbe-)Models, sondern vielmehr als and became internationally success„urbane Menschen“ gezeigt werden, so die ful with her work for advertisement camKünstlerin. paigns and magazines. In the 1990s she commuted between New York and Vienna, Zwölf Jahre später reinszeniert das OK photographing for magazines like Vogue, eine Auswahl von zwölf Fotografien der Elle, Harper’s Bazaar or The New Yorker, STANDING, WAITING-Serie anlässlich and began to increasingly show her work der Premiere des Films Elfie Semotan, in an exhibition context. Today she lives in Photographer bei Crossing Europe. Elfie New York, Vienna, and Jennersdorf. Semotans Hommage an die Verkäufe rInnen der Stadt begleitet die Festivalgäste nun auf dem Weg zum Kinosaal im 1. Obergeschoss. Elfie Semotan, geboren 1941 in Wels, Österreich, beginnt ihre Karriere als Fotografin in den 1960er-Jahren in Wien und wird mit ihren Aufnahmen für Werbekampagnen und Zeitschriften international erfolgreich. In den 1990er-Jahren pendelt sie zwischen New York und Wien, fotografiert für Zeitschriften wie Vogue, Elle, Harper’s Bazaar, The New Yorker und präsentiert ihre Arbeiten zunehmend auch in Ausstellungen. Heute lebt sie in New York, Wien und in Jennersdorf.

Elfie Semotan For info on the film “Elfie Semotan, Photgrapher” see page 147 Photo: Elfie Semotan

169 Cross Over — crossing europe film festival 2019

kulturtankstelle im OÖ Kulturquartier

Ton Matton Office Ton Matton is a Dutch urbanist, designer, and professor for space&designstrategies at the University of Arts Linz. He works in the fields of city planning, architecture, ecology, and art in public spaces.

170 Cross Over — crossing europe film festival 2019

Das Coop-Lab des OÖ Kulturquartiers und der Kunstuniversität Linz

A Coop-Lab of the Upper Austrian Culture Quarter and the Art University Linz

Vor einigen Jahren stoppten die Autos kurz an der Zapfsäule der Tankstelle an der Rückseite der Raiffeisen kunst garage an der stark befahrenen Dametzstraße, mitten in der Stadt Linz. Die FahrerInnen tankten das Auto voll, konsumierten im Tankstellenshop, um dann schnell wieder weiter zu fahren.

A few years ago cars stopped briefly to fill their tanks behind the Raiffeisen kunst garage on busy Dametzstraße, in the heart of the city of Linz. The drivers refueled their cars, bought snacks at the gas station shop, and continued on their journeys.

Mit der Installation urbane StreuObstWiese von Ton Matton verwandelt sich dieser Ort in eine Walkthrough- (FußgängerInnen) oder Drive-In-„Oase“ (FahrradfahrerInnen). Das Tempo wird langsamer, der Verbleib länger. Unter einem schattenspendenden Apfelbaum kann im Shopfenster ein Film angesehen werden und man kann darüber nachdenken, ob diese Obstwiese die Zukunft sein könnte. Ob Apfelbäume nur über einen Tropf mit Dünger, Wasser und Licht versorgt werden können? Ob sie sich an das raue Stadtklima, umgeben von Asphalt, Beton und Feinstaub, anpassen würden? Im Shopfenster ist der belgische Kurzfilm Floureja von Pablo Heuson (2017) zu sehen und in der Reifenbox wird täglich um 16.00 Uhr Natura urbana. The Brachen of Berlin von Matthew Gandy (2017) gezeigt.

“urbane StreuObstWiese” (Ton Matton, Björn Ortfeld) “don’t sit under the apple tree (and watch a movie) with anyone else but me”

The installation urbane StreuObstWiese by Ton Matton transforms this place into a walkthrough (pedestrians) or drive-in (cyclists) “oasis”. The tempo slows down, the stay extends. Under the shadow of an apple tree you can engross yourself in a film in the shop window, and think about whether this fruit meadow could be the future. Can a drip alone provide apple trees with fertilizer, water, and light? Can they adapt to the rough climate of the city, surrounded by asphalt, concrete, particulates? In the shop window the Belgian short film Floureja by Pablo Heuson (2017) is screened, and the film Natura urbana. The Brachen of Berlin by Matthew Gandy (2017) is shown daily at 4 pm in the tire fitting box.

Opening: 24.04.2019, 18:00 “Floureja” (by Pablo Heuson, BE 2017, 13 min) daily 10:00—20:00 “Natura urbana. The Brachen of Berlin” (by Matthew Gandy, DE/GB 2017, 72 min) daily 16:00

Crossing Europe @ Ars Electronica Center Ars Electronica Center Ars-Electronica-Straße 1, 4040 Linz T +43 732 72720 ars.electronica.art

“Fahrvergnügen — Chris Imler”

After the successful collaborations between Crossing Europe and the renowned Ars Electronica Center in 2009, 2017, and 2018, the cinematographic cooperation continues this year. Current works from the crossover realm, at the intersection of film and media art will be shown.

Nach 2009, 2017 und 2018 wird auch heuer die Kooperation zwischen dem renommierten Ars Electronica Center in Linz und Crossing Europe auf filmischer Ebene fortgeführt. Es kommen aktuelle Arbeiten aus dem Crossover-Bereich, an der Schnittstelle Film und Medienkunst, zur Aufführung. Der Deep Space 8K im Ars Electronica Center dient an einem Nachmittag erneut als Festivalspielstätte, was Crossing Europe um einen zusätzlichen 3-D-fähigen Abspielort erweitert. Auf dem Programm stehen ausgewählte Experimentalfilme aus dem aktuellen Local Artists-Programm mit Wand- und Bodenprojektion, die im wahrsten Sinne des Wortes „zu erleben“ sind und Körperkino par excellence versprechen.

The Deep Space 8K in the Ars Electronica Center acts as a festival screening hall for one afternoon, thus expanding Crossing Europe by an additional venue that is capable of 3-D screening. The program consists of a selection of experimental films from this year’s Local Artists section with wall and floor projection, to be “experienced” in the truest sense of the word. Immersive film par excellence. 16 × 9 meters of wall, plus an additional 16 × 9 meters of floor projection space, laser tracking and 3-D-animation give the Deep Space 8K its appeal as a festival venue. Here, visual worlds are projected in 8K, allowing for a highly varied screening schedule all year round. The possibilities range from 3-D journeys through space to a close look into one’s own body to interactive games, thus conveying innovative projects and current topics at the intersection of art, technology, science, and society.

171 Cross Over — crossing europe film festival 2019

16 mal 9 Meter Wand-, und noch einmal 16 mal 9 Meter Bodenprojektion, Lasertracking und 3-D-Animationen machen den Deep Space 8K zu einem reizvollen Festivalort. Hier werden Bildwelten in 8K-Auflösung projiziert, die einen vielfältigen Jahresbetrieb ermöglichen. Das Angebot reicht von 3-D-Reisen durch den Weltraum über den Blick in den eigenen Körper bis hin zu interaktiven Spielen. Dabei werden innovative Projekte und aktuelle Themen an der Schnittstelle von Kunst, Technologie, Wissenschaft und Gesellschaft vermittelt.

Deep Space Experimental Local Artists

For film descriptions please see section Local Artists Shorts (pages 153–163)

28 April 2019, 14:00, 67 min Deep Space 8K

“animistica” Nikki Schuster AT/DE/MX 2018, 7 min “Fahrvergnügen — Chris Imler” Dagmar Schürrer AT/DE 2018, 4 min “In Trance it” Reinhold Bidner AT 2018, 6 min „It has to be lived once and dreamed twice“ Rainer Kohlberger AT/DE 2019, 28 min

“Where Do We Go”

“Kaplun-Miyazato” Jonatan Salgado Romero AT 2018, 5 min “TINGLE TINGLE” Gloria Gammer, Haydee Jimenez AT 2018, 9 min “Turninglights – helahoop” System Jaquelinde AT 2018, 4 min

172

“Where Do We Go” Siegfried A. Fruhauf AT 2018, 4 min

Cross Over — crossing europe film festival 2019

“animistica”

“It has to be lived once and dreamed twice”

“In Trance it”

Cooperations Trouble Features @ Crossing Europe 172 Crossing Europe zu Gast â&#x20AC;&#x201D; Follow-Up Screenings 173 Moving Images Open Borders 174 East Silver Selection 175 kontroversiell! 176 Eye on Films 177

173 â&#x20AC;&#x201D; crossing europe film festival 2019

Trouble Features @ Crossing Europe Diskollektiv: Andrey Arnold, Valerie Dirk, Iris Fraueneder, Martin Thomson, Ulrike Wirth

27 April 2019, 21:00 Movie 3

diskollektiv.com

curated by Diskollektiv

Double screening followed by a discussion

Still: “Lissa ammetsajjel” (“Still Recording”, Syria / Lebanon / France / Germany / Qatar 2018) Zum dritten Mal setzt Diskollektiv mit seinem „Trouble Features“-Doppelprogramm auf produktive Dissonanz unterschiedlicher Weltbilder und Bilderwelten.

For the third time already, Diskollektiv places the focus on productive dissonances between different world views and image worlds in its “Trouble Features”.

„The image is the last line of defense “The image is the last line of defense against time“ heißt es im ersten Beitrag, against time”, it says in the first contribuStill Recording (siehe Seite 84) von Saeed tion, Still Recording (see page 84) by Saeed Cooperations Al Batal und Ghiath Ayoub. Zwischen 2011 Al Batal and Ghiath Ayoub. Between 2011 und 2015 brachen sie regelmäßig in die and 2015 they regularly visited the rebel — Rebellenhochburg Ost-Ghuta in Syrien stronghold of Eastern Ghouta in Syria crossing europe auf, um den Alltag von Kämpfenden und in order to document the daily lives of ﬁlm Zivilbevölkerung zu dokumentieren. Ihr those fighting and of the civilian populafestival Fronteinsatz zur Produktion archivier- tion. Their dedication to serving at the 2019 barer Bilder ist zugleich politischer Akt, front in order to produce archivable image Aufruf zu Gedenken und Widerstand, material is at once a political act, a call to Beweissicherung und Medienreflexion, remember and resist, the preservation of ein zwischen Trümmern entstandener evidence, and a critical reflection of media, Bilderstrom aus Fragmenten, der jenem a stream of image fragments emerging der hiesigen Dokutainment-Berichter- from the debris that stands in stark constattung zuwiderläuft. trast to the docutainment coverage from our parts of the world. Still Recording trifft auf einen Gegenspieler aus dem Pool der europäischen Film- Still Recording will face a counterpart geschichte. Dessen Identität wird erst from the pool of European film history. mit Vorführungsbeginn gelüftet – um der The identity of which will not be revealed Begegnung zum maximalen Effekt zu ver- until its screening – in order to achieve the helfen. Inhaltliche, ästhetische und ideo- maximum effect of this encounter. Topical, logische Reibungen sind garantiert! Das aesthetic, and ideological points of friction letzte Wort hat nicht der Abspann, son- are to be expected! The end credits do not dern das Publikum, bei einer Diskussion have the last say, but rather the audience, vor unbespielter Leinwand. in a discussion in front of an empty screen.

174

Crossing Europe zu Gast — Follow-Up Screenings

BEST OF CROSSING EUROPE @City-Kino, Linz Award winning films and highlights / PreisträgerInnenfilme und Highlights

ÖSTERREICHISCHES FILMMUSEUM, Vienna

1.5., 14:00–22:00 crossingeurope.at

SPOTLIGHT 2019 — Xhanfise Keko Program Spotlight guest Iris Elezi present “Here Be Dragons” (GB 2013) 1.5., 19:00

SPIELBODEN DORNBIRN “Die andere Seite von Allem — Eine politische Geistergeschichte” (“The Other Side of Everything”, FR / QA / SRB 2017) 17.4. + 25.4., 19:30

“Mimoza llastica” (Spoiled Mimoza”, AL 1973) and “Qyteti më i ri në botë” (The Newest City in the World”, AL 1974) 1.5., 21:00

“Heimat ist ein Raum aus Zeit” (“Heimat Is a Space in Time”, DE 2019) 1.5. + 7.5., 19:30 spielboden.at PROGRAMMKINO WELS “Sibel” (DE/FR/LU/TR 2018) 28.4., 20:15 & 29.4., 18:30

“Tomka dhe shokët e tij” (“Tomka and His Friends”, AL 1997) 2.5., 19:00 “Kur po xhirohej një film” (“When Shooting a Film”, AL 1981) 2.5., 21:00 filmmuseum.at

BEST-OF CROSSING EUROPE @ Votiv Kino Vienna “Dreissig” (“Thirty”, DE 2018) 10.5., 20:00 “Els dies que vindran” (“The Days to Come”, ES 2018) 11.5., 20:00 “Sibel” (FR/DE/LU/TR 2018) 12.5., 20:00 “Hungary 2018” (HU/PT 2018) 13.5., 20:00 “Svideteli Putina” (“Putin’s Witnesses”, LV/CH/CZ 2018) 14.5., 20:00 “Khrustal” (“Crystal Swan”, BY/DE/US/RU 2018) 15.5., 20:00 “Avevo un sogno” (“I Had a Dream”, IT/FR 2018) 16.5., 20:00 votivkino.at

“Schwimmen” (“Swimming”, DE 2018) 30.4., 20:15 + 1.5., 18:30

/SLASH EINHALB Night Sight Films 2019 3.5. + 4.5., Filmcasino, Vienna

AK-FILM DES MONATS Arbeitswelten / Working Worlds “Reise nach Jerusalem” (“The Chair’s Game”, DE 2018) 24.5., 20:30, Moviemento, Linz

“Nowhere” (AT 2019) 30.4., 18:30 + 1.5., 20:15

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BELVEDERE 21 BLICKLE KINO, Vienna “Charleroi, le pays aux 60 montagnes” (“Charleroi, The Land of 60 Mountains”, BE 2018) 10.5., 20:30

CENTRAL LINZ Social Awareness Award Screening 4.6., 20:00

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175 Cooperations — crossing europe film festival 2019

Moving Images Open Borders

CROSSING EUROPE FILM FESTIVAL LINZ crossingeurope.at EUROPEAN FILM FESTIVAL PALIC palicfilmfestival.com FESTIVAL DEL CINEMA EUROPEO festivaldelcinemaeuropeo.com FILM FESTIVAL COTTBUS filmfestivalcottbus.de LES ARCS EUROPEAN FILM FESTIVAL lesarcs-filmfest.com

2017 initiierte Crossing Europe gemeinsam mit sechs weiteren europäischen Filmfestivals das Netzwerk „Moving Images – Open Borders“. Alle sieben Festivals haben sich ausschließlich dem europäischen Kino mit all seinen künstlerischen Facetten, regionalen Besonderheiten und gesellschaftspolitischen Verwerfungen verschrieben.

176 Cooperations — crossing europe film festival 2019

Mit 2019 soll der regelmäßige Austausch zwischen den Partnerfestivals Fahrt aufnehmen und so – ganz im Sinne des europäischen Netzwerkgedankens –ein Best-Practice-Modell entstehen. Geplant sind u.a. eine Intensivierung der Bewerbung des europäischen Filmschaffens, gemeinsame Marketingaktivitäten sowie informelle Treffen mit dem Ziel, umgehend und nachhaltig Maßnahmen innerhalb der europäischen Festivallandkarte zu setzen.

SCANORAMA FILM FESTIVAL — EUROPEAN FILM FORUM scanorama.lt SEVILLE EUROPEAN FILM FESTIVAL festivalcinesevilla.eu

In 2017 Crossing Europe, together with six other European film festivals, initiated the network “Moving Images – Open Borders”. All seven festivals are wholly devoted to European cinema with all its artistic facets, regional characteristics, and socio-political dislocations. An ongoing exchange among the partner festivals is to gather pace in 2019, and in keeping with the idea of European networking, a best practice model is to be developed. Plans include intensifying the promotion of European filmmaking, joint marketing activities, and informal meetings with the goal of achieving immediate and lasting measures within the European festival landscape.

„Moving Images – Open Borders“ versteht sich als informelles Netzwerk, das sich zu 100 Prozent dem kreativen Filmschaffen Europas widmet und allen teilnehmenden Partnerfestivals die Möglichkeit gibt, vom Erfahrungsaustausch auf organisatorischer und programmatischer Ebene lang- “Moving Images – Open Borders” is infristig zu profitieren. tended to be an informal network that is 100 percent devoted to creative filmmaking and Europe, and which provides all participating partner festivals with an opportunity to profit from exchanging experiences in terms of organization and programming on a long-term basis.

East Silver Selection

Contact and more information: Institute of Documentary Film East Doc Platform Manager & East Silver Manager Zdeněk Blaha blaha@dokweb.net www.dokweb.net

“Domashni Igri” (“Home Games”) see page 40

The East Silver Selection presents films nominated by the Institute of Documentary Film in Prague, Czech Republic. These films represent the most recent developments in the field of Eastern European documentary filmmaking, challenging long-lived clichés. The Ukrainian-Polish-French production Home Games (see page 40) directed by Alisa K ovalenko is a critical inspection on issues of emancipation and gender in Ukraine, as well as an intimate portrait of the main character’s ordinary desires of passion and ambition. The film Srbenka (see page 45) by Croatian director Nebojša Slijepčević introduces a whole new approach to documentary reflections on the war in Yugoslavia. Similarly Chris the Swiss (see page 38), by director Anja Kofmel, is a personal reflection on the traumas of the war in Yugoslavia, still relevant today across the continent.

177 Cooperations

East Silver Market is a unique film market dedicated solely to the documentary cinema of Central and Eastern Europe. The main aim of the market is to support distribution and promotion of documentary films from this region. Make use of the renowned East Silver Market and come in contact with key industry professionals during the Ji.hlava International Documentary Film Festival. Every year during the Market, truly exceptional films compete for the annual award Silver Eye in two categories at Ji.hlava IDFF. The East Silver Caravan festival service brings the most interesting festival films to the attention of international audiences and promotes Eastern European documentary films at international festivals and markets.

— crossing europe film festival 2019

kontroversiell! Filming Politicians

Filming Politicians

kontroversiell!, eine Reihe von ok.at (Interessensgemeinschaft Österd reichischer Dokumentarfilm), präsentiert und diskutiert anspruchsvolle internationale Dokumentarfilme, die dank ihrer ungewöhnlichen oder radikalen Inhalte, Positionen, Ästhetik oder Machart für Kontroversen sorgen. kontroversiell! soll die Grenzen und Möglichkeiten des Dokumentarfilms ausloten und zugleich auch einen Raum schaffen, der dazu anregt, über das Kontroversielle im Film nachzudenken und zu debattieren.

kontroversiell!, a series by dok.at (Austrian Documentary Film Alliance), presents and discusses sophisticated, international documentary films which spark controversy due to their unusual or radical content, positions, aesthetics, or style. kontroversiell! is intended to probe the boundaries and possibilities of documentary film and to create a space which openly prompts reflection and debate on what is controversial in film.

“Sylvana, Demon or Diva” see page 87

178 Cooperations — crossing europe film festival 2019

Talk: Filming Politicians Host: Daniela Praher (dok.at) with directors Ingeborg Jansen (“Sylvana, Demon or Diva”, NL 2018 – see page 87) and Eszter Hajdú (“Hungary 2018”, HU/PT 2018 – see page 43) 28 April 2019, 14:00 OK Deck

Eye on Films “Consequences” see page 54

Developed in January 2011 by Wide with the support of the European Commission (Creative Europe MEDIA Program), Eye on Films is a label and a support platform dedicated to the promotion and circulation of first and second European films.

179 Cooperations — crossing europe film festival 2019

The initiative aims at increasing the exposure of independent cinema and new talents, notably through cooperation with strong magazines as well as by supporting festivals and distributors that screen and release Eye on Films titles.

Eye on Films @ Crossing Europe: Contact and more information: info@eyeonfilms.org www.eyeonfilms.org

“Posledice” (“Consequences”, SI/AT 2018, 95 min, D: Darko Štante) see page 54 “Danmark” (“Denmark”, DK 2018, 90 min, D: Kasper Rune Larsen) see page 52 “Deva” (HU 2018, 76 min, D: Petra Szöcs) see page 62

www.film-festivals.at

Europa grenzenlos Die CROSSING EUROPE Kollektion auf FLIMMIT

Zehn handverlesene CROSSING EUROPE Filme aus den vergangenen Festivaljahrgängen: Spielund Dokumentarfilme, Eröffnungsfilme genauso wie Publikumshits und preisgekrönte Arbeiten.

Eine lustvolle Einladung zur direkten Auseinandersetzung mit Europa. Jetzt in der heimischen Online-Videothek Flimmit unter flimmit.com

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YOUKI

YOUKI YOUKI

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19. » 23. Nov. 2019

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Elfie Semotan, Photographer Joerg Burger

ENTGELTLICHE EINSCHALTUNG

Elfie Semotan is considered the grande dame of Austrian photo graphy. The 77yearold photographer has successfully worked over half a century at the intersection of art, fashion and commercial photography. The filmmaker accompanies Semotan at work on the streets, in the studio and with celebrities in New York, and reflects as an artistic dialogue not only on her work but also about a profes sion in the throes of radical change. The film serves as an hommage to the great artist, but also to the passion for photography itself. MORE INNOVATIVE FILMS FROM AUSTRIA: Heimat ist ein Raum aus Zeit Thomas

Directors A

212

Index — crossing europe film festival 2019

D E

Nora Agapi Saeed Al Batal Dhimitër Anagnosti Ghiath Ayoub Emir Baigazin Sybille Bauer Friederike Berat Marta Bergman Lisa Maria Bickel Reinhold Bidner Magdalena Bloder Anatol Bogendorfer Roman Bondarchuk Guillaume Brac Sebastian Brameshuber Luise Burchard Joerg Burger Mehmet Akif Büyükatalay

96 , 101 84 , 172 121 84 , 172 71 161 48 56 161 157, 170 156 157 37 44 146 81 147 33

Lucia Chiarla Aleksey Chupov Mark Cousins Lee Cronin

94 35 120 131

Dinko Draganovic

161

Anna Eborn Iris Elezi Tomáš Elšík Ulrike Ertl

47 114 , 119 96, 98 48

Philippe Faucon Mahmut Fazıl Coşkun Nora Fingscheidt Siegfried A. Fruhauf Samira Fux

59 60 75 163, 170 159

Dominik Galleya Gloria Gammer Matthew Gandy Parisa Ghasemi Arthur Gillet Guillaume Giovanetti

158, 160 162, 170 168 159 134 , 136 73

Pierre Goetschel Yann Gonzales Audrey Gordon Leni Gruber Katharina Gruzei H

Eszter Hajdú Natalie Halla Marco Heinig Susanne Heinrich Thomas Heise Marta Hernaiz Pidal Pablo Heuson Guy-Marc Hinant Joanna Hogg

39 127, 129 93 164 163 22, 43, 176 149 81 31 42 69 168 96, 99 74

Kilian Immervoll Joachim Iseni

156 152

Ingeborg Jansen Simon Jaquemet Mark Jenkin Haydee Jimenez

22, 87, 176 36 27 162, 170

Markus Kaiser-Mühlecker Eginhartz Kanter Luzi Katamay Marija Kavtaradzė Xhanfise Keko Kensee Michael Klein Aurel Klimt Karl-Heinz Klopf Anja Kofmel Rainer Kohlberger Nadejda Koseva Simona Kostova Alisa Kovalenko Hannahlisa Kunyik Nikos Labôt Kasper Rune Larsen Peter Lataster Petra Lataster-Czisch Marie Luise Lehner

145 160 154 68 122–124 160 153 70 162 38, 175 157, 170 29 63 40, 175 156 90, 92 52, 177 82 82 156

Thomas Logoreci Luzie Loose Melanie Ludwig Ana Lungu M

Marlene Maier Vitaly Mansky Sébastien Marnier Carlos Marques-Marcet Maxime Matray Steffen Maurer Stefan Mayerhofer Rosine Mbakam Sean McAllister Natasha Merkulova Teona Strugar Mitevska Sarkaut Mostefa Ashkan Nematian Clemens Niel Johannes Nyholm Marius Olteanu Olmo Omerzu Philipp Pamminger Bojina Panayotova Rosanne Pel Joe Penna Nicolas Philibert Sasha Pirker Valentina Primavera Anna Prischl Thomas Radlwimmer Magdalena Reichinger Ulrich A. Reiterer Thomas Renoldner Peter Resch Michael Rieper Clemens Roesch Jonatan Salgado Romero Jaime Rosales David Ruhmer

119 55 158 77

156 46 67 65 61 81 154 91 86 35 22, 66 157 159 158 , 160 127, 132

32 57 153 134, 137 30 127, 128 80 153 134 , 140 152 162 152 156 155 156 151 159 158 , 170 103, 104, 108–113 160

U V

Ulaa Salim Bernhard Sallmann Viktoria Schmid Gregor Schmidinger Lotte Schreiber Dagmar Schürrer Nikki Schuster Florian Schwarz Ismet Sijarina Michael Simku Nebojša Slijepčević Agnieszka Smoczyńska Adnan Softić Felicitas Sonvilla Ian Soroka Darko Štante Edith Stauber Felix Sturmberger Johanna Sunder-Plassmann System Jaquelinde Zsófia Szilágyi Petra Szöcs Juho-Pekka Tanskanen Leonor Teles Dominik Thaller Tama Tobias-Macht Claudia Tosi Lisa Truttmann Adele Tulli Syllas Tzoumerkas Elisa Unger Ali Vatansever Carlos Vermut Luca Vogel Alexia Walther Martin Weichselbaumer Alexandra Westmeier Sofia Zabranovic Reinhard Zach Çağla Zencirci Darya Zhuk

126 , 130 150 163 148 151, 161 155 , 170 154 , 170 154 118 156 45, 175 28 96, 97 134 , 138 83 54, 177 142, 158 154 , 160 41 162 , 170 64 62, 177 79 134 , 135, 139 159 41 78 155 85 76 155 34 72 81 61 159 96 , 100 159 154 73 53

213 Index — crossing europe film festival 2019

Films #

214 Index — crossing europe film festival 2019

0436 – Scheibsta und die Buben 3 Miniaturen aus dem Leben mit 47 60 Elephants. Episodes of a Theory

153 142, 143 153

Am eigenen Leibe – Die Experimente des Dr. Zasch 154 Amazing – Gospel Dating Service 154 Amin 59 Un amour rêvé 134, 136 animistica 154, 170 Anons 60 Arctic 127, 128 Atomlos durch die Macht 145 Avevo un sogno 78, 173 Bait 27 Barcelonaa odottamassa 79 Bêtes blondes 61 Bewegungen eines nahen Bergs 146 Beyond 152 Bigger Than Life 96, 97 Bota 22, 114, 119 Cats, Rats & Lovebirds 154 Central Bus Station 96, 98 Charleroi, le pays aux 60 montagnes 96, 99, 173 Chez Jolie Coiffure 90, 91 Chris the Swiss 38, 175 The Courser 155 Un couteau dans le cœur 129 Dance Slowly – Vetter_Huber 155 Danmark 52, 177 Danmarks sønner 22, 130 De chaque instant 80 La dernière d’entre elles 39 Deva 62, 177 Els dies que vindran 65, 173 Domashni Igri 40, 175 DONT KNOW WHAT 155 draußen 41 Dreissig 63, 173

Egy Nap Eintritt zum Paradies um 3€20 Elfie Semotan, Photographer

64 144 22, 147, 167

Fahrvergnügen – Chris Imler 155, 169, 170 False Memories 156 Fleischwochen 152 Floureja 168 Franz Josef 156 Fuga 28 Geh Vau Gospod postoi, imeto i’ e Petrunija Great Wall Something

156 22, 66 156

Halima 157 Hamburger Gitter 81 Heimat ist ein Raum aus Zeit 42, 173 Here Be Dragons 120, 173 Hermosa juventud 103–105, 109 L’heure de la sortie 67 The Hole in the Ground 131 Las horas del día 103, 113 Hungary 2018 22, 43, 173, 176 Hure × 552 157 I doulia tis 90, 92 L’île au trésor 44 In Trance it 157, 170 Irina 29 Išgyventi vasarą 68 It has to be lived once and dreamed twice 157, 170 Je vois rouge Jij bent mijn vriend Kaotični život Nade Kadić Kaplun-Miyazato Khrustal Koko-di Koko-da Kur po xhirohej një film

137 82 69 158, 170 53, 173 127, 132 122, 173

Q R

Lajka 70 Lep pozdrav iz svobodnih gozdov 83 Light as Feathers 30 Linz / Martinskirche 143 Linz / Stadtpfarrkirche 143, 158 Lissa ammetsajjel 22, 84, 172 Lost Reactor 96, 100

MC – TTR Allstars 158 Mein Bruder kann tanzen 134, 138 Das melancholische Mädchen 31 Mimoza llastica 122, 124, 173 Mit anderen Worten 158 Mnemotop 159 Monștri. 32 muto 159 Nachbehandlung 144 Natura urbana. The Brachen of Berlin 168 NDB 159 Nëntor i ftohtë 118 Nevrland 148 Newcomer 159 NIRWANA – folkshilfe 160 noisescapes 160 Normal 85 A Northern Soul 86 Nowhere 149, 173

Oben Bleiben 160 Oray 33 Ozen 71

Përrallë nga e kaluara Petra Posledice Première campagne Quién te cantará

121 22, 103, 107, 108 54, 177 90,93 72

Reise nach Jerusalem 89, 94, 173 Roots – Kensee 160 ROYALBLAU 161

Sabaudia 151, 161 Saf 34 Schwimmen 55, 173 Sehr Lauwarm 161 SELFIE TEST #2 161 Seule à mon mariage 56 Sibel 73, 173 La soledad 103, 106, 112 The Souvenir 74 Spreeland Fontane 150 Srbenka 45, 175 Der Stoff aus dem Träume sind 151 Stradella 144 Stunden Minuten Tage 142, 143 Sueño y silencio 103, 107, 110 Svideteli Putina 46, 173 Sylvana, Demon or Diva 22, 87, 176 Systemsprenger 22, 75 Tchelovek kotorij udivil vseh 35 Terra Franca 134, 139 Testa 162 To thávma tis thálassas ton Sargassón 76 Timebox 96, 101 TINGLE TINGLE 162, 170 Tiro en la cabeza 103, 106, 111 Tomka dhe shokët e tij 122, 123, 173 Transnistra 47 Triohatala – Christian Zehnder 162 Turninglights – helahoop 162, 170 Un prinţ și jumătate Una Primavera Der Unschuldige Urban Reflectors

77 134, 140 36 163

Všechno bude 57 Vulkan 37 W O W (Kodak) Water and Clearing We Did What Had to Be Done Where Do We Go

163 163 48 163, 170

215 Index — crossing europe film festival 2019

Publisher: Catalogue editor: Assistance: Translations: Copy editing: Cover and poster motif: Cover photography: Layout: Print:

Crossing Europe Filmfestival gemeinnützige GmbH Magdalena Miedl Christine Dollhofer, Sabine Gebetsroither, Katharina Riedler, Thomas Taborsky Christopher Hütmannsberger Thomas Taborsky d.signwerk Gerhard Wasserbauer Alexander Kremmers Print & Service printed on “Cyclus Offset” (100 � recycling paper, EU Ecolabel certified)

The contents of this catalogue are based on the information available by March 18, 2019. Information received after this date could not be taken into consideration. In certain cases, the festival was not able to ascertain the copyright holders to the photos reproduced here. Please notify the festival about existing claims.

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