Gsff14 catalogue

GLASGOW SHORT FILM FESTIVAL 13 –16 FEBRUARY 2014

GLASGOW SHORT FILM FESTIVAL FUNDERS

MAJOR PARTNERS

SPONSORS

VENUE PARTNERS

SUPPORTERS

PROGRAMME PARTNERS

CONTENTS Glasgow Film Office introduction

4

Director’s introduction

5

Credits

6

Calendar

8

Map and venue guide

10

Tickets

11

Delegate information

12

Awards

14

Competitions introduction

15

Scottish Competition jury

16

Scottish Competition

17

International Competition jury

30

International Competition

31

Music and Film

46

Independence and the Scottish Film Industry

52

Focus on Ireland

54

Short Com with Josie Long

62

Mayer/Leyva and the Borscht Corporation

66

Notes from Underground: Queer Russian Cinema

72

Takashi Ito: Other Rooms

74

Tiny Geographies

76

Europe in Focus: A Franco-German Short Film Evening

78

Festival Focus: Magma

80

Family Shorts

84

Low Budget VFX Workshop

88

The Art of the Ultra-Short Film

88

Short Stuff

88

Index of Titles

90

Index of Directors

92

www.facebook.com/glasgowshortfilmfestival Twitter: @GlasgowSFF #GSFF14 di^pdlt peloq cfij cbpqfs^i OMNQ

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Glasgow Film Office is delighted to be working with Glasgow Short Film Festival again in 2014.

The festival is going from strength to strength and this year's programme is no exception. Festival organisers have selected a fantastic array of films, showcasing the best in international short filmmaking alongside exciting film and music collaborations and retrospectives from Ireland, Japan and the USA. More importantly, the festival provides a platform for the city's filmmaking talent – further proof, if needed, of the thriving filmmaking industry here in Glasgow. At Glasgow Film Office, we are aware of the sheer volume of filmmakers in the city as we are in contact with them on a daily basis, offering advice on locations, permissions and logistics. Through various community workshops, college and university courses and production companies, there is a wealth of talent out there producing content and we are happy to see their work being given the opportunity to reach a wider audience through GSFF. The number of international filmmakers and delegates attending is growing with each year and this provides an excellent opportunity for local filmmakers to network, collaborate and share information.

It is also testament to Matt and the team’s work in promoting the GSFF – and Glasgow filmmakers!

– on the international festival circuit.

So, get out there and network, network, network or, alternatively, sit back and enjoy a fine selection of films. Either way, this year's GSFF is not to be missed.

Jennifer Reynolds Film Commissioner Glasgow Film Office

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DIRECTOR’S INTRODUCTION 2014 arrives already straining under the weight of expectation – the Commonwealth Games, the centenary of the first world war, another Year of Homecoming... and isn’t there something happening in September?

Confronted by all these momentous topics, Glasgow Short Film Festival has chosen to face the music and dance. This year’s festival explores the relationship between film and music, whether one artform in service to another, or as a collaboration of equals, or as a fluid hybrid form, bleeding across boundaries of projection, recorded sound and live performance.

We’re also considering regionalism, and its impact on filmmaking. This year’s vista of the American independent film scene opens on Miami, and a radically independent collective about as far as you can get from the traditional centres of cultural power in the USA. We’re tackling at least one of 2014’s pivotal events with a look at what independence might mean for Scottish filmmakers, particularly in the light of recent concerns about government funding for film.

In the wider independence discussion, Scandinavian countries are held up as the ideal models to aspire to. However, when it comes to filmmaking, Ireland might be a more realistic comparison to make. With its predominantly English language film culture, Ireland is precariously placed between Hollywood and European traditions, both in competition with Hollywood, but also potentially able to reach the same audiences more directly than ‘foreign-language‘ cinema. In collaboration with IndieCork Film Festival, we present two programmes of recent Irish shorts.

Although this year’s festival appears to follow the pattern established in the last couple of years, with a similar mix of international and Scottish competitions, special programmes, workshops and parties, 2014 marks some exciting developments behind the scenes.

While the Centre for Contemporary Arts remains our vital and welcoming festival hub, the addition of a third screen at Glasgow Film Theatre allows us to screen the international competition in the natural home of groundbreaking world cinema. CMI Digital Cinema Services is providing digital transfer to ensure the highest quality projection.

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Thanks to the support of the Scottish Government, we are working with Connect Solutions to develop a digital on-demand videotheque for guests and delegates, through which we can promote a wider range of new Scottish talent to international talent spotters.

And Glasgow Film Office has kindly made possible this catalogue you are reading.

In addition to full listings on each film in the programme, the catalogue contains several texts on aspects of this year’s festival, including an in-depth interview with our special guest Lucas Leyva of the Borscht Corporation in Miami. Happy reading.

Massive thanks as ever to funder Creative Scotland, to programme supporter GoetheInstitut and to indispensable venue partner CCA. Brewdog, anCnoc and Onecubeortwo are fuelling our parties, while Beatsuite.com supports our International Audience Award.

We would particularly like to warmly thank Monir Mohammed for once again generously sponsoring the Scottish Short Film Award, this time through Mother India’s Café, which marks its glorious tenth anniversary this year.

So while there’s moonlight and music and love and romance... enjoy the Festival.

Matt Lloyd GSFF Director

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CREDITS AND THANKS GLASGOW SHORT FILM FESTIVAL Director Matt Lloyd Coordinator Morvern Cunningham Submission Viewers Gavin Reid Helen Wright Nav Noorbakhsh Omiros Vazos Oriana Franceschi Rosa Downing Rosie Crerar Sam Kenyon Sean Greenhorn Venue Coordinator Alex Mackenzie GSFF14 Trailer Ainslie Henderson Catalogue Editor Mark Fisher Designer Emma Quinn Cover image and artwork: Anomalies | Ben Cady | 2012 | UK Photographer Stuart Crawford, Eoin Carey GUEST CURATORS Focus on Ireland Ăšna Feely, Mick Hannigan Notes from Underground: Queer Russian Cinema Marc David Jacobs Takashi Ito: Other Rooms Ian Francis Short Com Chris Aitken Massive thanks to Glasgow Film communications, development, finance, festival, programming, front of house and volunteer teams for their considerable efforts in making GSFF14 happen. For a full list of credits, see the Glasgow Film Festival 2014 brochure.

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CCA Programme Coordinator Ainslie Roddick Production Manager Luke Collins Senior Duty Manager Alasdair Rothin THE ARCHES Arts Programme Coordinator Jill Smith Corporate Events & Sponsorship Coordinator Gary McGuire THE ART SCHOOL Entertainment Convener Alex Misick UNDERGROUND CARPARK Producer Sukaina Kubba THANKS Francis McKee and the staff of CCA; Paul Smith and the staff of Saramago Cafe Bar; the staff of The Arches; the staff of the Art School; Jennifer Armitage at Creative Scotland; Samantha Groessler at the Culture Division, Scottish Government; Jennifer Reynolds at Glasgow Film Office; Monir Mohammed at Mother India; Mark Malekpour at Beatsuite.com; Konrad Siller at Goethe Institut; Mark Hislop at Brewdog; Vicki Byers at Burt Greener Communications for anCnoc; Robert Singer at Onecubeortwo; James Rice, David Boyd and Evi Tsiligaridou at CMI; Tom Hutchinson at Royal Philharmonic Society; Rosie Crerar; Penelope Bartlett; Frances Morgan; Tom Scholefield; David Archibald; ร na Feely at IndieCork Film Festival; Nathalie Korkmaz at Alliance Franรงaise de Glasgow; Alan De Pellette and Beverley McMillan at BAFTA Scotland; Licia Arcidiacono at Magma mostra di cinema breve; Gemma Mitchell and Chloe Trayner at Underwire Film Festival; Ben Rashleigh at Connect Solutions; Chris Cameron Jr at Cameron Presentations; Peter Jewell; Kenny Munro; all our filmmakers, speakers, performers, guests and jury members.

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11.00 – 16.30 Film & Music Discussion Day

Guests and delegates only

12

10.45 – 12.15 International 6: Written on the Body

11

11.00 – 12.15 Short Stuff

Guests and delegates only

12

11.15 – 12.45 International 1: Past Performance

11

14

14

Guests and delegates only

15

Guests and delegates only

15

14.30 – 16.00 International 2: Reality Bleeds

13.30 – 15.00 Scottish 1: Lonesome Tonight

13.15 – 14.45 International 3 In His Image

13

13

16

16

The Art of the Ultra-Short Film

17.30 –18.30

18

18

17.00 – 18.30 VFX Workshop With Mr Kaplin

17

Guests and delegates only

17

16.45 – 18.15 International 5: Standing Ground

Guests and delegates only

15.45 – 17.15 Scottish 2: Playing Up

15.30 – 17.00 International 4 Endgames

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20

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19.15 – 20.45 Mayer/Leyva

19.00 – 20.30 Focus on Ireland 1

18.30 – 20.00 International 5 Standing Ground

19

19.15 – 20.45 Scottish 1: Lonesome Tonight

19.00 – 20.30 Europe in Focus

18.30 – 20.00 International 1 Past Performance

21

22

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21.15 – 22.45 Scottish 2: Playing Up

21.00 – 22.30 Notes from Underground

Written on the Body

20.45 – 22.15 International 6

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21.00 – 22.00 PULSE

Reality Bleeds

20.45 – 22.15 International 2

22.30 – 01.00 NITEFLIGHTS

23

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11.30 – 12.45 Family Shorts

Guests and delegates only

12

Guests and delegates only

11.30 – 13.00 Scottish 4: Ma & Da

12

11.15 – 12.45 Scottish 5: Together We Stand

11

11

14

14

14.00 – 15.30 Scottish 3: On the Edge

13.15 – 14.45 International 1 Past Performance

15

15

Magma

14.15 – 15.45 Festival Focus:

13.15 – 14.45 International 5 Standing Ground

13

13

19

17

16.30 – 18.00 Meet the Filmmakers

16.15 – 17.45 Scottish 5: Together We Stand

Written on the Body

15.30 – 17.00 International 6

16

16.00 – 18.30 Independence & the Scottish Film Industry

18

20

Borscht Corporation

18.30 – 20.00

18.45 – 20.15 Tiny Geographies

19

20

19.00 – 22.15 Alex Neilson Scores

19.15 – 20.45 Scottish 4: Ma & Da

21

22

22

21.15 – 22.45 Award Winners

21

21.15 – 22.45 Short Com with Josie Long

Endgames

20.45 – 22.15 International 4

19.30 – 21.00 Focus on Ireland 2

In His Image

17.30 – 19.00 Takashi Ito: Other Rooms

18

Reality Bleeds

17 18.30 – 20.00 International 3

16 15.30 – 17.00 International 2

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22.30 – 03.00 Zoviet France

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VENUES

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CCA 350 Sauchiehall Street, G2 3JD www.cca-glasgow.com 0141 352 4900 Glasgow Film Theatre 12 Rose Street, G3 6RB www.glasgowfilm.org/theatre 0141 332 6535 The Arches 253 Argyle Street, G2 8DL www.thearches.co.uk 0141 565 1000 The Art School: GSA Students’ Association 20 Scott Street, G3 6PE www.theartschool.co.uk 0141 353 4530 Fleming House car park, under Onecubeortwo 134 Renfrew Street, G3 6ST www.undergroundcarpark.com We regret there is no disabled access to the car park

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TICKETS STANDARD PRICE TICKETS £5 (no concessions) Some events are individually priced or free of charge – see listings for details.

CERTIFICATION Films not certified by the BBFC are marked N/C and accompanied by an age recommendation i.e. N/C 15+ (suitable for ages 15 and older, no-one under 15 will be admitted).

elt ql _rv ONLINE From Friday 24 January tickets can be purchased from www.glasgowfilm.org/festival. No booking fee. Tickets can be purchased online until one hour before the screening.

IN ADVANCE From Friday 24 January you can purchase tickets for most events from the Central Festival Box Office at GFT (12 Rose Street, G3 6RB). You can call Box Office on 0141 332 6535. Please note there is a £1.50 transaction fee for telephone bookings.

You can collect advance tickets from the Central Festival Box Office at GFT up until 8pm the day before the performance.

Please note that advance purchases can only be made online at www.glasgowfilm.org/festival or via the Central Festival Box Office, except for Zoviet France/Konx-Om-Pax. Tickets for this event can only be purchased from The Art School.

DURING THE FESTIVAL Between Thursday 13 February and Sunday 16 February, tickets for any GSFF event can be collected or purchased at the screening venue.

Please see www.glasgowfilm.org for full terms and conditions.

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DELEGATE INFORMATION Delegate accreditation to GSFF14 is open to industry professionals, filmmakers and film students. Accreditation costs £50 full price, £35 for students. For more information or to apply for accreditation, please go to www.glasgowfilm.org/gsff.

The GSFF Guest Desk is situated in the CCA foyer, and is open from 10.00 until 22.00 each day of the festival.

Guests and delegates are welcome to attend any public screening or event, subject to availability. Collect tickets from the Guest Desk on the day of the screening. Please note that there is a limited guest allocation for each screening, and any unclaimed tickets will be returned to the box office for public sales one hour before the screening. After this time delegates are obliged to buy a public ticket.

There are several delegate-only screenings of international and Scottish competition programmes – see Calendar (pages 8 – 9). No ticket required, just show your pass for entry.

For entry to Zoviet France/Konx-Om-Pax on Saturday 15 February at The Art School, just show your pass on the door. No ticket required.

INTERNET ACCESS There is free wifi throughout CCA. Ask at the Box Office or Cafe for the password.

VIDEOTHEQUE Guests and delegates are welcome to make use of the GSFF14 Videotheque, which can be found at Glasgow Film Theatre, upstairs in the Education Room. The digital on-demand Videotheque holds most of the films in the programme, as well as a wider range of Scottish short films produced in the last year. A booking system will operate at busy times, with a maximum viewing session of 2 hours. Opening hours are as follows: Thursday 13 Feb 12.30 – 21.00 Saturday 15 Feb 10.00 – 21.00 Friday 14 Feb 10.00 – 21.00 Sunday 16 Feb 10.00 – 20.00 Connect Solutions is proud to be partnering with GSFF to provide the digital Videotheque for 2014. The Videotheque will be based on Connect Solutions’ innovative new FluidVid™ technology which provides automated high speed and high reliability distribution of dynamic HD video across varied network and player environments.

We love breaking boundaries in the video and film technology space, and we’re up for any innovation challenge.

We’ve created solutions for video libraries, video capture technology, video security and delivery, film production pipeline management – as well as other innovative solutions in health, government and enterprise.

We’d love to talk video – get in touch: connectsolutions.eu connectsolutions.com.au NO

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COMPETITIONS

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AWARDS BILL DOUGLAS AWARD FOR INTERNATIONAL SHORT FILM Named in honour of Scotland’s greatest filmmaker, this prize will be awarded to the film that best reflects the qualities found in the work of Bill Douglas: honesty, formal innovation and the supremacy of image and sound in cinematic storytelling. The award carries a cash prize of £1,000.

2013 winner: Enraged Pigs (Porcos Raivosos) dir. Isabel Penoni, Leonardo Sette, Brazil 2012 winner: Fini dir. Jacob Secher Schulsinger, Denmark INTERNATIONAL AUDIENCE AWARD Decided by audience vote and sponsored by Beatsuite.com, this award carries a prize of £500 credit at the Beatsuite production music library.

2013 winner: Fear of Flying dir. Connor Finnegan, Ireland 2012 winner: Tumult dir. Johnny Barrington, UK SCOTTISH SHORT FILM AWARD The Scottish Short Film Award is sponsored by Mother India’s Café, and honours inspiration and innovation in new Scottish cinema. It carries a cash prize of £1,000.

2013 winner: Pouters dir. Paul Fegan, UK 2012 winner: The Making of Longbird dir. Will Anderson, UK SCOTTISH AUDIENCE AWARD Decided by audience vote, the winner of this award will receive a commission to make the 2015 festival trailer.

2013 winner: I am Tom Moody dir. Ainslie Henderson, UK 2012 joint winners: Kirkcaldy Man dir. Julian Schwanitz, UK and Philippa & Nancy dir. Paul Whyte, Ciara Barry, Claire McInnes and Nora Smyth, UK EUROSHORT NOMINATION Glasgow Short Film Festival is delighted to be participating in the Euroshort network of film festivals. The work of a European filmmaker under 29 years old will be selected by the international jury for promotion by the network. The five participating festivals will create a DVD compilation of selected films for circulation at international festivals and markets. www.euroshort.com

AWARD WINNERS CCA THEATRE Sunday 16 February (21.15) 1h30m, N/C 15+ A chance to catch the prize winners of Glasgow Short Film Festival 2014. We will announce and screen the recipients of the Bill Douglas Award for International Short Film and the Scottish Short Film Award, as well as the films voted the favourite of the audience in each competition.

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SCOTTISH AND INTERNATIONAL COMPETITIONS

This year, GSFF received in excess of 1000 submissions, and we saw a further 300 – 400 films at international festivals. In this first year of moving the international competition from CCA to Glasgow Film Theatre, we have temporarily reduced the number of programmes from eight to six. This means that as many as 1,400 films were competing for 30 – 40 slots in the international competition.

Inevitably many good films are turned down.

We still flinch thinking about some of the ones that got away. The challenge is to find a balance between screening the classics-in-the-making which are doing the rounds of all the festivals (because to ignore these altogether would be perverse) and finding exciting new discoveries or championing unfairly neglected work (because why would we just want to show what everyone else is showing?), and to place them in thematically coherent programmes which allow each film to shine.

We finally chose 35 films to screen in the international competition, all competing for the 2014 Bill Douglas Award for International Short Film. Meanwhile we couldn’t contain our Scottish selection within the usual four programmes – this year a mighty 32 films screen across five programmes of new Scottish work. We were struck by the recurring theme of objects, images or sounds retaining memories or emotions. Short film seems uniquely well suited to the attempt to express the ineffable through small everyday things. The rejection of traditional distinctions between forms and genres was another welcome common trait, and we particularly enjoyed films in which the filmmaker took the risk of making something expressly personal.

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Four films have been chosen to compete in both the international and Scottish competitions, each of them reminiscent of the work of Bill Douglas in different ways. We are delighted to hold the world premiere of No Hope For Men Below, the first work from filmmaker/musician Adam Stafford since his multi-award winning The Shutdown. Not one frame is wasted in this sparse poetic work. Cara Connolly and Martin Clark’s perfectly judged drama Exchange & Mart comes to us fresh from Sundance and Berlin Film Festivals. While laugh-out-loud funny, it aches with an acutely realised sense of childhood loneliness.

For her film Stay the Same, Sam Firth filmed herself every day between June 2011 and June 2012, at exactly the same time in exactly the same place in the village of Inverie on the remote Knoydart peninsula. No road reaches Inverie, and the implications behind this 12-month self-imposed confinement add resonance to the film’s depiction of a figure in a landscape over time.

Finally, Graham Fitzpatrick’s Colours is truly a revelation. Featuring a cast of first-time performers, all inmates in a Scottish youth prison, it transcended this viewer’s prejudices about community projects, and demonstrated that there are some things that only short film can do. Colours provides both a taut narrative revealing a reality most of us will never experience, and a voice to young men who live that reality every day.

We wouldn’t for one second attempt to declare that the films listed over the next few pages are the ‘best‘ short films of 2012–13. But they are films we have come to love, dream about and argue over. We hope you will too.

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SCOTTISH COMPETITION JURY LUCAS LEYVA The founder and Minister of the Interior for the Borscht Corporation and Borscht Film Festival in Miami, Florida, Lucas Leyva has had films screened at dozens of museums and festivals worldwide, including MoMA, Sundance, SXSW, Milan and New York, while getting millions of views online. He was recently named a New Frontier Story Lab fellow by the Sundance Institute to develop his multi-platform musical feature film, #PostModem. He is also a published poet, playwright and has directed musical plays at the Adrienne Arsht Center.

GAIA MEUCCI Born in Italy, Gaia Meucci has worked in the film industry in the UK and France in different capacities, including animation production, film festivals, distribution and programming. In 2009 and 2010 she was the Short Film Programmer of Edinburgh International Film Festival. Her festival collaborations also include London Film Festival and Clermont-Ferrand Short Film Festival. In 2011 she managed the international sales and distribution for the short film catalogue of the Autour de Minuit production company, as well as becoming one of the programmers of short film festival Silhouette Paris. As a film curator, she has collaborated with organisations such as the Institute of Contemporary Arts in London and the Forum des Images in Paris. Since 2012, she is the short film programme manager of the Encounters Short Film and Animation Festival in Bristol.

SUZANNE REID Having started her production career at Channel 4, Suzanne Reid worked on the broadcaster’s first ever re-branding as well as many sponsorship campaigns, programme titles and idents. While at Channel 4, she produced her first short film Noid. In 1998, she returned to Scotland to become head of production at MTP in Glasgow where she spent seven years producing high-end commercials. In 2005, she left that company to concentrate on features and short films and has worked as production manager on films such as The Railway Man, The Imaginarium of Doctor Parnassus and Valhalla Rising, and as line producer of Up There, Shell and Outpost. She is currently co-producing the feature film What We Did On Our Holiday.

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SCOTTISH COMPETITION SCOTTISH COMPETITION 1:

LONESOME TONIGHT CCA THEATRE Thursday 13 February (19.15)

SCOTTISH COMPETITION 2:

PLAYING UP

CCA THEATRE Friday 14 February (21.15)

SCOTTISH COMPETITION 3:

ON THE EDGE

CCA THEATRE Saturday 15 February (14.00)

SCOTTISH COMPETITION 4:

MA & DA

CCA THEATRE Saturday 15 February (19.15)

SCOTTISH COMPETITION 5:

TOGETHER WE STAND CCA THEATRE Sunday 16 February (16.15)

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SCOTTISH COMPETITION 1: LONESOME TONIGHT

Let’s Go Swimming

The Bird Man of Red Road

Getting On

UK | 2012 | 19 min

UK | 2013 | 8 min

Director: Ewan Stewart

Director: Douglas King

Director: Chris Leslie

Writer: Josie Long

Writer: Chris Leslie

Writers: Ewan Stewart & Liam Stewart

Producer: Lesley McKeran Cinematographer: John Young Editor: Douglas King Production Designer: Jennifer Hanlon Cast: Josie Long, Darren Osborne, Isy Suttie (appearances by Stuart Murdoch, Aidan Moffat) Contact: hello@dougandjosie.com Director filmography: Romance & Adventure (2013), Sunday Night and Monday Morning (2012), Data Entry (2010), A Good Mate (2009)

Josie has left her life in London for a better one in Glasgow, the indie-band theme park where she will finally be happy and accepted. But sitting in cafés and going to gigs on your own isn’t as fulfilling as she’d hoped.

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Producer: Chris Leslie

UK | 2012 | 9 min

Cinematographer: Chris Leslie

Producers: Ewan Stewart & Maeve McMahon

Sound: Moby

Cinematographer: George Geddes

Editor: Chris Leslie Contact: chris@chrisleslie.co.uk Director filmography: Finding Family (2013), Surviving Destitution (2012), Hope, memories, loss & community – four short films of Glasgow Regeneration (2010)

Built in 1967, the Red Road flats in Glasgow were once home to over 4500 people. Now most of the blocks have been emptied and demolition has already begun. Jamal Hamad, a failed Iraqi Kurdish asylum seeker, has lived alone in one block for several months. The demolition company is keen to move on with the demolition preparation but Jamal is refusing to move.

If he does move out, he fears eviction from the UK – and if he returns to his homeland, as instructed by the UK Border Agency, he believes he will be killed, just like his parents and brothers several years ago.

Living in the block alone is dangerous; but Jamal sees no other choice.

Sound: Kahl Henderson Editor: Scott McCartney Production Designer: Kate V Robertson Cast: Louise Goodall, James O’Hara, James Ramsay, Isobel Thompson, Pamela Robertson Contact: mail@ewanstewart.co.uk Director filmography: What Happens After Six (2014), Release (2014), The Witch (2014), Bonding (2014), Dancer (2003)

Another day unfolds in an anonymous woman’s life, as she cooks and cleans for her uncommunicative husband and sullen grown-up children.

Late in the afternoon, she has an unusual visitor.

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Bear With Me

The Registrars

Stovies

UK | 2013 | 12 min

UK | 2013 | 29 min

Scottish premiere | UK | 2013 | 7 min

Director: Colin Healy

Director: Jane McAllister

Director: Rose Hendry

Writer: Colin Healy

Writer: Jane McAllister

Producer: Colin Healy

Producers: Flore Cosquer & Noe Mendelle

Writers: Ian Forbes, Rose Hendry; Alison Flett (short story)

Cinematographer: Mihail Ursu Sound: Gillian Glencross Cast: Jasmine Main, James Watson, Dom Watters, Mandy Sykes, Karen Bartke Contact: info@screenacademyscotland.ac.uk Director filmography: Last Night's Sleep in Avalon (2013), I'll Be Out in a Minute (2013), I'll Give You a Minute (2012)

To escape a brutal and controlling boyfriend, a young Angel leaves her home in the middle of the night. She takes the only decision left to separate herself from the Bear, to get rid of the thing that grows inside of her.

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Cinematographer: Jane McAllister Contact: info@scottishdocinstitute.com

An intimate insight into the busiest Register House in Scotland. Life, death and love pause and flow through marbled halls and infinite paperwork. Dedicated staff transition from grief to joy throughout the day as the people's stories resonate with their own lives.

Producers: Ian Forbes, Rose Hendry Cinematographer: Ian Forbes Sound: Ben Hensor, Rob Malone, Terence Dunn, Fraya Thomsen Editor: Rose Hendry Production Designers: Emily Milne, Sean Christie Cast: Douglas Russell, Helen McAlpine, Laura McMonagle, Kashif Aslam, Omar Bhatia Contact: rose.hdy@gmail.com Director filmography: Deep Down (2012), The Ultra (2012), Egg & Fag (2011), Bolt (2011), Chips & Cherryade (2011), GlacĂŠ Cherry (2011), Bird Bath (2011)

Joseph is terminally ill. He spends his days sitting in front of the television while his wife works and his two children are at school. He watches as each show comes and goes until one morning something catches his eye. Inspired, Joseph departs from his daily routine to create something he hopes to pass on to his family.

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SCOTTISH COMPETITION 2: PLAYING UP

The Misbehaviour I Love You of Polly Paper-Cut So Hard

The Groundsman Scottish premiere | UK | 2013 | 16 min

UK/USA | 2013 | 6 min

UK | 2013 | 4 min

Director: Jonny Blair

Director: Bryan M Ferguson

Director: Ross Butter

Writer: Jonny Blair

Writer: Bryan M Ferguson

Writer: Joel Veitch

Producer: Kenny MacKay

Producer: Bryan M Ferguson

Producer: Edinburgh College of Art

Cinematographer: Andrew Wright

Cinematographer: Bryan M Ferguson

Cinematographer: Ed Snow

Sound: Travis Reeves, Alexander Horowitz

Sound: Fred Bonner Editor: Bryan M Ferguson Production Designer: Bryan M Ferguson Cast: Nat Di Resta Contact: decaying.shapes@gmail.com Director filmography: Vore (2012), Sockets (2011), Jar (2010)

Polly’s delusions of grandeur are causing her comic-book obsessed mind to take a step in the wrong direction. What was once a bored Spanish girl lost in comics is now a masked sociopath with a thirst for mischief. Submerging herself into a misbelieved hyper-reality, Polly wreaks havoc upon her boring Floridian town as her alter-ego, Polly Paper Cut.

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Sound: Ed Snow Contact: ross@twistosterone.com Director filmography: Tiny Chainsaw (2011), Dinosaur Ballet (2010)

An unhinged and obsessive lothario attempts to seduce his unfortunate love interest by detailing his bizarre and terrifying fantasies of how far he’d go in order to prove his feelings for her – involving rocket-propelled organ donations, DIY brain surgery and a mid-air showdown with a rhinoceros.

Editor: Conor Meechan Production Designer: Annie McCredie Cast: David O'Hara, Brian McCardie, Jim Sweeney, Darren Lightbody Contact: a.mcilwaine@rcs.ac.uk

When a lonely football groundsman finds out his club has gone out of business, he decides to keep his stadium running instead of acknowledging his past affairs.

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Hannah Scottish premiere | UK | 2013 | 17 min

Romance & Adventure

Producer: Rosemary Levine

Writer: Josie Long

The Things That Are Important To Us

Director: Michael Crumley

UK | 2013 | 23 min

Producer: Lesley McKeran

World premiere | UK | 2013 | 11 min

Cinematographer: Jonny Blair

Cinematographer: Andrew O’Connor

Writer: Michael Crumley

Sound: Travis Reeves, Jessica Jones Editor: Michael Crumley

Director: Douglas King

Sound: Johnny Lynch, aka The Pictish Trail

Directors: Richard Poet, Frances Poet Writer: Frances Poet

Editor: Douglas King

Cinematographer: Richard Poet

Production Designer: Ayden Millar

Production Designer: Jennifer Hanlon

Sound: Ian Turnbull

Cast: John Kazek, Abbie Robertson, Alan Steele, Rebecca Sloyan

Cast: Josie Long, Darren Osborne, Lynn Murray, Alison Peebles

Contact: a.mcilwaine@rcs.ac.uk

Mark Bode, a 48-year-old obsessive collector with a dark past, begins his greatest collection when 13-year-old intrusive Hannah moves in across from him.

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Contact: hello@dougandjosie.com Director filmography: Let’s Go Swimming (2012), Sunday Night and Monday Morning (2012), Data Entry (2010), A Good Mate (2009)

Darren is Josie’s best friend.

Josie is Darren’s flatmate.

Approaching 30, Josie is desperate to travel, to escape, to do something big. Darren is happy having his meals cooked by someone other than his mum.

Together they drink Buckfast and wander the streets, wondering why their friends are becoming old and boring, with houses and marriages and kitchens to retile.

Together they make fun of squares and make up games.

It’s them against the world – or so Josie hopes. How much can you rely on a friend who doesn’t want to grow up?

Editor: Richard Poet Cast: Charlene Boyd, Gareth Glen, Robin Laing, Rosalind Sydney Contact: richard@littleviking.co.uk

Gary supports ex-partner Julie's decision to move their son out of the city to a safe life in the Borders, until he discovers their new home is half a mile over the border into England. What begins as an awkward evening between former spouses and their new partners becomes a night of things getting broken.

ON

SCOTTISH COMPETITION 3: ON THE EDGE

No Hope For Men Below

Seams and Embers

Fishcakes & Cocaine

World premiere | UK | 2013 | 11 min

UK | 2012 | 6 min

Scottish premiere | UK | 2013 | 26 min

Director: Adam Stafford

Director: Claire Lamond

Director: Alex Nevill

Writer: Janet Paisley

Writer: Claire Lamond

Producers: William Duncan, Adam Stafford, Susie Enoch Cinematographer: Leo Bruges Sound: Marcin Knyziak, the One Ensemble Editor: David Arthur Production Designer: Katarina Forsman Cast: Stewart Swinney, Paul Cowan, William Letford, Maggie Mcleod, Caroline McKennar Contact: duncanstaffordfilms@gmail.com Director filmography: Seven Years of Letters – The Twilight Sad (2010), The Shutdown (2009)

An ambient retelling of the Redding Pit disaster of 1923 in Falkirk, Scotland which claimed the lives of 40 men.

Narrated in broad Scots and shot in stunning black and white, the story is re-imagined from a female viewpoint by Falkirk poet Janet Paisley.

OO

Producer: Claire Lamond Sound: Mattie Foulds, Ewan McColl, Sylvia McGowan Animation: Claire Lamond Cast: John Kane, Linda Lawrence, Alistair Moore, Richard Thomson, Tom Young Contact: info@clairelamond.com Director filmography: Sea Front (in production) (2013–14), All That Glisters (2011), Picturing Time (2010)

School days over, Jim joins thousands facing daily dangers underground to mine the seams of coal beneath Scotland.

As an old man, the industry is dead. Made during a residency at the National Mining Museum Scotland as part of Creative Scotland’s Iconic Artists, Iconic Places project.

Writer: Alex Nevill Producer: Alex Nevill Cinematographer: Giorgos Iliopoulos Sound: Ross Buchanan Editor: Nick Gibbon Contact: alex.nevill@hotmail.com

Revolving around four unorthodox inhabitants of a remote Hebridean peninsula, this documentary gives an insight into off-grid existence, exploring peculiarities of living in a harsh natural environment while intimately delving into dwellings around Scoraig.

Through intricate daily chores and the vast hostile landscape, we glimpse a deep desire for isolation.

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Stay the Same UK | 2013 | 14 min Director: Sam Firth Writer: Sam Firth Producer: Sam Firth Sound: Fraya Thomsen Contact: info@tinysparkproductions.com Director filmography: The Worm Inside (2010), ID (2009)

Filmed on the shores of a sea loch, in exactly the same place, at exactly the same time, every day for a year, Stay the Same is a hauntingly beautiful meditation on time, solitude and isolation. It is the third in a triptych of films exploring different forms of personal filmmaking.

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The Man Who Was Full of Birds Scottish premiere | UK | 2013 | 18 min

Director: Gianpiero Vannucci Writer: Gianpiero Vannucci Producers: Gianpiero Vannucci, Ben Hecking Cinematographer: Ben Hecking Sound: Louis Morand, John Hannon

Editor: Conor Byrne Production Designer: Bonnie Paddle

Cast: Darren Jelley

Hart’s Desire UK | 2013 | 6 min

Director: Gavin C Robinson Writer: Gavin C Robinson Producer: Edinburgh College of Art Sound: Keith Duncan, Mike Vass

Contact: gavincrobinson@aol.com

An aspiring hermit, an aspiring socialite and a shared flask of tea. An old man dreams of a peaceful existence in solitude while a creature in the hills desires the friendship and acceptance that might exist as part of life within a community.

Contact: edgewaxfilms@gmail.com

Struggling for survival in a post-apocalyptic dystopia, a solitary man settles in an abandoned village where his existence is haunted by the remains of civilisation surrounding him. Through a series of unexpected events, he slowly loses touch with humanity and battles the rise of the animal within.

OP

Exchange & Mart UK premiere | UK | 2013 | 15 min Directors: Cara Connolly, Martin Clark Writer: Cara Connolly Producers: Maeve McMahon, Phoebe Grigor Cinematographer: Jamie Cairney Sound: Jonnie Wilkes, James Savage Editor: Carmela Iandoli Production Designer: Natalie Astridge Cast: Ewen Bremner, Grace Chilton, Tania Van Amse, Lorne MacFadyen Contact: connollyclarkfilms@gmail.com Director filmography: Boccia Brothers (2012), The Waltzer Boys (2010)

A remote Scottish boarding school is home to Reg, a lonely and yearning teenage girl. The handsome chainsaw-wielding tree surgeon, and the sinister and unorthodox self-defence instructor, are the only men in this world. When she is required to fight in the woods, Reg knows what she must do.

OQ

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SCOTTISH COMPETITION 4: MA & DA

Liar

Lagan

Mission

UK | 2012 | 12 min

UK | 2013 | 4 min

Scottish premiere | UK | 2013 | 22 min

Director: Martin Smith

Director: Peter Shaw

Director: Mark Buchanan

Writer: Rory Alexander Stewart

Writer: Peter Shaw

Producers: Katie Crook, Olivia Gifford (Blue Iris Films)

Producer: Edinburgh College of Art Sound: Fiona Keenan

Cinematographer: David Liddell

Animation: Peter Shaw

Sound: Jack Coghill Editor: Martin Smith Contact: info@blueirisfilms.co.uk Director filmography: Seagulls (2013), Jimmy (2011), Tracks (2006), Accidents (2006)

Jamie adores his big brother Donald, but is starting to question tales of their absent father after Donald describes how he was tricked by glass ocean creatures while operating the local lighthouse.

Contact: peter@ahoy-animation.co.uk

The post-apocalyptic tale of a hungry fisherman and son who catch a very unusual fish. As winter sets in and food becomes scarce, they are forced to make a difficult decision.

Writer: Gregor Barclay Producers: Ashley Black Cinematographer: David Liddell Sound: Nick Olsouzidis, Gregor Barclay, Gavin Thomson Editor: Chris Newcombe Production Designer: Andrew Wilson Cast: Emun Elliott, Peter Strathern, Siobhan Redmond Contact: mcbuchanan@me.com Director filmography: What Is Love (2013), Auld Archie – Pushboxer (2012), Sand – Pushboxer (2012), Three Peaks – Pushboxer (2012), The Search (2009), Outline (2009), Pictures – Pushboxer (2008), Whispering Palms (2008), Fully Furnished (2008), The Great Outdoors (2007), Flutter By (2006), Simulate According to Speed Date (2005)

As humanity bears witness to the first manned mission to Mars, an astronaut faces up to the prospect of being left behind.

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OR

Radio Silence UK | 2013 | 21 min Director: Duncan Cowles Writer: Duncan Cowles

LOMA – A Family Holiday

Orbit Ever After

Scottish premiere Finland/UK | 2013 | 10 min

Director: Jamie Stone

Scottish premiere | UK | 2013 | 20 min

Writer: Jamie Stone

Producer: Duncan Cowles, Scott Willis (co-producer)

Director: Katri A Vanhatalo Writer: Katri A Vanhatalo

Producers: Chee-Lan Chan, Len Rowles

Cinematographer: Duncan Cowles

Producers: Katri A Vanhatalo, Pollyanna Tatiana

Cinematographer: Robin Whenary

Sound: Nick Humphrey (sound design), Callum Barton (music), Alex Cowles (music) Editors: Duncan Cowles, Anna Deutsch Cast: Steve Cowles Contact: dcowles@live.co.uk Director filmography: Soft Toffee (2012), Seavacuee (2012), The Lady with the Lamp (2011)

A personal journey to discover why the filmmaker finds it difficult to speak to his father.

His search for answers leads him to the life of a family member that nobody’s ever talked about.

OS

Cinematographer: Alan McLaughlin Sound: Simon Herron Editor: Karel Dolak Production Designer: Ailsa Williams Cast: Mirja Oksanen, Ari Murto, Olli Saarenpaa, Alex Donald, Suzanne Elliott Contact: katri.a.vanhatalo@gmail.com

The Harjunens, a Finnish family, arrive at a remote cottage in Scotland for a holiday. Little do they know the cottage has been double booked and they are stuck with the Toulsons, a Scottish family, for the night.

As the adults struggle to adjust, the children Jaakko and Sarah become friends and embark on a holiday of their own.

Sound: Jens Petersen Editor: James Taylor Production Designer: Abigail Joshi Cast: Thomas Brodie-Sangster, Mackenzie Crook, Bronagh Gallagher, Bob Goody, Naomi Battrick Contact: jamiemagnusstone@hotmail.com Director filmography: Skyborn (2012), Flights (2008), The World According to... (2008), Fritz (2006)

Love transcends all boundaries. Even in space.

A science fiction romance where two star–cross’d lovers overcome all probabilities and sacrifice everything they have in order to spend one perfect moment together.

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SCOTTISH COMPETITION 5: TOGETHER WE STAND

Colours

Nae Pasaran

Ahora, No

Scottish premiere | UK | 2013 | 15 min

UK | 2013 | 13 min

Spain/UK | 2013 | 17 min

Director: Graham Fitzpatrick

Director: Felipe Bustos Sierra

Writer: Graham Fitzpatrick

Writer: Felipe Bustos Sierra

Directors: Elia Ballesteros, Kate Campbell

Producer: Sarah Drummond

Producer: Rebecca Day

Cinematographer: Steven Cook

Cinematographer: Julian Schwanitz

Sound: John Cobban Editors: Andreas Antonopoulos, Graham Fitzpatrick Cast: Jamie Ross, Ian Michie, John Ballantyne, Elek Kish, Paul Reynolds Contact: graham.fitzpatrick@gmail.com Director filmography: Mum’s Birthday (2010), Stolen Christmas (2007), Yesterday's News (2006), Julie (2005)

For a gay teenager, jail is hell.

A cast of first-time performers, all inmates from a youth prison, show how attempting to gain acceptance is a risky business.

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Sound: Jack Coghill

Writer: Elia Ballesteros Producer: Gloria Bartolomé Cinematographer: Minttu Maari Mäntynen

Editor: Anne Milne

Sound: Marcin Knyziak, Ludmila Mercerón, Teresa Polyvka

Animation: Frederic Plasman

Editor: Kate Campbell

Contact: info@scottishdocinstitute.com

Production Designer: Jaume Esteve

Director filmography: Five Six Seven Eight! (2012), Three-Legged Horses (2011), Tixeon (2010)

Cast: Gloria Muñoz, Ana Gete, Jorge Doménech, María José Moreno, Paula Gavilán

In a small Scottish town in 1974, factory workers refuse to carry out repairs on warplane engines in an act of solidarity against the violent military coup in Chile. Four years pass before the engines, left to rust in the factory yard, mysteriously disappear in the middle of the night.

Director filmography: Elia Ballesteros: Saskia (2011) Kate Campbell: Threads (2011), Of Another (2010), Tribes (2009), If it turns (2008)

Contact: thecovenfilms@gmail.com

Spain, 1977. Franco has just died but the ghosts of the old regime still linger. Colonel Asensio has gathered his family and friends to celebrate his birthday. The party is going perfectly. But one of the guests holds a secret that has been buried for many years and refuses to stay hidden.

OT

Red Dust

Spectators

UK | 2013 | 16 min

UK | 2013 | 4 min

UK | 2013 | 17 min

Director: Ilona Kacieja

Filmmaker: Ross Hogg

Director: Rory Alexander Stewart

Writer: Ilona Kacieja

Producer: Ross Hogg

Writer: Rory Alexander Stewart

Producer: Ilona Kaciej

Producer: Tom Chick

Cinematographers: Ilona Kaciej, Pete Harper

Sound: Ross Hogg, Dream and Machine by Sun Dogs Contact: ross@rosshogg.com

Sound: Iain Henderson, Malami, dod1mcb1

Director filmography: The Man Who Mistook His Wife For A Hat (2013).

Cinematographer: Rory Alexander Stewart

Editor: Michal Kaczorowski Cast: Anne Hendry, Martin Kerr, Mary Ferry, Gina Rice, Frank Roy MP Contact: ravenscraig@live.co.uk Director filmography: Deryck's Beads (2012), Wham! Bam! (2011), A wee white house (2010), Mai Jour Nei (2009), Hudi (2008)

This hard-hitting documentary tells the story of North Lanarkshire's Ravenscraig steelworks in terms of the pollution-related illnesses still being suffered by former workers, residents and their children. By means of testimonials, it gives voice to residents who are all-too-aware of the high incidence of illness. The film suggests the former Ravenscraig steelworks site could still be contaminated.

Paradoxically, it is Europe’s biggest post-industrial regeneration project.

OU

An observational animation that inverts the expected focus of a football match, turning attention to those on the periphery. The film investigates social interaction and human behaviour, revealing the diversity of character found among football spectators, which can often become obscured by the mass.

The Port

Sound: Peter Allen Editor: Rory Alexander Stewart Contact: info@rorystewartfilms.co.uk

The Port O’ Leith is one of Edinburgh’s most infamous pubs with its own distinct traditions fuelled by the stories of its tight-knit regulars. The film is an intimate and lively study of the community that makes up one of the last true locals in Edinburgh.

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Harry & Avis World premiere | UK | 2013 | 10 min Director: Nathan Hollis Writer: Nathan Hollis Producers: Susanna Green, Nathan Hollis Cinematographer: Alex Nevill Sound: Paul Hartmann Editor: Nick Gibbon Cast: Margo Mount, Nathan Hollis Contact: harryandavis.thefilm@gmail.com Director filmography: Life Understood Backwards (2013), That One Time Sarah Let Herself Go (2013), Old Man (2011)

An off-beat romantic comedy following two eccentric lovers who take a camping trip to Loch Lomond. Harry’s perpetual state of existential crisis interferes with what is supposed to be a romantic getaway, as he finds himself pondering the important questions in life.

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OV

INTERNATIONAL COMPETITION JURY SARAH ADAM A freelance curator and member of the artist group A Wall is a Screen, Sarah Adam studied history and English literature at the universities of Freiburg, Naples and Hamburg. After graduating, she worked at the University of Hamburg as a freelance movie production assistant and as project manager for several cultural institutions. She curates and organises programmes for several German festivals such as the Hamburg International Short Film Festival and the Kassel Documentary Film and Video Festival.

JACOB SECHER SCHULSINGER Having graduated from the National Danish Film School as a film editor in 2009, Jacob Secher Schulsinger edited his first two feature-length films – Volcano by Rúnar Rúnarsson and Play by Ruben Östlund – both of which premiered at the Cannes Film Festival in 2011. His first film as a director, the short documentary Fini, won a Danish Academy Award and several international awards, including the inaugural Bill Douglas Award at GSFF12. His second film, Matar Extraños, which he co-directed with Nicolás Pereda, premiered at the 2013 Berlin Film Festival. He recently completed work as a co-editor on Lars Von Trier’s Nymphomaniac and is currently editing Ruben Östlund’s next feature, Turist.

ANTONIO TOSCANO A film editor based in Rome, Antonio Toscano graduated from the Italian Centro Sperimentale di Cinematografia. His works have been screened at many international film festivals, including the short film section of Venice Film Festival. Since 2008 he has worked for Magma – mostra di cinema breve, one of the most important Italian short film festivals. He first experienced Magma as a filmmaker in 2006, with a stop-motion animation being screened in the festival. Following his passion for stop-motion animation alongside editing work, he has recently produced a series of Lego recreations of Hollywood trailers, which are earning him great success on the web.

PM

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INTERNATIONAL COMPETITION INTERNATIONAL COMPETITION 1:

PAST PERFORMANCE GFT CINEMA 3 Thursday 13 February (18.30) Saturday 15 February (13.15)

INTERNATIONAL COMPETITION 2:

REALITY BLEEDS

GFT CINEMA 3 Thursday 13 February (20.45) Saturday 15 February (15.30)

INTERNATIONAL COMPETITION 3:

IN HIS IMAGE

GFT CINEMA 3 Friday 14 February (13.15) Saturday 15 February (18.30)

INTERNATIONAL COMPETITION 4:

ENDGAMES

GFT CINEMA 3 Friday 14 February (15.30) Saturday 15 February (20.45)

INTERNATIONAL COMPETITION 5:

STANDING GROUND GFT CINEMA 3 Friday 14 February (18.30) Sunday 16 February (13.15)

INTERNATIONAL COMPETITION 6:

WRITTEN ON THE BODY GFT CINEMA 3 Friday 14 February (20.45) Sunday 16 February (15.30)

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PN

INTERNATIONAL COMPETITION 1: PAST PERFORMANCE

Riverbero International premiere Italy | 2013 | 14 min Filmmaker: MYBOSSWAS Producer: MYBOSSWAS Contact: hello@mybosswas.com

The Turin-based network of film directors, musicians, graphic designers, photographers, programmers and artists takes us to the city's National Institute of Metrological Research for a vision of life on the border.

Inside, we are witness to a one-off musical performance designed exclusively for the awe-inspiring reverberation chamber. Taking the physics of sound to the limit, the film contrasts the mystical, almost-holy performance with the mathematical aloofness of its ‘priest‘.

Dad’s Stick

Afghan ’72

Scottish premiere | UK | 2012 | 5 min

European premiere USA | 2013 | 4 min

Director: John Smith Writer: John Smith

Director: Pierre Forcioli-Conti

Producer: John Smith

Writer: Pierre Forcioli-Conti

Cinematographer: Patrick Duval Sound: John Smith

Producer: Pierre Forcioli-Conti

Editor: John Smith

Cinematographer: Alain Voss

Contact: info@johnsmithfilms.com

Sound: Ben Von Wildenhaus, Plushgoolas, Waylon Thorton

Director filmography: Horizon (Five Pounds a Belgian) (2012), Soft Work (2012), The Man Phoning Mum (2011), Unusual Red Cardigan (2011), Flag Mountain (2010), Hotel Diaries (2001– 07), Worst Case Scenario (2001– 03), Lost Sound (collaboration with Graeme Miller) (2001), The Kiss (collaboration with Ian Bourn) (1999), The Waste Land (1999), Regression (1999), Blight (1996), Home Suite (1993 – 94), Gargantuan (1992), Slow Glass (1988 – 91), Om (1986), The Black Tower (1985 – 87), Shepherd’s Delight (1980 – 84), The Girl Chewing Gum (1976), Associations (1975), Leading Light (1975)

Featuring three well-used objects that were shown to the filmmaker by his father a few months before he died, the film looks back over half a century, playing with abstract and literal meanings to produce an oblique portrait of a perfectionist with a steady hand.

PO

Editor: Pierre Forcioli-Conti Contact: pfconti@gmail.com Director filmography: Time for Space (2014), The Archive Future Trilogy (2013 –2014), 2001 Via Wikipedia (2013)

Exit the predictable suburban family man. Enter the epic adventurer travelling on horseback through Afghanistan. Created from found footage, Afghan ’72 depicts the improbable meeting between a man and a landscape. Poetic and unexpected, it shows the past clashing with the present through a son’s projected view of his father.

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Off-White Tulips

Gutenberg Scottish premiere | UK | 2013 | 2 min

Esa Musica

UK premiere | Turkey/Germany 2013 | 24 min

Filmmaker: Amalie Vilmar

UK premiere | Colombia | 2013 | 27 min

Producer: Amalie Vilmar

Director: Dario Vejarano

Contact: amaliebcvilmar@gmail.com

Writer: Fabian Vejarano

Filmmaker: Aykan Safoglu Producer: Aykan Safoglu Contact: aykanella@gmail.com Director filmography: Untitled (a Berlin Portrait) (2013), Cruising fiction (2007), Anti-confessions vol 1 fiction (2007)

Concentrating on James Baldwin's extended stays in Istanbul in the 1960s and 70s, the film explores the limits of an autobiography mostly relying on found materials such as Sedat Pakay’s photography.

The video-essay also investigates racism, transnational discourses, queer politics and appropriation art.

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A stop-motion animated short made entirely out of books and paper. It explores the physical qualities of paper and how it can be transformed into new and surprising ideas. Through the magic of animation, the book and its pages come to life, taking on entertaining personalities.

That Music

Producer: Camilo Cabrera Cinematographer: Fabian Burgos Sound: Felix Corredor Editor: Fabian Vejarano Production Designers: Angela OrdoĂąez Cast: Julio Pachon, Ariel Sierra, Victor Hugo Morant, Daniel Rocha Contact: camiloc_3@hotmail.com

Omar, a construction worker, receives a recorded message on his cell phone from an unknown caller. Even though nobody speaks, he vaguely recognises the melody of a song amid the noise of the recording. From that moment on, he will start a search to find the name of that song in an attempt to remember the life he once had with his family.

PP

INTERNATIONAL COMPETITION 2: REALITY BLEEDS

The Case Director: Cecilia Stenbom

The Immaculates Emergency Calls Gli Immacolati Hätäkutsu UK premiere | France | 2013 | 13 min

Writer: Cecilia Stenbom

Director: Ronny Trocker

Producer: Mat Fleming

Writer: Ronny Trocker

Cinematographer: Minttu Maari Mäntynen

Producer: Eric Prigent

Filmmakers: Hannes Vartiainen, Pekka Veikkolainen

Cinematographer: Sébastian Pincin

Sound: Joonatan Portaankorva

Scottish premiere | UK | 2013 | 9 min

Sound: Marek Gabrysh

UK premiere | Finland | 2013 | 15 min

Cast: Lauri Hynninen, Jonna Uhrman, Juha Hippi, Eeva Putro

Editor: Edwin Mingard

Sound: Anouschka Trocker, The Necks

Production Designer: Krista Puranen

Editor: Ronny Trocker

Contact: hannes@pohjankonna.fi

Cast: Adriana Tudor, Sarah Perahim, Seby Ciurcina

Director filmography: Gates of Life (2012), The Death of an Insect (2010), Hanasaari A (2009)

Cast: Jill Dellow, Ross Mitchell, Nazim Kourgli, Trish McLaughlin Contact: ceciliastenbom@gmail.com Director filmography: How To Choose (2012)

Is crime fiction a source of entertainment or does it merely perpetuate our fears and anxieties? The film’s dialogue and voiceover segments are re-enactments of interviews with the general public about their perception of crime.

PQ

Contact: ronny.trocker@gmail.com Director filmography: Eiszeit 2012, Grenzland-Terra di confine 2012, Amor Precario 2007

December 2011, in a town in northern Italy, a young man returns home as he does every evening. He parks his car and discovers his 16-year-old sister in tears in front of their house.

She tells him two young Romani guys have raped her. The young man immediately goes in search of the attackers but cannot find them. The neighbourhood organises a solidarity march in view of the event. The tension begins to rise...

Being human is a fragile and fleeting opportunity to experience life and the universe around us. In the face of overwhelming darkness, all we can do is find solace in one another. This film is based on authentic emergency calls and radio traffic.

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The Questioning

Colours Scottish premiere | UK | 2013 | 15 min

Trusts and Estates

UK premiere | China | 2013 | 22 min

Director: Graham Fitzpatrick

Scottish premiere | USA | 2013 | 5 min

Director: Zhu Rikun

Writer: Graham Fitzpatrick

Director: Jeanette Bonds

Writer: Zhu Rikun

Producer: Sarah Drummond

Writer: Jeanette Bonds

Producer: Zhu Rikun

Cinematographer: Steven Cook

Producer: Sandra Chanis

Cinematographer: Zhu Rikun

Sound: John Cobban

Sound: Jeanette Bonds, Pal&Drome

Editor: Yu Xiaochuan

Editor: Andreas Antonopoulos, Graham Fitzpatrick

Editor: Fabian Vejarano

Contact: zhurikun@gmail.com

The filmmaker’s own experience of an encounter with the police while visiting his human-rights activist friends in China. He turned on his camera when the police knocked on the door of his hotel room.

Cast: Jamie Ross, Ian Michie, John Ballantyne, Elek Kish, Paul Reynolds Contact: graham.fitzpatrick@gmail.com Director filmography: Mum’s Birthday (2010), Stolen Christmas (2007), Yesterday's News (2006), Julie (2005)

For a gay teenager, jail is hell. A cast of first-time performers, all inmates from a youth prison, show how attempting to gain acceptance is a risky business.

Production Designers: Angela Ordoñez Cast: Sean Buckelew, Jess Iglehart, Benjamin Ochieng, Juan Riedinger, Dan Russo Contact: jeanettebonds@alum.calarts.edu Director filmography: Hallgrímur og Jeremy (in progress), Systematic Disease (in progress), Laser Non Laser II (2013), Limitations (2012), Laser Non Laser (2012), Thomas Edison: What a Jerk (2012), Comparative Shorthand (2011), OED: Res Ipsa (2011), Wade (2010), 14.7 PSI (2010), Ensemble (2009)

A hand-drawn animated documentary satire adapted from a conversation overheard in a Santa Monica restaurant in 2011. Four lawyers engage in a bantering dinner conversation that quickly desolves into a grotesque and brutal comedy of cruelty and hypocrisy.

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PR

INTERNATIONAL COMPETITION 3: IN HIS IMAGE

L’Assenza Scottish premiere | UK | 2013 | 21 min Director: Jonathan Romney Writer: Jonathan Romney Producer: Carey Born

A Third Version Plug & Play of the Imaginary Scottish premiere | Switzerland UK premiere | Kenya/USA | 2012 12 min

2013 | 6 min

Director: Michael Frei

Cinematographer: Nic Knowland BSC, Tim Sidell

Director: Benjamin Tiven

Writer: Michael Frei

Writer: Benjamin Tiven

Sound: Joakim Sundström

Producer: Benjamin Tiven

Producer: François Chalet

Editor: Adam Finch Production Designer: Kate Evenden Cast: Stephen Mangan, Amanda Ryan, Michael Higgs, Susanna Cappellaro, Rebecca Cardinale Contact: contact@firstbornfilms.co.uk Director filmography: A Social Call (2002), Man goes to the doctor... (Stop for a Minute series) (2001), One-Eyed Jacques (as writer only) (2001)

By chance, a man sees his double in an Italian film of the early 1960s. Fascinated, he returns to see the film again and again – only to find the images changing with every viewing. Becoming addicted to his own image, he travels to Paris for another encounter with his doppelganger. In the tradition of supernatural tales of possession, L’Assenza (The Absence) is a film about the fascination that cinema exerts on us – a fascination implicitly narcissistic, morbid, even dangerous.

PS

Cinematographer: Jim Bishop Sound: Matthew Girard, Hsi-Chang Lin Editor: Benjamin Tiven Cast: Magambo Mwenda Contact: info@benjamintiven.com

An encounter with the video and film library of the Kenya Broadcasting Corporation in Nairobi.

Contact: info@michaelear.com Director filmography: Not About Us (2012)

Anthropoid creatures with plugs in place of heads are up to mischief. Instead of abandoning themselves to the dictates of the raised finger, they soon submit to themselves. But the fingers also finger around. Is it love?

Plug & Play is entirely finger-drawn on the integrated touchpad of a laptop.

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Yak Butter Lamp

Anomalies

SLR

Scottish premiere | UK | 2012 | 12 min

Scottish premiere | UK | 2013 | 23 min

La lampe au beurre de yak

Director: Ben Cady

Director: Stephen Fingleton

Writer: Ben Cady

Writer: Stephen Fingleton

Producer: Ben Cady

Producer: Matthew James Wilkinson

Scottish premiere | France/China 2013 | 15 min

Sound: Joe Gilder

Director: Hu Wei

Animation: Ben Cady

Writer: Hu Wei

Contact: benjamincady@hotmail.co.uk

Producer: Julien FĂŠret Cinematographers: Jean Legrand, Stephane Degnieau Editor: Hu Wei Cast: Genden Punstok Contact: contact@amaproductions.fr Director filmography: Le propriĂŠtaire (2012), Sans toi (2009)

A young photographer and his assistant offer to take pictures of some Tibetan nomads.

Against diverse and exotic backgrounds, families appear to the photographer. Through these shots, the photographer weaves unique links with each of the various villagers.

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Director filmography: The Goat and The Well (2010)

The inhabitants of a minimalist world find themselves confronted by a series of unexplained presences.

Cinematographer: Luke Bryant Sound: Steve Browell (sound design), Stephen Fingleton (music) Editor: Mark Towns Production Designer: Catherine MacFerran Cast: Liam Cunningham, Amy Wren, Richard Dormer, Ryan McParland, Jasmine Breinburg Contact: stephen.fingleton@gmail.com Director filmography: Shirin (2012), Driver (2009)

Elliot is a middle-aged divorced man with a secret obsession: he is hooked on voyeur pornography in which men take pictures and videos of women without their knowledge. Then he makes a shocking discovery, forcing him onto the trail of an anonymous photographer known only by his online username ANORAK.

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INTERNATIONAL COMPETITION 4: ENDGAMES

When We Lived No Hope For in Miami Men Below UK premiere | USA | 2012 | 13 min Director: Amy Seimetz Writer: Amy Seimetz Producer: Andrew Hevia Cinematographer: Jay Keitel

World premiere | UK | 2013 | 11 min Director: Adam Stafford Writer: Janet Paisley Producers: William Duncan, Adam Stafford, Susie Enoch

Sound: Ben Huff, Ben Lovett

Cinematographer: Leo Bruges

Editor: Amy Seimetz

Sound: Marcin Knyziak (sound design), The One Ensemble (music)

Production Designer: Monica Peña

Editor: David Arthur

Cast: Amy Seimetz, AJ Bowen, Fiona D'Avis

Production designer: Katarina Forsman

Contact: andrew.hevia@gmail.com Director filmography: Sun Don't Shine (2012), Round Town Girls (2009), We Saw Such Things (co-director) (2008), The Unseen Kind-Hearted Beast (2005)

This hypnotic short filmed during Hurricane Isaac explores the lengths one woman goes to keep her family from collapsing when a tropical storm threatens to destroy her way of life.

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Cast: Stewart Swinney, Paul Cowan, William Letford, Maggie Mcleod, Caroline McKennar Contact: duncanstaffordfilms@gmail.com Director filmography: Seven Years of Letters – The Twilight Sad (2010), The Shutdown (2009)

An ambient retelling of the Redding Pit disaster of 1923 in Falkirk, Scotland which claimed the lives of 40 men.

Narrated in broad Scots and shot in stunning black and white, the story is re-imagined from a female viewpoint by Falkirk poet Janet Paisley.

Grandpa and Me and a Helicopter to Heaven Morfar och Jag och helikoptern till himlen Sweden | 2012 | 14 min Directors: Åsa Blanck, Johan Palmgren Writers: Åsa Blanck, Petter Brundell Producer: Åsa Blanck Cinematographer: Johan Palmgren Sound: David Ricci Editor: Petter Brundell Production designer: Katarina Forsman Contact: johanpalmgren@gmail.com

There is deep friendship between a boy and his bedridden grandfather in their self-contained world of humour, warmth and love.

The aging man has a secret he wants to share with his grandson; together they make for the woods on a final adventure.

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Malaise

Summer Fall

Scottish premiere | Germany 2013 | 6 min Filmmaker: Christian Schmeer Sound: Maria-Lee Warren Contact: info@christianschmeer.com

UK premiere | Ukraine | 2013 | 24 min

Beelitz-Heilst채tten was built in 1898 as a sanatorium to care for victims of tuberculosis, but became a German military hospital during the first and second world wars and a Soviet military hospital after that. Prominent historical figures recuperated in the hospital, notably Adolf Hitler after being wounded at the battle of Somme, and Erich Honecker following his dismissal as the head of the East German government. In 1989, the grounds became the scene of six murders as necrophilic serial killer Wolfgang Schmidt, also known as the Beast of Beelitz, terrorised the area. Once considered among the most advanced hospitals in Europe, Beelitz-Heilst채tten has been abandoned and left to dilapidate because of discrepancies over its ownership.

This non-narrative documentary explores a small part of the healing town, which has more than 60 buildings linked via underground tunnels, while attempting to convey its unsettling atmosphere.

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Director: Maryna Roshchyna Writers: Maryna Roshchyna, Oleksandr Roshchyn, Anton Shashuk Producer: Oleksandr Roshchyn Cinematographer: Oleksandr Roshchyn Sound: Artem Baburin, Dymna Sumish, Bosnian Rainbows Editor: Maryna Roshchyna, Oleksandr Roshchyn Production Designer: Tereza-Tetyana Yakovyna Cast: Andriy Buchko, Oleksandra Moni, Iryna Melnyk, Volodymyr Zadniprovskiy, Anastasiya Tritenko Contact: sashcko@ukr.net Director filmography: Three Matches (2013), Game Without Words (2012)

How To Abandon Ship International premiere | USA | 2013 10 min

Filmmaker: Robin McKay Producer: Robin McKay Cast: Brittany Hubbard, Michael Sanchez, Nate Diekman Contact: rmckay@saic.edu Director filmography: Sedentary (2010)

There are many ways to deal with a sinking ship. Some may deny that it's sinking and cling to the deck, while others disappear into the woodwork at the first sign of a storm.

Through interviews and vignettes, we are shown the course of a relationship and its eventual capsizing.

Every boy has his day. The day when he feels he has become a man. What does it take to wake up the adult inside? Andrew is a young guy who lives with his mother in a small town. After a trip to his rarely seen father, he decides it is time to become the master of his destiny.

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INTERNATIONAL COMPETITION 5: STANDING GROUND

The Danger of Complete Extinction

Опасность полного исчезновения

Karmok European premiere | Faroe Islands 2012 | 5 min

Pandas Pandy

Director: RAMMATIK (Rannvá Káradóttir, Marianna Mørkøre)

Scottish premiere Slovakia/Czech Republic 2013 | 12 min

Writer: RAMMATIK

Director: Matus Vizar

Producer: RAMMATIK

Writer: Matus Vizar

Cinematographer: RAMMATIK

Director: Konstantin Kolesov

Sound: Thomas Garside

Producers: Peter Badac, Tomas Hruby

Writer: Konstantin Kolesov

Editor: RAMMATIK

Sound: Milos Hanzely, Ink Midget

Producer: Konstantin Kolesov

Production Designer: RAMMATIK

Editor: Matej Samal, Matus Vizar

Cinematographer: Evgenij Kozlov

Cast: Kristina Sørensen Ougaard, Matilde Wendelboe Dresler

Animation: Martin Búril, Adrián Hnát, Dalibor Kristek, Marek Pokorný, Dan Stanchev, Matus Vizar

UK premiere | Russia | 2012 | 26 min

Cast: Philipp Avdeev, Gleb Golender, Valentina Kuvaeva, Daniil Steklov Contact: nitnatsnokvoselok@gmail.com Director filmography: The Entertainer (animator) (2011), Breaks (Rasstavaniya) (2010), Nestroev (2009)

Driven by the terror of turning into his wreck of a father, the film's main character rebels against humanity.

Taking to the cold city streets, he is compelled by the overwhelming lack of love to do the most terrible things.

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Contact: info.rammatik@gmail.com Director filmography: Murmur (2014), Marran (2011), Irra (2011), Amohr (2011), Magma (2010), Memotekid (2009)

An experimental film, shot on Super 8 in the extreme landscapes of the remote Faroe Islands. Free of dialogue and narrative, it creates a hypnotic atmosphere in a surreal yet hauntingly beautiful universe.

Contact: peter@bfilm.sk

After millions of generations, they have a good chance of becoming another extinct species. But one day, an all-too-active primate called the human being found them and they became a pawn in man’s game.

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On the Threshold Sto katofli

Stay the Same UK | 2013 | 14 min

Director: Sam Firth

UK premiere | Greece | 2013 | 19 min

Writer: Sam Firth

Director: Anastasia Kratidi

Producer: Sam Firth

Writer: Anastasia Kratidi

Sound: Fraya Thomsen

Producers: Anastasia Kratidi, Eleftherios Kratidis

Contact: info@tinysparkproductions.com

Cinematographers: Dimitris Kassimatis

Director filmography: The Worm Inside (2010), ID (2009)

Sound: Nassos Tsialtas

Filmed on the shores of a sea loch in exactly the same place, at exactly the same time, every day for a year, Stay the Same is a hauntingly beautiful meditation on time, solitude and isolation. It is the third in a triptych of films exploring different forms of personal filmmaking.

Editor: Ioanna Pogiantzi Production designer: Ilias Kokkinidis Cast: Myrto Papoulia, Giannis Tsironis, Odysseas Gougoulis, Ali Sadaquat, Stefanos Balabanis Contact: kratidi@gmail.com Director filmography: 6 periods and 5 Escapes on a Port (2011), Homo sacer (2010), View by the Rooftop (2007), Bambakourgia (2006–07)

Lena, a 19-year-old girl, lives with her family in an isolated farmhouse in the Greek countryside. She is a docile body who serves her family by any means necessary. Now she stands on the threshold of her life and she has to take a decision.

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The Missing Scarf Scottish premiere | Ireland 2013 | 6 min

Director: Eoin Duffy Writer: Eoin Duffy Producer: Jamie Hogan Sound: Echolab Animation: Eoin Duffy Cast: George Takie Contact: eoin@eoinduffy.me Director filmography: On Departure (2012)

Albert the Squirrel makes a startling discovery: an empty space where once his favourite scarf lay. He heads off into the forest only to find everyone else is preoccupied with worries of their own. He helps who he can before moving on, but never seems to get any closer to his goal. Ultimately, Albert’s problem is put in perspective by the friends he helped and the problems they faced and overcame together.

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INTERNATIONAL COMPETITION 6: WRITTEN ON THE BODY

Ebb and Flow A Onda Traz, O Vento Leva Scottish premiere | Brazil | 2012 28 min Director: Gabriel Mascaro

Erotos UK premiere | France | 2013 | 7 min Director: Grégory Montaldo Writer: Grégory Montaldo Producer: Grégory Montaldo

Writer: Gabriel Mascaro

Cast: Julie Cardile, Agnès Croutelle, Camille Damour, Aurélie Mele

Producers: Rachel Ellis, Gerardo Peral

Contact: greg.montaldo@gmail.com

Cinematographer: Gabriel Mascaro

One summer night, he is about to make out with her.

But in the tiny stifling car, the fantasy changes itself into a disturbing dream.

Sound: Mauricio Editor: Eduardo Serrano Cast: Márcio Campelo Santana Contact: films@desvia.com.br Director filmography: Doméstica (2012), Avenida Brasília Formosa (2010), As Aventuras de Paulo Bruscky (2010), Um Lugar Ao Sol (2009), KFZ-1348 (2008)

Rodrigo is a young deaf man from Recife, northeast Brazil, who works installing car stereos in a small dealership on the outskirts of town.

Despite his deafness, sound penetrates his day to day life and he harnesses its vibrations, allowing it to pulse through his veins.

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Buffalo Death Mask Scottish premiere | Canada 2013 | 23 min Director: Mike Hoolboom Writer: Mike Hoolboom Producer: Mike Hoolboom Cinematographer: Mike Hoolboom, Steve Sanguedolce, John Price Sound: Machinefabriek, Jasper Tx Editor: Mike Hoolboom Cast: Stephen Andrews, Mike Cartmell, Phil Hoffman Contact: fringe@interlog.com Director filmography: Lacan Palestine (2011), Mark (2009), Fascination (2006), Public Lighting (2004), Imitations of Life (2003), In the Dark (2003), Tom (2002), Panic Bodies (1998), Letters From Home (1996), House of Pain (1995), Escape in Canada (1993), Frank’s Cock (1993), Mexico (with Steve Sanguedolce) (1992), White Museum (1986), Song for Mixed Choir (1980)

Buffalo Death Mask is a three-part meditation – visual, oral and haptic, both campy and ecstatic – on survival, mourning, memory, love and community. A conversation between Hoolboom and visual artist Stephen Andrews, both long-time survivors of the HIV retrovirus, floats over what seems to be a dream of Toronto and some of its ghosts.

No one savours the intimations of immortality inherent in recycled footage like Mike, no one else understands how processed Super 8 can answer the question, ‘Why are we still here when so many are gone?’ (Tom Waugh) di^pdlt peloq cfij cbpqfs^i OMNQ

Six Day Run Kuuden päivän juoksu UK premiere | Finland | 2013 | 14 min Director: Mika Taanila

Exchange & Mart UK premiere | UK | 2013 | 15 min

Directors: Cara Connolly, Martin Clark

Writer: Mika Taanila

Writer: Cara Connolly

Producers: Lasse Saarinen, Cilla Werning

Producers: Maeve McMahon, Phoebe Grigor

Cinematographer: Jussi Eerola

Cinematographer: Jamie Cairney

Sound: Olli Huhtanen Editor: Mika Taanila Cast: Ashprihanal Pekka Aalto Contact: hanna@kinotar.com Director filmography: The Most Electrified Town In Finland (2012), Twilight (2010), The Zone of Total Eclipse (2006), Optical Sound (2005), Future Is Not What It Used To Be (2002), A Physical Ring (2002), RoboCup99 (2000), Futuro – A New Stance for Tomorrow (1998), Pori (1998), Thank You for The Music – A Film about Muzak (1997)

A film about spiritual exercise on a one-mile paved loop in a park.

The six day run is one of the most extreme individual endurance sports dating back to the 1870s.

For six full days, the competitors run with minimal sleep, all the while trying to accumulate as many miles as possible. The film is based loosely on The Book of Genesis in the Bible (Gen 1:1– 2:3). ‘Inspiration tells us to become our true selves.

Aspiration tells us to become God himself.‘ (Sri Chinmoy). di^pdlt peloq cfij cbpqfs^i OMNQ

Sound: Jonnie Wilkes, James Savage Editor: Carmela Iandoli Production designer: Natalie Astridge Cast: Ewen Bremner, Grace Chilton, Tania Van Amse, Lorne MacFadyen Contact: connollyclarkfilms@gmail.com Director filmography: Boccia Brothers (2012), The Waltzer Boys (2010)

A remote Scottish boarding school is home to Reg, a lonely and yearning teenage girl. The handsome chainsawwielding tree surgeon, and the sinister and unorthodox self-defence instructor, are the only men in this world. When she is required to fight in the woods, Reg knows what she must do.

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MUSIC AND FILM

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GSFF14 OPENING PERFORMANCE: PULSE

THE ARCHES Thursday 13 February (Doors 20.30, concert starts 21.00) 1h, N/C 15+ Glasgow Short Film Festival is delighted to present the world premiere of PULSE, a dramatic collaboration between Grammy-nominated British/Bulgarian composer Dobrinka Tabakova and Scottish filmmaker Ruth Paxton.

PULSE is a noir-like expressionistic short film about peril and rescue. Taking place over the course of one night, it tells the story of two strangers, Rae and Khai, who give each other strength after their shared experience of depression. Travelling through the streets of Glasgow by the river Clyde to the iconic Grand Central Hotel, the film pairs Tabakova’s rich musical language with Paxton’s bold filmmaking to explore the energy and diversity of life in a modern city and the driving forces behind how different societies and cultures mix.

Tabakova’s score for piano, percussion and gamelan will be performed live, along with performances of other original compositions. She has been called a composer of ‘thoughtful and approachable’ music (Gramophone) with ‘glowing tonal harmonies and grand, sweeping gestures [which] convey a huge emotional depth’ (The Strad).

As a filmmaker, Paxton has a distinctive way of capturing the intimacy and complexity of people and their stories. A keen collaborator, she has had work screened at the Edinburgh International Film Festival, the London Short Film Festival, the Glasgow Short Film Festival and internationally. She has also been a member of the international jury at the Wiz-Art International Short Film Festival in Ukraine.

PULSE is commissioned by the Royal Philharmonic Society, as part of the PRS for Music Foundation’s New Music Biennial in 2014.

Made in association with Edge City Films.

All tickets £8.

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ALEX NEILSON SCORES

THE ART SCHOOL Saturday 15 February (Doors 19.00, first set 19.30) Approx. 3h 18+ Best known as songwriter and drummer for Trembling Bells, and as a leading proponent of the experimental folk scene, Alex Neilson regularly plays with the likes of Jandek and Will Oldham. However, his musical projects currently extend to mixed media free jazz and unaccompanied four-part harmony.

With each of these projects, he has recently collaborated with short filmmakers, and we are thrilled to bring them together for GSFF. The evening begins with a set by Death Shanties, including their score to Lucy Stein and Shana Moulton’s film Polventon. Next up is The Crying Lion, responding to Margaret Tait’s 1966 film The Big Sheep. Finally Trembling Bells will perform alongside The Port, Rory Stewart’s affectionate portrait of the lovers and fighters of the Port O’Leith pub in Edinburgh. An appropriately rabble-rousing climax for this one-night-only powerhouse supergroup appearance.

POLVENTON Lucy Stein & Shana Moulton I UK I 2013 I 11 min Polventon is made up of a series of black-comedy vignettes based on a family tragedy and its repercussions. The video connects personal mythology with a broader investigation into the idea of the ‘genius loci’ and the artistic/mythic heritage of Cornwall. The two female artists enact the directives of Cornish painter Peter Lanyon for experiencing the landscape from multiple viewpoints. The mimetic relationship between the female artists and the landscape acts as a spring board for themes of modernism, feminism and surrealism.

CAORA MOR/THE BIG SHEEP Margaret Tait I UK I 1966 I 41 min The Big Sheep describes the landscape of east Sutherland where Margaret Tait lived for a period in the 1960s. It was the site of the savage clearance of local crofters by landlords in the 19th century, now populated by sheep and the occasional tourist bus.

THE PORT Rory Alexander Stewart I UK I 2013 I 17 min The Port explores the history of Edinburgh’s most infamous pub and its distinct traditions fuelled by the stories of its tight-knit regulars. An intimate and lively study of the community that makes up one of the last true locals in Edinburgh.

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MUSIC AND FILM DISCUSSION DAY

CCA CLUBROOM Friday 14 February (11.00) 5h30m Frances Morgan, deputy editor of The Wire, former editor of Plan B magazine, and the author of Sight & Sound’s Soundings column, moderates a series of conversations between filmmakers featured in this year’s programme and the composers with whom they have collaborated.

11.00 –12.30 Ruth Paxton and Dobrinka Tabakova will discuss the creative processes that led to the realisation of their Royal Philharmonic Society commission PULSE. 13.00 –14.30 Adam Stafford will discuss his approach to filmmaking as a musician, and introduce his collaborators on No Hope For Men Below, sound designer Marcin Knyziak and composer Daniel Padden.

15.00 –16.30 Sam Firth and Fraya Thomsen will describe how their intense collaboration to create the score for Sam’s self-portrait Stay the Same helped enormously in transforming sixty hours of footage into a compelling 14-minute film.

One ticket gives access to all three discussions (£5).

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NITEFLIGHTS

FLEMING HOUSE CAR PARK Friday 14 February (Doors 22.30, performance from 23.00) 2h30m, N/C 18+ A special Valentine’s Day event! NITEFLIGHTS is a regular evening of film and performance curated by Glasgow-based artist Michelle Hannah, taking its theme from the fractured dystopia of Scott Walker’s song ‘Nite Flights’. Hosted for one night only in a disused underground car park on Renfrew Street, GSFF14’s NITE will be a visual presentation of vocal and cosmic noise as form, featuring local and international artists whose work expands the moving image through sound, sculpture and vision.

ZOVIET FRANCE/KONX-OM-PAX

THE ART SCHOOL Saturday 15 February (Doors 22.30) 4h30m, N/C 18+ An idiosyncratic collective of anonymous dronologists and pseudo-ethnomusicologists, Zoviet France’s investigations have taken them into fictional cultures where reality often slips into the hypnagogic. They have developed a radical relationship with the cheap technologies of old-fashioned tape recorders, primitive looping and sampling devices and basic dub trickery. Support comes from Konx-om-Pax, performing an audio-visual live set, JD Twitch and Rubadub’s Mark Maxwell.

An unmissable rare live performance, with collaborative films especially for Glasgow Short Film Festival.

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SPECIAL PROGRAMMES di^pdlt peloq cfij cbpqfs^i OMNQ

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INDEPENDENCE AND THE SCOTTISH FILM INDUSTRY

CCA THEATRE Saturday 15 February (16.00) 2h30m

INT. BEDROOM 1 A young man wakes in bed.

He turns on a television set with a remote control.

NEWS REPORTER We’re expecting the result any time now.

INT. BEDROOM 2 A young woman wakes in bed.

She scans the Twitter feed on her mobile phone.

INT. BEDROOM 1

INT. BEDROOM 2

MAN Oh, naw.

WOMAN Ya dancer!

On Friday 19 September, the scene above (or something akin to it) will be played out in millions of Scottish homes as the independence referendum result is announced to an eager public. For some, there has already been more than sufficient debate on the matter and their voting intentions are set firmly.

There are many others, however, who harbour a thirst for more detail before they will arrive at a decision.

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In order to help slake that thirst, Glasgow Short Film Festival and the University of Glasgow’s School of Culture and Creative Arts have joined forces to examine one specific area of concern – the pros and cons of independence on the future of filmmaking in Scotland. This is an important area in itself, but a focus on the referendum’s outcome on the specificities of film production might be able to shed light on wider questions facing Scotland in 2014 and beyond.

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The Scottish Government outlines its argument for a yes vote in Scotland’s Future, a white paper published in November last year. Section nine, entitled Culture, Communications and Digital, begins with a general statement: ‘Under independence, this Government will promote and support culture and heritage, both for their intrinsic value and for the benefits they contribute to Scotland.’ The recognition of culture as holding intrinsic, not simply economic, value is likely to be welcomed by filmmakers who have followed with concern the increased instrumentalist approach towards arts funding in the UK in recent years.

But they might be less enamoured by the lack of detail about film itself. The white paper states: ‘Scotland’s share of Lottery funding for the arts and film will be distributed by Creative Scotland.’ A yes vote raises the possibility/probability of a significant change to lottery funding, thereby, raising questions about the strength and levels of funding in years to come.

The white paper has more to say about other industries where change will have an impact on the film industry. It outlines, for instance, plans to develop a publicly funded Scottish Broadcasting Service (SBS). This raises two immediate questions: firstly, what impact will this have on BBC/SBS film funding? And, secondly, what will be the consequences for the practitioners who move between the two mediums?

This debate comes at an important time for the industry, which has had some recent notable successes, from Mark Cousins’ celebrated film essays to more mainstream films, such as Filth (Jon S Baird) and Sunshine on Leith (Dexter Fletcher). With God Help the Girl (Stuart Murdoch), Starred Up (David Mackenzie) and Under the Skin (Jonathan Glazer) – all either shot in Scotland, produced

by Scottish-based companies or directed

by Scottish-based filmmakers – eagerly di^pdlt peloq cfij cbpqfs^i OMNQ

anticipated in 2014, these successes might suggest the industry in Scotland is in rude health.

Yet, despite these achievements, a number of Scottish producers have voiced concerns that the industry is in urgent need of major government intervention. They have argued for the establishment of a separate agency (free from Creative Scotland) to oversee film in Scotland, a well-resourced film (and television) studio and increased feature-film funding. The Scottish government, thus far, has established a film studio delivery group, which is tasked with exploring various options – both geographical and operational – and is due to report in 2014.

But there has been no movement in the other areas, at least in public.

How high up the political agenda filmmaking can be pushed might determine the extent of government intervention, if any, this side of the referendum. But what comes after it? Would the film industry be best served if it was part of an independent nation? Or is remaining within the UK the wisest move? And, if the latter is best, what might the so-called devo-max option have to offer? Or perhaps, in an age when the industry functions increasingly at a transnational level, national independence is largely irrelevant? Other questions flowing from the white paper and the on-going public debate will inevitably arise between now and the event.

The panel will comprise respected academics and leading industry figures.

Come along and have your say.

DAVID ARCHIBALD Free entry, tickets available on the day from CCA box office. For full line-up of speakers, go to www.glasgowfilm.org/gsff.

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FOCUS ON IRELAND

It’s always interesting when a festival devotes a programme strand to a particular country.

And short film programmes are especially useful, given the possibilities of seeing a wide range of films. Through them, audiences can get an insight into the preoccupations of the country as well as seeing the best of emerging filmmaking talent.

What kind of Ireland do we see through the short films in these programmes?

Film helps us, literally, to see the world through the eyes of others. The question presents itself therefore: ‘What kind of Ireland do we see through the short films in these programmes?’

Ireland has been defined both though its own

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cinema and through the films of foreign directors setting films in Ireland. John Ford’s The Quiet Man for example presents Ireland as Edenic. Its fictional village of Innisfree is devoid of any signs of the 20th-century Ireland in which it is set. That film was more about Ford’s fantasy Ireland than about any actual place and that is its great charm. There are others more hard-edged: Ryan’s Daughter or The Field, for example, and other films that deal with aspects of our troubled history, such as In the Name of the Father and The Wind that Shakes the Barley. Most of the films cited above have been made by non-Irish directors and there are fruitful debates to be had about the range of cinematic representations – foreign and indigenous – of Ireland.

The films in these two programmes are made

by Irish directors (not all based in Ireland) and they range from young or emerging filmmakers to more established directors working in the short form. The styles cover drama, animation and experimental, are set in both rural and urban Ireland, in the north and south of the island.

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David Quin is an established animator with a consistent output of self-penned, self-funded and self-directed satirical shorts. Given the rich tradition of Irish literary satire, from Dean Swift to Myles na Gopaleen, and given the importance of satire, it’s regrettable that there are such few filmic expressions of such. In his latest film, Quin is playfully satirical of his friend and fellow animator Tony Donogue’s Irish Folk Furniture – also in the programme. It has the distinction of containing ‘graphic sex scenes’ – between a chair and a chest of drawers!

Not for sensitive viewers.

Even the mundane can have beauty and significance Tony’s wonderful film Irish Folk Furniture has won many awards including Best Animation at last year’s Sundance. Working with his rural neighbours, Tony’s film is extraordinarily beautiful, as well as being important ethnographic work.

Cathy Brady is one of our most talented emerging filmmakers. Each of her dramatic shorts has impressed and won awards.

Morning is a recent film made while studying in England. From Belfast comes A Removal’s Job, an example of how, through the eye of the artist, Nicholas Keogh, even the mundane can have beauty and significance.

David O’Reilly is an important animator with a distinctive visual signature. Now based in Berlin, his work, in both style and content, has taken animation in a new direction. Please Say Something was the film which launched him on the international stage.

The oldest film in the programme is the 2006 Undressing My Mother by Ken Wardrop.

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slew of awards at numerous festivals around the world. Another example of Wardrop’s work is Useless Dog about the dog on the family farm; a simple film creating art from the everyday.

Filmmakers have not shied away from the realities of the current economic crisis in Ireland.

Perhaps the short film is the form for doing so.

Mairtín De Barra’s Atrophy and Ian Thuillier’s Driven are, in their different ways, engaging with the implications of financial pressure on individuals. Dave Tynan’s Just Saying, an internet hit, is a fine piece of writing delivered with style and energy by the actor as he strides through the streets of Dublin. And like other films in the programme, the filmmaker is far from ‘just saying’, but making a passionate and cogent expression of the feelings of young Irish people.

Niall Owen’s moving Torn and Shimmy Marcus’s charming Rhinos are dealing in their ways with love and misunderstanding, the latter joyful linguistic misunderstanding. Phil Harrison’s Even Gods also deals with love, in this case that of an estranged daughter and her damaged father – a powerful performance from the Belfast actor, Lalor Roddy.

Old Fangs by Adrien Merigeau and Alan Holly is a beautifully made animated film, with a heart-breaking emotional undercurrent. Last year, the Glasgow audience awarded Conor Finnegan’s Fear of Flying the Audience Award, and here is another opportunity to enjoy its gentle charm.

There is much to enjoy in these programmes and much to ponder. Some films will, no doubt, chime with audiences’ pre-existing images of Ireland and others will surprise and confound expectations. But all evince filmmaking talent and rich imagination. They demonstrate the wonderful capacity of the short film to be eloquent about a society.

IndieCork is delighted to participate in the Glasgow Short Film Festival 2014 through the opportunity to present these shorts. Úna Feely, Mick Hannigan Co-Directors IndieCork RR

FOCUS ON IRELAND 1

CCA CINEMA Friday 14 February (19.00) 1h30m, N/C 15+

Mechanic

Just Saying

Even Gods

Ireland | 2013 | 15 min

Ireland | 2013 | 5 min

UK | 2012 | 18 min

Directors: Tom Sullivan, Feidlim Cannon

Director: Dave Tynan

Director: Phil Harrison

Writer: Dave Tynan

Writers: Tom Sullivan, Feidlim Cannon

Writer: Phil Harrison

Cast: Emmet Kirwan

Producers: Lisa Barros D’Sa, Phil Harrison

Producers: Tom Sullivan, Siun O’Connor, Derek O’Connor Cast: Syl Fox Contact: derekoconnor72@gmail.com Director filmography: Asal (2010)

A mechanic repairs an old car and takes it on a drive into the Dublin Mountains, intent on ending his life. When an old man lost in the hills interrupts, he is forced to abandon his plans to help the man – but night is falling and the car won’t start.

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Contact: kathyrn@kennedyfilms.net Director filmography: Minim Rest (2010)

Cinematographer: Angus Mitchell

About loving Dublin – even when you don’t always like it.

Editor: Helen Sheridan

Sound: James MH Atkinson

Cast: Lalor Roddy, Laura Thompson, Lois Turkington Contact: philharrison@themanifesto.co.uk Director filmography: The Good Man (2013), The Birds, Like (2009)

Hughie has reconciled himself to life in a Belfast hostel. But when his estranged daughter gets in touch, the boundaries of Hughie’s solid life begin to blur.

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Please Say Something

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Old Fangs

Ireland | 2012 | 15 min

Ireland | 2009 | 11 min

Ireland | 2009 | 10 min

Director: Niall Owens

Director: David O'Reilly

Writer: Niall Owens

Directors: Adrien Merigeau, Alan Holly

Writer: David O'Reilly

Producer: Ian de Brí, Niall Owens

Animation: David O’Reilly

Cinematographer: Paraic English, Justin MacCarthy

Contact: mail@davidoreilly.com Director filmography: The External World (2010), Wofl 2106 (2008), Octocat Adventures (2008), RGB XYZ (2008), Serial Entoptics (2008)

A troubled relationship between a cat and mouse.

Set in the distant future.

Producer: Ross Murray Sound: Laurent Sassi

Sound: Niall Hurley, Leon O’Neill

Production designer: Ross Murray

Editor: Ian de Brí, Niall Owens

Animation: Robbie Byrne, Rory Byrne, Fabian Erlinghauser, Joe Gamble, Sean McCarron, Tomm Moore

Cast: Kevin Barry, Timmy Creed, Donncha Crowley Contact: owens.niall@yahoo.co.uk Director filmography: Ink (2013), Exit Poll (2011), A Tale of Three Legs (2008)

A young man leaves his island home and travels to the city to confront his older brother with the results of a paternity test.

The answer contained within will forever change both their lives.

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Writer: Adrien Merigeau

Cast: Paul Young, Rhob Cunningham, Alan Holly Contact: hello@adrienmerigeau.com

A young wolf decides to confront his father. He had not seen him since he was a child.

RT

Undressing My Mother

A Removals Job

Ireland | 2006 | 7 min

UK | 2012 | 13 min

Director: Ken Wardrop

Director: Nicholas Keogh

Writer: Ken Wardrop

Writer: Nicholas Keogh

Producer: Andrew Freedman

Producer: Jason Mills Cinematographer: Mark Garett

Cinematographer: Ken Wardrop

Editor: Yellow Moon

Sound: Ken Wardrop

Cast: Brian Brown, Danny Kendall, Martin Carter

Editor: Ken Wardrop Contact: info@venom.ie Director filmography: Return to Roscoff (2010), His & Hers (2009), The Herd (2008), Farewell Packets of Ten (2007), Tongue Tied (2007), Contagious (2007), Bongo Bong (2006), Love Is Like a Butterfly (2004), Useless Dog (2004), Ouch!

(2004)

Contact: jasonmills79@yahoo.co.uk

A celebration of the camaraderie of a group of workers as their unspoken exchanges and subtly choreographed movements produce a seamless flow of objects slotting perfectly into a skip.

A multi award-winning documentary featuring the filmmaker’s mother as she speaks of her body and her deceased husband.

RU

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FOCUS ON IRELAND 2

CCA CINEMA Saturday 15 February (19.30) 1h30m, N/C 15+

Irish Folk Furniture

Morning UK/Ireland | 2012 | 21 min

Ireland | 2012 | 10 min

Ireland | 2012 | 8 min

Director: Cathy Brady

Director: Conor Finnegan

Filmmaker: Tony Donoghue

Writer: Cathy Brady

Writer: Conor Finnegan

Producer: Tony Donoghue

Producer: Cathy Brady

Producer: Brunella Cocchiglia

Contact: tonydonoghue@gmail.com

Cinematographer: Nick Cooke

Cinematographer: Ivan McCullough

Director filmography: Six Farms: A Film From My Parish (2007)

Editor: Matteo Bini

In Ireland, old hand-painted furniture is often associated with hard times and poverty.

In this animated documentary, 16 pieces of traditional folk furniture are repaired and returned home.

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Sound: Finn McNicholas Cast: Eileen Walsh, Johnny Walsh Contact: cathy@cherryredpictures.com Director filmography: Wasted (2013), Kiss (2012), Small Change (2010)

A ferocious headache awakens Mary from her sleep before the attention of a persistent reporter exacerbates her misery.

Fear of Flying

Sound: Steve Fanagan, Jean McGrath Editor: Conor Finnegan Cast: Mark Doherty, Aoife Duffin, Steven Courtney Contact: brunella@lovelyproductions.com

A small bird with a fear of flying tries to avoid heading south for the winter.

RV

Driven

Useless Dog

Rhinos

Ireland | 2013 | 9 min

Ireland | 2004 | 5 min

Ireland | 2012 | 17 min

Director: Ian Thuillier

Director: Ken Wardrop

Director: Shimmy Marcus

Writer: Ian Thuillier

Writer: Ken Wardrop

Writer: Shimmy Marcus

Contact: kathryn@kennedyfilms.net

Producer: Andrew Freedman Cinematographer: Ken Wardrop

Producers: Ciara Gillan, Shimmy Marcus

How can you do your best when they’ve taken that too?

Sound: Peter Blayney

Cinematographer: Cathal Watters

Editor: Oleg Jitov

Sound: Mark Henry, Seán Plunkett

Contact: info@antidote.ie

Editor: Lee Hickey

Director filmography: Return to Roscoff (2010), His & Hers (2009), The Herd (2008), Farewell Packets of Ten (2007), Tongue Tied (2007), Contagious (2007), Bongo Bong (2006), Undressing My Mother (2006), Love Is Like a Butterfly (2004), Ouch! (2004)

An observation about an inept but lovable farm dog.

Cast: Fionn Walton, Alyn Tezel Contact: shimmymarcus@gmail.com Director filmography: Hannah Cohen’s Holy Communion (2012), Fame (2011), Good Cake Bad Cake: The Story of Lir (2011), Soulboy (2010), Imagining Ulysses (2004), Headrush (2003), Trevor the Insomniac (2001), Aidan Walsh: Master of the Universe (2000), 7th Heaven (1999)

Ingrid and Thomas are thrown together by circumstance.

Overcoming the language barrier, they learn more about each other than they would have thought possible.

SM

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Atrophy Ireland | 2013 | 13 min Director: Mairtín de Barra Writer: Mairtín de Barra Producer: Fearghal Duffy Cinematographer: Eleanor Bowman Sound: Patrick Downey, Fionn Higgins Editor: Eamonn Cleary Cast: Pat Deery Contact: mairtin@mdebarra.com Director filmography: Beat Girl (2013), The Owner (2012), 140 (2009), Tart (2008)

Man versus progress, progress versus nature.

An elderly farmer’s life is devastated by the building of a motorway through his land. He exacts revenge...

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Furniture – Murder and Love Ireland | 2013 | 3 min Filmmaker: David Quin Producer: David Quin Contact: dtquin@eircom.net Director filmography: Leitronium (2011), Rinkydink and the Salmon of Knowledge (2011), Mister Heaney A Wee Portrait (2010), Twas A Terrible Hard Work (2010), Cutbacks (2009), Florida War (2000)

Murder, lust and love in the world of Irish folk furniture.

Will our hero Peadar survive to save his love, the wonderful, beautiful Deirdre?

SN

SHORT COM WITH JOSIE LONG

Chugger UK | 2013 | 2 min Director: Hal Branson

The Royal (8-BIT) Jubblies

CCA THEATRE Saturday 15 February (21.15) 1h30m, N/C 15+

Pablo Picasso: Actors’ Headshots

Writer: The Hot Gulp

UK | 2012 | 3 min

Producer: The Hot Gulp

Filmmakers: Liam Tate, Jamie Stanton (tea&cheese)

UK | 2013 | 1 min

Producer: tea&cheese

Writer: Anthony Richardson

Cinematographer: Adam Barnett Editor: Adam Barnett Cast: Sean McKenna, Hal Branson, Patrick Low Contact: thehotgulp@gmail.com

One street fundraiser takes a very forward approach in getting donations.

Alan’s Story UK | 2012 | 3 min Director: Stuart Laws Writer: Stuart Laws Producer: Al Clayton Cinematographer: Anton McCrae Cast: Mark Stephenson, Harriet Kemsley, Mark Thomas, Jennifer Laws, Max Saidi

Contact: stu@turtlecanyonmedia.com Director filmography: Over To You At 2 (2013), Left A Jar (2012), Chubby Bunny (2012), Voices (2008)

A documentary investigation into a shocking new art installation that has completely changed one man’s life.

SO

Cast: Sassy Clyde, Liam Tate, Jamie Stanton Contact: info@teaandcheese.com Director filmography: The Greatest Bitsploitation Trailer Ever! (Isaac and Quincy) (2013), MISFITS KID (2013), Assangenator (2013), Fried Humans (2013),Top Gun Tipler (n00bs) (2013), A Super Duper Christmas! (n00bs) (2012), 12-Bit Power!!! Retro TV Ad (n00bs) (2012), The Super Duper British Bros & The Royal (8-BIT) Jubblies (n00bs) (2012), The Origin of Dubstep (n00bs) (2012), Symphony for D!*k, Muscles and GUNS! (n00bs) (2012), Chinese Electronics Factory Worker: the Game! (2012), Best Trailer Ever!! (For n00bs) (2012), Happy InDOOMpendence Day (n00bs) (2011), Protest Reality (8-BIT Snowboarding IRL) (2010), Isaac and Quincy – The TV Show? (2010), Corroncho – Lowrider (Official Music Video Promo) (2009), 8-BIT Waterslide in REAL LIFE! (2009)

Life is a man’s game, especially when you’re an 8-BIT princess with ridiculously oversized royal jubblies. Hounded by the SUPER DUPER BRITISH BROS who believe their in-game heroics entitle them to cop a feel, Princess attempts to prove her true worth... with a twisted Disney-style musical number!

Director: Anthony Richardson Producer: Anthony Richardson Cinematographer: Keith Gubbins Cast: Anthony Richardson Contact: amhrichardson@gmail.com

Pablo Picasso is still alive and well! He now runs a semi-successful actors’ headshots business from a garage in High Barnet. He is very proud of his client list.

Barberism UK | 2013 | 2 min Director: James Roberts Writer: James Hamilton Producers: The Whole Buffalo, Casual Violence Cast: Dave Newman, Luke Booys Contact: jamesroberts1138@gmail.com

A barber uses some alternative methods to give the customer the haircut he wants.

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Homosexual Activity

Sensitive Tooth Man

UK | 2012 | 2 min

UK | 2013 | 1 min

Filmmakers: Liam Tate, Jamie Stanton (tea&cheese)

Director: Kyle Shepherd

Producers: tea&cheese and the Connected Set Cast: Pat Burtscher, Elaine Boyle, Liam Tate, Tom Skinner Contact: info@teaandcheese.com Director filmography: The Greatest Bitsploitation Trailer Ever! (Isaac and Quincy) (2013), MISFITS KID (2013), Assangenator (2013), Fried Humans (2013), Top Gun Tipler (n00bs) (2013), A Super Duper Christmas! (n00bs) (2012), 12-Bit Power!!! Retro TV Ad (n00bs) (2012), The Super Duper British Bros & The Royal (8-BIT) Jubblies (n00bs) (2012), The Origin of Dubstep (n00bs) (2012), Symphony for D!*k, Muscles and GUNS! (n00bs) (2012), Chinese Electronics Factory Worker: the Game! (2012), Best Trailer Ever!! (For n00bs) (2012), Happy InDOOMpendence Day (n00bs) (2011), Protest Reality (8-BIT Snowboarding IRL) (2010), Isaac and Quincy – The TV Show? (2010), Corroncho – Lowrider (Official Music Video Promo) (2009), 8-BIT Waterslide in REAL LIFE! (2009)

If the church made a gay-marriage horror movie, this is what it would look like...

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Writers: Kyle Shepherd, Paul Caddy Producer: Dafty TV Cast: Paul Caddy, Kyle Shepherd Contact: sheps@dafty.tv

The aches and pains of living with a painful tooth, personified.

Baby Doll UK | 2013 | 4 min Director: Pat Schulenburg Writer: David Bussell Producers: David Bussell, Matthew Stott

The Grave UK | 2013 | 1 min Director: Richard Woolford Writer: Richard Woolford Contact: richard.woolford@gmail.com Director filmography: The Snowman Trust (2013), Crucifixion (2013)

Seymour is having trouble finding a grave of an old relative of his but luckily there’s someone there to help.

Jazzball: An Urban Odyssey UK | 2012 | 8 min Director: Ian Jones Writer: Ian Jones Producers: Ian Jones, Adam Evans

Cinematographer: Jonny Pollard

Cinematographer: Adam Evans

Sound: Tom Redhead

Sound: Andy Moorwood, Boom Donut

Editor: David Bussell, Chris Clark

Editor: Adam Evans

Cast: Mark Davison, David Bussell, Jayde Adams, Michael Daley, Kevin Murphy

Cast: Cameron Milne, Ian Jones, Steven Jehu

Contact: david_bussell_jnr@yahoo.co.uk

Documenting the rise of growing urban sport, Jazzball.

Contact: ian.m.jones23@gmail.com

A man is forced to face up to his fatherly responsibilities when he accidentally gets his sex doll pregnant.

SP

Sat Nav Secrets UK | 2013 | 3 min Director: Stuart Laws Writer: David Hannant Producer: Stuart Laws Cast: David Hannant, Stuart Laws Contact: stu@turtlecanyonmedia.com Director filmography: Over To You At 2 (2013), Left A Jar (2012), Chubby Bunny (2012), Voices (2008)

David Bukakney introduces some Sat Nav Secrets – letters from people who have had sexy encounters with road systems not yet featured on their sat nav.

The Man who Couldn’t Stop Putting Things in Bins

Overactive Solutions UK | 2013 | 5 min Director: Stuart Laws Writers: David Bussell, Stuart Laws, Matthew Stott Producer: David Bussell, Matthew Stott Cinematographer: Anton McCrae Cast: Sarah Daykin, Isabel Fay, David Bussell, Tom Toal, Lizzie Daykin Contact: stu@turtlecanyonmedia.com Director filmography: Over To You At 2 (2013), Left A Jar (2012), Chubby Bunny (2012), Voices (2008)

Overactive Solutions is a corporation like no other.

Welcome to its Orientation Special for new employees.

Moussaka

UK | 2013 | 1 min UK | 2013 | 2 min Director: Hal Branson Directors: Louis Paxton, Writer: The Hot Gulp Paddy Kondracki Producer: The Hot Gulp Writers: Louis Paxton, Cinematographer: Adam Barnett Paddy Kondracki Sound: Laurent Sassi Sound: Stuart Doherty Editor: Adam Barnett Editor: Stuart Doherty Cast: Sean McKenna, Hal Branson, Cast: Paddy Kondracki, Stephanie Kerr Patrick Low Contact: Contact: thehotgulp@gmail.com stuartdarrochdoherty@gmail.com

The ultimate minimalist? Or a man with a severe psychological disorder? This documentary aims to find out...

SQ

Get a Room Ireland | 2013 | 2 min Director: Patrick Sheahan Writer: Emmet O’Riabhaigh Producer: Patrick Sheahan Cinematographer: Emmet O’Riabhaigh Sound: Daniel Coughlan Editor: Patrick Sheahan Cast: Emmet O’Riabhaigh, Patrick Sheahan, Daniel Coughlan Contact: thederrynanerobotclub@gmail.com

Two stereotypical lads bump into each other in what seems like a run-of-the-mill chat, but an odd yet palpable sexual tension bubbles underneath. A short story on what could have been, under different circumstances.

Timeholes UK | 2013 | 2 min Director: Ben Mallaby Writer: Ben Mallaby Producer: Ben Mallaby Cinematographer: Ryan Burnham Sound: Luke Robson Cast: Paul F Taylor, Jessica Fostekew, Rebecca Shorrocks Contact: ben@mallaby.co.uk Director filmography: Battlecock! (2013), Borderlands (2013), Island Queen (2012), Angel (2012), Pvt Craine (2011), Vienna (2010)

The father in-law is coming round to make dinner, his favourite – In the year 2015, time travel has moussaka – and he has a special been invented – and like all new method doing it. technologies, it is abused by everyone. di^pdlt peloq cfij cbpqfs^i OMNQ

Juras-sick Park

PTA

UK | 2012 | 5 min

UK | 4 min

Director: David Lilley

Director: Nicholas Bowe

Writer: Chris Aitken

Writer: Nicholas Bowe

Producer: David Lilley

Contact: nicholaspbowe@gmail.com

Cinematographer: David Lilley

The Institute of Unlimited Funds takes it upon itself to bring dinosaurs back to life, only it has a limited amount of DNA and someone has to improvise.

Blind Faith

Return of the Chugger UK | 2013 | 2 min Director: Hal Branson Writer: The Hot Gulp Producer: The Hot Gulp

Editor: David Lilley

Cinematographer: Adam Barnett

Cast: Sophie Fletcher, Megan Heffernan, Vanessa-Faye Stanley, Thomas O’Connell

Editor: Adam Barnett

Contact: 21 Melrose Street, Nottingham, NG5 2JP

Contact: thehotgulp@gmail.com

Director filmography: Witches Brew (2013), Rellik (2013), Vénerie (2013), The Door in the Wall (2012), Saw Misgivings (2012), Lack of Duty (2011), Kitchen’s Closed (2011), The Office Orphan (2010), The Wailing Well (2010), Mr McKinley in Moviola Mayhem (2009), Vespers (2008), The Hand (2007), Fate and Mr McKinley (2006), The Birthday Wish (2006),

Cast: Sean McKenna, Hal Branson, Patrick Low

Someone's cancelled their direct debit to a charity fundraising scheme and receives an un-welcomed visitor.

In a PTA meeting, teachers give some parents some much-needed helpful advice.

UK | 2013 | 1 min Director: Kyle Shepherd Writers: Kyle Shepherd, Paul Caddy Producer: Dafty TV Cast: Paul Caddy, Ben Tonge Contact: sheps@dafty.tv

One man shows how to economise his living by sharing an abode with a blind man.

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MIAMI MYTHS: THE BORSCHT CORPORATION We rented out the fanciest theatre in town and, to our shock, almost 2,000 people showed up Every year since 2010, GSFF has focused on some aspect of American independent filmmaking past or present. That year, we showcased the work of the New Orleans-based Court 13 collective, three years before its debut feature Beasts of the Southern Wild stormed the festival circuit. In 2011 we examined the New York No Wave movement of the late 70s, and the following year we dipped into the scene surrounding the Austin Film Society in Texas. Last year we screened two programmes of work from one of the world’s preeminent film schools, the film program at Columbia University’s School of the Arts in New York. Columbia professor Tom Kalin attended the festival as our guest, delivering a masterclass on the rigorous approach to story development and direction that has ensured the school produces a steady stream of award-winning filmmakers.

For the 2014 showcase, we decided to turn our backs on rigour and reliability, and examine a loose collective whose output, however erratic, arguably takes far greater risks in form and narrative than work produced within the confines of a traditional school structure. At the same time, we were interested in the authenticity to be found in successful regionalism, as demonstrated in Court 13’s portrayal and utilisation of post-Katrina New Orleans.

‘Is the Next Great Hope of American Film Hiding In Florida?’ asked Indiewire magazine in November.

Driving this question is the snowballing output of the Miami-based Borscht Corporation, a selfdeclared ‘open-source collaborative dedicated, through commission grants, film production, web projects, myth-making, and the quasi-yearly Borscht Film Festival, to redefining the stereotypically insipid depiction of Miami in the mainstream media.’ GSFF14 presents two programmes of work connected to Borscht – a survey of some of the most successful productions made over the SS

last four years and a focus on the work of two key members of the group, visual artist Jillian Mayer and ‘retired playwright’ Lucas Leyva.

Attempting to draw common themes from the work of a diverse group of artists can prove to be a trap. However, it’s fair to say that in attempting to tell Miami stories that ‘go beyond the typical portrayal of the city as a beautiful but vapid party town, forging the cinematic identity of the city,’ many of the filmmakers play with shifting realities, bringing an often fantastical element to their storytelling in tension with the true life situations from which the stories emerge. Thus Miami Heat basketball player Christopher Bosh is revealed to be an interstellar prince battling evil foes in the multiverse (Adventures of Christopher Bosh in the Multiverse, obv), while a visit to an underground fighting ring has disturbing supernatural consequences in C#ckfight. Miami 1996 opens as a brilliant recreation of a mid-90s booty party, prompting comparison with the 1991 warehouse rave re-enacted in Blind Faith, Daniel Wolfe’s 2010 promo for Chase & Status. But while Wolfe’s film celebrates the ecstatic fellowship of one sub-culture, Nick Corirossi captures something altogether more devilish, contained within the degraded texture of the wobbly VHS image. As Milton Garcia puts it in an essay on the film, ‘there is no transcendence in booty-dancing, only a deeper Dionysian darkness’.

Mayer and Leyva’s work in particular explores this notion of shifting realities, most notably our relationship with the virtual world. In #PostModem they present a kaleidoscopic retro-fantasy nightmare in which the viewer is invited to upload their entire being into the digital realm, while their promo Glazin’ for local surf-punks Jacuzzi Boys was recast as a fake fan video after the record company objected to its vagina puppets of Homer Simpson and Jabba the Hutt. di^pdlt peloq cfij cbpqfs^i OMNQ

The two conducted online interviews in the guise of six obsessive fans calling themselves the Jacuzzi Gals before receiving cease-and-desist letters and getting pulled from YouTube. In one of their earliest films, one reality is literally projected onto another. Scenic Jogging features Mayer running through a down-at-heel neighbourhood, against a moving projection of an idealised and unattainable landscape. This image finds an echo in one of the most recent Borscht productions, Laimir Fano’s Waiting for Berta, in which an elderly Cuban exile dances in the light of projected images of the country she left behind.

GSFF Director Matt Lloyd spoke to Borscht Minister of the Interior Lucas Leyva in advance of the Glasgow retrospective.

How did Borscht get started – what did the indie filmmaking scene in Miami look like pre-Borscht?

I can’t really tell you too much about the indie filmmaking scene in Miami pre-Borscht. Billy Corben and Alfred Spellman of rakontur films are the first I know of to achieve international success making films like Raw Deal and Cocaine Cowboys out of Miami, but those films are documentaries.

I am sure something existed, as Hollywood filmmakers like Brett Ratner (Rush Hour, X-Men 3) and Dave Frankel (Marley and Me, The Devil Wears Prada), among others, are from here, but Borscht was formed primarily as a response to the lack of infrastructure and support for young filmmakers.

When we were just getting started we reached out to these filmmakers to see if they were interested in advising or supporting us in some way.

David Frankel was very generous in agreeing to give half-hour consultations to five filmmakers working on their first shorts. It was very helpful, but after the sessions, he pulled one of us aside and asked, ‘This is nice and all, but what’s the point?‘ The concept of community-building through filmmaking was completely alien to him. Brett Ratner could not care less about us. After a while we gave up on trying to get him to champion our cause, and started a 45-day Twitter campaign where we lobbied him to give us a hug. Finally he relented, and gave Andrew Hevia (one of the founders) a hug at SXSW in 2011. It wasn't a very good one.

The public school system in Miami is notoriously bad, but there are a few art schools where students must audition to be admitted. Borscht started out of New World School of the Arts, one of those programs. There were a dozen or so students from different disciplines that were all into making movies. One of us owned a camera and we would all hang out and work on each other’s di^pdlt peloq cfij cbpqfs^i OMNQ

extracurricular projects. We saw Lars von Trier’s Five Obstructions and loved it – we copied the model and forced each other to make films with increasingly ridiculous obstacles. When we were done we would throw a party and screen the films afterhours in classrooms. We called it UnMinced.

After we all graduated in 2005 most of us planned on going to universities out of state, and later moving to New York or Los Angeles as most creatives do.

But during the holiday and summer breaks we found ourselves collaborating and making more films together in Miami – sort of sharing what we were all learning and bringing it home. Unfortunately there was still no outlet for these films, and at the time I was commissioned to write a play for a children’s theatre in Miami Shores. The owner of the theatre offered us free use of the space if we wanted to screen the films, and so UnMinced became Borscht in 2005. We built a robot to host the event and named it Paris Hilton, which confused a lot of people. The movies were pretty bad but a lot of people came.

We did it in different spaces (planetarium, theatre in Little Havana) through the years whenever we had free time and someone offered a free space, but never really took it seriously, even though the free events were always oversold. I graduated from school in New York in 2008 (I was kicked out of the Fordham University playwriting program) and moved back to Miami to save money before I planned on moving out to Los Angeles.

Francis Ford Coppola’s dream was to create an entirely new system independent of the studios, but he failed. Our generation has a chance to enact his dream deferred.

I ended up getting a job as an editor for a local PBS and rooming with one of the other founders of the festival. It was right when the great recession hit so there were a lot of artists doing the same thing: waiting out what we thought were going to be a few bad months at home, saving money. There were enough of us that we were able to make another set of films and throw a festival. This was right around the time people were starting to use EOS cameras to make films – so even with our meagre budgets we were able to make things that looked pretty good, at least much better than before.

We still weren't making good films necessarily, but there was a growing mass of artists in Miami at the time (most of them around our age), and a private foundation called the Knight Foundation started awarding art grants to groups.

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MIAMI MYTHS: THE BORSCHT CORPORATION We didn’t get one, but teamed up with a group that had, and got a little bit of money for the first time.

We rented out the fanciest theatre in town and, to our shock, almost 2,000 people showed up. There was a line around the block, people scalping tickets for the free event, just madness. To make things more complicated the projector broke just before the films were to start. There was no backup. As we were desperately trying to find one that was suitable for such a large theatre, we were sure most of the audience would leave. Instead, different musicians went on stage and performed. People hung out, drank, and waited for the films. Even though the delay was over two hours, barely anyone left.

It was sort of a watershed moment for Miami culture – there had always been an underground, but this was a crossover of sorts. It announced to the city that this critical mass of young creatives existed, and there was an audience to support them, which was all very exciting. More than that, we were self-identifying as Miamians. This sounds obvious, but the city has historically been transient.

Various immigrant groups waiting out economic distress or political revolutions in their home countries shaped the city, but they always identified as Cuban or Salvadorian. These were our parents though. We were Miamians, and defining what that meant culturally. The next year we got our own bit of funding, set up shop in what was then the up-and-coming Wynwood area, and we were off.

Sometime since then, the films have become watchable, and some of them even good. A lot of us realised that instead of moving to Los Angeles to work our way up the industry to hopefully one day be allowed to make films, we could stay home, build a unique infrastructure around us to support one another, and make movies the way we want to.

It’s fun.

Our first major grant was $150,000 for two years’ worth of film festivals. With this, we made or helped make over 40 works. Last year we were awarded $500,000 over five years. Many films cost little or nothing, but the most expensive film we ever made cost $10,000. We supplement the grant with donations and the occasional Kickstarter. Lately we have been sought out for commercial work and episodic content (we have an upcoming show on MTV Other), which keeps us employed and the company takes a percentage, which goes back into the films.

What’s particularly interesting to me is that it isn’t simply a support network for filmmakers in Miami, but has very specific aims in terms of location – the city itself is a central element of Borscht’s identity. As you put it, you’re encouraging filmmakers to tell ‘Miami stories that go beyond the typical portrayal of the city as a beautiful but vapid party town, forging the cinematic identity of the city’.

SU

What’s really great about the democratisation of means of production (and the impending democratisation of distribution) is that the gatekeepers have been mostly emasculated.

No one needs to ask permission from the people in Los Angeles or New York holding the chequebooks to tell their stories. Filmmakers everywhere have been empowered to depict their worlds as they see them, and share them with the world at large through digital means. I believe in the internet as a meritocracy, where if it is good and/or entertaining, people will watch it. This is particularly exciting because we get to see truly fresh stories and understand cities in new ways – whether it’s big cities like New Orleans or Miami or Glasgow or Johannesburg or Havana, or more rural regions like Eastern Oregon. Scorsese made Mean Streets about the neighbourhood where he grew up in New York and shaped the cinematic identity of Little Italy. Now filmmakers can define their own cities for themselves. Specifically, Miami was always defined by Miami Vice and Scarface – media made by outsiders depicting the city in a specific way.

While the Miami of beach, boobs and blow definitely exists, it wasn’t our experience of Miami.

We found the city to have a lot more interesting stories and have mined these stories and characters for our work. While we do cringe at this stereotypical portrayal, it’s what brings in many tourists. We just want to add a little bit of depth to that notion.

We realised we could stay home and make movies the way we want to If you want to get into conspiracy theories, you could say that this sort of condescension from the mainstream media is by design. New York for instance, has been closed off to young artists making personal work for quite some time (ask Patti Smith), yet they still need workers, fresh blood to come in and staff the television and media programs. The image of NY as it was in the 70s and 80s is perpetuated, every time the city is introduced it’s ‘from the greatest city in the world’. It’s bullshit – you can’t afford the rent or cost of living unless as a young artist you were blessed with a trust fund or spend most of your time working for someone else, perpetuating the lie. It’s like an Epcot theme park attraction: a city full of people playing city, convincing other people that it is still a city. If you don’t care about the industry or making Hollywood films or commercials, there is absolutely no reason to live anywhere geographically specific. You can make pro-looking work anywhere and share it with the world. Why live in a place you can’t afford? Or even a place that has cold winters? New Orleans exists.

Miami exists. You can buy a house in Detroit for a few hundred dollars. di^pdlt peloq cfij cbpqfs^i OMNQ

Speaking of New Orleans, I’m reminded of the work of Court 13, the shorts that led to Beasts of the Southern Wild, and I’m wondering whether you see any kinship with that collective?

I’m glad you bring up Court 13. We consider them our big brother organisation and are planning on collaborating at some point in the future – whether it’s on a film, festival or organising some sort of network of collaborative regional collectives we don’t know yet, but we definitely feel some kinship. We owe a lot to them. We had been aware of their shorts for a while and I first met Benh Zeitlin at the Sundance director’s lunch the year he was there with Beasts of the Southern Wild and I was there with Life and Freaky Times of Uncle Luke. I approached him with a novelty whoopie cushion with Uncle Luke’s face on it that read ‘drop drop that coochie‘ that we were using to promote our film, and started babbling about regionalism and the like. This was before Beasts had premiered but he was still very busy and didn’t seem too interested. Later he sought me out and said, ‘We need to talk about this more, it is important.’ Were it not for the success of Beasts people wouldn’t take us as seriously when we go around fundraising to make weird projects in the South.

It’s interesting that Court 13 started life in New York before they moved to New Orleans after Hurricane Katrina and made their best work.

I've found that a lot of the people doing excellent regional work were either educated or spent time living in New York – perhaps a lot of them came to the same conclusion?

The first American New Wave in the 60s and 70s was heavily influenced by regionalism and was successful because they were able to infiltrate the studio system to make their personal films. While the ultimate failure of this revolution can be blamed on the rise of blockbusters or the excess of the filmmakers, in hindsight it seems to me that the promise was always sort of false. The means of production were still tightly controlled and the threshold was still millions of dollars and after that, there was no way around the entrenched distribution system. Coppola’s dream with Zoetrope was to create an entirely new system independent of the studios, but he failed.

Our generation has a chance to enact his dream deferred. A well-organised and decently funded network of regional collectives and companies could potentially build this system as the new distribution landscape organises itself. It’s lofty, but no one knows anything (including me).

There’s a fantastical element to much of the Borscht work, particularly your own, but at the same time it’s rooted in or draws from very specific realities. The work is fantastical, but never makes the mistake of ignoring or denying reality.

We often incorporate layered realities on top of the already-strange one that we exist in. Something we talk about a lot is how living in Miami is like living in a Gabriel Garcia Marquez novel. It’s the closest thing di^pdlt peloq cfij cbpqfs^i OMNQ

to Macondo in the United States – a bizarre magical realist town where it rains iguanas from trees when the temperature drops below 70 degrees Fahrenheit and alligators end up in your backyard and the strangest crimes in the world are committed. We don’t need to use much imagination to make up stories, so we focus less on the what and why and more on the how. It’s an innocent, almost primitive way of approaching things: essentially explaining how these crazy things came to be. Miami myth-making.

Can you talk a bit about the mechanics of production on Borscht films – do filmmakers collaborate on one another’s projects? Do you see it as a collective?

Up until this point our structure has been pretty amorphous. There is a free open call for filmmakers who are from, living in, or inspired by Miami to submit projects for funding or other support. If a story or idea is good, the organisation shapes itself around the project in whatever way supports it best. Sometimes it's a matter of cutting a cheque and saying good luck. Other times we develop projects from concept to final edit. I would say we are a loose collective because there are a bunch of us around but it is a rotating cast. While the collaboration isn’t usually formal, but by virtue of everyone being in the same space we influence one another greatly. I’ve heard it’s a lot like film school in that we also help out however we can as crew. I’ll hold a boom mic on one set and then edit another film, for instance. It’s kind of complicated.

Other common features of the Borscht work are non-realist forms – animation, collage, expressionism – and unconventional, even radical, narrative structures. Can you suggest why these strategies are common to the Borscht filmmakers?

These strategies developed from necessity. Our first year at Sundance we were shocked to find out the first shot of one of the short films in our program cost more than our entire production slate that year. We are a non-profit that isn't particularly well-funded.

We don't have access to fancy equipment or good actors or special effects. We simply can’t compete head-to-head in this way, so we designed our own parameters. If our work looks (or is shaped or feels) different from things people are used to, we provide our own context and can’t be compared with anything else. Either you like us on our terms or you don't, but we can never be objectively inferior to these mainstream films. Our only advantage is our creativity and our city, so we leverage these as best we can. This also comes from the fact that the vast majority of us have no formal training in filmmaking. Most of us come from theatre or visual art backgrounds, and have no notion of the ‘right‘ way to do or make things. We don’t know what a set or films are supposed to be like, and since we are geographically isolated we have developed our own way of doing things in a vacuum. Everything is an experiment and we are constantly learning – sometimes the experiments turn out beautifully and some fail spectacularly.

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CCA THEATRE Friday 14 February (19.15) 1h30m, N/C 18+

MAYER/LEYVA

SCENIC JOGGING

JACUZZI BOYS – GLAZIN’

WE AS ME IN 3D USA | 2010 | 2 min

‘Youtube!!!! we are 6 girls (and one tiny dog) who looooove the Jacuzzi Boys!!!!! (don’t wory 18+, don’t be gross) We made a fan vid a few nites ago we all got together at Karen’s new apt...’

RACHEL GOODRICH – LIGHT BULB

KNIGHT ARTS CHALLENGE MIAMI

USA | 2010 | 1 min

USA | 2010 | 3 min

REINALDO ARENAS USA | 2011 | 5 min

Told by a dying shark, this is the true story of the last few hours in the life of an unintentional immigrant.

USA | 2011 | 3 min

USA | 2012 | 1 min

ADVENTURES OF CHRISTOPHER BOSH IN THE MULTIVERSE! USA | 2012 | 11 min | Director/Writer: Bleeding Palm

ANR – IT’S AROUND YOU USA | 2011 | 4 min

The true story behind how the Miami Heat won the NBA title in 2012 despite one of their star players being an interstellar prince who was called away to do battle with evil foes bent on finally making the internet completely useless.

I AM YOUR GRANDMA

HUNDRED WATERS – BOREAL

USA | 2011 | 1 min

An autobiographical vlog that Jillian Mayer records for her unborn grandchildren. Envisioned as an authentic solution to fleshing out the detached model of the family tree, Mayer hearkens to bygone times when ancestors could glimpse one another through a locket or lock of hair.

LIFE AND FREAKY TIMES OF UNCLE LUKE USA | 2011 | 13 min

A modern Miami adaptation of La Jetée, the film recounts the rise to fame of Uncle Luke, legendary rapper from the hip-hop group 2 Live Crew, as he changes the face of hip hop and fights for first amendment rights – and later as he ushers Miami into a golden era of peace and prosperity as mayor. Everything changes when the Turkey Point Nuclear Reactor has a meltdown and turns Miami into a postapocalyptic wasteland.

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USA | 2013 | 4 min

THE CORAL REEF ARE DREAMING AGAIN USA | 2013 | 4 min

Gregor and Harold, two corals living in the underwater remains of Miami, share their dreams with each other. Made without any computer effects, using real coral specimens.

#POSTMODEM

USA | 2013 | 15 min A comedic satirical sci-fi pop-musical based on the theories of Ray Kurzweil and other futurists. It’s the story of two Miami girls and how they deal with the technological singularity, as told through a series of cinematic tweets.

All films by Jillian Mayer & Lucas Leyva Contact: mayerleyva@gmail.com

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THE BORSCHT CORPORATION

A TOAST

CCA THEATRE Sunday 16 February (18.30) 1h30m, N/C 18+

C#CKFIGHT

USA | 2010 | 4 min | Director/Writer: Marco Ramirez A toast to Miami.

USA | 2013 | 10 min Director/Writer: Julian Yuri Rodriguez

WAITING FOR BERTA

A deconstructed adaptation of Dante’s Inferno set in a bathsalt-fuelled fighting ring in Miami’s underworld. An experience that takes us past the thin veneer of civilisation to a place where all our preconceived notions of entertainment and beauty are challenged.

USA | 2013 | 14 min | Director/Writer: Laimir Fano Two Miami women in their 80s rekindle a blood feud that dates back 50 years and 90 miles to the Cuban revolution.

Now Adela seeks retribution for the terrible things Berta did to her when she was in the revolutionary Communist army. The grudge is both deeply personal and political, but will the women ever achieve existential peace?

USA | 2012 | 10 min Director/Writer: Celia Rowlson-Hall

MIAMI 1996

A love story told through bubble baths, Hollywood movies, interrupted fantasies, Mariachi songs, beachcombers, missed connections and Pamela Anderson.

A found-footage film from a Miami booty party gone horribly wrong.

WHEN WE LIVED IN MIAMI

USA | 2012 | 9 min | Director/Writer: Nick Corirossi

CHLOROPHYL

USA | 2011 | 18 min Director/Writer: Barry Jenkins Ana is a young woman struggling to get over the last vestiges of a failed relationship. She moves through the day in a sort of trance, unable to absorb her situation and unwilling to face the reality before circumstance forces her to confront the truth.

THE PLACES WHERE WE LIVED

USA | 2012 | 7 min | Director/Writer: Bernardo Britto A man wakes up with a terrible feeling. His parents are selling his childhood home.

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SI NOS DEJAN

USA | 2012 | 13 min Director/Writer: Amy Seimetz

This hypnotic short filmed during Hurricane Isaac explores the lengths one woman goes to keep her family from collapsing when a tropical storm threatens to destroy her way of life.

YEARBOOK

USA | 2013 | 6 min | Director/Writer: Bernardo Britto A man is hired to compile the definitive history of human existence before the planet blows up.

Contact for all films: contact@borschtcorp.com

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NOTES FROM UNDERGROUND: QUEER RUSSIAN CINEMA

CCA CINEMA Friday 14 February (21.00) 1h30m, N/C 18+

Just as the screenings were due to begin, both venues were suddenly closed down

This programme will be a glimpse into the state of LGBT cinema in Russia today – but, as of the day that this catalogue goes to print, the programme doesn’t exist. The films which comprise it aren’t supposed to exist either. In their country of origin, they must be handled like hardcore pornography, and are already to be found on YouTube with large ‘18+’ icons filling the screen. These forbidding age barriers herald completely innocuous items: LGBT rights adverts, pieces of social advertising whose most ‘adult’ content is a brief lesbian kiss.

It seems difficult to imagine what sorts of films would necessitate the same blanket sanctions at GSFF. You might flick through the pages of this catalogue and see what programmes are certified 18. Whatever films you come across within them would, in Russia, be considered the equivalent of any film depicting the positive treatment of homosexuality.

Think, too, of the fact that GSFF began in 2008, and has, through its audience and quality of selection, gone from strength to strength ever since. Briefly – although it perhaps seems ridiculous – consider the TO

general sense of comfort and ease with which you go about your viewings at this festival. You take for granted the fact that films will be screened at the times and places they are scheduled for, and can imagine the sort of impatient indignation you would feel if the ones you had booked weeks in advance had to be relocated at the last minute.

In 2008, the Bok-o-Bok (Side by Side) LGBT International Film Festival also took place for the first time, in St Petersburg. Just as its opening-night screenings were due to begin, both of its venues were suddenly closed down – both ostensibly due to contraventions of fire safety regulations. But the festival did take place and, since then, it has fought bravely to stay alive. It has branched out to other cities, only for several of these regional festivals to be put on indefinite hiatus as individual Russian states brought in laws against the spreading of ‘propaganda of non-traditional sexual relations’ to minors.

It was the disconcertingly fast spread of these individual laws that ultimately led to the national legislation that came into force last year.

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The Bok-o-Bok Film Festival was subjected to five separate bomb threats In that year, the festival was effectively closed down altogether, subjected to a crippling fine imposed by a different law, a technicality regarding declarations of funding from ‘foreign agents’ which is generally targeted at organisations the government considers undesirable. But, on finally emerging from this upon a successful (and, therefore, encouraging) appeal, the festival took place in St. Petersburg at the end of November 2013.

Over the course of ten days, this sixth edition of the Bok-o-Bok Film Festival was subjected to five separate bomb threats – all hoaxes, but ones which necessitated last-minute schedule changes, building evacuations and hours-long delays at both the opening and closing night ceremonies. Among a number of other similar interventions was an alleged plot by a notoriously homophobic politician to sneak underage spectators into screenings of Blue Is the Warmest Colour – an unsuccessful act, but one that could have led to another fine large enough to shut down the festival.

Yet, one hopes that the idea of such an absurd piece of espionage – perhaps seeing teenage political hopefuls sporting false moustaches in order to sneak in to a three-hour-long Palme d’Or winner – will provoke equal amounts of laughter at its instigators as it does outrage and exasperation.

I’ve seen footage of activists on the brink of tears, watching legislative proceedings in the Russian Parliament di^pdlt peloq cfij cbpqfs^i OMNQ

Because of all of this, this screening must perforce become a political one – as all of the EFG New Cinema 4 screenings shall be.

But this is, perhaps, the most frustrating aspect of all: the notion that one can’t simply programme films about Russian queer culture without there being inherent baggage to accompany them. In the course of putting together our events, I’ve seen documentary footage of LGBT activists on the brink of tears, watching legislative proceedings in the Russian Parliament. But I’ve also seen a music video in which a Russian lesbian couple goes bowling – yet another piece of propaganda branded by a prohibitive ‘18+’ icon for endangering the fragile sexuality of Russian children everywhere. Bowling, I’m fairly certain, should never have to be a political act.

But that is the state of Russian queer cinema today. And so that is what we are bound to depict.

MARC DAVID JACOBS EFG New Cinema 4 will also present several screenings of LGBT films from Russia and Lithuania in Edinburgh throughout February.

On Saturday 15 February, in association with the Scotland-Russia Forum and Amnesty International, a panel discussion will be held to discuss the current LGBT situation in Russia. Confirmed panellists include Chris Bryant MP (former chairman of the All Party Parliamentary Group on Russia and winner of the Stonewall Politician of the Year Award in 2011), Francesca Stella, Research Fellow at the University of Glasgow, and Olgerta Kharitonova, editor of underground Russian lesbian journal Ostrov. For more details, please go to www.edinburghfilmguild.org.uk.

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TAKASHI ITO Mathematics and architecture play as much of a role as cinema

‘Film is capable of presenting unrealistic world as a vivid reality and creating a strange space peculiar to the media. My major intention is to change ordinary everyday life scenes, and draw the audience (myself) into a vortex of supernatural illusion by exercising the magic of films.’ (Takashi Ito, 1984) Like many others, I discovered Takashi Ito through his 1981 short Spacy, viewed on a friend’s laptop late one night. A series of camera movements approaching and circling an easel in a gymnasium, the film is a ten-minute rollercoaster ride through space and time that can have you stroking your chin, chuckling nervously, muttering ‘please, no more,’ and finally gasping with exhilaration. Like many of Ito’s works, it gnaws at the boundary between still and moving image. You’re never allowed to forget that you are watching a series of photographs, but the vertiginous, headlong thrust has a physical effect on the viewer.

To the uninitiated this work seemed to spring from nowhere, although a look at Japan’s experimental film output in the 1970s reveals the roots of Ito’s practice. In particular, Spacy owes a debt to Atman (1975), a piece by Ito’s eventual tutor Toshio Matsumoto which leads a similarly dizzying dance around a masked figure by a lake. We weren’t able to secure a print of the film for this programme (perhaps as well for those of you who suffer from motion sickness), but a fuzzy copy can be tracked down on Vimeo. What distinguishes Spacy, though, is its structural intelligence, the

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way it takes a limited set of ingredients and then plays out endless variations on them, following an idea through to its natural conclusion.

This is the pattern for many of Ito’s subsequent films. He will zero in on the corner of a room, a pillar or a public square, and dissect it with his camera. Mathematics and architecture seem to play as much of a role as cinema, and indeed when you look at Ito’s preparatory materials you find carefully labelled contact sheets and graph-paper covered in diagrams. People tend to be fleeting presences, glimpsed at the edge of the frame. Yet these are not cold abstractions; the heartbeat can be found in the filmmaker’s relationship with space, and his ability to create a sense of the uncanny from the mundane. The contribution of sound is also crucial, particularly the throbbing soundscapes of Takashi Inagaki.

This kind of cinema often ends up working as unofficial R&D for other, more commercial areas of production, and Takashi Ito is used to seeing his formal experiments pillaged and half-digested in adverts and music videos. The dread tapped into

by Grim (1985) and Zone (1995) finds more concrete form in Hideo Nakata’s horror movies, and you might also see traces of it in Gaspar Noe’s Enter the Void. The descendants selected for this programme are all short films that take a cue from Ito’s work in some way, particularly in their use of photography, and then shoot off in an entirely different direction.

IAN FRANCIS

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TAKASHI ITO: OTHER ROOMS

PASADENA FREEWAY STILLS

CCA CINEMA Saturday 15 February (17.30) 1h30m, N/C 15+

ZONE

1974 | 6 min | Director/Writer: Gary Beydler Contact: lightcone@lightcone.org

1995 | 12 min | Director/Writer: Takashi Ito Contact: lightcone@lightcone.org

Possibly the most lucid, vivid, and awesome demonstration of the building up of still images to create moving ones, Pasadena Freeway Stills simply, gracefully and powerfully shows us the process by which we are fooled by the movies. (Mark Toscano)

A film about a man without a face. His arms and legs bound with ropes, a disabled man is still without even a quiver in a white room. This man, enwrapped in wild delusions, is also a reconstruction of myself. A series of unusual scenes in this room that expresses what lies inside me. I tried to create a connection between memories, nightmares and violent images. (TI)

SPACY

1981 | 9 min | Director/Writer: Takashi Ito Contact: lightcone@lightcone.org A film whose subject is place (a gymnasium), time (the ten minutes the film runs) and unconformity (the real and imagined gymnasium). The components combine in an endless cycle: a Möbius stripe, an Escher film in a Japanese tempo, from slow to fast, from pianissimo to fortissimo.

DRILL

1983 | 5 min | Director/Writer: Takashi Ito Contact: lightcone@lightcone.org

APPARATUS M

1996 | 6 min | Director/Writer: Takashi Ito Contact: lightcone@lightcone.org Created for Yasumasa Morimura’s exhibition at the Yokohama Museum of Art, April 6 –June 9 1996. Filmed with Morimura in the guise of Marilyn Monroe in The Seven Year Itch as model. An imaged version of what is evoked by the words ‘Morimura’, ‘Marilyn’, ‘actress’, ‘disguise’, ‘display’, ‘sex’ and ‘death’.

PIKA PIKA 2007

2007 | 6 min | Director/Writer: Tochka

The filming of the entrance to the company dormitory in which the filmmaker was living. Centering the film on one pillar, he warps the spaces to the left and right and creates an unstable space similar to painting that employs anamorphosis. (Takashi Nakajima)

This animation was created from a lighting doodle project through which we met various people in various places.

The surprise and joy that brought life to the doodles linked one person with another. This communication naturally took form in the work. We would like to express our deepest gratitude to all the participants!

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TRESPASS

1987 | 7 min | Director/Writer: Takashi Ito Contact: lightcone@lightcone.org

2012 | 11 min | Director/Writer: Paul Wenninger Contact: office@sixpackfilm.com

The completed version of a 15-second advertisement for an interior design firm on which I had worked. It repeats over and over again the violent back-and-forth, half-revolving motions of a giant brick storehouse inside the frame of a hand-held photograph. I wanted to emphasis the flat nature of the photograph while creating a dynamic feeling of depth inside the photograph's frame. (TI)

An avatar of the director goes on a world journey, of sorts within his own four walls.

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RECYCLED

2012 | 6 min | Director/Writer: Lei Lei, Thomas Sauvin The images for this film were sourced over the years from a recycling zone in the outskirts of Beijing. The filmmakers scanned more than half a million 35mm colour film negatives. Those negatives build up a portrait of the capital city and the life of its inhabitants over the last thirty years.

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TINY GEOGRAPHIES

CCA CINEMA Sunday 16 February (18.45) 1h30m, N/C 15+

In the 1990s, interdisciplinary artist Chris Dooks was enjoying a successful career as a TV director for arts television programmes including The South Bank Show. But while working on location for PBS in 1998, he became chronically ill and his TV career came to an end. Learning to live with myalgic encephalomyelitis or ME, he made a return to his training as a photographer and developed an approach to art that was sympathetic to his new life. He has made this approach the subject of a PhD. Commissioned to create a work for the Year of Natural Scotland 2013, the Ayr-based artist devised a series of six landscape films drawing on accessible environments just a few square metres in size.

These ‘tiny’ geographies were made to see if there was any advantage to being unable to scale a Munro or even a small hill – and to try and make the best of limited energy. Dooks employs the technology as friend of the ‘exhausted practitioner’ to spy, scope out and mine the environment without touching it – or as he says, ‘the only thing I like to shoot a deer with, is a Nikon lens.’

The project was managed by Woodend Barn in Banchory, Aberdeenshire as part of the Atomic Doric season of commissioned works by artists and musicians.

SIX STRIPED RUSTIC A moth workshop at Muir of Dinnet National Nature Reserve adjacent to two lochs, brought forth a lot of imagery but also a great sonic list of both Latin and apocryphal moth names spoken by the entomologist who ran the workshop.

‘I generally prefer lists to poetry,’ says Dooks. ‘Not a popular view I grant you, but it was a great place to start. I created some very complex montages in this sequence and inserted some autobiographical work imagery in there also.’

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E-O-I-N Interviews with a ghillie, forest ranger, canopy workers and visitors to the estate make up this Tiny Geography chapter shot around Glen Tanar Estate, near Aboyne. ‘One of my favourite sections of the film is when we hear the voice of Natalia, a research student from Kruševac in Serbia,’ says Dooks. ‘She has one of the most beautifully musical voices in the sequence – there’s a gorgeous phrase ‘upper level of the canopy’ which sounds as if it has been re-tuned or augmented by the editing in some way. Actually, this is just the simple edit of these phrases, highlighting the extent to which musical content is in all our speech. Simply by isolating a phrase I try to unpick where the music is located in simple sentences.’

I USED TO FIND EGGS UNDER HEDGES The nature reserve at St. Cyrus lies between the village and the North Sea. It has a unique microclimate and is a fascinating part of the world. ‘I spoke to a lovely lady at the visitor centre who remembers the traditional salmon fishing which was actually located at shore-level at St. Cyrus beach,’ says Dooks. ‘I used her as the primary voice on the soundtrack alongside the voice of the ranger – plus a gentleman who was using the reserve as part of his rehabilitation for post-traumatic stress. Buildings – including ice houses (which were the subject of a previous residency at Helmsdale) make an appearance in the work alongside coastal flotsam and jetsam and weather-beaten crofts.’

REFERENDUM To a soundtrack of two competing pipe bands fighting it out, the footage was made with a GoPro Hero 3 Black edition on the end of a large pole around one of the ‘royal’ parts of Deeside – Mar Lodge Estate, or more specifically, the ‘Punchbowl’ area of the Linn of Quioch. The site was a popular haunt for Queen Victoria and her tea room still stands on the banks of the Linn. ‘I wanted to make a wordless piece about the opportunities or rather potential that could face an independent Scotland in the upcoming referendum, especially regarding the republic campaign in Scotland,’ says Dooks. ‘It seemed the right place to investigate and meditate on independence and whether royalty has a place in such a potentially fresh start for a nation. Not that such sentiment is obviously implicit in footage like this!’

[S]TARLAND ‘Shot primarily around Tarland until the stars came out (hence [S]TARLAND), this piece meshes abandoned quarries, bits of Tomnaverie stone circle, a dung beetle, some Austrian tourists I met along the way, an Australian and a lady from Elgin. It is the final chapter of Tiny Geographies.’

GARDENING AS ASTRONOMY ‘In this short film, which served as the pilot to Tiny Geographies, I interviewed patrons of my host organisation, Woodend Barn over a 48-hour period and stitched their responses to in-camera triple exposures to the soundtrack of the barn’s own Steinway piano alongside recordings of everything from the underwater sounds of a burn to the plumbing of the arts centre itself. During my stay in Banchory, I also photographed the aurora over Aberdeenshire, which features in the film.’

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CCA CINEMA Thursday 13 February (19.00) 1h30m, N/C 15+

EUROPE IN FOCUS To mark the tenth anniversary of the cohabitation of Goethe-Institut and the Alliance Française in Glasgow this programme reflects the diverse creativity of the Franco-German film scene, while highlighting common themes and shared creative interests in contemporary Europe.

Presented by GSFF in partnership with Alliance Française and Goethe-Institut Glasgow.

Anna and Jérôme Anna et Jérôme

Father Germany/Bulgaria/Croatia 2012 | 16 min

Director: Mélanie Delloye

Directors: Ivan Bogdanov, Moritz Mayerhofer, Asparuh Petrov, Veljko Popovic, Rositsa Raleva, Dmitry Yagodin

Writer: Mélanie Delloye

Writers: Ivan Bogdanov, Phil Mulloy

Producer: Robin Robles

Producers: Maria Stanisheva, Vanja Andrijevic, Christian Mueller

France | 2012 | 21 min

Cinematographer: Leonardo d'Antoni

Sound: Emil Iliev, Petar Dundakov

Sound: Vincent Girault

Editor: Ivan Bogdanov

Editor: Lilian Corbeille

Contact: vanja@bonobostudio.hr

Production Designer: Surya Gaye Cast: Elodie Bouchez, Malo Blondel, Laurent Cyr, Jérôme Boyer, Antoine Chain Contact: robin@liaisoncinema.fr

When did you last talk to your father? Will you ever ask him about the things that hurt you?

Having lost custody of her seven-year-old son, Anna wants another chance to make up for all she did wrong. This time, things will be different...

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Three and a Half Seconds

Different

Remains Quiet

Andersartig

Die Ruhe bleibt

Germany | 2011 | 5 min

Germany/France | 2013 | 15 min

Director: Dennis Stein-Schomburg

Director: Stefan Kriekhaus

France | 2012 | 24 min

Writer: Dennis Stein-Schomburg

Writer: Stefan Kriekhaus

Director: Éduoard Beaucamp

Producers: Dennis Stein-Schomburg, Roland Fischer

Producer: Stefan Kriekhaus

Trois secondes et demie Writer: Éduoard Beaucamp Producer: Raphaël Deslandes Sound: Loïc Chautemps, Loïc Bousquet

Sound: Detlev Stein-Schomburg, Bertin Holz, Emre Türker

Cinematographer: Patrick Orth Sound: Matthias Haeb Editor: Till Steinmetz

Cast: Richard Bohringer, Theo Cholbi

Animation: Dennis Stein-Schomburg, Maurice Quentin, Lukas Schwarzer

Cast: Jakob Bieber, Irene Moati, Jo Jarnias

Contact: g.amgar@femis.fr

Production Designer: Surya Gaye

Contact: stefankriekhaus@web.de

Pierre lives alone in a small house surrounded by pine trees. His grandson Thomas turns up one day without warning. The time they spend together allows them to discover they have much more in common than they originally thought and to grow closer to each other.

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Cast: Anna Magdalena Becker Contact info@oceanpictures-film.de

One child is different from the others. Because of her dreamy and sportive nature she doesn't match the generally accepted behaviour of the other kids. Being different makes her more and more lonely. But in the end her loneliness saves her from being killed by the bomb that hits the orphanage.

An afternoon at the edge of a large film set, somewhere out in the sticks in rural France.

A trainee takes up his position.

Time passes slowly and we wait with him, merely observing the afternoon.

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FESTIVAL FOCUS: MAGMA

Magma – mostra di cinema breve is an international short film festival which takes place in Acireale, a beautiful baroque town situated in the eastern part of Sicily.

The festival was launched in 2002 by Associazione Culturale Scarti, a cultural association created by a group of young people aiming at producing and promoting short films.

Over 12 editions, Magma – mostra di cinema breve has examined more than 5000 short films coming from 76 countries, reaching a total attendance of around 14,000 spectators and standing out as one of the best short film festivals in Italy.

In addition to the international competition, every year the programme offers special sections devoted to producers or distributors of the short film. In contrast to bigger Italian film festivals, Magma has always focused exclusively on the short film, considering it as a separate artform, as a format allowing for the experimentation of new styles and the creation of new trends, the presentation of works from both firsttime amateurs and established directors.

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CCA CINEMA Sunday 16 February (14.15) 1h30m, N/C 15+

The festival offers a chance of visibility for high-value works that are often precluded from the main distribution channels. Its aim is to build a bridge between the audience and the endless forms of expression of the short format, ranging from documentaries to animation, from narratives to the experimental.

Over the past few years, Magma has successfully created and developed collaborations with other international film festivals (Istanbul Short Film Festival, Madrid El Ojo Cojo, Budapest Short Film Festival, Bochum Internazionales Videofestival, Tangier Mediterranean Short Film Festival), as well as producers and distributors of the short film, such as the Film and TV School of the Academy of Performing Arts in Prague (FAMU), the Spanish Short Film Agency (ACE) and Comma Film project (Manchester), Leeds International Film Festival (UK) and Off Plus Camera (Poland).

Glasgow Short Film Festival and Jameson Cinefest International Film Festival Miskolc (Hungary) were the European partner festivals for the 12th edition of Magma – mostra di cinema breve. di^pdlt peloq cfij cbpqfs^i OMNQ

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Habitat

Brazil | 12012 | 16 min

Bulgaria | 2013 | 4 min

Director: Amir Admoni

Director: Ina Georgieva

Writers: Fabito Rychter, Amir Admoni

Writer: Ina Georgieva

Producer: Estudio Admoni Cinematographer: Newton Leitao Sound: Nick Graham-Smith Editor: Amir Admoni Animation: Thiago Martins, Fabio Yamaji, Amir Admoni Cast: Marcos de Andrade Contact: info@promofest.org Director filmography: Timing (2010), Monkey Joy (2008), Snooze (2006)

The line is a dot that went for a walk.

Producer: New Bulgarian University Sound: Momchil Bozhkov, Alacazam Contact: ina.ta.ta@gmail.com

A new man is born in the habitat. Kicked out by the others he follows a new direction. How far will he go?

The Conversation Rozmowa Poland | 2011 | 16 min Director: Piotr Sulkowski Writer: Piotr Sulkowski Producer: Maria Gawinek Cinematographer: Michal Gruszczynski Sound: Ewa Bogusz Editor: Piotr Sulkowski, Joanna Wieckowska Contact: promo@filmschool.lodz.pl Director filmography: Miruna (2013), Szczegół (The Detail) (2011), Pobaw się ze mną (Play with me) (2010), Patrz na mnie (Look at me) (2009), Pokemon (2009), Magnes (2009), Karol (2009), Obiad (The Dinner) (2008)

Agnieszka and Janusz were both convicted of murder.

They wrote to each other for eight years but never met... until today, when Agnieszka goes on leave and will see him for the first time.

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UN

The Star Hviezda

Head Over Heels

Slovakia | 2012 | 20 min

UK | 2012 | 10 min

Director: Andrej Kolencik

Director: Timothy Reckart

Writers: Lukas Sigmund, Andrej Kolencik Producer: Andrej Kolencik, Cinetype

Writer: Timothy Reckart Producer: Fodhla Cronin O’Reilly Cinematographer: Chloe Thomson

Cinematographer: Nikol Suplatova

Sound: Axle Kith Cheeng

Sound: Alexander Bori

Editor: James Taylor

Editor: Petra Vladykova

Animation: Timothy Reckart, Sam Turner

Contact: info@hviezdafilm.sk Director filmography: Vystava (The Exhibition) (2013), Luníček & Perešníček (2010), Čmuchal & Sviňa zasahujú (2009)

The story of Jan Slovak, a 55-year-old welder who fell in love with acting. His desire began when he got the lead role in a theatrical adaptation of the worst movie of all time, Plan 9 From Outer Space by Ed Wood Jr. The passion for theatre became his destiny.

UO

Someone Might Drop a Cigarette Butt Može neko bacit č ik odozgo Croatia | 2012 | 13 min Director: Josip Visković Writer: Josip Visković Producer: Boris T Matić Cinematographer: Dragan Šiša Sound: Goran Kuretić, Ivan Zelić

Cast: Nigel Anthony, Rayyah McCaul

Editor: Josip Visković

Contact: tim@timreckart.com

Contact: lana@propelerfilm.com

A husband and wife have grown apart over the years. He lives on the floor, she lives on the ceiling, and their marriage hangs in the balance.

Director filmography: Zašto?

(2011), Srpanj, man, odlazak (2011), Prijatelji (2010), Nestajanje (2009), Dno dna (2009), Žena koja popije sve što staviš pred nju (2008), Dubrovnik! (2008), Džepar (2008), Dvorac (2007), Marina mota (2006), Izgubljeni 2 (2005), Ko živ ko mrtav (2005)

Cast: Katja Crevar, Nikola Miljanović

Jasna and Darko are expecting a baby. They live with Darko’s father, who is an alcoholic.

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Ballet Story

Choir Tour

Germany | 2012 | 9 min

Latvia | 2012 | 5 min

Director: Daria Belova

Director: Edmunds Jansons

Writers: Daria Belova, Pascal Yorks

Writer: Edmunds Jansons

Producers: Kirill Krasovskiy, Philipp Reuter

Producer: Sabine Andersone

Cinematographer: Max Preiss

Editor: Edmunds Jansons

Sound: Ingo Reiter

Animation: Edmunds Jansons

Editors: Wolfgang Niederhoffer, Daria Belova

Contact: ieva@atomart.lv

Cast: Luise Engel, Elena Lekovic, Leon Louis Contact: h.schmidt@dffb.de Director filmography: Komm und spiel (Come and Play) (2013)

Another day at the ballet school. Class routine is going as usual, when Sophie notices a boy outside on the street.

He was there yesterday as well. She finds him mysterious.

Maybe she likes him, but doesn’t dare do anything about it. Surrounded by her frivolously chattering classmates, she realises another girl is faster at making decisions and finds herself caught in a vortex of grief and aggression.

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Sound: Girts Biss

Director filmography: How Shammies Guessed (2012), International Father’s Day (2012), How Shammies Teeter-tottered (2011), How Shammies Bathed (2010), Springtime in Crow Street (2009), Little Bird’s Diary (2007)

A world-famous boys’ choir goes on tour. In the hands of their severe conductor, they are an obedient musical instrument. But left alone without supervision, they are just playful children. Once in Seoul, the conductor is accidentally trapped in the elevator – and the boys are left alone...

UP

CCA THEATRE Sunday 16 February (11.30) 1h15m, N/C 5+

FAMILY SHORTS

Polar Where?

UK | 2013 | 2 min Filmmaker: Terry Thomas Producer: Terry Thomas Cast: Terry Thomas, Ben Cochrane Contact: terrydthomasuk@gmail.com

A polar bear searches for his missing friend.

Miriam’s Green Spots

Harald

Miriami Rohelised Täpid

Director: Moritz Schneider

Estonia | 2012 | 5 min Director: Priit Tender Writers: Leelo Tungal, Peep Pedmanson

Writer: Moritz Schneider Producer: Alexandra Strautmeister Sound: Lena Zagikyan, David Rädler, Balz Aliesch Editor: Moritz Schneider

Sound: Tiit Kikas, Märt-Matis Lill

Animation: Ringo Klapschinsky, Moritz Schneider, Pia Auteried, Jacob Frey, Kyra Buschor, Cynthia Collins, Julia Ocker, Georg Schneider, Julia Reck, Meike Müller

Animation: Triin Sarapik-Kivi, Marili Toome, Andrus Tenusaar

Cast: Oliver Vogel, Moritz Schneider, Felix Benning

Contact: nukufilm@nukufilm.ee

Contact: kontakt@moritzschneider.com

Producer: Nukufilm OÜ Cinematographer: Ragnar Neljandi

Miriam is jealous. Her little brother is ill and getting all the attention. There’s only one thing for it. She’s going to have to paint spots on her own face.

UQ

Germany | 2013 | 7 min

Harald is a wrestler. Driven by his ambitious mother, he has won a vast number of challenge cups. But his true passion is for flowers. When his mother takes away his favourite, he has to fight to get it back.

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The Smortlybacks

Into Spring

Little Gypsy

Netherlands | 2012 | 5 min

Kachho Gadulo

Switzerland/China | 2013 | 5 min

Director: Udo Prinsen

Directors: Ted Sieger, Wouter Dierickx

Writer: Udo Prinsen

Writer: Ted Sieger

Sound: Han Bennink, Mary Oliver

Producer: Ted Sieger

Animation: Udo Prinsen, Klaas Laageveen, CalĂŠ Mazza

Cinematographer: Ted Sieger Sound: Christoph Utzinger Contact: schattenkabinett.festival@gmx.ch

On a table-top mountain a mahout and his strange herd make a surprising journey.

Producer: Carambolas Films

Contact: info@carambolasfilms.nl

The rhythmical drumming of two woodpeckers set in motion a colourful spring.

India | 2013 | 6 min Directors: Saptesh Chaubal, Shivangi Ranawat, Pranay Patwardhan Writers: Saptesh Chaubal, Shivangi Ranawat, Pranay Patwardhan Producer: Martin Ruyant Cinematographer: Saptesh Chaubal, Pranay Patwardhan Sound: Janmeet Singh, Amey Naik Editor: Pranay Patwardhan Contact: saptiesh@gmail.com

A story about the vibrant and diverse culture of India, as seen through a young child’s free and beautiful imagination.

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UR

Hopfrog Pryg-Skok Russia | 2012 | 5 min Director: Leonid Shmelkov Writer: Leonid Shmelkov

The Animation of Man

My Grandmother

Netherlands | 2012 | 3 min

Mi Abuela

Director: Amanda Nedermeijer Writer: Amanda Nedermeijer

Producer: Leonid Shmelkov

Producer: Willem de Kooning Academy

Sound: Tatiana Shatkovskaya-Eisenberg

Cinematographer: Amanda Nedermeijer

Animation: Leonid Shmelkov, Roman Efremov

Sound: Amanda Nedermeijer, Rosa Groen, Kevin MacLeod

Contact: hopfrogfilm@gmail.com

Editor: Amanda Nedermeijer

Non-scientific observations of a creature who just can’t stop jumping.

Cast: Amanda Nedermeijer Contact: amandanedermeijer@gmail.com

An animator creates an animation with a mind of its own.

US

Colombia | 2012 | 8 min Director: Carlos Smith Writers: Carlos Smith, Libia Stella Gómez Producer: HIERROanimación Sound: Sebastián Villanueva, Urián Sarmiento Animation: Miguel Otálora, Andreas Papacostas, José Gerardo Arce Contact: animacion@hierro.tv

A seven-year-old girl spends a weekend at her grandmother’s place in the countryside. She is terrified of the old woman’s wrinkled skin and imagines her as a big knotty tree. Before the two of them can get close, the little girl will have to overcome her fear.

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Choir Tour

Macropolis

Latvia | 2012 | 5 min

UK | 2012 | 8 min

Director: Edmunds Jansons

Director: Joel Simon

Writer: Edmunds Jansons

Writers: Mick O’Hara, Ciaran Morrison, Joel Simon

Producer: Sabine Andersone Sound: Girts Biss

Producer: Vicky Bevis Cinematographer: Joel Simon

Editor: Edmunds Jansons

Sound: Andrew Simon McAllister

Animation: Edmunds Jansons

Editor: Nathan Mateer

Contact: ieva@atomart.lv

Animation: Johnny Schumann

A world-famous boys’ choir goes on tour. In the hands of their severe conductor, they are an obedient musical instrument. But left alone without supervision, they are just playful children. Once in Seoul, the conductor is accidentally trapped in the elevator – and the boys are left alone...

Two broken toys are discarded from a factory production line.

Coming to life, they rebel and chase the factory delivery van in the hope of rejoining their friends. Macropolis was shot outdoors on the streets of Belfast, using an arresting mix of stop-motion animation and time-lapse photography.

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Contact: info@flickerpix.com

UT

ilt _radbq scu tlohpelm tfqe jo h^mifk CCA CLUBROOM Friday 14 February (17.00) 1h30m

Mr Kaplin is the award-winning digital filmmaking and design partnership of Robert Glassford and Daniel Zucco. They started their working relationship in 2011 over Skype, later moving to London to establish Mr Kaplin in 2012.

Their works include commercials and music videos along with animated and live action shorts which have featured in Creative Review, Shots, Vice Creators Project, Promo News, Channel 4, IDN magazine and more besides.

In this workshop they will discuss their recent exploration into VFX, demonstrating their work on PULSE and Orbit Ever After and explaining how low budget VFX can be made accessible to short filmmakers with smaller budgets.

_^cq^ pÅçíä~åÇ éêÉëÉåíë qeb ^oq lc qeb riqo^Jpeloq cfij CCA THEATRE Friday 14 February (17.30) 1h

9.88 Films is an ultra-short filmmaking challenge inspired by the Commonwealth record for the 100m sprint: a global event that captivates audiences in under ten seconds. BAFTA Scotland welcomes a panel of filmmakers and programmers who work with ultra-short moving image, talking about the opportunities and challenges around creating very short film.

9.88 Films forms part of the official Glasgow 2014 Cultural programme. The project is led by interactive entertainment specialists Chunk, with support from Creative Scotland and Channel 4.

Enter your ten-second film at www.9point88.com Follow on Twitter @9point88 Facebook.com/9point88 Free entry, tickets available on the day from CCA box office. For full line-up of speakers, go to www.glasgowfilm.org/gsff

peloq pqrccW m^obkq ^ka _^_v p`obbkfkd CCA THEATRE Thursday 13 February (11.00) 1h15m, N/C 12+

The ever-popular Short Stuff returns for an hour and a bit of highlights from across the GSFF14 programme, specially chosen for parents and babies. The selection will remain a secret until the curtains open, but we guarantee entertaining and thought-provoking drama, documentary and animation from around the world.

No extreme content or sudden loud noises, and the lights will remain on low to allow easy movement during the screening.

Babies must be 18 months or younger (and go free, obviously!)

UU

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INDEX

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UV

INDEX BY TITLE Adventures of Christopher Bosh in the Multiverse!

70

Fishcakes & Cocaine

22

Afghan ’72

32

Furniture – Murder and Love

61

Ahora, No

27

Gardening As Astronomy

77

Alan’s Story

62

Get a Room

64

The Animation of Man

86

Getting On

18

Anna and Jérôme

78

Grandpa and Me and a Helicopter to Heaven

38

Anomalies

37

The Grave

63

ANR – It’s Around You

70

The Groundsman

20

Apparatus M

75

Gutenberg

33

Atrophy

61

Habitat

81

Baby Doll

63

Hannah

21

Ballet Story

83

Harald

84

Barberism

62

Harry & Avis

29

Bear With Me

19

Hart’s Desire

23

The Big Sheep

47

Head Over Heels

82

The Bird Man of Red Road

18

Homosexual Activity

63

Blind Faith

65

Hopfrog

86

Buffalo Death Mask

42

How to Abandon Ship

39

C#ckfight

71

Hundred Waters – Boreal

70

The Case

34

I Am Your Grandma

70

Chlorophyl

71

I Love You So Hard

20

Choir Tour

83, 87

The Immaculates

34 85

Chugger

62

Into Spring

Caora Mor/The Big Sheep

47

Irish Folk Furniture

Colours

83, 87

I Used To Find Eggs Under Hedges

59 p77

The Conversation

62

Jacuzzi Boys – Glazin’

70

The Coral Reef Are Dreaming Again

70

Jazzball: An Urban Odyssey

63

Dad’s Stick

32

Juras-sick Park

65

The Danger of Complete Extinction

40

Just Saying

56

Different

79

Karmok

40

Drill

75

Knight Arts Challenge Miami

70

Driven

60

L’Assenza

36

Ebb and Flow

42

Lagan

25

Emergency Calls

34

Let’s Go Swimming

18

E–O–I–N

77

Liar

25

Erotos

42

Life and Freaky Times of Uncle Luke

70

Even Gods

56

Linear

81

Exchange & Mart

24, 43

Little Gypsy

85

Father

78

LOMA – A Family Holiday

26

Fear of Flying

59

Macropolis

87

VM

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Malaise

A Removals Job

58

The Man Who Couldn’t Stop Putting Things in Bins 64

Return of the Chugger

65

The Man Who Was Full of Birds

23

Rhinos

60

Mechanic

56

Riverbero

32

Miami 1996

71

Romance & Adventure

21

Miriam’s Green Spots

84

The Royal (8-BIT) Jubblies

62

The Misbehaviour of Polly Paper-Cut

20

Sat Nav Secrets

64

The Missing Scarf

41

Scenic Jogging

70

Mission

25

Seams and Embers

22

Morning

59

Sensitive Tooth Man

63

Moussaka

64

Si Nos Dejan

71

My Grandmother

86

Six Day Run

43

Nae Pasaran

27

Six Striped Rustic

76

SLR

37

No Hope For Men Below

39

22, 38, 48

Off-White Tulips

33

The Smortlybacks

85

Old Fangs

57

Someone Might Drop a Cigarette Butt

82

On the Threshold

41

Spacy

75

Orbit Ever After

26

Spectators

28

Overactive Solutions

64

The Star

Pablo Picasso: Actors’ Headshots

62

Stay the Same

Pandas

40

Stovies

19

Pasadena Freeway Stills

75

Summer Fall

39

Pika Pika 2007

75

That Music

33

The Places Where We Lived

71

The Things that Are Important to Us

21

Please Say Something

57

A Third Version of the Imaginary

36

Plug & Play

36

Three and a Half Seconds

79

Polar Where?

84

Timeholes

64

Polventon

47

A Toast

71

Torn

57

The Port

28, 47

82 23, 41, 48

#PostModem

70

Trespass

75

PTA

65

Trusts and Estates

35

Undressing My Mother

58

PULSE

46, 48

The Questioning

35

Useless Dog

60

Rachel Goodrich – Light Bulb

70

Waiting For Berta

71

Radio Silence

26

Wall

75

Recycled

75

We As Me in 3D

Red Dust

28

When We Lived in Miami

Referendum

77

Yak Butter Lamp

37

The Registrars

19

Yearbook

71

Reinaldo Arenas

70

Zone

75

Remains Quiet

79

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70 38, 71

VN

INDEX BY DIRECTOR Amir Admoni

81

Ina Georgieva

81

Elia Ballesteros

27

Phil Harrison

56

Éduoard Beaucamp

79

Colin Healy

19

Daria Belova

83

Rose Hendry

19

Gary Beydler

75

Ross Hogg

28

Jonny Blair

20

Nathan Hollis

29

Åsa Blanck

38

Alan Holly

57

Bleeding Palm

70

Mike Hoolboom

42

Ivan Bogdanov

78

Takashi Ito

Jeanette Bonds

35

Edmunds Jansons

Nicholas Bowe

65

Barry Jenkins

71

Cathy Brady

59

Ian Jones

63

Hal Branson

62, 64, 65

Ilona Kacieja

28 40

75 83, 87

Bernardo Britto

71

Rannvá Káradóttir

Mark Buchanan

25

Nicholas Keogh

Ross Butter

20

Douglas King

Ben Cady

37

Andrej Kolencik

Feidlim Cannon

56

Konstantin Kolesov

40

Saptesh Chaubal

85

Paddy Kondracki

64

Kate Campbell

58 18, 21 82

27

Anastasia Kratidi

41

Martin Clark

24, 43

Stefan Kriekhaus

79

Cara Connolly

24, 43

Claire Lamond

22

Nick Corirossi

71

Stuart Laws

Duncan Cowles

26

Lei Lei

75

Michael Crumley

21

Chris Leslie

18

Mairtín de Barra

61

Lucas Leyva

70

Mélanie Delloye

78

David Lilley

65

Wouter Dierickx

85

Jane McAllister

19

Tony Donoghue

59

Robin McKay

39

Ben Mallaby

64

Chris Dooks

76, 77

62, 64

Eoin Duffy

41

Shimmy Marcus

60

Laimir Fano

71

Gabriel Mascaro

42

Bryan M Ferguson

20

Jillian Mayer

70

Stephen Fingleton

37

Moritz Mayerhofer

78

59

Conor Finnegan

Adrien Merigeau

57

23, 41, 48

Grégory Montaldo

42

Graham Fitzpatrick

27,35

Marianna Mørkøre

40

Pierre Forcioli-Conti

32

Shana Moulton

47

Michael Frei

36

MYBOSSWAS

32

Sam Firth

VO

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Amanda Nedermeijer

86

Joel Simon

87

Alex Nevill

22

Carlos Smith

86

David O’Reilly

57

John Smith

32

Niall Owens

57

Martin Smith

25

Johan Palmgren

38

Adam Stafford

22, 38, 48

Pranay Patwardhan

85

Jamie Stanton

62, 63

Louis Paxton

64

Lucy Stein

Ruth Paxton

46, 48

47

Dennis Stein-Schomburg

79

Asparuh Petrov

78

Cecilia Stenbom

34

Frances Poet

21

Ewan Stewart

18

Richard Poet

21

Rory Alexander Stewart

Veljko Popovic

78

Jamie Stone

26

Udo Prinsen

85

Piotr Sulkowski

81

David Quin

61

Tom Sullivan

56

Rositsa Raleva

78

Mika Taanila

43

RAMMATIK

40

Margaret Tait

Marco Ramirez

71

Liam Tate

62, 63

Shivangi Ranawat

85

tea&cheese

62, 63

Timothy Reckart

82

Priit Tender

84

Anthony Richardson

62

Terry Thomas

84

Zhu Rikun

35

Ian Thuillier

60

James Roberts

62

Benjamin Tiven

36

Gavin C Robinson

23

Tochka

75

Julian Yuri Rodriguez

71

Ronny Trocker

34

Jonathan Romney

36

Dave Tynan

56

Maryna Roshchyna

39

Katri A Vanhatalo

26

Celia Rowlson-Hall

71

Gianpiero Vannucci

23

Aykan Safoglu

33

Hannes Vartiainen

34

Thomas Sauvin

75

Pekka Veikkolainen

34

Christian Schmeer

39

Dario Vejarano

33

Moritz Schneider

84

Amalie Vilmar

33

Pat Schulenburg

63

Josip Visković

82

Amy Seimetz Peter Shaw Patrick Sheahan Kyle Shepherd

38, 71

Matus Vizar

28, 47

47

40

25

Ken Wardrop

64

Hu Wei

37

Paul Wenninger

75

63, 65

58,60

Leonid Shmelkov

86

Richard Woolford

63

Ted Sieger

85

Dmitry Yagodin

78

Felipe Bustos Sierra

27

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VP

I was very impressed by the service provided by the people at Filmhouse. They were extremely knowledgeable, helpful and courteous and the process itself professional, fast and competent.

THOMAS RIEDELSHEIMER

MOTHER INDIA’S CAFÉ

CELEBRATING OUR 10 YEAR ANNIVERSARY AND PROUD SPONSOR OF GSFF SCOTTISH SHORT FILM AWARD 2014.

0141 339 9145 www.motherindia.co.uk

www.glasgowfilm.org/gsff www.facebook.com/glasgowshortfilmfestival Twitter: @GlasgowSFF #GSFF14