ESP Book of Projects 2014

European Short Pitch 2014 Book of Projects

INDEX About Nisi Masa About European Short Pitch Amur Andreea Bortun and Barna Nemethi (Romania) August Pedro Lino and Marco Mendes (Portugal) Away Break Ben Gutteridge (United Kingdom) Beast of Burden Daina Oniunas-Pusic (Croatia) Chal’s Cage Loic Tanson and Thierry Besseling (Luxembourg) Cheers Norika Sefa (Albania/Kosovo) D.O.G Marijana Verhoef and Jan Joost Verhoef (Croatia/Serbia/The Netherlands) Happy Birthday Jan Pavlacky (Czech Republic) Headbutt Daan Bunnik (The Netherlands) Hinter Here Audrey Lam (Australia/Germany) Ladybird Nima Kafildavani (Iran/France)

2 3

The Bambi’s Cave Harald Rude (France/Luxembourg) The Night of All Things Palomero Delgado Pilar (Spain) The Visit Nadiya Koval (Ukraine) Turnaround Aino Suni (Finland) Unfolded Cristina Picchi (Italy) Violet Lake Maria Barsukova (Russia) Wheels Benjamin Bee (United Kingdom) Winterheart Jussi Hiltunen (Finland)

4-5 6-7 8-9 10-11 12-13 14-15 16-17 18-19 20-21 22-23 24-25 26-27 28-29 30-31 32-33 34-35 36-37 38-39 40-41 42-43 44-45 46-47 48-49

Tutors

50-51

Motor Oil Vilja Autiokyrö (Finland) Nausea Pedro Flores (Portugal) Opening Cristina Grosan and Anna Gát (Hungary/Romania) Rue des Dames Baptiste Magontier and Isaac Jakob Belaga (Belgium/France)

NISI MASA OUR PROFILE NISI MASA is a European Network of Young Cinema ga-

NISI MASA Ass o c i ati o n s Albania - First Step Association

thering hundreds of film enthusiasts and professionals

Austria - kino5

from 26 countries. NISI MASA is composed of national

Bulgaria - SEVEN

organisations with different profiles, but all consisting

Croatia - Kinoklub Zagreb

of young Europeans sharing a common passion: cinema.

Croatia - Palunko Czech Republic - Kino Praha

OUR MAIN ACTIVITIE s

Estonia - NISI MASA Estonia Finland - Euphoria Borealis ry

NISI MASA holds an annual call for short film projects

France - NISI MASA France

for young European scriptwriters and filmmakers aged

Germany - Munich Film Society

between 18 and 35, which results in European Short

Greece - PSAROKOKALO

Pitch. All year long, NISI MASA organizes various events

Hungary - NISI MASA Hungary

all around Europe, involving hundreds of film buffs and

Italy - Franti NISI MASA Italia

talents: seminars, scriptwriting and filmmaking wor-

Kosovo - 7arte

kshops, as well as film festivals and screenings. Moreo-

Lithuania - Kaunas International Film Festival

ver, NISI MASA publishes Nisimazine during different

Luxembourg - Filmreakter

European and International films festivals (Berlin, Can-

Macedonia - Cre8ive8

nes, Rotterdam, Venice, etc.) as well as a monthly new-

Montenegro - Cinemapolis

sletter, Mas y Mas.

Netherlands - Breaking Ground Norway - Filmkraft

OUR MAIN AI MS

Portugal - FEST – Associação Cultural Russia - Generation Campus

- Discover and promote new film talents

Russia - Moviement

- Foster European awareness through cinema

Slovenia - PIFF

- Develop cross-cultural cinema projects

Spain - Cinestesias

- Create a platform of collaboration for young Europe-

Sweden - NISI MASA Sweden

an filmmakers

UK - Encounters Ukraine - CinemaHall

European Short Pitch

European Short Pitch is an initiative aimed at promoting the European coproduction of short films. It combines a scriptwriting workshop in residency, an on-line session and a coproduction forum bringing together scriptwriters and industry professionals from all over Europe.

Selected on the basis of their short film projects, young European talents gather to discuss, rewrite and learn to promote their ideas on a European level. They eventually pitch their project in front of a panel of European producers and distributors.

Initiated by NISI MASA, European Short Pitch is now in its 7th edition and is the continuation of our European Script Contest, held from 2001 to 2008.

European Short Pitch’s rewriting session was held in Zagreb at the beginning of January, with 25 participants from 17 countries attending. From collective brainstorming to working in groups or individually with professional tutors, participants discussed their projects in depth, receiving various feedbacks to nurture their projects.

This year, European Short Pitch’s pitching session will take place on the 2nd of March in Luxembourg City, Luxembourg in collaboration with Discovery Zone, The Luxembourg City Film Festival, followed by one-to-one meetings in the evening and on the following day.

3

BIO S

A M UR

written by Andreea Bortun directed by Barna Nemethi produced by Gabi Suciu

-ROMANIAAmur is a young woman who has been raised to believe she is the savior of her people, the one who will put an end to a war as old as time. When she finds out her divine nature might be a lie, she realizes she still has to fight. But now she is fighting for all the right reasons.

Amur`s strength comes from what she has most human in her.

An dreea Bortun

Barna Nemethi

writer

director

Andreea Bortun is a Romanian screenwriter,

Barna (27) is a Romanian L.A-based film di-

a graduate of UNATC, Bucharest. She has

rector, writer, graphic designer and photo-

also studied philosophy, literature and mo-

grapher. He graduated the Directing Class at

dern art at BARD College Berlin. Andreea has

the UNATC, Bucharest in 2008. He is owner of

worked on more than 15 short scripts and

the creative shop Griffon & Swans and edi-

has been an active contributor for various

tor-in-chief of All Hollow Magazine. As soon

film and art magazines. She is an alumnus

as he graduated Barna entered the commer-

of several prestigious international training

cial/music-video industry, but kept on ma-

programs and since 2006 is the co-president

king films.His shorts got selected in inter-

of the biggest Theatre Festival for Youth in

national film festivals such as Cottbus, Indie

Romania (Ideo Ideis), an event supported by

Lisboa or Making Waves NY. His latest short,

actor Jeremy Irons. She is currently develo-

Bomberman is currently in post-production,

ping her first feature length project A day off.

to be released in the festival circuit in 2014.

Her short project Mr.Moonlight, won in 2013 the special jury mention in the competition of the Robert Bosch Co-Production Prize.

AMUR Andreea Bortun andreea@ideoideis.ro

(+40) 727704077

PRODUCTION NOTE

SYNOPSIS This is a world that has been at war fore-

ople.In order to do so,she has to go over to

ness blooming as silence takes over the

ver. Once every hundred years,there is a day

the enemy side and become ”one of theirs”.

bloody fields,on the first day of truce

of truce. Today is that day and today Amur

On the night before her departure Amur`s au

in her people`s lives. Amur is found and

turns 22. A prophecy from her side of the

pair tells her she is not the chosen one:her

brought back home, opposing no resi-

world foretells a savior who will put an end

scar was an intentional accident,the rest

stance.Her au pair is gone. The grand-

to the war. The savior is told be barren, to

was pure coincidence. Everything was

mother locks Amur inside, but,right

care a scar and celebrate its 22nd birthday

planned by Amur`s grandmother, an ex army

before dawn somebody unlocks the

on a day of truce.Amur has known all her

head. Amur runs away from home. She won`t

door. Amur refuses her last chance to

life that she has the mission to save her pe-

get too far. She stops and witnesses happi-

escape.

Genre: Drama Length: 15 min Shooting format: HD Live action film Crew: Author, Director, Producer, DOP Shooting language: Romanian

NOTE OF INT ENTIONS

Shooting days: 7 I have always been fascinated with

despite her insecurities, her fear and most

virgin eyes, but feels very normal for her

creating stories set in bubble worlds and

probably lacking any divine shield, Amur

heart and any human`s heart. Witnes-

cropped universes. ”Amur” is a coming of

becomes The One. As she chooses, she is.

sing the wonders of silence and har-

age story set in a post apocalyptical society,

In this story clichés, the elements of

mony with great fascination, the young

governed by a war as old as time. Here is a

predestination, are proven not only to be

woman decides to take upon her the

young woman who realizes who she is after

misleading clues but also useless incen-

mission.

realizing who she isn`t.

tives for the character, as she realizes it is not the prophecy that makes her fight, but

”Amur” touches on the idea that the

something profoundly human in her: Amur

power of putting an end to violence, lies

as the prophecy foretells, making us still

takes her decision by observing the change

in the human nature, in that exact same

wonder whether there`s any chance she

around her, provoked by the first truce her

nature that has created violence. We are

might be the chosen one. From the moment

community has ever gone through.

our antidote.

In the end, Amur proves to be as noble

she decides to go ahead with her mission,

Peace looks almost abnormal for Amur`s

5

Budget: 80.000 € Financing plan: 30.000 € Romanian CNC (application in April 2014) 15.000 € Atelier de Film (in kind contribution) Looking for: Co-producers, Postproduction, Creative team (composer, sound designer, set designer), Television pre-sales, Development Investors

BIOs

AU G U S T

MARCO ME NDE S

PEDRO LINO writer

by Pedro Lino

-Portuga lA coming of age film about a group of thirty-something childhood friends, gathering in their old town on Christmas Eve, reminiscing about their memories. Through their conversations we learn about their thoughts and aspirations in an ever-uncertain world, as they try to hold on to their youth.

Born in Porto, Portugal, 1980.

Marco Mendes (born 1978) is a Portuguese

Coming from a background in arts, Pedro

artist and comic author. He has developed

started directing animation films still in Col-

his main body of work around comics and

lege, having his work screened and awarded

illustration, mostly of biographical content.

in several festivals worldwide. Later on he

By the use of humor, incisive observation

received several grants from the Portuguese

and nostalgia he has portrayed many of the

Film Council to direct his own short films.

young generation of Portuguese artists. His

He has since then moved on to live action

work also evolves around social and political

pieces, from experimental to documentary

issues. His books have been critically ac-

pieces, having recently collaborated with the

claimed, specially since 2012, when he pu-

Angolan Pavilion at the Venice Arts Biennale

blished Torn Diary, a semi-autobiographical

in 2013 that won the Golden Lion.

graphic novel. In 2013 he published Golden

He’s currently developing several projects

Years, a collection of life-drawings and co-

from fiction, documentary and installation

mics.

pieces.

AUGUST Pedro lino pedrolino@gmail.com (+44) 7593083583

marco mendes diariorasgado@gmail.com (+351) 925208298

PRODUCTION NOTE

SYNOPSIS It’s Christmas Eve in a small Portuguese

than the bigger cities, where they now live.

town.

coastal town. Andre, Hugo and Didi walk the

The three friends are drunk, after having

streets at night, looking for a bar. There’s

dinner with their relatives, and want to carry

Marco, remembering his mad adven-

not a soul in sight - most of the places they

on the evening. They arrange to meet their

tures. The night moves on until Marco

knew closed long ago. So did the shops. The

other friend Marco at a strip club, the only

finally arrives. But has he changed since

old bookshop is now a Pizza Hut restaurant.

place that’s open. No one has seen him in

they last saw him?

Everything seems decadent, much worse

quite a while, but they heard he would be in

In this coming of age film, the characters many of us, such as job precarity, the anxie-

pes and aspirations we’re also building

parents.

an image of the world that surrounds them, and us, and hopefully in this way

ty in relation to an uncertain future and a

also a challenge, as the main characters will

triggering a more profound response

disappointment in regards to the world that

be played by the real people that inspired

from the viewer.

surrounds them.

them, non-actors, recalling real events that

It seems to me that this type of story, dealing with contemporary problems is par-

happened to them.

The general feel of the film will also follow

Length - 15 mins

Applying to Gulbenkian Film Grant providing support of 5.000 - 10.000 EUR

will have less quality of living than their The way that the film will be staged is

Estimated Budget: 15.000 - 30.000€

Original Language: Portuguese

NOT E OF INT ENTIONS in the story face the same problems as

Producer: Joana Gusmao

As they wait in the bar, they talk about

Some important references in the development of this film have been the works of Jim Jarmusch, Richard Lin-

ticularly important given the point in history

this idea of spontaneity, working with natu-

klater or Ulrich Seidl, in the way that

that we, as a society, find ourselves today:

ral light and unconventional compositions.

they try to capture people’s reality in an

for the first time, the younger generations

In following these characters thoughts, ho-

honest and direct manner.

7

Looking for co-producers/financiers, interiors can be shot outside of Portugal; one exterior scene is to be shot in Berlin, Germany.

AWAY B R E AK

BIO

BE N G UTTE RIDG E writer Ben has worked in various countries as a Director since 2006, both in English and Spanish. He has directed TV Drama for the BBC and Channel 4 and advertising for Brands such as Prada and Volvo. His short film, Brides of Desire, made as a Soho House Electric Shorts finalist, was in the Official Selection for Palm Springs Film Festival. Ben has been “One to Watch” in The Reel, selected for Edinburgh Film Festival Talent Lab and Lon-

by Ben Gutteridge

-UNITED KIN GDOM-

don Film Festival Think-Shoot-Distribute.

He is currently developing various feature films, shorts, TV Drama and video-art projects. He is represented by Jennie Miller

“A Falling-out-of-Love Story.”

at Independent Talent. www.independenttalent.com www.bengutteridge.com

AWAY BREAK ben gutteridge benjaminfilm@mac.com (+44) 7780336168

PROD UCTION NOTE

SYNOPSIS George’s plans for a weekend away with

mantic picnic by the sea with Julia. Leaving

tries to emulate Duncan’s sexual pro-

Julia, his older lover, are scuppered by the

him standing in the rain, she eventually

wess with Emma, the feisty bar girl, who

unexpected arrival of Duncan, her older

turns up mid-argument with Duncan. Ge-

punches him in the face.

husband... Consequently, George is forced

orge follows them and is forced to witness

to witness his weekend played out in front

their aggressive make-up sex down an alley.

of him by his lover and her husband.

Through this journey George learns to separate fantasy from reality, ending his

George obsesses over Duncan, copying Listening in from his hotel room and

him, stealing his clothes, challenging him,

watching them from across a restaurant,

culminating in a dance-off at the monthly

George stalks them and tries to elicit a ro-

Salsa Night of the hotel. Eventually, George

Possibility of relocation to France.

AWAY BREAK is a tragic comedy: A Falling-out-of-Love Story.

comes with falling out of love. Through

the town and the hotel are physical ma-

multi BAFTA nominated writer Hanif Ku-

George’s journey he learns the difference

nifestations of the couple’s relationship,

reishi CBE (Le Weekend, The Mother, My

between the projected perceptions of who

that give the film a rich tapestry as

Beautiful Launderette). AWAY BREAK is a

people are versus their realities.

backdrop.

Tragic-Comedy, reminiscent in tone of films The town and hotel where the film is set

Drama, tension, with a twist of co-

reflect George’s internal world. The sea acts

medy and a heightened reality, tell this

as a mirror to his struggle as we explore the

story. AWAY BREAK will draw us in with

submerged world beneath the pier while a

its originality and storytelling, make

dilapidated sea-side hotel, AWAY BREAK

storm builds in parallel to the story climax.

us laugh with its off beat humour and

concerns obsession and the struggle that

With its history of happy summers in the

encourage us to question what love

sunshine and sense of better days gone by,

really is.

such as Barton Fink, A Serious Man and The Graduate.

Set in a dilapidated sea-side town in a

Looking for Producers and international Co-Producers both in the UK and elsewhere.

obsession.

NOT E OF INTENTIONS Adapted from a story by the Oscar and

Supported by Working Title Films.

9

For a script and treatment please contact Ben direct at: www.bengutteridge.com

BIO

BEAS T O F B URDE N

Daina Oniunas- PusiĆ writer Daina Oniunas-Pusic was born in 1985 in Croatia. In 2005 she enrolled in the Academy of Dramatic Art in Zagreb where she studied television and film directing.

After graduating Daina worked as an assistant director on a feature film, commercials as well as a theater dance director.

She enrolled in the M.A. filmmaking program at the London Film School in 2010 which she completed in 2012. In 2013 she won the Jele-

by Daina Oniunas-Pusic

-CROATIA-

na Rajkovic award for best Croatian filmmaker under the age of thirty.

She is currently developing a pilot for a television series with which she won the 2013.

When a bat gives her hundred-year-old mother a second chance at life Vera has to decide whether everyone deserves a second chance.

‘B.A.F.T.A. TV comedy and drama pitching event’ as well as developing her first feature film script.

She lives and works in London.

BEAST OF BURDEN Daina Oniunas-PusiĆ dainaopusic@gmail.com (+77) 12132666

PROD UCTION NOTE

SYNOPSIS Seventy five year old Vera and her hundred-year-old mother Nada live in a squeaky old flat in Zagreb.

Vera takes care of her ancient mother and

hibernating underneath her bed.

The next morning Vera finds her mother slightly altered. Her usual mumbling repla-

previously subdued by old age, begins to restore itself as she starts to take control of her daughter’s life.

ced by short simple sentences she manages

It dawns on Vera that if she kills the

the two engage in a series of constant po-

to bully her daughter into placing a basin of

bat she kills her mother and if the two

wer struggles that involve staring contests,

water underneath the bat in order to keep

beasts push her hard enough she might

pinching, little slaps and vehement refusal

him hydrated and alive.

do just that.

to eat banana mush.

One evening, after a particularly nasty fight, a bat flies into Nada’s room and starts

Short fiction, approx 15min, to be shot on location in Croatia

Slowly, much to her horror, Vera realizes

What ensues is an epic battle of wit

that the longer the bat is there the stron-

and face kicks that will determine who

ger her mother gets. Nada’s personality,

lives and who dies.

Production Company: Slavica Film, based in Croatia and UK Producers: Mirta Puhlovski (ADU, Croatia) and Anamaria Kapulica (ADU, Croatia) Director/Writer: Daina O. Pusić ( ADU and LFS)

NOTE OF INT ENTIONS From the first scene of “Beast of Burden”

Cinematographer: Arthur Mulhern (NFTS)

by Roman Polanski, “Who’s Afraid of Virginia

relationship through the heightened

I mean to establish the genre of this piece

Wolf” by Mike Nichols as well as spaghetti

perspective of an impressionable child.

as lying somewhere between comedy and

westerns, Asian horror and Piña Bausch

In a way, that same impressionable

horror.

dance choreographies this short film has

child is the one observing this story, it’s

a variety of influences that are present to

perspective shifted by a deeper under-

varying degrees in all my work.

standing of female relationships and

Shifting from amusement to disgust to fright the story functions in a heightened reality, which allows for unexpected moments

Primarily though, I am drawing from

more able to appreciate the specific

of terror as well as tenderness between

personal experience of growing up with my

humor and beauty of deeply flawed

human and animal characters alike.

grandmother and great grandmother and

individuals.

Drawing from such films as “The Tenant”

observing their often funny, often difficult

11

Estimated budget: € 60,000 (€40,000 already secured) Kindly supported by Croatian Audiovisual Fund and South Eastern European Cinema Network Contact details: Anamaria 00385 (0)91 506 8558 (Cro) 0044 (0)752 691 7896 (UK) anamaria@kapulica.com

CHA L’ S CAGE

BIO S

Loic Tanson & thierry bessel ing co-writers We are a luxembourgish writer/director duo who has initially met interning on film sets in 2003. After individually completing our film studies abroad, we started our professional collaboration in 2007 with two short films exploring childhood as well as the dreams, memories and traumas resulting from it.

Currently we are in postproduction of a feature length documentary in which the hopes

by Loic Tanson and Thierry Besseling

-LUXEMBOURG-

and disillusions of several lusophone immigrants making a living in Luxembourg collide over a period of four years.

We are also contributing a segment to an en-

A boy’s unnatural awakening from the sleep of reason.

semble film set during the Luxembourgish national holiday and we are in the writing process of our first feature film.

CHAL’S CAGE LOIC TANSON besseling.tanson@gmail.com

(+352) 661145587

THIERRY BESSELING besseling.tanson@gmail.com (+352) 661145587

PROD UCTION NOTE

SYNOPSIS Ever since his father Vandillo has lost his job as a lion tamer and has been demoted

hair-hanging artist in her thirties, who occa-

urges. In a desperate attempt to get his

sionally soothes Vandillo’s carnal desires.

father’s attention, Chal exposes Vandil-

to a circus caretaker, Chal’s daily routine consists in cutting up red meat for savage

lo’s pickpocketing scam in midst of the Through schemes ranging from deceiving the circus director to punishing Nina and

of uselessness by an infuriated father,

an effort to gain his father’s recognition, the

playing his father’s pawn, Chal relentlessly

Chal hopelessly sets out to sleep with

fifteen year-old boy feels obligated to beco-

tries to exist in Vandillo’s eyes. Vandillo

Nina in her caravan.

me a lion tamer. His first confrontation with

however, drowning in his disillusion, is using

the lioness in the cage fails, due to Nina, a

his son merely to satiate his own immediate

struggle for recognition from his father.

children sometimes think they have to solve

to tell a story of a son being pushed to the

their adult problems. This behavioral pat-

point of no return before he realizes that he

shift from an omniscient perspective to

tern is commonly known as parentification,

has to give up on his father.

Chal’s point of view. At first a distance

a process of role reversal whereby a child is

We chose the microcosm of the circus

Genre: Drama Language: French (Walloon dialect) Financing: We intend to apply to the Luxembourgish Film Fund

NOT E OF INTENTIONS having divorced parents, it is essential to us

Format: 35mm

paying customers. Degraded to the point

animals and shoveling their excrements. In

When parents change for the worse,

Estimated running time: 15-20min

The visual narration will gradually

is preserved to show Chal’s struggle

obliged to act as parent to their own parent.

world, with its own set of customs, as a

to exist in Vandillo’s and Nina’s eyes,

A possible consequence of this process is

metaphor for society. The respect you have

before adopting Chal’s point of view to

losing one’s own childhood, resulting in a

to obtain from a lion when confronting it,

experience his liberation from his father

narcissistic wound threatening the deve-

or from a paying audience, who wants to be

through his own eyes.

lopment of one’s own identity. Both of us

amazed by a show, mirrors the kid’s vicious

13

BIO

CH E E R S

NORIkA SE FA writer I was born as many others but don’t believe one is born only once! Yeah, I do analyze that’s why I like telling stories. I found that humans are born princes and the civilizing process turn them into frogs. So, there is always something to tell!I studied Dramaturgy and then attended a film school in Denmark. There I gained a lot through my experiences as a scriptwritter, director, cine-

written by Norika Sefa

- ALBANIA/ KOSOVO-

matographer and as a producer. I wrote and directed my own movies, I wrote for others too. I have been working as a producer at the Balkan Investigative Reporting Network.

I write filmcritics for a magazine in Kosovo and also work as a coordinator in two film

Pain, fun, boredom..Just keep going , no feeling is final!

festivals.

CHEERS NORIKA SEFA norikas@hotmail.com (+377) 44858720

PRODUCTION NOTE

SYNOPSIS

Short fiction

Is one of these shinny days when the nei-

As a real man, Lis won’t find it hard treating

ghborhood gets lively from children playing

his friends. Today he drinks rakia too, event

humor, between conversations to which

outside.

if he doesn’t like it.

Lis doesn’t know how to react. Some

Lis(13) doesn’t care much about it.

He is now dealing with some adults matters. Having got his first salary, he wants to share it among his friends.

His adult friends want rakia, Lis wants them to be together, smiling and having fun.

He already knows it is not easy to be an

laugh and some frown. Laughter and

adult. But how can it become immediately

shouting. Lis leaves. Are these his real

so uncertain?

friends or they that are playing outside?

This makes Lis feel he is in the same time

Seeking: Co-producers for fundings and especially post-production

losing something important.

A bit drunk , between incomprehensible

We are “thrown” in some situation, betwe-

Production Company: IKONE-Studio www.ikone-studio.tv

- Lis wants to find out.

Need an international cinematographer

NOTE OF INT ENTIONS We may know only 5 boring people the

Estimated budget: 30.600 €

dom and fun.

rest or however, most of the friends we find

en people we must spend time with. This

interesting, find us boring: the most intere-

“must” brings lot of tension, spontaneity.

when adult found it funny making a

sting find us the most boring, the few who

Characters are not their thoughts, feelings,

child believe he is a an adult too. And

are somewhere, with whom there is recipro-

and intentions, but their gestures, tones of

the whole place is a minimized version

cal interest, we distrust: At any moment we

voice, and bodily expressions. The whole

of the reality and to describe the feeling

feel they might became too interesting for

story is an adventure of insecurity for Lis

of “being trapped” is putting them

us, or we too interesting for them. We can

who learns that good moments last short

within four walls, and letting people

feel everything to avoid what we most fear,

and the rest is just the routine. The story,

move within the space encircled by an

abandonment.

as the reality itself, treads an uncertain

old housing.

Lis- is the child of those gatherings,

ground, between comedy and sorrow, bore-

15

We will apply for financing in: Kosova Cinematography Center (QKK)

BIO S

D. O. G

Marij an a Verhoef

screenwriter, director Marijana Verhoef animator, director Jan Joost Verhoef

- CROATIA / SERBIA/ the nether la nds-

Jan Joost Verhoef

screenwriter, director

animator, director

Graduated in Dramaturgy at the Faculty of

Jan Joost Verhoef is a Dutch director and ani-

Dramatic Arts in Belgrade where she specia-

mator living and working in Berlin. His gra-

lized in screenwriting and playwriting. Ma-

duation film “Plunge” has been licensed by

rijana’s writing is characterized by her edgy

MTV2 for Liquid Television and was selected

style and her commitment to tolerance and a

by Vimeo’s Staff Picks and Behance’s Motion

multicultural, open-minded society in Euro-

Served among others. Jan Joost works under

pe. Her most recent work, the play “Amster-

the name of Lazy Bear Animation, often in

dam”, will be directed by Nurkan Erpulat and

collaboration with Formzoo, a collective of

premieres on February 2014 at Düsseldorfer

designers and illustrators from Berlin. His

Schauspielhaus.

most recent work is a projection for the ope-

More about Marijana’s work can be found on

ra “La Damnation de Faust”, a project by the

www.henschel-schauspiel.de.

Deutsche Oper in Berlin. You can find Jan Joost’s portfolio on www.lazybear.eu.

An outsider who can never truly fit within the human society he serves.

D.O.G MARIJANA VERHOEF marijanaverhoef@gmail.com (+491) 5756707761

PRODUCTION NOTE

SYNOPSIS In a dystopian future, a selected number of animals have become as intelligent as humans.

animals of all sorts and sizes.

Dog-134’s dream is to be accepted as an

awakens within him. This leads to the

equal among humans. However, the se-

empathic response to Dog-134’s newly

The protagonist is Dog-134, an anthropo-

gregated world affects him both mentally

discovered instincts.

morphic German shepherd working for the

and physically. He fails again and again to

police.

connect with human beings.

We follow Dog-134 in his daily routine as

Dog-134’s disillusion escalates when unit. In the chase that ensues, a furious

he patrols the subway system of a spraw-

running over a Fox on her way back to the

herd of drunk deer protects him as he is

ling metropolis inhabited by humans and

woods, an intense urge to merge with nature

heading for the forest.

NOTE OF INT ENTIONS A big part of character animation will

The majority of animation will be 3D, but

it still hold merit? D.O.G. is a gloomy story

not in the traditional sense. We will use a

be done using emerging technologies

about the ones who do not fit into society

more simplified, abstracted visual langua-

such as FaceRIG, for which we have

because they are considered to be different.

ge that has the added benefit of being far

procured a Pro license. The possibilities

more efficient in its realization. Besides 3D,

of combining this technology with full-

we will use 2D animation, cut-out and even

body real-time 3D scanning using the

we want to build an intense visual narrative

live-action footage. It will all tie together

latest Kinect motion sensors are very

that confronts today’s social and political

seamlessly through the restricted use of

exciting. This is another aspect that will

issues, such as cultural differences, intole-

color and shading.

optimize our work-flow, which empo-

Using innovative animation techniques,

rance and discrimination.

Estimated length: 20 min Estimated Budget: 197.000,- €

he gets confronted by his own police

When Dog-134 witnesses a police car

If freedom is handed out selectively, does

Genre: Animation

forest seething in rotten rage as an

wers us to create compelling, living characters.

17

Production Company: Filmgestalten UG Manuel Kinzer email: info@filmgestalten.de phone: +49-30-604048-30 www.filmgestalten.de

BIO

HAPPY B IRTHD AY

Jan pavlacky writer Apart from brief studies at Scuola Nazionale del Cinema in Rome, Jan has shaped his filmmaking skills mostly through practical experience, working as a set-interpreter, camera assistant and first AD. Nowadays he’s represented worldwide by Savage production company as a director of commercials, music videos and short films. His last short film BKA 49-77 was completed in 2012 and

by Jan Pavlacky

is on the worldwide festival circuit. It won

- CZECH REPU BLIC -

in London for Best Script and Best Cinema-

two major prizes at the UK FILM FESTIVAL tography together with being nominated for Best Short Film. Besides Czech, Jan speaks fluent English, French and Italian and has

The longer you wait, the harder it will be.

a range of experience shooting outside his home country.

HAPPY BIRTHDAY JAN PAVLACKY janpavlacky@lovesavage.tv (+420) 602319352

PRODUCTION NOTE SYNOPSIS On Jim’s thirteenth birthday his authorita-

Estimated budget: 65 000 €

from the absence of a strong father figure

the kind of man his father wanted him to

tive father has a rare chance to see him and

and therefore too weak. To overcome this

be, but it is not by killing the dog. On the

spend a day with him. Their relationship,

weakness in Jim’s character, the father

contrary, for the first time in his life he

affected by the fact that Jim lives only with

gives his son the long promised gift of a gun

does not obey his authoritative father.

his mother is rather artificial. The father is

and plans a rather cruel rite of passage. Jim

He stands up to him and shows him that

trying hard to maintain an influence on his

is supposed to kill an old dog they’ve taken

only awe can bring them back together.

son whom he sees as somebody suffering

from a dog shelter. Jim eventually becomes

NOTE OF INT ENTIONS As in my previous film, I’m again intere-

jealousy and wrath, which drives his actions. that will show the father the only way to

sted to look for the reasoning behind some-

Rejected from the family, being separated

go. The final confrontation between the

body doing wrong and damnable things and

from his son and thus trying to apply his fa-

two and the possibility of never seeing

finding out that this reasoning, contrary to

therhood onto him in a completely perverse

each other again will change their re-

the actions, might be somehow understan-

manner makes him do things that he will

lationship forever. It is by finally seeing

dable. Even the cruel and tough-on-the-out-

be ashamed of. And as he’s unsuccessfully

his son taking things in his hands and

side father feels somewhere deep inside of

trying to control his feelings he is forcing his

showing him that after all he still willing

him that what is he doing is not right. But it

son to overcome his own. Jim could be seen

to spend time together what makes the

is his hurt ego and his mind, obsessed with

as a passive character, but it is his passivity

father realise how wrong he was.

19

Estimated length: 19 min.

Estimated shooting days: 7 Looking for co-production possibilities regarding the intention to shoot outside Czech Republic.

HEA DB UTT

BIO

DAAN BUNNIK writer In 2012 Daan Bunnik (Netherlands) graduated from the Piet Zwart Institute in the MA Lens Based Media with his debut film ‘Skin feels’. In the film he aims, through examining the ageing body of his parents, to break the hierarchy of the parents-child relation and therefore to physically and mentally reconnect with his parents. ‘Skin feels’ won the Audience Award at dokumentART and already screened at 12 festivals (a.o. IDFA,

by Daan Bunnik

-NETHERLANDS-

Encounters, Uppsala). Bunnik is interested in this re-establishment of family relations.

Therefore his current project depicts the disconnection between two adolescent brothers, which like his graduation film is stron-

THE DISTANCE BETWEEN US.

gly based on his own experiences.

HEADBUTT DAAN BUNNIK info@daanbunnik.com (+316) 57326582

PRODUCTION NOTE

SYNOPSIS Tobias, 11, is desperately looking into the

in their bedroom window. Lucas turns his

further from Tobias. When Tobias’ final

reason for the disconnection with his older

head and says: Bye. Lucas commits sui-

attempt to re-connect with Lucas fails

brother Lucas, 15. Tobias believes that if he

cide by jumping out of the window. Tobias

he is devastated and goes to bed being

finds the answer, he can solve the problem

is shocked, looks again at his brother’s

further apart from his brother than ever.

and restore the old relationship. Because

bed and sees Lucas fast asleep. The next

We re-enter the first scene of the film.

of his desperation he starts to hallucinate

morning we follow one day in Tobias’ life

Tobias wakes up and sees Lucas sitting

and with his hallucination the film opens:

where he tries to re-connect with Lucas, but

in the window.

Tobias wakes up and sees Lucas sitting

with every attempt Lucas distances himself

constantly changing relationships between

examine the bodies of my main cha-

from my older brother. We shared our bedro-

me and my family members and my films

racters. By zooming in on their chan-

om and everything we did, we did together.

are my attempt to close this gap. I strongly

ging bodies the disconnection can be

We bonded through physical activities. But

believe that a major part in the changing

understood.

when his body changed, to become sexually

relations within my family is caused by a

mature, a distance established between us.

bodily change of one of them (e.g. puberty),

I did not understand this and tried to find

which challenges the existing hierarchy.

deeply personal, yet they can be expe-

the reason for his disconnection. This is

This challenge causes a conflict and those

rienced on a universal level, because

what Head-butt is about.

conflicts are the core of my work.

they deal with family relations, a subject

As in my previous work I examine the

The cinematography will therefore closely

Producer: Denis Vaslin Estimated budget: 70.000-75.000 € Length: 10 min

NOT E OF INTENTIONS When I was 11 years old I felt inseparable

Production company: Volya Films www.volyafilms.com

My films are intimate, emotional and

that touches everyone.

21

Language: Dutch

Applying to KORT! NTR Dutch film fund for shorts providing each film with 73.500

Looking for co-producers/financiers, interiors can be shot outside of the Netherlands.

Shoot in 2015.

BIO

HINT E R H E RE

AU DRE Y LAM writer Audrey was born in Hong Kong and studied film and photography at Queensland College of Art. Her films have been exhibited at festivals and galleries including London Film Festival, International Film Festival Rotterdam, Melbourne International Film Festival and Tokyo Metropolitan Museum of Photography.

In 2013, her short film Faraways won the International Award at Circuito Off and she

by Audrey Lam

- AUSTRALIA/ GERMANY -

A portrait of a warm but fleeting friendship during a languid winter.

was part of the Future Encounters showcase at Encounters Short Film Festival. She lives in London.

HINT ER HERE AUDREY LAM audreyylam@gmail.com (+44) 7904625818

PRODUCTION NOTE

SYNOPSIS Berlin in late winter: its streets are empty

the kind of unexpected bond that forms in

The film ends back outside, through

as everyone has withdrawn to the warmth of

transient Berlin, full of foreigners eking out

the change of season. The snow har-

their homes. A lone figure trudges through

cheap and leisurely lives.

dens, muddies, melts way - the landsca-

the snow-hidden built landscape, passing construction sites frozen in progress, cars

pe is revealed anew. Through voiceover, Tachika arrives at Floyd’s apartment and during this afternoon, and while Tachika

momentary crossing of paths that has

tyre-marked streets.

prepares ramen, they eat and play a game of

since dissipated.

chess, the gregarious Floyd chatters away to visit Floyd (38), originally from Honduras

as reserved but observant Tachika listens

Seeking producer, co-producer, financiers Cast, cinematographer and editor attached

on.

Locations have been sourced

but long-time Berliner. Their friendship is

Proposed shoot: February or March 2015

NOT E OF INT ENTIONS Hinter Here is a mood piece that reflects

Genre: Fiction/Documentary

Floyd recalls this passing friendship, a

rooted to their parks, crossing occasionally

Tachika (25), from Japan, is on her way

Length: 15min

A soft colour palette and quietly compo-

friendship and scenario, while the cold

on time, memory and absence, closely

sed images will give pause and reflection to

expanse of deserted streets against the

observing the fragile and fleeting details

the settings and characters, who blur the

warmth of home and cooking undersco-

of everyday life as a point of access to the

distinction between fiction and documenta-

re the feelings and sensations of a slow

larger cycles of life. Drawing its title from

ry: Tachika and Floyd are my friends, and the

and melancholic Berlin winter. Finally,

“hinterland” - literally in German - the land

story draws from their real-life anecdotes,

the season and landscape echoes the

behind, the film intimates everyday mo-

situation and chemistry. The film is a sum

fleeting friendship: a frozen moment

ments to be as beautiful and mysterious as

of gentle contrasts: the winsome, boiste-

that inevitably changes and dissipates,

the landscape beyond.

rous Floyd with the quietly watchful Tachika

revealing the slightness and permeabili-

produces a playfully wry but affectionate

ty of life, objects and experiences.

23

BIO

LAD Y B IR D

NI MA KAFILDAVAN i writer I born and raised in Tehran. Moved to Paris 2009. Got my bachelor in cinema in Iran and continued it to master 1 in Eicar international film school of Paris. I directed 5 short films which have screened in some short film festivals and edited more than 20 short movie and documentary films as well as tv serial. Currently I am working for T.V as an editor and director.

by Nima Kafildavani

-IRAN/ FRANCE-

Life is continue ,even if....

LADY BIRD NIMA KAFILDAVANI nkd58ir@yahoo.com (+33) 685434861

PRODUCTION NOTE

SYNOPSIS 2011.

be a political refugee.

Roya (35), lives in Paris. She was famous

tries to convince the officer that living in a

Iranian passport to them but she says

At the interview in immigration office she

that she has lost it already.

Language: Persian/French

She becomes totally depressed. She

actress in Iran until she arrested in protest

country where she is not allowed to work is

has to choose between coming back to

at 2009. Afterward it was forbidden for her

the same to death for her. She understands

Iran while she can’t work there or sur-

to work as an actress. Due to this limitation

by the officer that if her case will be accep-

renders her passport and forget about

and other Disturbance from government she

ted she won’t be able to go Iran anymore

her brilliant past in Iran…

left Iran and moved to Paris.

which is means she has to forget about all

Approximate length: 15 min Shooting days: 5/6 days Estimated budget: 25000 €

memories and fans and family there. The For extending her visa, she attempted to

Seeking for a producer and public/private funding.

officer says her that she must surrender her

NOT E OF INTENTIONS The story was born in the environment of

the discomfort situation and disappoin-

apartment will be small and old typical

Paris. A city where was the destination of

tment of the protagonist. For camera mo-

Parisian apartment with low light .

lots of Iranian political refugees after green

vement I would prefer mostly handheld but

movement in 2009.

gentle and not aggressive and all discomfort

who is in the same situation as script.

situation of the protagonist must be made

She was a famous actress on Iran until

through the acting.

she forced to leave Iran because her

As I am political refugee as well, what interests me in artist refugee is ,how difficult for well known and successful actress to

The exterior locations will be in Paris but

forget about her brilliant past and adapts

I wont emphasis on the city as character,

herself to new environment.

which this story could happened in some

In directing of film I would emphasis on

The actress will be Shabnam Tolooee

invalid religion in the country.

other cities as well. The location of her

25

MOTOR OIL

BIO

Vilja Autiokyrö writer I am a 30-year-old writer-director from Helsinki, Finland. I gratuated in 2011 as a screenwriter from Metropolia University of Applied Sciences and right after graduation I had a child. To become a better director and screenwriter I actively tried out different tasks in filmmaking during my studies.

I worked e.g. as an AD and a production manager in the independent feature film

by Vilja Autiokyrö

-FIN LAND-

Indebted (2012). I have written, directed and edited shortfilms, both documetaries and fiction. I’m writing a feature script and a television series. I’m also editing my own documentary film, analyzing scripts for Finnish production companies and coordinating

Motor Oil is a comedy about a control freak Anna who, in order to have a better sex life with her husband, learns to let go.

screenwriting groups in Helsinki.

MOTOR OIL VIJLIA AUTIOKYRÖ vilja.autiokyro@gmail.com (+358) 408486193

PRODUCTION NOTE

SYNOPSIS Anna, 32, has a sad sex life. She lives on

Anna’s colleague, Sami, 22, slaps her ass

an erotic play which is interrupted by

an island with her son and her husband

and is begging her to come to his party.

a phonecall from the sea. Matti’s boat

Matti. She works at the island’s gas station

She’s tempted and first tries to make love

engine has died and he’s in trouble.

fixing engines. Anna is disturbingly efficient

with Matti. Sex isn’t easy for a control freak

Dressed up as a knight, Anna goes to

household keeper, whereas Matti is less

and she blames him for not being masculine

rescue him. Matti has a sheep for her

practical and interested in ancient cultures.

enough.

in the boat and this act of love makes

Anna is obsessed with having sheep for the summer but it is only their nanny who is

Genre: Comedy Estimated length : 25 minutes Language: Finnish

Anna wanting to let go and love.

Location: Finnish or Swedish archipelago / coastline

Anna ends up playing strip poker with

able to see that she actually needs to have

Sami. He owns a suit of armor and Anna

sex.

wants to wear it. The situation develops into

Looking for a producer Estimated budget: 170 000 €

NOT E OF INT ENTIONS Motor Oil is a comedy about a dominant

means to give oneself up into the power of

awakening of Anna. First the island is

woman, Anna, whose sex life has changed

another and it also has a connotation of

grey and misty, then it starts to rain

after having a child. She has controlled her

loving someone.

gradually and in the end it will become

husband Matti from the beginning but two children in the house is too much for her.

beautifully dark and moist with bright

Motor Oil takes place on an island and

lights reflecting from the water. Sound

She tries to control her husband even more

there are metaphors such as the suit of

design will use the elements of the

with the consequence that she is not able

armor. Even though the story is distanced,

script: waves, rain, oil, chainsaw, mo-

to relax and have sex with him. Cheating

it’s realistic and an honest story to identify

torboat and the metallic suit of armor. I

on Matti is one solution and changing her

with.

like using music rather a rhythmical way

own personality is another. In the end of the film Anna says in Finnish “antaudun” which

and with this story I hear different kind Visually the film will follow the sexual

of bells.

27

BIO

NAU SE A

PE DRO FLOR E S writer Pedro Flores is a writer-director from Portugal. He graduated from London Film School in 2010 and since then has been writing for film and television. He is a lecturer at university and the co-editor of online film magazine “Drama�. He has directed three short-films presented in several international festivals.

by Pedro Flores

-PORTUGAL-

An young girl in flower whose life is fading away.

NAUSEA PEDRO FLORES pedroflores.pt@gmail.com (+351) 915924332

PRODUCTION NOTE SYNOPSIS

Production Company: Bando à Parte http://www.bandoaparte.com

Sara is a 15-year-old girl who is secretly

to André and invites him to a party. They

in love with André, a boy from an older class.

meet at a friend’s place where they slow

eye. That same night Sara’s obsession

She has always been a sociable adolescent

dance and get drunk together. Later that

will ruin the moment she has dreamt for

but lately she has grown apart from her

evening they sneak into a bedroom and Sara

so long.

family and became increasingly obsessed

undresses in front of him for the first time.

with her body.

Much to her surprise, André has a loving

One day, Sara gathers the courage to talk

But happiness is lost in the blink of an

response and praises her beauty.

Looking for foreign co-production partners

I interviewed a psychiatrist, studied clinical

reveal her unique personality and the

lescence is a dark secret place. The teena-

cases, read teenager’s testimonies. I soon

mysteries that trouble her soul. In this

ger is torn between infancy and adulthood,

realized that, although this was a well-

sense, what this short-film strives for

between chastity and sexuality, between

known issue, from a certain point of view

is to shed a light on this dark place and

being true to himself and faithful to others.

this story had never been told.

seek that Sara’s inner universe is made

The adolescent’s identity is in a permanent state of war and his/her body is one of the main battlegrounds.

visible, this way allowing the viewer to In this context, Nausea is essentially a

better understand her particular expe-

character study film. The story accompa-

rience of the world.

nies a day in the life of a young teenager This story began with research on a psychological disorder. For a couple of months

Estimated budget: 60 000 € Will apply for Portuguese Short-Film Fund 2014

NOT E OF INTENTIONS Everyone who has survived it knows ado-

Estimated running time: 20-25 min

named Sara, following both her social life and her most intimate moments in order to

29

BIO S

OP E NIN G

director Cristina Grosan writer Anna Gát

- HUNGAR Y/ ROMANIAGabi is a softspoken transgender boy. He works as a sex chat operator, hiding behind a female model’s image, who is seen on the camera. When he falls for a German client, it becomes inevitable that his dreams and illusions clash with the harsh reality of Eastern Europe’s sex industry.

CRI S TINA GRO SAN

ANNA GÁT

director

writer

Cristina Grosan is a Romanian filmmaker and

Anna Gát is a Hungarian screenwriter, play-

visual artist living in Budapest, Hungary. She

wright and dramaturg. She lives in London

holds a BA in film, an MFA in media design

and works internationally. She’s fascinated

and she’s one of the founders/concept desi-

by marginal characters and big transfor-

gner of the World of Shorts magazine. She’s

mations and loves making movies with her

eager to connect and learn at all kinds of

friends. OPENING is the second collabora-

workshops (Sarajevo & Berlinale Talents,

tion between Cristina and Anna. As a script

Reykjavik Film Lab, Sarajevo City of Film pro-

consultant, Anna has assisted Michael

gramme, Robert Bosch Nominee Forum), but

Radford (UK), Christopher Radcliff (USA) and

thinks there’s no better place to be than on

Nony Geffen (Israel) among others. Apart

set, shooting (Holiday at the Seaside, 2013,

from working for Universal Pictures UK on a

winner at 19 Sarajevo Film Festival, Sput-

freelance basis, she is now developing Cristi-

nik, 2010, in competition for the Golden Egg,

na’s first feature project, as well as the short

Reykjavik IFF). She’s interested in quirky sto-

film “The Next House” with BIFAwinning Bri-

ries of becoming, that examine what it’s like

tish director Rob Savage. She’s also working

to be a woman here and now. She likes to

on her Hungarian feature project “Breaking

challenge and tear up her characters, only to

the News”, and plays “Arrhythmia” and “15”,

watch them come alive and put their pieces

both in London.

back in once place. Together with Anna, Dora and Lissi, she’s ready to shoot “Opening” and make you rip your heart out and glue it to the screen.

OP ENING CRISTINA GROSAN grosan.cristina@gmail.com (+36) 203 101 360

ANNA GÁT anna.gat@gmail.com (+36) 703814969

PRODUCTION NOTE

SYNOPSIS GABI (20) is the invisible star of a Buda-

acts and strips on the bed, while Gabi types.

normal guy who seems to like HIM. Sud-

pest sex chat company: he’s an “operator”,

He keeps the men talking, opening up. This

denly, it feels unnatural for Gabi to hide

an important cog in the industry, one of the

is a usual setup in porn chat: in the eye of

behind Ivett’s avatar. Now the whole

few that have thrived after the fall of Com-

the clients Ivett and Gabi are the same girl,

underworld of the sex industry, all the

munism. Gabi is transsexual; the date of his

hot and smart. Gabi’s job is to engage these

exploitation and violence that Gabi used

last operation which will irreversibly turn

men for weeks, even months, before they’ve

to be able to shut out, seem painful con-

him into a woman is approaching.

had enough of the illusion, ask the model to

trasts to what the new client is offering:

undress and leave forever.

something real. But Gabi’s job is illusion

On their screens, Gabi’s clients, logging in from all over the West, see Ivett, the sexy model Gabi works in duo with. She poses,

OPENING is about a day of change: Gabi

a cataclysm is inevitable.

Hungary/Germany coproduction length: 20 min. language: Hungarian & English est. shooting dates: August or September 2014

becomes interested in one of the clients, a

budget: €108 000 secured: 25%

NOT E OF INTENTIONS When Anna and I started working on the

is that makes women what they are, both

to ask what is real? And when is society,

script of “Opening”, we developed it with the

in their role in society, and the way they are

the great judge, entitled to say one has

feeling that such a particular story as the

perceived, as persons. Gabi, the main cha-

passed the test, and is now a woman

one we are writing, can become universal.

racter, wants to become a woman. The film

with all papers “in order”?

The film doesn’t aim to give answers, but to

deals with the question of how long is a man

generate dialogue on the realities of Eastern

still a man, and what does it take for him to

about identity, the struggle of being

Europe’s LGBT status and the everexploiting

become a woman. Is it the physical, cultural

accepted as who you are and the risk of

sex industry, in a moment when there is

or the social traits that decide what makes

deceit. But it also brings into light the

none. On another level, to us, a full creative

a woman? The film uses many layers of rea-

unexpected beautiful human things that

team consisting of women, it also has ano-

lity, the characters are switching identities

come with this struggle: courage, hope

ther meaning. We’re interested to see what

from real life to the cyber world, so it is fair

and the faint possibility of love.

So overall, this is a film that talks

31

looking for: investors, international sales/broadcasting partners -nominated for the 2014 Film Prize for International Cooperation between Eastern Europe and Germany by the Robert Bosch Foundation -preproduction financial support from the Hungarian Society for the Protection of AudioVisual/Producers’ Rights

BIO S

RU E D E S DA M E S

B APTIS TE MAG ONTIE R

ISAAC JAKOB BE LAGA

writer

writer

NON-EXHAUSTIVE FILMOGRAPHY

NON-EXHAUSTIVE FILMOGRAPHY

2005 - Guerre du 3eme Etage (short)

2012 - JUST THE TWO (short) - with Gregory

2009 - J’ai envie de vous dire with Alex Lutz

Fitoussi and Abraham Belaga

(a miniseries of 52 episodes on France 2)

PER DIEM (short) - with Abraham Belaga and

2010 - Can’t we be friends, in collaboration

Diouc Koma

with Isaac Jakob Belaga (short)

2011 - AMER (short) - with Adrien Bretet and

2012 - Le milieu (a miniseries’ pilot)

Laure Ducher

written by Baptiste Magontier and Isaac Jakob Belaga

-BELGIUM/ FRANC E-

TU BOIS QUOI ? (short) - with Benoit Michaud http://baptiste-magontier.tumblr.com/

and Sihem Aubertin 2010 - CAN’T WE BE FRIENDS (short, Key Lime Pictures) - Jakob Belaga and Baptiste Magontier, with Charles Van Tie-

Pigalle during the postwar boom. A mysterious killer is murdering streetwalkers one by one..

ghem and Lily Bloom - 2 MINUTES AVEC... (Web serie) - Jakob Belaga

RUE DES DAMES ISAAC JAKOB BELAGA isaacbelaga@gmail.com

BAPTISTE MAGONTIER justinbridoo@gmail.com

PROD UCTION NOTE SYNOPSIS Pigalle during the postwar boom.

Serj believes she owes him.

Roxy, a young prostitute, dreams of eman-

Even more so as lately, a mysterious killer

cipation, but her pimp and protector, the

nicknamed the Tarantula, murders girls from

dreaded Serj Sobek, doesn’t see things that

the neighborhood one by one...

Length: 20 min Language: French Filming location: Western Europe Camera: Arri ALEXA

way. Since he saved her from her former boss, a violent gangster known as the Tiger,

Estimated budget: 80.000 - 90.000 € Producer’s investment: 10.000 €

NOT E OF INTENTIONS

Shooting days: 7 Rue des Dames is an original script writ-

Our vision extends beyond this short

Paris, teeming with criminals, prostitutes

ten in the tradition of detective novels and

and multiple deals is the perfect setting

film, that appears to us today as laying

Film Noir. We want to transpose a typical

for a Film Noir in French. We also want to

the groundwork for a larger universe,

American genre in a Parisian post-war

redesign the city, to graphically transform it

such as the introduction of a more com-

world. The whole country then lives through

to make it match with the universe we ima-

plex story. In Rue des Dames, women are

economic and social development, attitudes

gined. So Rue des Dames is a short film with

the victims of the cruelty of men who go

are changing and women gradually eman-

the ambition of re-visiting and rediscovering

unpunished. But this open end allows

cipate. However, in poor neighborhoods,

this singular time with exciting history. Our

us to consider the following, where girls

they are still preys to the tyranny of men.

aim is to create a vintage atmosphere with a

may be taking their revenge.

The sordid and savage world of a popular

sophisticated contemporary look.

33

Crew: Directors, DOP, Matte Painter Looking for: Foreign Co-Production / Funds

THE B A M B I ’ S CAVE

BIO

HARALD RUDE writer, director Born in 1986 in Burgundy, France, I live in Luxembourg since I’m 5. I have graduated from a cinema school near Paris with a sound engineer specialisation. I currently work as assistant director. I’m writing since I’m 14 and directed amateur shorts with the help of friends or family since then. Directing has always been more than a goal to me: it’s a need. The best way to tell my stories. Music is

by Harald Rude

-FRANC E/ LUXEMBOUR G-

my other complementary passion (with women and whisky), as it’s more spontaneous.

Selftaught musician, I’m improvising mainly on electric guitar since 10 years. I therefore plan to compose the music and sound-de-

Memories are strange... The way how some pictures can crush all the others...

sign of this movie, which will be my first professional short as a writter / director.

THE BAMBI’S CAVE HARALD RUDE rude_harald@yahoo.fr (+352) 621285821

PROD UCTION NOTE

SYNOPSIS Thorsten is a survivor. In a near futur, after

They drink, they laugh, they flirt, progressi-

the windshield and kills her. Thorsten’s

a nuclear catastrophy, he goes out of his

vely revealing their wounds to each other. It

mother, lying in that glass and steel cof-

bunker on a journey to overcome mourning.

could have been the begining of a love story,

fin will be the last picture he’ll remem-

The mourning of love, of sensations. He

but he will never know.

ber of her. Why this ? He will never know.

remembers Elise, a girl he spent a full day

He remembers the sound of a car ap-

with at a lost pond, just before the disaster

proaching, as he was five, waiting on the

happened. Until sunset, they just lived,

doorstep of his parent’s house; his mother

talked about everything : politics, what

arriving. Before she could get out of the car,

revolts them, scares them, what they like.

his father bursts outside, aims his rifle at

How is it possible to accept such horror ? Thorsten will just have to.

Production Company: RED LION (Jeanne Geiben & Pol Cruchten) Estimated running time: 15 to 20 minutes maximum Estimated Budget: 120.000 € 6 shooting days To be shot on location in Luxembourg during late summer

NOT E OF INTENTIONS There’s two main layers here: Thorsten’s present, in a post-apocalyptic world, and

story. Like a curse, death always defeated

the border between Thorsten’s inner

Thorsten’s ability to love.

and outer world. The last picture of his

two haunting memories that are about the

Even if the heavy subject of the movie

loss of loved fantasized women : Thorsten’s

tends to a melancholic tone, humor will be

a car glass, the atomic explosion he

mother and Elise. What connects Thorsten

important, regularly punctuating the story.

witness happens in the reflection of his

to Elise is their early witnessing of human

Like in music, the dramaturgic rythm will

living room window, and now he’s stu-

violence. They share the child guiltyness

vary regarding these opposite tones. My in-

cked behind his eyeshade. The second

of their past incapacity to prevent adult’s

fluences : memories, dreams, Klimt, Schiele

element, through Elise’s encounter and

cruelty. The relationship between love and

and Radiohead’s “Amnesiac”. The central

his mother’s memory, is nature, a flower,

death is one of the central point of this

staging element is glass, which represents

which will be his release.

mother he remembers is seen through

35

Submitting this project to the Luxembourgish Film Fund in early April

TH E NIGHT O F A LL THINGS

BIO

PI LAR PA LOME NO writer Bachelor of Arts in Hispanic Literature by the University of Zaragoza and post graduate studies at the Comunidad de Madrid Film School (Ecam). After working as a freelance professional for music videos and commercials, I worked as TV and film screenwriter and as screenplay professor at San Jorge University. I have written and directed the

by Pilar Palomeno

-SPAIN -

short films SMILES (2005), BALCONY BOY (2008) -Huesca Film Festival, Warsaw International Film Festival, St. Louis International Film Festival (SLIFF), Puchon International Fantastic Film Festival, among others- and

ANA MARÍA: To whom are all the things that we have in the warehouse, Timotea?

TIMOTEA: Oh dear… they belong to dead people, to the dead ones…others and be accepted.

CHAN CHAN (2013). Currently, I’m co-writing the feature length script CHACO of bolivian director Diego Mondaca (Manosudaca Video Filmes). In january 2013, I began a filmmaking PhD programme in Sarajevo under the menthorship of Béla Tarr (Film Factory).

THE NIGHT OF ALL THINGS PILAR PALOMENO DELGADO pilarpalomero@gmail.com (+34) 659726909

PROD UCTION NOTE

SYNOPSIS Ana Maria is a nine year old girl who

ther to recover from an illness that has left

does not realize yet what death implies,

is spending the summer holidays in her

her bedridden the whole summer. Ana Maria

until one night she has to face her mo-

grandparents’ village. Her family has an

is not aware of the severity of her mother’s

ther’s demise. Like the people that used

antiques shop, a huge warehouse where

illness. She thinks that she will soon recover

to own the objects in the warehouse,

all kinds of old objects are scattered all

and play with her again. But it is not so: her

her mother has gone forever. Ana María

around, dusty and forgotten: furniture,

mother is dying. She wonders about the

understands then the true meaning of

paintings, pictures… Ana Maria spends

objects in the warehouse: “To whom are all

death when remembering an instant

her days playing in the warehouse, helping

the things that we have in the warehouse?”,

lived with her mother.

Timotea - a local woman who works in the

she asks to Timotea. “They belong to dead

antiques shop - while waiting for her mo-

people”, the woman answers. But, Ana María

Genre: Drama Running time: 17 minutes Filming location: Horta de Sant Joan, Tarragona (Catalonia - Spain) Language: Spanish, Catalan Format: 35 mm 1:1,85 Estimated budget: 35.000 €

NOT E OF INT ENTIONS The night of all things is a story about a

like in the film -actually it will be the main

only a memory? Will her belongings fi-

little girl discovering the true meaning of

location-, a huge warehouse where all kind

nish in a place like this?, she wonders…

death. It is a film that intends to reflect on

of old objects are scattered around. When I

These were the kind of questions that

the loss of our beloved ones and the traces

saw this place for the first time I was deeply

haunted me while visiting this place for

they leave after passing away. Some traces

touched and impressed. Not only because

the first time, and I would like with this

might be lost forever (like the objects in

it is a unique place, beautiful in its own way.

film try to recreate the emotions that

the warehouse, that used to be someone’s

Also because this place made me reflect

the answers I found provoked on me.

beloved belongings, but now are dusty and

about all the people that are no longer here.

forgotten), but some others will endure

I understood that those objects were the

over time in our memory (like Ana María will

vestiges of lives that are gone forever.

remember her mother).

I wrote The night of all things after visiting an antiques shop in my home village. It is,

The night of all things is a film about emotions, a film that explores the beau-

Ana María lives surrounded by those

ty of sadness.

objects, while she tries to accept her mother’s illness… Will my mother end up being 37

Status of the project: Seeking spanish and european co-production partners

BIO

TH E V I S IT

Nadiya Koval writer Nadiya Koval, a Ukrainian writer-director, born in 1982, studied Foreign Languages and Literature in Kirovograd Pedagogical University (1999-2004), and TV Direction in Karpenko-Karyj Kyiv National University of Theatre, Cinema and Television (2009-2012), graduating both with Honors. During her studies screen wrote, directed and edited seve-

by Nadiya Koval

-uKRAINE-

ral TV and feature works, selected and awarded at the Ukrainian festivals and at Filmfest Pisek in the Check Republic. Also edited video on Menu TV channel and worked as a Crowd Assistant Director on “Under 50 kilos� short by Maryna Artemenko. Now Nadiya is

Feeling happy about your lifestyle is enough to justify it for others and be accepted.

working on both the shorts and her first feature film project.

THE VISIT NADIYA KOVAL nadyakoval@bigmir.net (+38) 0666168474

PRODUCTION NOTE SYNOPSIS Oleksa (55) is always busy doing so-

masculine, like going abroad for earnings.

to his son. He is too blind to notice

mething around the house and his farm

Coming of daughter Galyna (30) from

Galyna being too polite and distant.

feeling irritated and unhappy about his son

abroad is another good chance for Oleksa

Even though Oleksa starts feeling some

Bogdan (25) sitting behind an easel all days

to fight his son’s way of living, as Galyna is

defects in his “illustration” – unable to

long with no real earnings. Son’s lifestyle

the best illustration of the father’s “right”

play with his granddaughter for her not

seems odd and useless, and every time they

lifestyle – being wealthy and happy in Italy.

speaking his language – he still needs

encounter Oleksa tries to persuade Bogdan into doing something more practical and

Excited and proud Oleksa can’t help boasting about his daughter and giving lessons

truth is… Oleksa has to reconsider a lot!

50 000 € (62,5%) - applying to The State Cinema Agency of Ukraine 14 000 € (17,5%) - provided by “InsightMedia” 16 000 € (20%) – expected from coproducer

Lifestyle conflict between Oleksa and his

In my story sound is very important

king is often hard, painful and even impos-

son, both satisfied with their lives following

with all knocks and bumps revealing

sible. I encounter it every day at my parents’

their natures, seems artificial for me, exi-

characters’ relations more than dialo-

house fighting back my father’s pities for

sting only in Oleksa’s head. Thus I choose a

gues. As well as the fruitful apple-tree,

my infant useless artistic life, along with

light irony to depict it.

losing its fruits during the story, but

persistent advices to change it. Misunder-

Estimated budget: 80 000 €

a distinct revelation of truth. And the

NOT E OF INT ENTIONS Accepting of other ways of living and thin-

Production company: LLC “InsightMedia”

The only real dramatic tension appears

wholly preserved in Bogdan’s painting,

standing is painful for us both, but I doubt

with unexpected revelation of Galyna’s

hung by Oleksa in the end - a victory of

acceptance is all about understanding. And

unhappiness. That’s where the real problem

acceptance, as there is no reason for a

in my short “The Visit” I’d like to explore

exists clarifying for Oleksa everything is ok

happy fruitful person to be unaccepted

other possibilities for acceptance.

in his house and with his son.

by others.

39

Estimated shooting period: 7days Estimated running time: 15min Seeking for: Italian\Spanish co-production Director of Photography is welcomed from co-producer’s side

TURNAROUND

BIO

AINO SUNI writer Aino Suni became interested in cinema through her first film experiments in Helsinki Upper Secondary School of Visual Arts.

Later, in year 2011, she graduated as a Bachelor in Media from Tampere School of Art, Music and Media. She first studied cinematography, but was soon carried away with directing and screenwriting. During her studies time she directed eight short films, both

by Aino Suni

fiction and documentary. Suni’s thesis work

-FIN LAND-

stivals including Clermont-Ferrand and was

Wolf Carver has travelled prestigious film febroadcasted by French Canal +. Currently she studies MA in screenwriting in University of Salford in UK and directs a feature docu-

To prove she is not a child anymore, a 12-year-old girl goes on a car ride with a man she met online.

mentary film produced by Tuffi Films Co.

TURNAROUND AINO-MARIA SUNI aino.suni@gmail.com (+35)8445351399

PRODUCTION NOTE

SYNOPSIS

Length: 7 min 12-year-old Sini, the only child in her fa-

drive to a more private place. Henri is char-

mily, feels like an outsider among her relati-

ming, he makes her feel adult by letting her

ged her father to pick her up. Henri gets

ves. She istreated as a child when she’d like

smoke his cigarettes. As they park the car in

nervous. He wants to leave and asks for

to be included in the adult circle. So when a

a forest opening Henri tries to kiss Sini, but

Sini to leave. She is going, but returns

man, Henri, chatswith her online, she agre-

she freezes. Disappointed Henri implies she

to give him a kiss. Stunned Henri drives

es to meet him. 30-year-old Henri arrives to

made a promise to him by coming along. He

off. Sini returns home where her father,

pick her up with his car. He has doubts, but

tries to touch her. She dodges and fiddles

totally oblivious, invites her to have a

Sini assures she is 15. She suggests they

with her cell phone.

drink with the adults.

She startles him by telling she messa-

NOT E OF INT ENTIONS Turnaround is told from the perspective of

is scary: you’re in a crossroads and each

to protect herself.

a 12-year-old Sini, who tries to prove she is

way seems uncomfortable to choose. In the

As he flees she kisses him goodbye,

not a child anymore in order to include her-

story Sini understands she has taken a step

but now it’s from her own will, not his. In

self with her family. The story portrays the

not easy to cancel when the rejected man

visual execution we will utilize the con-

contradiction pre-teens face: they hunger

turns the situation into a threatening one.

flict between airy summer atmosphere

for experience, but are not necessarily ready

Sini realizes she does need protection, but

and the sense of lingering danger.

for it. I can remember the age, when I tried

this time it’s in her own hands to come up

to be someone older and sexier. It was hard

with one. She fabricates a fictitious ambush

allows us sense the story through Sini’s

to accept the incompleteness of the age.

to scare him off. Her resolution is a synthe-

experience.

Also breaking out from the old role of a child

sis of parents’ help and finding her own way

Stripping the dialog to minimum

41

Estimated budget: 60 000 € Intended to shoot and do post-­ production in Finland.

Production company: MADE Ilona Tolmunen Producer +358400587687 ilona@made.fi www.made.fi Looking for financiers, distributors and sales agent.

UN F O L D E D

BIO

CRISTINA PICCHI writer Cristina Picchi (Lucca, 1981) is an Italian filmmaker and writer based in London. As a filmmaker she directed and edited several short documentaries, screened in festivals and galleries worldwide. Zima (Russia, 2013), her last work, won the Pardino d’Argento at the 66th Locarno Film Festival, a Jury Mention at the 36th Clermont Ferrand Short Film Festival, and was nominated for

by Cristina Picchi

-ITALY-

the Best Short Film at the European Film Awards 2013. Her written work includes short stories and an award-winning book.

She holds a degree and an MA in European Literature from the University of Pisa and

When revenge becomes nostalgia.

and a master’s degree in Screen Documentary from Goldsmiths University.

UNFOLDED CRISTINA PICCHI cristinapicchi@yahoo.it (+44) 7906778585 (+39) 3405912976

PRODUCTION NOTE

SYNOPSIS It’s early morning, a woman is smoking at

thes out of the wardrobe, packs them and

way she’s not lying. What she fails to

the window. The flat is immerse in a silent

leave the house. The woman is now walking

protect herself from during the nego-

stillness vibrating with the violence and

in a busy market. She looks ahead, determi-

tiation is the arise of memories: one for

anger of the previous night’s events: broken

ned, because she’s got a plan: she wants to

each garment. She’ll then go back home

objects on the floor, a man sleeping on the

sell everything to the second hand market,

– holding on to one single clothing, a

sofa. The woman starts tiding up the mess,

leave him as vulnerable as she felt in front

jacket he used to wear when they were

trying to give her world a new sense of or-

of him. To overcome the initial resistance of

still in love. But are memories enough to

der, when her slowly growing repressed rage

the stall’s owner she pretends they’re the

keep them together?

finally erupts: she takes all the man’s clo-

clothes of a departed loved one - and in a

Duration: 15 minutes.

Location shooting: Italy or UK. Language: Italian or English Estimated budget: 35.000/40.000 € The project is still in development and pre-production. No producer is currently attached to it.

NOT E OF INTENTIONS Unfolded will be my first fiction film, a

Genre: Fiction, Drama

the feelings and memories of the character,

interiors, with a more vibrant, “docu-

project in which I would like to bring my pre-

trying to blend past and present into her

mentary” style for the outdoor scenes,

vious experiences in documentary and the

tormented soul and deepening a theme

in which the human interaction will help

moving image, while opening up to a more

I’m particularly interested in: the delicate

to unfold the mixed feeling of the wo-

narrative structure. The plot is simple – a

moment of transition before the end of a

man towards her situation. I would also

few hours in the life of a woman in which the

relationship, when everything talks about

like to bring into this project my ongoing

everyday suddenly becomes alien and new,

the life we shared with somebody else,

interest in sound design and soundsca-

a day in which she both stands up for her-

just before our mutual universe collapses.

pes, exploring the possibilities of their

self and get caught by nostalgia. This story

Stylistically speaking I’d like to counterpose

use in fiction storytelling.

will become the starting point to explore

still, silent, stylized atmospheres for the

43

Crew: No other element of the crew is already on place, however I would like to involve former collaborators and international professionals I already established contact with.

V IO LET LAK E

BIO

MARIA BARSUKOVA writer I was born in Moscow in 1987. Having graduated the State University of Management, I realized that cinema is what I was truly interested in. It has become more than a hobby for me. I have been studying on film direction course in Yury Grymov’s workshop during two years and have shot my short diploma movie “Better than in provinces”, which has been shortlisted for the Short Film Corner

by Maria Barsukova

-RUSSIA-

program in Cannes Film Festival in 2013 and for several russian festivals. Now I work as 1st AD and producer in film industry and make a pre-production of my film.

Will you dare to see a wonder?

VIOLET LAKE MARIA BARSUKOVA barsukovamasha@gmail.com (+79) 636777517

PRODUCTION NOTE

SYNOPSIS Sasha is a girl of 25, she travels on her

first: she finds him weak-willed guy and Jan

serious about the idea with the magic

motorbike without any route. She is in flight

thinks she is just a freak. But one evening

lake, as he heard its water was hea-

from commonness and every her day is like

bored Sasha suggests him to have a drink.

ling. They both are bound to keep their

the last one. All that Sasha is searching for

They begin to play the game, making wishes

trip. Insensibly their mutual irritation

is fun, new feelings and something unusual.

for each other and at some point Jan dares

replaces with interest and respect to

Keeping her unconcerned jorney the girl

her if she could take him to the magic violet

each other. In fact there is no wonder at

stays for a couple of days at old lady’s hou-

lake. She doesn’t doubt too much and they

the end, but their meeting gives them

se, Irina. She lives with her son, Jan, whose

drive there on her motobike.

a chance to change something in their

leg is disabled.

In the morning Sasha wants to give up and

Sasha and Jan don’t like each other at

Length: 25-30 min Language: English Filming location: Eastern Europe Camera: RED Epic

lives. Will they use this opportunity?

Estimated budget: 70.000 - 80.000 €

turn back to Jan’s home, but the guy is still

Producer’s investment: 10.000 €

NOT E OF INT ENTIONS “Violet lake” is not a classic road-movie abounded with adventures and action scenes, but this is a tender and delicate exi-

Shooting days: 10

emotions are moving inside of them, chan-

the lake – during the film they become

ging their values and world views.

more opened, come into a harmony with

This is a sensual, airy, textured story with

themselves and with the rest of the

stential drama. There are another events for

unhurried cut, medium tempo-rhythm,

world. Therefore, we will move visually

our characters, such as revelations, mood

transmitting the pressure of time. Soft ima-

from a sense of emptiness, deformed

changes, sudden thoughts, state of nature,

ge, light is maximally close to the natural.

lines and dull spaces at the beginning,

dialogue with a soulmate.

Smooth, breathable camera, reflecting the

to a warm, cozy world with a sense of

simplicity and the beauty of a real life.

balance and quiet joy.

At first sight, nothing unordinary happens with people during the story, but we can understand that the layers of feelings and

Crew: Director, DOP, Production Manager, Sound Designer

We need to emphasize changes in characters’ self-perception on their way to

45

Looking for: Foreign Co-Production

BIO

WHEELS

BE NJAMIN BE E writer Benjamin is a London based Writer/Director. His last film, “Step Right Up”, played at over 35 film festivals, picking up 3 awards, and was also long-listed for the BAFTA Short Film Award 2014.

His first film, “A Plastic Toy Dinosaur”, won numerous awards and was licensed to screen on the BBC. This led to his nomination for the BBC New Filmmaker of the Year Award 2006.

He has also made a number of no-budget,

by Benjamin Bee

super-short, comedy films one of which, “Frank”, took him to the BAFTA’s in 2008.

-UNITED KIN GDOM-

Benjamin is currently in post on the short film ‘Girl Power’, that he directed. A compelling comedy set in 1997, starring Jason Flemyng,

All Andy wants for his 17th birthday is a car – oh, and to lose his virginity as quickly as possible…

Alice Lowe and Dakota Blue Richards.

WHEELS BENJAMIN BEE benjaminbee@gmail.com (+44) 7843944350

PRODUCTION NOTE

SYNOPSIS All Andy wants for his 17th birthday is a car – oh, and to lose his virginity as quickly as possible. Luckily, he’s decided to com-

of Anna, the girl who’s secretly in love with

about his parents’ sex life than he ever

him.

wanted to, and learns that the innocen-

His plans are thwarted when his parents

ce of youth is something to be treasured

bine the two things and try his luck at a

buy him a bike for his birthday, not a Ford

above growing up too quickly. But things

local dogging spot, (“Dogging” is a British

Mondeo. Unperturbed, he sets out on two

don’t end badly for Andy, as he finally re-

expression referring to the act of strangers

wheels, alone, to fulfill his sexual destiny.

alizes that what he wanted all along was

meeting up in cars, in semi-secluded areas

Over the course of a few evenings, spent in a

waiting right in front of him…

to have sex, and be watched) much to the

car park somewhere near the North Circular,

amusement of his friends, and the disgust

he finds first love, discovers rather more

NOT E OF INT ENTIONS I am fascinated with the adventurous and

I plan to use this world, where dark comedy

creates an intimacy that draws in au-

rebellious nature of teenagers, and that mo-

and drama are able to thrive and play off of

diences and makes you feel part of the

ment when you realise adulthood can be so

each other, with a teenager’s point of view to

story rather than just outsiders looking

much more complicated, and difficult than

explore something that seems an exotic and

in – a nice contrast with the voyeuri-

expected, and that the tenderness of youth

enticing entrance into adulthood – but quic-

stic nature of the subject. The contrast

is something one should not easily abandon.

kly becomes a life lesson about not trying to

between­the sweet home life and the

become a man before you’re ready.

sleazy world of dogging will be obtained

This film will have a similarly dark, but sweet-natured feeling, as my films, A Pla-

Stylistically I have referenced the cine-

by a change in sound scape and limiting

stic Toy Dinosaur (BBC New Filmmakers)

matography of Robbie Ryan (Fish Tank, Red

the colour palette for each environment.

and Step Right Up (BAFTA Long-List 2014).

Road) - his use of handheld and long lenses

47

Estimated length: 15 min Genre: Comedy Drama Budget: 25,000 € Seeking: British and European coproduction partners.

BIO

WINT E RHE ART

JUSSI HILTUNE N writer Jussi Hiltunen is awarded film-maker from Northern Finland. Hiltunen graduated from Kemi-Tornio University of Applied Sciences in 2011. His short film All Hallows’ Week was selected to Berlinale in 2012 and won several awards from international film festivals.

Jussi Hiltunen is now working with two short films (Winter Heart is another one), which are both planned to shoot within this year.

by Jussi Hiltunen

He also has a feature film in development.

Action western Law of the Land won the best pitching award in Baltic Event last November.

About a girl who is looking for a father figure.

WINTERHEART JUSSI HILTUNEN jussinleffapankki@gmail.com (+35) 8405938136

PRODUCTION NOTE SYNOPSIS Winter Heart is a story about Saija, a tee-

Duration: 15’

help her, but Eikka appears to be someone

Saija tries to justify her actions by bla-

nage girl, who seeks approval, love and a fa-

she could trust. They form some kind of

ming others, but Eikka now leaves her

ther figure. She’s just been raped when she

twisted father and daughter relationship

behind to teach her some boundaries.

meets a cabdriver, Eikka (50), who is willing

where Saija uses Eikka as a protector. Eikka

Saija desperately goes after him, but

to take her under his wings. Saija seems

doesn’t know that Saija is lying in order to

she’s forgiven only when she’s truly sorry

tough and independent, and she doesn’t

get attention, until the day he realizes that

about the things she’s done, and this is

believe her mother nor authorities could

he’s been used as part of her twisted game.

a lesson she needs to learn to grow.

Screening format: DCP, Blu-ray, DVD Production Budget: 185 000 € Financing in place: 24 000 € Status: In Development, shootings November 2014

NOTE OF INT ENTIONS Winter Heart is a short fiction about a

arance. Visual style is dark-toned almost

to me, that I don’t want to make a rape

girl, Saija (18), who has grown up without a

film-noir-like with moments of suspense,

film, but feel of danger combined with

father, and for that reason she’s suffering

and this dates back to the time, when I was

daughter-father story was eventually

from fear of being abandoned. Saija is trying

a cabdriver myself. Small town in Northern

things I wanted to bring into a same

to hide her own vulnerability by selfish and

Finland, where I also live, police was asking

film. Abandoned child looking for a

manipulative behavior, until she encounters

our help. There was this brutal rape inci-

father figure is also theme which I very

a cabdriver, Eikka (50), with whom she dares

dent just happened and police needed our

much want to handle as it’s something

to confront her true problems.

eyes to find the rapist. This strongly dark

which I have lot of personal knowledge

and tense atmosphere was the very first

to share with the audience.

Characteristic driven, deep drama film

element which made me to start writing this

has warm ending despite its dreary appe-

Shooting format: 4K

story. During the process it became clear

49

TUTORS

M ar i e D ub a s

Nadja Du m ouc h el

After studying literature and philosophy, Ma-

Her first feature film, Tonight and the people,

rie Dubas started working in the production

by Neïl Beloufa, will be presented at Rotter-

field in 2004. Since 2008, she produced over

dam Film Festival in February 2014. She just

15 short films, all broadcasted on French

joined the Paris-based company Les Films

and international TV, selected and awarded

d’Antoine, where she produces fiction films,

in festivals all around the world (Sundance,

short and features, from French and interna-

Rotterdam, Locarno, Clermont-Ferrand…).

tional scriptwriters and directors.

Nadja Dumouchel’s current field of activi-

ARTE in the feature film section in 2010. She

the world on a freelance basis as well as for

ties are script consulting, film programming,

now contributes to the development of inter-

the NISI MASA workshops European Short

transmedia development and journalism.

national film projects in collaboration with

Pitch, Generator and at Interfilm Festival

She is dedicated to the international art

ARTE Germany, working closely with authors

Berlin. In september 2013 she started giving

house film scene. She studied visual cultu-

and directors on scripts. She is also in char-

scriptwriting classes at the Strasbourg uni-

re in Brighton, journalism and literature in

ge of a short film collection produced every

versity.

Berlin and cinema in Valencia. Nadja worked

year by the students of Atelier Ludwigsburg-

as a programmer and commissioning editor

Paris (European production master class), as

for ARTEs short film magazine Court-Circuit.

well as of the attached transmedia-project on

She was later hired by the international di-

ARTE CREATIVE. Nadja was trained as a sto-

stribution and production company PRE-

ry editor at the Torino Film Lab and has sin-

MIUM FILMS in Paris, before going back to

ce then been working on scripts from all over

ESP TUTORS 2014

Fab i o G r ass a d o n i a

Ra zvan R a d ulesc u

L eon ar d o Stagli a n ò

Fabio Grassadonia is a Sicilian writer-direc-

development

consultant,

collaborating

Rotterdam, Edinburgh, Chicago, Brooklyn,

tor.

with some filmmakers and a few European

Abu Dhabi, Toronto, Aspen, among others)

He worked for a long time as writer and

workshops, such as Nisi Masa ESP, Torino

winning lots of awards.

script consultant for Italian television and

FilmLab.

The short film was set in Palermo where

a few Italian production companies. In 2004

Always with Antonio Piazza in 2010 he wrote

Fabio Grassadonia and Antonio Piazza also

with Antonio Piazza he wrote for Fandango

and directed the short film Rita, their debut

shot Salvo, their first feature film as direc-

the musical comedy Ogni volta che te ne vai,

as directors and one of the most successful

tors, premiered in 2013 at La Semaine de la

set in the world of dance halls along the Ro-

Italian short films of the recent years, pre-

Critique of the Cannes Film Festival, winning

magna coast.

sented in more than one hundred internatio-

both top prizes, Grand Prix and Prix Révéla-

He still works as freelance writer and script

nal film festivals (Premiers Plans d’Angers,

tion.

Razvan Radulescu is novelist, screenwriter

His second novel, Theodosius the Small

(2009) directed by Radu Muntean; SHELTER,

and film director.

(2006) won the EU Prize for Litterature.

directed by Dragomir Scholev (2009) and

He studied first Literature and Languages

As a screenwriter, he has collaborated

CHILD’S POSE, directed by Calin Netzer. He

and graduated in 1994 from the University of

with numerous directors such as Cristi

was the script consultant for 4 MONTHS, 3

Bucharest. Then he studied Opera Directing

Puiu, Cristian Mungiu, Radu Muntean, Ca-

WEEKS, 2 DAYS by Cristian Mungiu (2007)

at the Music Academy of Bucharest.

lin Netzer. His filmography includes: STUFF

and for THE AUTOBIOGRAPHY OF NICOLAE

During this time he wrote short prose and a

AND DOUGH (2001) and THE DEATH OF MR

CEAUSESCU (2011) by Andrei Ujica. As a di-

novel. His 1997 novel “The Life and Deeds of

LĂZĂRESCU (2005) directed by Cristi Puiu;

rector, he co-directed FIRST OF ALL FELICIA

Elijah Cazane” won the Best Debut Prize by

THE PAPER WILL BE BLUE (2005), BOOGIE

together with Melissa de Raaf and he is now

the Romanian Writers Guild.

(2008) and TUESDAY AFTER CHRISTMAS

working on his second feature.

Leonardo Staglianò was born in 1978 in Po-

in Italian theaters like the Teatro Piccolo in

land but he grew up in Italy. He earned an

Milan and the Teatro dell’Orologio in Rome.

M.A. in Philosophy from the University of

He wrote the script for “Yuri Esposito”, a low

Florence, an M.A. in Techniques of Narration

budget feature film that won the first edition

from the Scuola Holden in Turin and an M.F.A.

of the Biennale College and debuted at the

in Dramatic Writing from the Tisch School of

70th edition of the Venice Film Festival. He

the Arts at NYU. His short stories have been

has collaborated as a story editor with wri-

published in various anthologies and litera-

ters, publishing houses and film companies,

ry magazines, including the Italian edition

and he’s a former participant of the Europe-

of Granta, and his plays have been staged

an Short Pitch.

51

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IN PARTE RNSHIP WITH:

Contacts 99 rue du Faubourg Saint Denis 75010 Paris Tel.: +33 (0) 9 60 39 63 38 Email: europe@nisimasa.com Website: www.nisimasa.com

Head of the Script Department Wim Vanacker wim@nisimasa.com

Manager of the co-production Forum J茅r么me Nunes Jerome@nisimasa.com

Project Coordinator Aleksandra Zakharchenko aleksandra@nisimasa.com

A NISI MASA PUBLICATION Editor-in-chief/Layout Francesca Merlo francesca-merlo@libero.it

european short pitch 2014 organized by NISI MASA

S H O EUROPEAN T I T C H