NisiMazine JUNE 08
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Favourite cinema theatres in Europe
Editorial Nina Henke
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he first European multiplex cinema theatre was opened in 1985 near London. After that came an unstoppable boom during the 90s, during which independent cinemas had great difficulty surviving. Today, although multiplexes dominate overwhelmingly across Europe, and are still a big threat to smaller theatres, in some ways each basic type has found its own consumer market. The multiplexes of course are known for their big screens and advanced sound systems. They are accused of only playing new mainstream movies, although it is perhaps also audiences who have changed their attitudes, choosing to watch older movies on TV or DVD. For youngsters these centres are a place to meet and to have one’s first romantic experience. They are comfortable and easy to reach, though there is often a lack of charm. On the contrary, independent cinemas aim to create a special atmosphere or filmgoing experience (with a small café or nice interior design for example). Though the sound and image quality is sometimes less satisfactory, they provide a more varied and
Agenda June, 6 In all the network Launch of ˝Human Rights & Visual Culture˝ E-book! June, 27- July, 6 Trencianske Teplice , Slovakia ˝New Pictures of the Old World˝ workshop June, 15 - 20 Brignogan, France 2nd Script & Pitch Workshop 2008
rich programme - including art-house and experimental, foreign films shown in their original version, retrospectives, short films… The list is infinite. They are also much more than ordinary cinemas, often being the location of film festivals or educational programmes for the public. No surprises that this issue of Nisimazine is dedicated to the latter type: the kind of places which have no doubt inspired all of us in some way along our path to cinematic heaven (although, one might ask if recently things have not been so clear cut in the multiplex/ independent division - the MK2 chain in France is just one successful example of multi-screen theatres programming art-house and foreign language films alongside mainstream fare, attracting both general audiences and the more die-hard cinephiles). This month we offer you some diverse views of the independent scene across Europe, alongside words from those who have helped develop and safeguard such venues. From the success story of the smallest cinema in Berlin, to the best-loved old theatre of Istanbul, let us celebrate and protect these precious halls where the 7th art is truly valued and nurtured!
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Next Issue...
NISIMAZINE # 11 ~ July 2008 special summer focus : Film Festivals 1/2 (to be continued... in August) Portrait: maartje alders (meccapanza)
Nisimazine is a monthly newsletter published by the association NISI MASA, European network of young cinema. EDITORIAL STAFF Editor-in-chief Matthieu Darras Secretary of the editorial Jude Lister Layout Emilie Padellec Contributors to this issue Atso Parnanen, Jude Lister, Nina Henke, Maria Blanco, Yana Mosholova, Gulcin Sahin NISI MASA (European Office) 10 rue de l’Echiquier, 75010, Paris, France; Tel/Fax: + 33 (0)1 53 34 62 78 + 33 (0)6 32 61 70 26 Email europe@nisimasa.com Website www.nisimasa.com Photo on the cover: Cinema Paradiso, St. Pölten (Austria), a member of Europa Cinemas network - www.cinema-paradiso.at
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Special Focus: favourite cinema theatres...
Today the duplication of screens (TV, Internet,
Q&A: Hans-Peter Jansen
mobiles…) makes a movie theatre seem commonplace. Considered in the first half Kleines Theater
of the 20 th century as the temple of the 7th
art, nowadays it is just another place to go out. However, some cinema theatre directors continue to work on preserving the special function of these public spaces, where a film is not only entertainment but also a social object that we have to discuss, bringing together cinema enthusiasm and citizenship.
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Europa Cinemas
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reated in 1992 as part of the European Union’s MEDIA programme, and funded also in part by the Centre National de la Cinematographie, the Europa Cinemas network undertakes multiples initiatives in the European film exhibition sector. It is currently present in 42 countries and supports over 1700 screens. Providing financing for theatres that programme mainly European films, the network particularly supports those that screen nondomestic works and promote these films to young audiences. It is also committed to the transition to digital projection technologies. As well as descriptions of its various programmes, the Europa Cinemas website includes a wealth of general information, from an extensive film database to country profiles, and updated news and festival calendars: www.europa-cinemas.org
Cinema Nuovo Sacher
(Rome, Italy)
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ou’ve seen those pie charts that show how many theatregoers have been to see domestic films and how many more have gone for imported ones. Home theatres may cut a slice, but some say that in France cinema attendance actually went up after smoking was banned in restaurants. But how about a filmmaker owning a cinema? In Rome director Nanni Moretti has his own theatre (‘Sacher’, named after the cake) where he screens independent films and classics. In 2003 Moretti and the Italian State Agency for Monopolies were in an argument over whether the theatre was used for political gatherings as well. If film can be dangerous in the hands of a filmmaker, just think what they can do with the actual building… http://www.sacherfilm.eu/ Atso Pärnänen
H
ans-Peter Jansen opened his first cinema in 1977 in Hamburg, Germany when he was 29 years old. Since this one closed in 1992, he has taken over or reopened 5 cinemas in the suburbia of Hamburg and still has three new projects for 2008. That’s why he’s often called the “last of the Mohicans”. A real track record!
How was the beginning of your cinema career? We were 20-somethings and there were no good cinema programmes in Hamburg, so we decided to open our own cinema. In the beginning we were five students, but after one year only two of us were left. Later, with the upcoming multiplexes between 1990 and 1998, it was really difficult for us. At this time there were more multiplexes than nuclear power stations. Middle-class cinemas had to keep audiences through personal engagement. Today we have found our niche: in the first quarter of this year only we had 40% more profit than in the last year. Who is the audience? The audience is very local. There are children aged 4 - 14, and then there is a break of some years because in this stage of life (15 23, often male) young people prefer to go to the multiplexes. I found out that they often come back to our cinemas when they have their own children. Besides this, there is the public aged 30 - 90. I like to be in contact with my audience: that’s why I work at the entrance once a week in each cinema. What is the structure of your cinema programme and how do you plan it? We show art-house movies and retrospectives (Bergman, Kinsky, Piccoli), but also mainstream cinema. The most important is that I can answer for the films that we are showing and that I like them. Normally, I go to see the movies in the press screenings and after I decide if they will be shown in my theatres. Nina Henke
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Special Focus: favourite cinema theatres...
Lichtblick Kino (Berlin, Germany)
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erlin’s smallest cinema Lichtblick Kino was founded in 1995. It is situated in the fashionably bohemian district of Prenzlauer Berg, in the artistic centre k77. Unusually, the Lichtblick (German for “glimmer of hope”) emerged in the 90s, a decade in which a lot of independent European cinemas had to close. In Germany you can still find a lot of them, despite the fact that in Berlin alone 36 cinemas have disappeared since 1998!
In the entrance you can still discover relicts of the old butcher’s shop which was situated there. Given that it is the smallest cinema in Berlin (only 28 seats), the atmosphere is very intimate and friendly. The programming is a mixture of art-house, avant-garde and surrealist films, and political documentaries. A glimmer of hope is also its choice of great retrospectives (Buñuel, Antonioni or Fellini anyone?)
The Decline of Independent Cinemas
www.lichtblick-kino.org
(Saragossa, Spain)
Q&A: Torsten Frehse Torsten was one of the founders of Lichtblick Kino.
T
he Lichtblick has now existed for more than ten years. We were 20-somethings from the Berlin hinterland, and for the cinema we moved into the city. Today there are still some of the founders, but also new people. What remains is the collective structure of the cinema. We were supported by the people of the k77, even if we made a mixture of politics and cinema and they came more from the artistic side. In addition, we were people from the eastern part of Germany; they were all from the west. We made the conversion together and we have been renting the cinema ever since. Do you think you face more competition from other independent cinemas or from multiplexes? There are three types of rivals: other art-house theatres, special events like film festivals, and the multiplexes. The biggest rivals for art-house cinemas are the local communal cinemas which are subsidised by the commune. They dispose of a big budget and can for example show silent movies accompanied by music. We don’t have the same funds - although we do get special prices from the department of culture - but try to offer similar things. Even the multiplexes have recognised the demand for different kinds of films and are now playing art house-movies. Who are the audiences? The audience is quite mixed in terms of age and background. In the beginning there were a lot of spectators from the East who wanted to educate themselves in film history. In the course of the gentrification of the neighbourhood the audience has changed. These people are not less interested in movies, but they are more spontaneous. In today’s generation of 25 - 30 year-olds there are some who are very passionate about films, even more than we were at the beginning. Generally attendance is stable, though we notice that big events like the World Cup 2006 in Germany reduce figures. Nina Henke
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n the space of just two years, four wellknown cinema theatres, such as the Multicines Buñuel, have definitively closed their doors in Saragossa, Spain. Even though they were old movie houses without modern comforts, they succeeded for many years in bringing diversity to Saragossian film programming. In their place, several firms announced that they would open multiplexes inside newly-built shopping centres. Unfortunately, though the number of movie screens is growing, this doesn’t ensure an increased variety of films.
Whilst it’s true that the word “multinational” is not synonymous with bad quality, the lack of films in original version and the closing of emblematic theatres in the city make the film offerings in Saragossa precarious. Anyway, thanks to screenings like those organised by The Film Library of Saragossa and other venues (not necessarily specialised in cinema), there is still space for places which can host films that in some way break free from the commercial track. M arìa Blanco
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Special Focus: favourite cinema theatres...
Beyoglu Theater
I watched my first film here when I was 5 years old the Ninja Turtles! It was like a magic: I was alone with the lights reflected from the screen. After this experience I could not help myself, and went to the cinema at every turn. That special evening formed my biggest future interest: cinema!
(Istanbul, Turkey)
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eyoglu is a lovely and well-known theatre, located in the middle of Istiklal Street since 1989. There are two entries to the screening room - which has a capacity of 350 - called ‘Charlot’ and ‘Hitchcock’. You buy your ticket from a small window in the middle of the stairs that leads to the large lobby, where you can wait in a nice café with special cakes. Then you enter the smaller lobby with Charlot and Hitchcock pictures from glass door. From the moment you enter the room, you feel the peaceful atmosphere and prepare yourself to be away from life outside, immersed in the world of the movie. The low lighting creates atmosphere. This small theatre is the best place for independent and festival films. Each year during a two-week period it shows cinema from all over the world which has been selected by the Turkish Film Critics’ Association. There is also a summer festival which assembles the best films of the year for the people who missed them. With very low ticket prices, this is really a unique opportunity for cinema enthusiasts to watch old and new productions. The Beyoglu is a popular place for young cinema enthusiasts and festival spectators. You can come across friends - and even famous people - in the lobby.
Beyoglu is now faced with closure because of financial problems. Unfortunately the films which are screened there are not watched by so many people. They owners are still looking for financial support and sponsorship to keep their theatre alive, and to continue to give us the opportunity to see a lot of good movies that we can’t see in any other place in Turkey. www.beyoglusinemasi.com.tr Gülçin Sahin
BFI Southbank (London, UK)
Friday, each city also has its own Apollo, or Grand that is not so grand anymore. A little place that once showed the latest hits, now running something behind dirty curtains in tiny booths or screening those classics otherwise only seen on DVD. Sure, some multiplexes do have classic Mondays, but often the audience does not bother to go. In recent years we have also seen more and more cinemas which have either been closed or remodelled. The business is about getting those behinds occupying seats for a few hours, so the venues need to be up-todate.
A bridge not too far on the river Thames. Each city has its own legendary cinema location, whether it is the 42nd street in Manhattan, Leicester Square in London or the Champs-Élysées in Paris. As well as those with red carpets in front of them every
If we think of cinemas that have become centres for films, places that showcase the studio golden era, 68-78 wonders, or specific directors and stars, then the BFI Southbank at once comes to mind. Formerly known as the National Film Theatre, it
is located under the Waterloo Bridge and anyone who has walked on the Southbank must have noticed the long lines of books being sold in front of it. Once inside the cinema, you enter a world of film festivals, panels and special screenings: from Bergman to Mitchum, to the latest Asian independents. In 2007 it was expanded and now has a mediatheque, bookshop, galleries and restaurants. The BFI also holds events for young filmmakers and screens short films. Not bad to have your film on the same screen as those of John Ford and Michelangelo Antonioni and to walk in the warm, darkening night by the river afterwards. http://www.bfi.org.uk/ whatson/bfi_southbank
Atso Pärnänen
Latest news H20 SHORT FILM COMPETITION
An initiative organised for the occasion of 5th World Water Forum (Istanbul, March 2009), the H20 Short Film Competition is inviting young Europeans aged 17 – 30 to submit their works. The aim is to inform and raise awareness about the challenges in water resource management via the audiovisual medium. Films should be related to the theme of “Water, People and Sustainable Development”, and must be under 90 seconds in length. Prizes range from 500 – 2000 euros. Contest winners will be invited to the events in Istanbul in 2009. Deadline: 15th August. For contest rules and registration see: www.riec-iwfe.org
SCRIPT CONTEST 2008 PROMOTION Promotion of the 7 th NISI MASA short film script contest seems to be moving along nicely. In April, Franti - NM Italia launched their campaign with ‘L’amore dei vent’anni’ at the Cinema Massimo in Torino. Italian author Giorgio Simonelli was invited to talk about his new book on François Truffaut, alongside the Director of the National Museum of Cinema Alberto Barbera and film critic Gianni Volpi. The contest was then presented before a screening of Truffaut’s rare classics Antoine et Colette and L’amour en fuite.
On the 6th of June, Helsinki-based Euphoria Borealis organised an ESCAPE! CINE CLUB at the KokoTeatteri, with a programme of fresh and diverse selection of European short films. After the screening DJ Datsun gathered people to enjoy some groovy music at Bar Koko. Later in June the Escape! film programme will be presented during the Midnight Sun Film Festival in Sodankylä. On the 7 th of June, NISI MASA France invites spectators to the Centre Wallonie Bruxelles in Paris for a script reading and screening of Gregory Lecocq’s 2006 contest winner, Harragas, followed by a talk about his experience: from script to film… If your association has organised or will organise a special local event promoting the 2008 contest, we would like to hear about it!
NISI MASA CARTE BLANCHE AT CANNES You all saw the call for films, and we thank you for your submissions! On the 21 st of May, the lucky few selected films were brought together for a special Carte Blanche screening in the Espace Miramar of the Critic’s Week at the Cannes Film Festival. The programme included workshop films (A Rainy Tale from BUDAPEST SQUARES, Tangerine and So There are No Poems Coming to Me from SNOW WORKSHOP), script contest winners (Harragas and the international premiere of Lily) and films from friends of the network (Tengo un Segreto, Zucht and Le Silence des Machines). 7 of the directors were in Cannes to present their films to audiences in a well-filled screening room. A big thanks to all of the filmmakers, whose names are too long to list here!
EUROPEAN FORUM ON YOUTH AND MOVING IMAGES On the occasion of the European Year of Intercultural Dialogue, KYRNEA International is organising the European Forum on Youth and Moving Images (REJI – November 20th – December 7 th 2008) where young European amateur filmmakers will meet and take part in workshops facilitated by professionals. Filmmakers must be aged between 16 and 21 in order to be eligible to submit a film. Works must have been made independently of any school curriculum. Maximum length 10 minutes. Contact: documentation@kyrnea. com
WELCOME NINA AT THE EO! The second EVS volunteer to join the European Office this year, Nina Henke (26, from Berlin, Germany) arrived just last month. She completed studies in French, Cinema and Politics the ideal recruit then for working on the May ’68 filmmaking workshop, which will take place during the Brest European Short Film Festival, France (November 2008). During the next 9 months, she will also undertake tasks in a variety of other areas, including Cine-Train, the ‘Food Project’, and of course the monthly Nisimazine (see already the special dossier of this issue).
In the spotlight Originally one of the central founding blocks of the NM network, it took a few years for the French branch to stand on its own two feet. Today a fully independent and dynamic association composed of around 15 volunteers, NISI MASA France is more active than ever on the Parisian alternative cinema scene, whether it be short film screenings, debates or the new audiovisual project for 2008, ‘Rush Up’!
Some members Cilia GONZALEZ The dynamic President of NM France discovered the network when she did an internship at the European Office during her Cultural Management studies. She was involved in the organisation of the NM 5 th Anniversary. After this, she became an active volunteer. But it was not quite enough for her, and she left to work for a short film festival in Brooklyn, New York! For sure, Cilia will come back in Paris soon with new ideas and new contacts … CLARA GUILLAUD A new member, Clara, 23, is studying for a masters in Politics and Cultural Management in Europe, after having obtained her bachelors in Cinema. She discovered NM at a screening of the DOKO YOMI workshop films in Paris, and through meeting members of 7 Arte during a volunteer service in Kosovo last year – where she carried out written, photographic and video reportages with local youths. Coming back to France, she wanted to know more about the network, and decided to get involved! ANNE REVERSEAU Anne has been a member of NISI MASA France since 2005. Beside her thesis in Literature, she’s interested in making documentary photographs and movies. She took part in the 5 th Anniversary in Paris (2006), the Survive Style workshop in Vienna (2007) and the Budapest Squares project (2007). Currently, she’s involved in the selection and animation of the CinéPudding screenings, and is in charge of the Rush Up project. PATRICIO LÓPEZ It is easy to misjudge 21-year old Patricio’s cautious demeanour for paranoia. In an industry that worships notoriety, the Spanish filmmaker is one of the few hermits to shun instant fame. His first foray into short film, a surreal introspection of youthful angst, reveals his obsession with chocolate: a paradigm shift for someone particular about privacy. Perhaps he is ready for this after all. (Abby Yao, erasmusa.blogspot.com)
MARYLINE POUX Maryline is another long-standing member. After studying Cinema, she has worked for the past few years for a documentary production company (www. quarkprod.com/index_e.php). In 2006 she was involved in the 5th Anniversary (she participated in the ‘‘Visions of Paris’’ workshop). She then attended ‘‘European Short Pitch’’ at the Moulin d’Andé with her script Unheeded Words. Currently, she is working on a different short fiction film! Also in NM France… Special mention for long-standing active members (and well-known EO staff): Joanna Gallardo and Emilie Padellec. More volunteers: Clément Julliard, Gianluca Zerial (see ‘‘Portrait’’ Oct ’07 issue), Jude Lister, Fabienne David, Hanna Mouchez, Lydia Castelliano, Stefan Bößner (also of kino5)... Pictures on the left,from the top: Cilia, Clara, Anne, Maryline & Patricio (Patricio’s photo by Sonalle Maroo - www.sonalle.com)
CinéPudding Recently celebrating their 6th edition, the bimonthly Cinépudding short European film screenings are now attracting loyal audiences. Taking place in the alternative cultural venue Les Voûtes, each evening has a special theme ( “Urban Crossings”, “Absurd, Pop, and Other Curiosities”, “Words/ Screen”…). A debate with the invited filmmakers is followed by an aperitif, accompanied by real home-made pudding! Don’t hesitate to send us your short films if you would like to participate. More info: france@nisimasa.com *
Rush-Up European Rush-sharing Project Don’t know what to do with all the DV-tapes that fill your shelves at home? Tired of not having time to edit the bunch of images you took in the past few years? Love making movies, editing, and sharing your experience? Then take part in this exciting new rush-sharing project! Funding has recently been confirmed, which means that from the 11th 14th of September, NM France will welcome 12 participants to Paris for 4 days of editing workshops and a final public screening of the Rush Up films! New application deadline 20th July. Contact: rushup.project@gmail.com
Portrait
Vasilia Drebova (Seven, Bulgaria)
Yana Mosholova
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asilia Drebova, 22 year-old Bulgarian and active member of Seven (an audiovisual association based in Sofia which recently joined the NISI MASA network) seems to be drawn to exploring foreign languages and cultures. Impulsive, by chance three years ago she started studying Chinese culture, but then decided to quit. Again by chance, she’s now in the Portuguese philology business. This time she must have started feeling comfortable, as she began speaking in other languages with a Portuguese accent. The reflection continued with surreal dreams in Portuguese. We are still waiting for the culmination of all this…
for what they are and not for how they sound. Some things to know then about Vasilia:
Nowadays she is taking part in Seven activities – a member of the board, she is responsible for the welfare of a fulltime volunteer and the development of certain activities. As a whole, her presence in this little society, with her alternative points of view, is similar to some kind of fairytale pixie.
When she is angry she says “Go frog yourself!”
Seduced by acting of the beginning of the last century, Vasilia is often compared with Chekhov’s heroes. Her extraordinary character does not fit in the mould of the National Film and Theatre Academy, but despite this she has already taken part in a number of short films and theatre performances. This text won’t mention their names, because it aims to follow the life philosophy of Vasilia: loving things
Her secrets? Hmm... ok, but keep quiet - she has never been to a karaoke club. Her fear? She has a driving license, but is still afraid to get behind the wheel. When she is happy she says that the bliss is “babbling” in her haemoglobin. When she is unhappy she says “That’s tasteless”.
For the moment she is working as a bartender. Behind her innocent little blond girl appearance, there is a natural geyser of party animal energy always waiting to erupt. Amongst her many skills is the ability to invent a personal cocktail for you according to your tastes. She can be made to believe the most incredible lies, the perfect victim for kidding around. But that doesn’t mean Vasilia has no sense of humour – she would help you with pleasure to steal a street sign for a birthday gift. Just ask her!