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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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