Nisimazine Cannes #4

Nisimazine the magazine by NISI MASA - European Network of Young Cinema

CANNES

Friday 23nd May 2014

#4 Run Gente de Bien Party Girl The Tribe Torn Interview from The Tribe by Myroslav Slaboshpytskiy Š GARMATA FILM PRODUCTION

#4

CREDITS

Editorial

NISIMAZINE CANNES 14 -25 May 2014 th

Edition #4

by Mirona Nicola (Romania)

that making it in this industry often ends, especially for the young guys, in the equivalent of a “cockblock”.

That is why being selected in a film festival as big as Cannes- in any film festival really- is a big deal, but the story does not end with that. Here the press can’t have enough of the Cronenbergs, the Loaches, the Dardennes etc. That’s good company to be in already, but the truth is that when nobody knows your name, making that be a question of ‘nobody knows your name YET’ can be difficult here. That is exactly why Nisimazine- through its newsletters and in the e-book soon to come- is focusing on young filmmakers, on the Camera d’Or competition, on short film directors. Our writers are not only aspiring film critics, but they often are aspiring filmmakers as well and Cannes is a chance to meet likeminded people from all over the world.

Talking about films shouldn’t be just about the ones made by popular directors. And it’s true that the films we are lucky to see here now will only reach our readers in a few months’ time. But that doesn’t make it less important for us to talk about them at the present time, when millions of eyes are watching this event. We’re the voice trying to reach you over the noise of the screaming crowd. Nisimazine- proudly rooting for the underdog since 2005!

A magazine published by NISI MASA in the framework of a film journalism workshop for young Europeans EDITORIAL STAFF Director Fernando Vasquez Coordinator Mirona Nicola Guest Tutors Lee Marshall Layout Francesca Merlo Contributors to this issue Rob Arnott, Kathi Kamleinter, Alexandra Fechete, Mirona Nicola, Martin I. Petrov, Andrei Sendrea NISI MASA European Network of Young Cinema 99 Rue du Faubourg Saint-Denis 75010, Paris, France +33 (0)1 48 01 65 31 europe@nisimasa.com www.nisimasa.com www.nisimazine.eu Special thanks to Christine Aimé, Jean-Charles Canu, Dany de Seille, Sebastian Lerique and the team of Les Arts Graphiques

With the support of the Youth in Action of the European Union. This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

©Alexandra Fechete (Romania)

Picture of the day

Roaming around in the underbellies of the Palais made me realize that the Marche de Film is really a world apart. Even almost 2 weeks in, getting to the Short Film Corner always turns out to be an odyssey. Passing through all the stands is something that I do because I lack a sense of orientation, but there are many people who came here precisely for that. Stands upon stands are all lined up nicely and ready to present their projects. Think that in this festival the juries have a hard job?

‘Cinema is an art, film is an industry’ becomes much less of a debatable statement.

There is a massive amount of films being produced. Making films is a labour and capital intensive endeavour. It’s far from news that with the technology available today the financial burden can be eased, but it still is very much the case that good artistic vision can be better served and supported by a certain amount of resources (material and otherwise); while there is definitely an audience for each an every film, reaching it is a journey in and of itself.

Extensive build-ups seem to be my thing, but ultimately here’s what I’m trying to get at- since much talk has gone around about how this is an industry dominated by males (and how the Cannes Film Festival is trying to change that) we could say

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#4

review

Run Phillipe Lacote, Ivory Coast/Un Certain Regard

It’s not every day you murder the Prime Minister of the Ivory Coast, but that’s the mildly inconvenient predicament that our lead finds himself in. Run, the charismatically named stowaway, races onto screen with panache in this enigmatic drama by Phillipe Lacote. He appears on screen smothered in rags, gripping a gun and a few seconds later he is the most wanted man in the country.

The episodic narrative flits between Run’s past and present; we begin in the rural wilderness of the Ivory Coast, where a young Run is mentored in the art of rainmaking by the mystical Tourou.

An altercation with the local community forces him to saddle up with Gladys, a one woman show who makes her money by eating obscene amounts of food in front of delighted audiences. When his luck runs out again, Run finds safety in the Patriot group, a politically motivated gang who seek to get rid of the ‘greedy’ foreigners that they believe are blighting the nation.

Everything in the film links back to the Ivory Coast’s political unrest, a place constantly teetering on the verge of another civil war. Gladys, a Liberian, is initially treated with goodwill as her circus-like performances draw the crowds, but they begin to turn on her when her greed becomes a bitter reminder of her outsider origins. The Patriot group, led by the ruthless Admiral, is an unofficial arm of the government, organised to control events on the ground. Much like the rest of the country, the group is riddled with power struggles and confusion.

Abdoul Karim Konate gives a dynamic performance as Run, a man tossed around like a doll by events he has no control over.

He has little loyalty to anybody, seeking only a temporal haven wherever he finds it. There is also a quietly effective performance by Isaach De Bankole, who lent a macho gravitas to Claire Denis’ 35 Shots of Rum, as Run’s main ally after the shooting.

Gladys is played with uncompromising gluttony and relish by the full figured Reine Sali Coulibaly.

Run is one of the first films to enjoy funding from the Ivory Coast government, and this is evident in the sophisticated production values. Phillipe Lacote’s direction veers between breathless tracking shots and stately takes with a controlled ease, while Daniel Miller’s inventive cinematography is a high point of the film. There is a particularly beautiful cross fade shot as a silhouetted Run stands before a monotone ocean, while a sandy wilderness emerges in the background. Elsewhere we witness creative use of CGI; a flock of birds float like smoke in the sky, a thunderous rainstorm startles a village and an elephant stomps into government offices.

The film is an insightful portrayal of a vibrant yet troubled country, exploring issues of greed and paranoia without ever seeming worthy. The touches of surrealism and mysticism are a welcome reminder of the lush exoticism of Thai director Apichatpong Weerasethanul’s work, himself a past winner here in Cannes with Uncle boonmee who can remember his past lives.

Despite all its triumphs, where the film falls down is in the lack of emotional investment in Run; the episodic nature of the film and its nomadic lead make it hard to participate in his journey.

We feel like passive observers to each escapade, intrigued but never truly moved.

Despite this, Run is still a film worthy of attention, a beguiling mix of reality and dream, constantly shifting in tone and focus, always moving. While Run’s plight may not tug at the heartstrings, there is enough energy and invention here to keep the audience bedazzled.

by Rob Arnott (United Kingdom) 3

#4

review

Gente de Bien

The film rests mainly on two very well balanced elements: a very good script and an amazing child actor. Gente de Bien is a subdued drama, that could only work with a child protagonist.

Looking back at his life, an adult Eric might not even remember any drama, just your average childhood in a poor Bogota neighborhood. He is a smart boy and his heart is in the right place – he leaves his adoptive family to come home to his father and the movie ends very optimistically, so we have no reasons to fear for his fate. The film’s magnetic pull comes from Brayan Santamarià’s performance, that brings life and emotion to some very well crafted situations: the boy wetting his bed, trying to steal money from his would-be mother, having his dog taken away by the pound, riding a horse, or laughing hysterically while his friends talk about the disgusting but necessary aspects of kissing girls.

Franco Lolli`s debut feature, Gente de Bien, is a strong contender for this year’s Camera D`Or award. While the audience and critics may be divided on the subject, which may seem boring to some (a drama without any real drama), there is one observation that stands a chance at unanimity: the film is flawless.

Having his camera set on young Eric at all times, Franco Lolli manages to recreate and frame with documentary feel and accuracy Bogota’s everyday reality and people, both rich and poor, as if it were an extension of the young boy’s perception.

The camera doesn’t judge, it only records, and it does so without loosing focus on the story or becoming a political piece about class divisions and inequality.

Franco Lolli, Colombia-France/Critics` Week

The narrative is a take on the classic slice of life form and style, detailing an episode in the life of ten year old Eric (Brayan Santamarià), a poor boy who has to move in with his poorer father when his mother leaves home to find work in the US. Trying hard to give him a home and a future that are beyond his means, the father (Carlos Fernando Perez) seeks help from one of his wealthy employers (the title translates as good/ well off people), university professor and mother of two Maria Isabel (Alejandra Borrero) who welcomes the role of surrogate parent.

The boy and his father go on vacation at the professor’s family estate, where her family become more and more annoyed by her maternal instincts, making Eric fully aware of his status and the choices he’s faced with: either live like a pauper or betray his father’s love.

To be honest, Gente de Bien is a highly manipulative film, a tearjerker that manages to stir emotions from scratch, and that is reason enough to appreciate it’s craft even if you don’t take to this kind of mushy family drama. On the other hand, maybe the director’s refusal to go the extra mile, to give his character a heavier burden to bear should make us appreciate even more his fine tuning: when you’re ten, every burden is too heavy to bear, yet somehow, and this is one of the most endearing aspects of the film, you manage to get over everything after a good night sleep.

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by Andrei Sendrea (Romania)

#4

reviews a web of memories mixed with a certain dose of fiction. With most of the cast acting real-life, the lines between reality show, documentary and fictitious extravaganza are blurry, though this detail rapidly fades away as the story starts to unfold. Angelique introduces her four children, her girls, her rich past ,and enters the latter with strong determination to fill the gaps that have been left uncovered the first time. She failed to create a family, to be the desirable mother and to stand by anyone else but herself.

Party Girl

Marie Amachoukeli, Claire Burger, Samuel Theis, France/Un Certain Regard Three young directors portray the life of Angelique and invite us to explore the memoirs of a girl that likes to party, a girl that adores life.

When we enter her world in a seemingly ‘God forgotten’ cabaret bar on the French-German border, inevitably the body is forced to follow the rhythms of the music - classic jazz, 80s top hits and contemporary hip hop swing down the road to signify the presence of a protagonist.

Angelique has learned to be the main character in a life full of joy, colourful nights, music, dance and love affairs. A bohemian woman, strong and self-confident, Angelique lives for the moment and seems designed to extract every drop out of it. She spends her nights in the old cabaret where she used to perform and attract powerful and wealthy men. Her last remaining client, Michel, who has fallen in love with Angelique, proposes her a marriage and for the first time the heroine is tempted to leave her old life behind.

In this unusual social realist drama, with touches of documentary, one of the three directors, Samuel Theis, puts in frame his mother, Angelique Litzenburger, rewinding her life and creating

The Tribe

Myroslav Slaboshpytskiy, Ukraine/ Critics’ Week

In his first feature Ukrainian filmmaker Myroslav Slaboshpytskiy tells the story of teenager Sergey, who enters a boarding school and gets caught in a web of crime and prostitution. He seems to be an ordinary teenager struggling to find his place and the acceptance of others. But what makes this film so exceptional is, that Sergey and his classmates are not ordinary - they are deaf-mute and communicate in sign language. What takes it even further is Slaboshpytskiy’s decision to show the film without subtitles nor voice-over, and the graphic depiction of sex and violence.

Despite this, it is easy to follow the action. As Sergey moves up in the hierarchy of the Tribe his restraint for sex and violence decreases.

His interest in fellow student and prostitute Anna takes on surprising dimensions. At first she seems to give her body for pleasure, not money.

Yana Novikova delivers by far the most impressive performance of the film. Her character has to endure humiliation and excruciating pain, which the young deaf-mute actress transfers with great determination.

At points she embodies a confident woman with hope for a better life, in others a fragile soul lost in her own naivety.

Angelique’s dilemma takes her to unknown paths, and her psychological ups and downs are closely monitored in order to transfer the emotional crash she experiences. We witness her furious outbursts in the cabaret and her clumsily covered fear when she faces her four children. But at same time she desperately seeks compassion and support, though the way of requesting it definitely eludes her.

As she tries to recover and stabilise her relationship with her younger daughter who grew up in a foster home, the tones become slower, the party stops and behind the caricature of a glamorous persona, the human character is being pulled from underneath. The three directors unite powers to harness their characters, while at the same time pursuing a cinematographic style that fits realism without deforming it. Smart close-ups and travelling cameras that speak the body language create a joyful atmosphere and the eye follows the touching hands, the sparkles, and the feelings, and move from scene to scene with the almost unnoticed transitions.

Party Girl becomes didactic by not forcing deliberate messages but allowing them to flow and take personalized forms as we identify with characters or situations. In an ephemeral and superficial reality, the story of Angelique redraws the guidelines of grown-up decision-making where conformities end up vague and outdated and dreams have no expiration date.

by Martin I. Petrov (United Kingdom)

Most individual scenes are so long, Alfonso Cuaron would take a bow.

There are extremely few cuts, which give the audience a feeling of participation, but also observation. Through them Slaboshpytskiy allows the story and characters to unfold very naturally, and the viewers accustomed to the unusual cinematic experience. But it feels in no way slow or unnecessary - every image is laid out in exact detail. The movements of the actors, both of their bodies and their gestures, are neatly choreographed. Their interactions are characterised by awareness for themselves and others, their body language feels exaggerated almost like in a musical, like the Sharks of West Side Story, you almost expect them to break into song. Of course they do not and the immense effort that it must have taken to direct the crew becomes clear. Shooting with actual deaf actors was definitely no decision for an easy way.

In its visual style The Tribe is the perfect incarnation of «the moving image». Slaboshpytskiy and his DOP, Valentyn Vasyanovych, frame every scene like a painting. Gracefully the characters flow in and out of sight, drawing attention to the action happening in various layers of the image. There are no close-ups to facilitate empathy, the gaze remains always on the bigger picture. Without taking on voyeuristic terms, the filmmaker enforces the idea that no one is innocent in this circle of crime.

Adults, or at least those who could serve as responsible role models, are completely absent. Their surroundings are made up of desolated houses covered in graffiti and the sparsely equipped barracks they call their school. Making use of the characteristic gritty social realism of Eastern European cinema, Slaboshpytskiy presents a pessimistic view not only upon the Ukrainian society – which surely increased its relevance due to recent events - but also of the universal state of forlornness this future generation is in. With unusual and to the bone minimalistic means he creates a painting rather than a film, a piece of art that draws you in completely.

by Kathi Kamleitner (United Kingdom)

5

#4

Yana Novikova Actress from The Tribe, Ukraine/Critics’ Week

This year´s competition at the Critics´ Week in Cannes was put to a close with a bit of a surprise. Just when you though the competition could not catch you off guard anymore, in came Myroslav Slabosphytskiy, an Ukrainian filmmaker with a drastically different approach to filmmaking.

His debut feature, The Tribe, is unique in many ways, but no more so than due to the fact that it is pretty much entirely casted by deaf-and-mute actors, and as a result the film has no dialogues nor subtitles whatsoever.

Despite the active participation that such a films demands from its audience, The Tribe flows surprisingly well, taking us through a thought-provoking and sometimes shocking narrative that will surely leave its marks behind and be the target of much debate in the near future. Such an achievement is, to a great extent, possible only due to extraordinarily genuine and humane performances by the cast, in particular the young Belarusian actress Yana Novikova.

As soon as we got out of the screening we lost no time in running towards a meeting with the young talent. The unusual process of conducting an interview via two silent translators would seem to most as a difficult mission, but the actresses charm and willingness to let her thoughts known to the world is quite extraordinary.

Even if The Tribe is her first on screen performance she is not a stranger to acting: «I have participated in theatre plays before getting involved with this film, as part of a theatre group. It was there where the director found me. The problem was that I was in Belorussia which made this a bit more complicated to do the casting. It was then that Myroslav Slabosphytskiy choose me. I was delighted to find out. I am so grateful to have been trusted with this part because this is my first experience in film. It is an unforgettable moment. Now I am really looking forward to continue because thanks to The Tribe I now have other offers. All thanks to Myroslav (smiles)» she said.

Her commitment to this production is undisputable. The character she portrays is the victim of continuous sexual and physical abuse, putting her in frequent delicate situations. Never in an straight forward exploitative fashion, the role inevitably forced her to deal with many fears and embarrassments. After some reluctance she found a way to deal with it.

As she told me: «It´s true, the first time I was very intimidated to take my clothes off. I did everything I could to get over 6

interview Critics’ Week WINNER

the embarrassment of being so exposed in front of everybody. But everyone in the crew were really supportive and helped realize I was perfectly capable of doing it, helping me to get over my fears in relation to this. This was a big chance for me.

Making this film is a big step. All of this helped me to figure out that we are all the same. I never refused to do anything. As soon as I decided I would be ok doing this film I had absolutely no restrictions nor doubts. And actually, since the moment I decided I would like to be an actress, even on the stage, I told myself that it is inevitable to do these things, to break up with these inhibitions».

Despite her dedication there were difficult moments for Yana during the shooting of the film. Among a series of scenes, perhaps her most difficult moment, as well as her most brilliant, was during the shooting of a long and emotionally devastating sequence where her character goes through a clandestine abortion. The effort necessary to make it believable was not always easy: «the most difficult moment for me was the scene of the abortion. That was very tricky to play. In the beginning I visited a doctor and asked him about the whole process of an abortion. It was very detailed. I also met up with women that had gone through that experience and through those ideas and descriptions I tried to let my emotions loose and allow myself to step in those women shoes. We shot that scene several times. There were a lot of mistakes and missed attempts.

We repeated it to exhaustion until we got it right. I think it pretty much took all day.

She added: «the rape scene was also particular hard. But what is most funny is that I am not a smoker and actually this film was the first time I had to smoke a cigarette, since the character I was playing is a smoker. So people had to actually explain to me how to hold a cigarette and smoke it (smiles)».

All the perseverance paid off now that The Tribe, and her performance, took two of the major awards of this year´s Critics´ Week. Her success in Cannes is only the latest step: «this is such a wonderful opportunity. My dream was to become an actress. Now that has come true and now I am where I am, it is amazing. I truly hope this will continue to go on like this».

by Fernando Vasquez (Portugal)

#4

interview

Elmar Imanov & Engin Kundang Co-directors of Torn, Azerbaijan/Germany/Directors’ Fortnight So how did the film come about initially?

Elmar Imanov: We started together in film school in Cologne and we each made our graduation film. He went to the Berlinale and I made The Circle. But we always wanted to work with each other. He was studying screenwriting in the first year and I was studying directing. It was kind of ‘OK, let’s write together’ and I’ll direct. But then it changed, he became a director. After we graduated, a friend of ours who is a producer from Azerbaijan called me and told me, ‘I have money to do a film. You have two slots’.

Then we came to the idea to use these slots, budget and time to do one film in two parts, which are connected but not really.

You can see the movie in different parts. For us it was like an experiment, to try and see how you can tell two different stories in a short time.

Engin Kundang: We tried to tell two stories, of a child’s world and a man’s world. And it somehow came together.

Did you sit down together to write it?

EI: Actually we didn’t write at all. There were no scripts at all.

There were just these two stories, as loglines, and these loglines were created in half an hour in a bar, very drunk. We wanted to write a script but we just didn’t do it.

EK: We never had the time. It was like ‘C’mon, let’s write now, let’s write now’. The camera man was pushing us, ‘C’mon guys I need something’.

EI: It was too much alcohol. It just didn’t happen. We improvised everything; the camera, what is happening in the film. The scenes where he is practising with the ball, it’s improvised.

Do you think the film represents Azerbaijani culture?

EI: Yeah, I think somehow it reflects it in a physiognomical way, but the stories are universal, so it could happen everywhere. But the structure of people, how they are speaking, how the kids are treating the boy, they’re kicking him in his ass. This is typical kids in the yard. Some little details maybe make it more local, but the stories themselves, they are happening everywhere. A guy who lost his wife, it’s not an original thing.

One of the most talked about short films here in Cannes this year is the Directors´ Fortnight entry Torn, codirected by Elmar Imanov and Engin Kundang. The film is a subtle, nuanced drama focusing on the dual stories of a father and son in Baku, who struggle to come to terms with their own masculinity. It also represents a major breakthrough to filmmaking in Azerbaijan, which has fully entered the Cannes scene for the first time in 2014.

We had the chance to sit down with both directors to understand all the details behind the production.

You won the student Oscar, and now you’re in Cannes; do you feel any pressure from your homeland right now to succeed?

EI: I don’t know. I feel free actually. More than ever. It’s giving me more freedom than pressure. I always did, and I think Engin too, what I wanted to do.

Do you feel like outsiders to Azerbaijan or do you still feel connected?

EI: Yes, physically I do, because I’m living abroad, and I’m visiting Azerbaijan often. Around two times a year. You see what is changing there. If you are not there for half a year something is changing, and the people who are living there don’t see it because they are in it. It’s kind of like a dissonance. At the one side everything is fine, but the other side is very bad. But it’s co-existing.

People are separating themselves from the others.

Do you think the film industry has changed in Azerbaijan?

EI: I don’t know. I think it will not change until they change the focus. At some point they will set up a serious film school, and have a production company. It’s very difficult. The people who are really doing something there are film makers who are independent, and they are really few. Some of them are living somewhere else, like me. You can’t say this is the way; there is no way.

by Rob Arnott (United Kingdom) 7