Mas y Mas August 2012

más ymás

monthly newsletter of NISI MASA

AUG12

LOW, MICRO, ZERO vol. 1 How low can you go? interview:

Atso Pärnänen report:

Nisimazine Karlovy Vary Bright Young Screens

Still from "Katalin Varga" by Peter Strickland (Romania, 2008)

editorial Simultaneously suffering from the financial crisis and undergoing major technological changes, the movie industry – especially the independent scene - has re-discovered lately the virtues of low budget filmmaking. In Europe, budgets of less than 1 million Euros have become the norm for producing first feature films.

Maverick and legendary figures of low budget such as Spike Lee, Jim Jarmusch, or Gus van Sant, are no longer exceptions, and film movements preaching an austerity of means, for instance the Dogme 95, are not anymore isolated in time or place. “Low, Micro, Zero” could be the motto of necessity of all filmmakers of the 2010’s.

Still from "Tesis" by Alejandro Aménabar

Yet, whereas initiatives aimed at supporting ‘micro-budget film projects’ are flourishing a bit everywhere (and we will echo some of them in our Mas y Mas issue of September), it still takes a lot of energy and bravery, and a bit of madness, to take the plunge of shoestring production.

That’s why we wanted to present you with three filmmakers (Peter Strickland, Katrín Olafsdóttir, and Atso Pärnänen), sharing – each with their own sensitivity and different motivations- their experiences. We hope their stories will inspire and invigorate you!

by Matthieu Darras

If at NISI MASA we are not necessarily delighted at the idea that less money is being spent on culture and cinema, low budget has been so much part of our DNA from the very start that it feels our collaborative model is gradually being adopted by all.

credits.

Mas y Mas is a monthly newsletter published by the association NISI MASA. EDITORIAL STAFF Coordination & Layout Lucía Ros Serra

Contributors to this issue: Matthieu Darras, Peter Strickland, Katrín Olafsdóttir, Mirona Nicola, Atso Pärnänen, Julien Pierrefeu, Andreea Dobre, Sebastiano Pucciarelli, Josef Rabara

NISI MASA (European Office) 99 Rue du Faubourg Saint Denis 75010, Paris, France Tel: +33 (0)9 60 39 63 38 Email europe@nisimasa.com Website www.nisimasa.com

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Low, Micro, Zero

dossier

How low can you go?

Still from "Rengaine" by Rachid Djaîdani

I bet Mas y Mas readers feel mostly at ease with the micro and no budget categories, which look far more accessible. One common misconception is that shoestring budgets only work for genre films – especially horror ones. The global successes of The Blair Witch Project (1999) or Paranormal Activity (2007) tend to reinforce this belief. Yet, possibly the cheapest film ever shown at the Cannes film festival was a romantic comedy, Donoma (2010). According to his French writer/director/producer Djinn Carrenard, this ensemble film cost only 150 euros to make. And this is no exception anymore: each month, a new film festival claims to discover gems made completely outside of the traditional film financing system for –very- little money.

Probably aimed at emulating and reassuring wannabe filmmakers that one does not need millions to make a great film, the web is crammed with supposedly comprehensive lists of “Top Low Budget Films”. Well, when most of those lists include Christopher Nolan’s 5 million dollar’s Memento, one may wonder if they serve their purposes. It can take a while before one collects this kind of money on a savings account…

An enticing list though can be found on Daily Film Dose, which includes first features made for less than 500 000 dollars – among others by Kubrick, Lynch or Aronofsky. If the understanding of low-budget filmmaking surely varies from one country to the other, the field is generally divided into the three following categories: - low-budget, from 1 million euros to 250 000 euros; - micro-budget, from 250 000 to 50 000 euros; - no-budget, from 50 000 euros to zero.

From the early 90’s already, Sundance has been excellent at that quest, launching the careers – among many others – of Robert Rodriguez (El Mariachi, 1993) or Kevin Smith (Clerks, 1994). Back in Europe, in 2009 the Berlinale prided itself on discovering the superb Katalin Varga, made in Romania by British director Peter Strickland for just £25,000 (read below the fascinating “Fields Notes from Transylvania” recently written by the director to recount his experience). This year in Cannes, the vast majority of the 22 first features selected were ranging from low to no budget productions (cf. Nisimazine Cannes for full report: issuu.com/emiliep/ docs/nisimazinecannes2012). In particular, an Indian film, Peddlers, by Vasan Bala, got most of its modest fundraising thanks to a campaign launched on Facebook (www.nisimazine.eu/Peddlers.html); and a typical example of pure guerilla filmmaking, Rengaine, by French Rachid Djaïdani, received the Fipresci Prize (www.nisimazine.eu/Hold-BackRengaine.html).

If lack of money could have been a reason in a distant past - even though a not convincing one – for not entering the film industry, blaming a modest social background for not making films is now clearly a lame excuse. You will have to invent something else when friends ask you about where your feature project stands!

Field notes from Transylvania When the Berlinale announced Katalin Varga in competition in 2009, the name of its British director was largely unknown to the local film industry. Peter Strickland indeed managed to make his first feature film counting mostly on his own forces. Three years later, and whereas his second feature Berberian Sound Studio gets released, he eventually recounts his adventures in Transylvania…

“Even after having sat down and gone through all the sums spent, it’s hard to know how we reached a rough cut of my first film, Katalin Varga with only £25,000. Luck played a huge role. Nothing went majorly wrong in terms of illness, accidents, etc. Very few people in the cast and crew had children then, which meant both time and money wasn’t an issue.

Beyond this, I was desperate and angry. Not the kind of traits to endear you to any producer or funding body, but in the isolated world of lowbudget filmmaking, that negative energy probably got me through some of the hardest and most doubt-ridden moments. Considering some of the blunders made during the making of Katalin Varga, it would be inappropriate to offer advice here. The shooting might have been quick at seventeen days, but the whole film took five years to make, which proves that we got it wrong more often than we got it right.”

by Peter Strickland Still from "Katalin Varga" by Peter Strickland

The full text is on: ifeatures2.com/field-notes-from-transylvania1.htm

dossier

4

Working outside of the system The so-called economic crisis is great because it clearly shows that the system a big part of the world lives by does not work. Obviously the system will protect itself at all costs, part of that cost is being paid by cuts in support to culture, cinema included.

It seems contradictory to me to oppose a system and ask for money to it at the same time. If we are so much against it, find it so faulty and unfair, why should we play by its rules and even ask it to feed us? I'm not an expert on economics or filmmaking. I've produced a few short films and I am in production of my first feature. But as a person I find it important not to feed a system that is highly unfair, that puts profit before people and the rest of the planet. One of the ways to do that is to be as little dependent of the system as we can. Try and use as little of its infrastructure as possible.

For filmmakers as for everybody else mutual aid will always be a better way ahead then competition or mutual strife.

When making films I restrict myself to use only material that I can find or get for free. That means dumpster diving and searching abandoned buildings. I also find lots of materials in nature: beaches are full of sea washed plastic in the most beautiful colors. Passion for collaboration is also one of the main reasons why I choose to shoot on film. The elements that I don't control normally come out much better then anything I could have planned or thought of. Film today is not expensive; in fact I very rarely pay for film. Production companies have fridges full of expired film and most of them are happy to give it away. A company in Iceland recently gave me 15 cans of film saying that it was their contribution to a striving filmmaker. I found

the word very funny in this context, I don't consider myself striving, I'm doing exactly what I want to do and it gives me more happiness than money could ever do.

I always shoot on location; it takes time to find a good one but that time is nothing compared to the time it takes to write applications and to convince film commission people that your film is worth their money. It's also much more enjoyable to travel around looking for locations than sitting by your computer.

A good team of collaborators is crucial. I work with a tiny crew. My amazing DoP Arnar Thorisson normally gets no money from me. He gets money from other projects but says he´s tired of coming home from work creatively unsatisfied. It made me tremendously happy when he said that working with me gives him that creative satisfaction that all artists need. We have one assistant who equals 10 but is not in the way as 10 people would be. We can move around very fast and easy and follow the light or other nice surprises that being alert on the set always brings. We always eat well, another thing that is crucial. We go to restaurants in the evening before shoots and get the leftover food from the days´ menu that is normally thrown away.

You may argue that working like this is only possible if you are open to surprises and mistakes. I assure you that this is not the case. I have produced three short films by my friend Bertand Mandico and he works almost in the opposite way that I do. He's extremely specific on what he wants.

On our first collaboration he wanted a house in the middle of nowhere, with the paint falling off, surrounded by mountains. Long drives brought disappointing results until one day the house

appeared, perfectly located a half an hour drive from the center of Reykjavik. I found the owner, the son of the man who had lived there. He could not be with us during the shooting and did not want us to be there unsupervised. When I was about to leave having exhausted all my means to persuade him, he asked me what the film was about. I started telling him the rather bizarre story. The man asked -Who is supposed to live in the house? Hesitatingly I told him the truth, -The blue woman. The man turned pale and replied -I guess that means I have to give you the key. He explained that his father had lived alone in this house for many years, and he always claimed that he did not live alone but with a blue woman, a goddess of the bay the house stands by.

Another important factor of working outside of the system is that you don’t have to come up with a story that film commissions will find understandable, likely to get into A festivals, or profitable. This means that directors who are true visionaries have a hard time getting their films financed. That is a loss for the film world. Ignore the unwritten rule that you can’t start making a film without having all the budget in place, also ignore the idea of having a “real” budget whatever that means especially when everybody writes their budgets as high as possible to get as much money out of institutions as possible. Spend as little money as possible; buy only things that you absolutely need. That gives you great freedom, both personal and artistic.

By Katrín Olafsdóttir

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Low, Micro, Zero

interview...

Atso Pärnänen

Still of "In Clear Sight" by Atso Pârnânen

A regular contributor to Mas y Mas renown for his passion for Clint Eastwood, Atso Pärnänen worked as Head of Production for NISI MASA and script consultant on European Short Pitch in the years 2008-2009. At that time he was caressing wild dreams of producing big action movies, which met dubious looks from his colleagues at the European Office. Yet, few years later here comes In Clear Sight…

The first image that comes to mind when one talks about a low budget film is two characters locked in a room talking. You decided to go for a western set during the Cold War and to call for tanks!

That’s not exactly the easiest way…

True, but it was pretty cool to have that tank and the trucks running around like we were playing on a giant sandbox. In a way it comes down to how many shooting days you can have and what you can do with the resources you have and how you can get those resources. This was the story I felt was doable and wanted to tell.

Could you detail the most important in-kind support you got? What did you have to do to convince all those people?

I'd like to start by saying how fantastic the company that provided the military equipment was. We paid, but you can imagine how much gas old army equipment takes, so the support and enthusiasm they gave was really wonderful. Also with rental companies and Fuji, the deals that we got were great. But for “in kind” I'd say the most important would have to be the people who helped us. One guy spent the full quota of his summer holidays with us before going back to work. That's the kind of spirit that you stand in awe of. And I didn't need to convince them. I asked and they came. Must be my blue eyes! But seriously I also tried to be very straightforward about what they were getting into.

What are the main advantages of going micro-budget, if any?

Faster moving fighting force in a way. You can improvise, adapt and overcome. Plus you should be able to keep control and ownership of the whole thing. You are really free to make your own mistakes.

What are your expectations for the release of the film?

I'd wish it to at least open new doors and lead to bigger and better productions to all of us involved in the making of it. We have to remember that nowadays even award winning films with names attached are at times struggling to get out there. Whether theatrical, VOD, DVD, TV... I'd say any which way you can get it out there and also make some money back then that's the trail to try to be travelled.

What was the exact budget of the film, meaning how much cash was spent? How and where did you fundraise?

I'll give you a ballpark figure because that's the agreed policy for now, so I'll say fewer than 100 K. Fund-raising... Well, I don't know which other way to put this. It was private equity, so I contacted a couple of people and asked if they'd come on board and they did. I've been very lucky with the trust and support they've given and I am very thankful for their participation. Doing low budget is also about how much value you can get for your buck, so negotiating discounts, researching for good deals was at least as important as getting the financing together.

To what extent did your experience working for NISI MASA help you to go guerrilla filming?

If Guerilla filmmaking means no permits and no insurance and someone filming in a bush with a small HDV camera then we are no longer talking about this project. Those can turn into great films as well, but at all stages we were really approaching this like we were making a bigger budget film and the responsibilities that go with that. NISI MASA has introduced me to Torino Film Lab of course and to loads of people from different countries and at times it also gave an insight to some of the bureaucracies of European institutions...To sum up I think you're looking for the words “multicultural experience”, right?

dossier

You work as script consultant, so you should be an expert at telling what your story is about… Could you pitch it?

Set during the Cold War two American soldiers are sent on a mission to keep an eye on a Soviet exercise when they meet a young girl who wants to defect to the West. They are now forced to choose whether to stay focused on the mission or to help the girl.... Hmm, I know... that's kind of long for it to be a very good pitch. Perhaps I'll just go with Girls, Guys and Convoys!

spotlight

6

In July, we have been landing in Karlovy Vary International Film Festival for the first time with a Nisimazine Special issue and we have been also enjoing the sun and the beach of Espinho (Portugal), with Bright Young Screens, a 6 day long seminar that evaluates the current level of European cooperation among youth film organizations, through screenings and festivals.

Nisimazine Special Karlovy Vary For KVIFF queue here

Photo by Josef Rabara

The art of making Festival Trailers Sometimes trailers are just better than full films. No distrust in the power of cinema, but could you disagree if you see Jude Law in this brilliant video? or Andy Garcia or John Malkovich or Milos Forman http:// w w w.youtube.com/watch?v=ZNOy9 jdzH0… What are we talking about? Each main festival has its distinctive trailers, normally to be screened before selected films. They surely give you a flavour of that festival and contribute to its identity, along with the annual poster, the peculiar screening theatres, the kind of audience… I can't forget the haunting music of Cannes'Official Selection intro or the magnificent montage for the Director's Fortnight, a yearly updated celebration of the directors joining the prestigious section.

Still, in Karlovy Vary, this exciting Eastern colleague of Cannes, they brought the art of festival trailers to the next level: since 2007 they pick acclaimed advertising director Ivan Zacharias, give him a couple of big film stars every year and also supply him with a couple of the festival statuettes (KV's main prize, the quite gorgeous Crystal Globe) to misuse in any possible way.

Yes, because - SPOILER, if you didn't watch the trailers yet - the object is progressively used to force a door, to replace a stolen Rolls Royce statuette, to magnify a visual detail…

There is something that film festivals and awesome cities have in common (and is probably one of the reasons that these two are so often paired): they ooze a certain vibe and atmosphere that people tune in to, sometimes without noticing or even against their own will. The KVIFF embodies a very interesting paradox in this matter, sending out some contradictory, yet mesmerizing vibes. The richly decorated and elegant city is in counterpoint with the appearance and attitude of the crowd.

And by all means, crowd is not an understatement here! The selection is so well rounded-off that it manages to harmonize the glitz and glamour (that a big festival can’t avoid) with genuine audiences. Q&A sessions often stretch out till the last possible minute, as do the hopes of those in a queue without a ticket.

This all happens despite the fact that they usually can’t help but dread queues in a former communist country. It must mean that the folks at KVIFF are doing something right.

by Mirona Nicola

Let me explicit, after 15 years of "extreme festival roaming": here we got the best possible way to have your audience welldisposed before a screening, to promote your event and your prize with great selfirony (against all rigid veneration for the award - can you imagine such a profanation of Cannes' sacred Palm?), to have your own original content with world-class cinema stars every new edition...

How do they make it? Easy. Looks like they cheat on film stars (my appreciation for them still rising…): they invite them over to get this Lifetime Achievement Award - something that you can always give to quite a bunch of people, this year they were Helen Mirren and Susan Sarandon without telling them anything about any trailer to shoot. Then, after few weeks, a call from Karlovy Vary reaches the awarded star with an offer he/she can't refuse, after that warm hospitality by such a lovely and established festival… No wonder at this year's award press conference Susan Sarandon looked so surprised when a journalist asked about "her" upcoming festival trailer...

by Sebastiano Pucciarelli

Photo by Josef Rabara

7 Daily dose of film, with a Bohemian touch At first sight, Karlovy Vary may appear as some sort of Woodstock of film festivals, where queuing for screenings often looks like a relaxed campsite, and sitting on the floor, socializing barefoot with a beer in one hand and the festival catalogue in the other is the most natural thing in the world. Place this in the middle of a a dollhouse-like city that bears a touch of eighteen century luxury, a tourist darling at the same time, and what you get is a unique vibe: smooth and sleek, but (luckily!) keeping a safe distance from the glitz and glam you might expect at the most important fest in Central and Eastern Europe.

We found our way through an intricate net of shortcuts and into a fine stash of memories, like the small restaurant dedicated to The Good Soldier Švejk, whose lifesize puppet at the entrance eventually got baptised Lorenzo by the Italian branch of our team, the editorial meetings we had each morning at breakfast, surrounded by families and retired folks on a spa vacation, having to step over the drunk man sleeping on the lobby on our floor at the hotel. It’s hard to deny it, we all want to go back now.

by Andreea Dobre

You can read online the Nisimazine Special Karlovy Vary e-book:

issuu.com/emiliep/docs/nisimazinekarlovyvary

Bright Young Screens Returning to the classroom knowledge through seminars and debated with us on diverse subjects. We all wanted to bring something new and interesting on the table each day.

However, I was not attending another film workshop. This classroom of Espinho primary school was the setting of a new Nisi Masa venture: a workshop focusing on organization of festivals and screenings and non-formal education through them. We were also there to exchange our experiences and to build youth collaborations in the European context. In some aspects the workshop succeeded perfectly to bring us to a new ground thanks to this familiar backdrop setting. The team behind the project was friendly and welcomed participants coming from different parts of the world like Slovakia, the Czech Republic, France, Russia, Spain, etc. We formed a united group staying together in apartments at a hotel nearby with a striking view on the ocean. We presented our projects to our peers and then we talked about different selection of topics in presence of experts from different areas of the film festival and cultural spectrum. During the week, they shared their

Nonetheless, there were a few things to improve: a stronger connection with the film festival itself. For instance, a playful speed meeting, happening simultaneously in the Centro multimeios de Espinho, introduced me to a large number of students coming for the festival. I would have liked to bring them to the school with me.

It would have been interesting to take students as core subjects of our debates in a some kind of a forum. And finally, I missed Matthieu Darras, the founder of Nisi Masa. It was my first workshop without him and I felt strongly his absence and the relationships he built with participants.

The workshop gave room to a new kind of classroom, an intercultural and interdisciplinary dialogue in its prime youth and one can only hope to see it develop and happen again.

by Julien Pierrefeu

spotlight

Bright Young Screens festival training workshop happened like a parallel entity to my everyday life. I can easily describe my first impression: I arrived in a place of forgotten childhood with drawings stuck on the walls; an empty space where small and big chairs and tables were brought to meet me - the young adult I have become.

I stood there wondering about how I ended up in a room with a blackboard next to a screen. It was like in a dream, the whole world in motion waiting before me to be explored. As a filmmaker, I loved this atmosphere so much I imagined it already as film set.

Similarly to the rest of the group, I was waiting for my turn in apprehension to play the role of a presenter with my teammates Marcin Luczaj (Ad Arte, World Shorts) and Agnese Surkova (Kaunas International Film Festival) on a topic we barely knew anything about in real life. Language is always a barrier for clear understanding but it’s the chronology and the framework of selected topics, which can really put someone tasks into didactic and meaningful contents, and this is sometimes hard to achieve. The presentation of Pavel Bicek from the Queer Film Festival Mezipatra was a perfect example of a successful presentation: informative AND entertaining. One must apply their know-how on personal contexts…and then the content will easily follow.

In my memory I had a big smile upon my face when finding my way back to the blackboard to show what we were working on in big circles. Then later i went back again for another creative session, like an excited child who wants to give an insight on how he or she sees and experiences the world to the rest of the class. I consider it a gift to be able to share your views and to become the teacher for a moment.

news

nisimazine Special nisi masa and karlovy vary 2012 eventival read the e-book online!

New partnership

PARTNERSHIP BUILDING MEETING nisi masa IN BRISTOL

NISI MASA – European Network of Young Cinema and Encounters Short Film and Animation Festival announce a call for participants for Partnership Building Meeting from 20th to 23rd of September 2012.

For the first time, our Nisimazine team has landed in Karlovy Vary International Film Festival to bring you a brand new Nisimazine Special Karlovy Vary.

In its third edition, Nisimazine Special (Venice Orizzonti, Rotterdam Shorts and now Karlovy Vary East of the West) is quickly establishing itself as a complementary and enriching addition to our Film Journalism Workshops.

Unlike the latter, our Specials are realized in collaboration with our Alumni thus offering an opportunity for them to remain actively engaged with Nisi Masa.

The e-book you're holding in your virtual end follows up and concludes our KVIFF coverage we had started while in Karlovy Vary with our newsletter series (archived here) and provide you with a comprehensive coverage of the East of the West Competition. The team responsible for this edition was composed by 5 writers (Mirona Nicola (Romania), Sara Ishaq (Yemen/Scotland), Andreaa Dobre (Romania), Sebastiano Pucciarelli and 1 photographer (Josef Rabara).

We hope you will enjoy the reading and share it with others.

Read it online here: issuu.com/emiliep/docs/nisimazinekarlovyvary if you want to get the .pdf version, send an e-mail to: lucia@nisimasa.com

NISI MASA – European Network of Young Cinema is excited to announce the collaboration with Eventival (www. eventival.com), provider of the worldleading film festival operational software and film industry database. Introduced at the Berlinale in 2010 as a collaborative effort of festival organizers, software developers and graphic designers, Eventival has been growing ever since, becoming an indispensable tool for organizers or film festival and other cultural and social events, mainly with audiovisual content.

NISI MASA is going to use the software not only as a database but also as a communication channel and collaborative tool for its network that comprises 28 film associations and film festivals from 26 countries. NISI MASA's main aims are to discover new film talents, to develop cross-cultural audiovisual projects, foster European awareness through cinema, and create a platform of discussion and collaboration for young European filmmakers.

Being web-based, Eventival fits networks like NISI MASA perfectly due to the fact that it can be accessed from everywhere in the world. Through this collaboration, NISI MASA is joining over 50 film festivals, audiovisual and cultural centers, and sales companies in 30 countries around the world.

Find out more about Eventival: www.eventival.com

We are looking for 15 representatives from 8 NISI MASA associations (observing members are more than welcome!) that will gather together and work on a new collaborative project within the network. The aim is to discuss, brainstorm and prepare a trans-European youth collaborative project in 2013 and apply for European funding based on a short set of conclusions gained within participants local organisations about best practices. Another aim is also to discuss further possibilities within the network and communication channels through the new network software.

The meeting will take place during Encounters Short Film and Animation Festival for which the participants will be accredited.

Encounters is one of the world’s best-known showcases and meeting points for emerging short film and animation talent from the UK, Europe and around the world. The UK’s longest running competitive short film and animation festival, Encounters is now the leading UK gateway to the world’s most prestigious short film and animation awards (Academy Awards®, BAFTAs, Cartoon D’Or, and the European Film Awards).

NISI MASA will cover 50% of travel expenses up to 125 Euro. The accommodation in a festival hostel costs £20 per day (covered by participants).

Moreover, we are looking for one volunteer from NISI MASA associations who would help us with the preparation of the meeting.

We are looking forward to seeing you in Bristol!

The deadline for applications: August 15, 2012 Please, write to: michaela@nisimasa.com

news

AVVANTURA FESTIVAL FILMFORUMZADAR cINE-boat screening

ple (one writer, one producer, one visual artist), to work on 4 different books.

The workshop runs from November 2012 to April 2013, taking place in Turin, Budapest and London.

The final projects will be presented to a panel of European producers in London.

Deadline for applying is MIDDAY on the 20th of August 2012.

More info: www.adaptingforcinema.com Contact: europe@scuolaholden.it

From 25th to 31st of August, croatian city Zadar, will be helding the Avvantura Festival Filmforumzadar.

The Cine-Boat films, result of one of the main activities of Polyglot: on the way to Turku project, will be screeneed in the Oficial Competition of the festival, being premiered in Croatia.

LOCARNO FILM FESTival

european short pitch tutor in competition

For more info about the festival, just check their website: www.filmforumzadar.com/

aDAPTING FOR CINEMA

call for participants

The Italian Scuola Holden is calling for participants for a new interesting workshop about adapting literature to cinema.

Co-financed by MEDIA and organized in collaboration with MOME and the London Film School, the Adapting for Cinema workshop is in need of 12 European participants (4 producers, 4 writers, 4 visual artists) to work together in 4 teams to adapt 4 books for the screen.

The participants will be trained by European film industry professionals and they will be divided in to 4 groups of 3 peo-

The 65th edition of Locarno Film Festival will take place from 1st of August to the 11th August.

As usual, the programme looks amazing, but we are specially excited about one of the films included in the International Selection.

Yes, we're talking about "Mobile Home", the first feature film by Franรงois Pirot, former tutor of European Short Pitch!

To see the whole selection: www.pardolive.ch/fr/Pardo-Live/todayat-the-festival/2012/LOC65-Line-up/ Concorso-internazionale-2012.html You can also check the trailer of "Mobile Home", here: www.youtube.com/watch?v=IQQWunTLjU0

agenda 1 - 11 august Locarno Film Festival

6 - 10 august Borderline selected participants announcement

15 august Deadline for Partnership Building Meeting in Bristol, United Kingdom

20 august

Deadline applications Adapting For Cinema, Scuola Holden

25 - 31 august

Cine-Boat screening at Avvantura Festival Filmforumzadar in Croatia