IDFA Bertha Fund
activity report 2013
1
Return to Homs
IDFA 2013 Opening Film Talal Derki, Syria/Germany, 2013
Contents Introduction
3
A Community of Solidarity in Syria
4
Building Intimacy in South Africa
6
Creating Awareness in Myanmar
8
Building an Industry in Ecuador
10
Bridging the Gap between Pakistan and India
12
Activities and Results 1 IDFA Bertha Fund General
2
14
2 Selected documentary projects and festivals in 2013
15
3 Funding of documentary projects
19
4 Professionalization of filmmakers
22
5 Festivals and Distribution
27
6 IBF Network
34
Appendix I: Selection Criteria
38
Appendix II: Organization 2013
39
Appendix III: Statement of Income and Expenditure
40
IDFA Bertha Fund
Introduction 2013 was the first year of collaboration between the Bertha Foun-
Since 2008, IBF filmmakers have participated in the IDFAcademy
dation and IDFA. And a remarkably fertile year for the IDFA Bertha
Summer School, where they can hone their projects. In the past year,
Fund, bringing much international attention for the documentaries
seven IBF projects took part in the Summer School. The Fund also
supported, an expansion of the assistance offered to supported
launched a second mentoring opportunity in the form of the IBF
filmmakers and a refinement of the application and selection pro-
Project Factory, in which a group of supported filmmakers are invited
cess. This annual report examines the activities carried out and the
at an early stage of their projects to attend a special program of IDFA
impact of the support provided by IDFA Bertha Fund to filmmakers
panels and consultancies on script, editing and outreach matters.
and organizations during the period 1 January through 31 December 2013. In the first part of the report, five partners of the Fund talk
In 2012, the Fund reviewed its procedures and activities in consulta-
about their work, their countries and their cooperation with the
tion with the selection committee. This led in 2013 to a number of
Fund. This is followed by an overview of the activities carried out
policy and operational changes. Technical changes to the applications
and all the relevant facts and figures.
module on the website and to its selection procedure mean the Fund is now better able to deal with large numbers of projects and the pro-
In total, during the period under review the Fund selected 29 docu-
cess is now simpler for applicants. Within three weeks of the deadline
mentary projects from 22 different countries, including Bangla-
applicants now know whether their project is preselected.
desh, Kenya, Cuba and Iran. Filmmakers reflect their environments,
In 2013 the Other Activities category has been dropped and replaced
histories and everyday lives and sometimes make their films under
by the Documentary Festivals category. Applications for workshops
extremely difficult circumstances – for example in countries where
and training courses, mobile cinema projects and the distribution of
freedom of the press is under threat. In 2013, 75% of the selected
individual documentaries can no longer be made. The number of re-
documentary projects came from countries where freedom of
quests in these categories was always low, and the Fund was forced
expression is limited1.
by budget cuts to make choices. Support to documentary festivals
In addition, three festivals received support and two festival proj-
best reflects the Fund’s mission to stimulate screening opportunities
ects were selected for support from amounts set aside in 2012. All
for documentaries in developing countries.
supported festivals are new events to which the Fund contributes
Through an increase in concrete support to selected documentaries,
not only financially, but also provides advice where desired, includ-
the Fund is able to make the support it provides even more effective.
ing on organizational matters. In 2013, the festivals supported by the Fund attracted almost 140,000 visitors.
As at year end 2013, since its foundation in 1998 the Fund has supported a total of 129 festivals, distribution initiatives and workshops
In 2013, for the first time IDFA opened with a documentary sup-
and 377 documentary projects (contributions to project development
ported by the Fund. Return to Homs, by Syrian director Talal Derki,
and/or production/post-production). Of the latter projects, 253 docu-
is a remarkably intimate portrait of the unequal struggle of a group
mentaries have now been made. Thanks to support from the Bertha
of young revolutionaries in Homs, Syria, against the national army
Foundation, the Dutch Ministry of Foreign Affairs, Hivos, Media
destroying their city.
Mundus and Culture of Resistance, we have been able to continue our
In total, eleven documentaries were presented at IDFA, three of
activities and add new elements, such as the IBF Project Factory. The
which in competition programs. My Name is Salt from India won
Fund is extremely grateful to all of its backers.
the IDFA First Appearance Award. IBF-supported documentaries were seen at international festivals worldwide, but also at festivals in their own countries of origin. For the first time an IBF-supported documentary and Palestinian film received an Oscar nomination. 5 Broken Cameras (Israel/Palestine) received worldwide publicity and the Oscar nomination unleased an avalanche of reports in the press and on social media about the documentary and the conflict between Israel and Palestine.
1 Based on the World Press Freedom Index 2013: http://fr.rsf.org/IMG/jpg/2013-carte-liberte-presse_1900.jpg
3
The team of Return to Homs, (f.l.t.r.) Orwa Nyrabia (producer), Talal Derki (director), Diana El Jeiroudi (associate producer), Guevara Namer (line producer)
4
The cooperation between the IBF and Proaction Film started
then, the partnership has continued and the IBF and IDFA
after the two had got to know one another during a festival
have supported both the festival’s activities and Proaction
in Beirut in 2006 through the Fund’s support for the first
Film – for example, with DOX BOX Global Day. In 2012, the
ever Syrian project, Dolls, a Woman from Damascus. Plans
Fund selected BALADI, a workshop for Syrian filmmakers, and
were quickly drawn up for a documentary festival in Damas-
later also the application for production support for Return
cus, Dox Box. The Fund was intensively involved in this right
to Homs. In 2013, Orwa Nyrabia was involved in the pre-selec-
from the start, until the civil protests started in 2011. The first
tion of projects from the Arab region, and was a member of
three editions of Dox Box all received financial support. Since
the selection committee.
IDFA Bertha Fund
A Community of Solidarity For Orwa Nyrabia and Diana El Jeiroudi of Syrian production outfit Proaction Film, the selection of Return to Homs as opening film of IDFA 2013 was a crowning success for their longstanding involvement with the festival and the IBF. The couple first attended IDFA in 2006, when El Jeiroudi’s film Dolls – A Woman from Damascus, produced by Nyrabia and supported by the IBF, screened in the festival’s Mid-Length Competition. “We were jealous”, laughs El Jeiroudi. “So we went home and created a festival for documentary in Damascus!” Their DOX BOX festival ran from 2008 through 2011, until the civil uprising in Syria – although it has continued online as the annual DOX BOX Global Day. “One of the objectives was to make it a hub for our region”, says Nyrabia. “The greater film world can easily feel far away and out of our reach, so we wanted to create a platform where these worlds could meet and filmmakers from our region could cross that barrier of isolation.” The IBF’s support was crucial in those early years, says El Jeiroudi: “There is no film fund in Syria, and at the time, there was no support for filmmakers in the entire region. In the last few years, the Arab Fund for Arts and Culture was created, as well as initiatives in Beirut, Abu Dabi and Dubai, but that all came later. For us, the IBF was the local fund.” A similar impulse led to the Baladi workshop in 2011. The idea came in the months leading up to the revolution, says El Jeiroudi. “We had been working to create this community of filmmakers, and now everything was tense and chaotic; there was a lot of paranoia. So a few months after the revolution we started Baladi, which means ‘my country’, as an umbrella for Syrian filmmakers. It was not about being either with or against the regime; we just wanted documentaries that reflected the voice of the filmmaker.” Nyrabia continues: “Our objective was to help the filmmakers get a little distance from their daily anguish. So when they came to IDFA in 2011, discussing their ideas with advisors and filmmakers, that was a great starting point for them to think about their films as more than just direct activist action. Urgency was and is the priority in Syria, so it took effort to make them believe they could make cinema.” Talal Derki’s Return to Homs was one of the workshop projects, and would prove to be its most successful result, winning the World Cinema Grand Jury Prize for Documentary at Sundance following on from its world premiere at IDFA. “Talal had worked brilliantly as a news reporter”, says Nyrabia. “His work was always attractive, but he never had the chance to take a step back and discuss the material with anyone. So he wanted to take more effort than he was capable of doing in a journalistic context. He came in with five minutes from Homs, introducing the main characters Basset and Osama, and immediately they were the kind of characters who conveyed much more than just their own existence. They are two young men who tell the story of many.”
5
Director Riaan Hendricks and IDFAcademy Summer School tutor Gianfranco Rosi discuss The Devil’s Lair.
“My tutor was the perfect match for my project. He worked hard
mentaries. To tell this story, he was looking for a new approach
to attend to my weaknesses and influence my filmmaking ap-
that would do justice to his characters and their lives. The
proach in the right direction. For Neil Brandt and myself, we left
project was at the ideal stage for participation in the IDFAcad-
the Summer School as a team, with a clear sense of story direc-
emy Summer School, shortly before the start of its 3-month
tion and the aesthetic approach to follow.” Riaan Hendricks
shooting period. The Devil’s Lair premiered in April 2013 at the Canadian
6
Producer Neil Brandt has been collaborating with the IBF since
documentary festival Hot Docs, and has now screened at
2002 and has produced three documentaries supported by the
many other festivals as well as at IDFA. The documentary was
IBF. In 2012, he approached the Fund with a proposal to support
very well received in South Africa, where in March 2014 it won
the production of The Devil’s Lair.
the South African film awards for Best Documentary and
Director Riaan Hendricks had previously made several docu-
Best Editing.
IDFA Bertha Fund
Building Intimacy The Devil’s Lair is a surprisingly intimate portrait of everyday life in the house of South African drug boss Braaim. This intimacy is the result of director Riaan Hendricks’ childhood connection with his main character: “As much as the film is about Braaim’s journey, it’s also about my own journey.” Shortly before shooting started on The Devil’s Lair, Hendricks participated in the IDFAcademy Summer School – one of several IBF-supported filmmakers who get this opportunity every year. “That’s where the film was really developed conceptually”, Hendricks says. One of the tutors was renowned Italian director Gianfranco Rosi, who last year won a Golden Lion in Venice for his film Sacro GRA. “He gave us a lot of input, and had a great influence on the stylistic approach, which differs a bit from my other films. Normally, I always have my voice in the film, whereas The Devil’s Lair is observational cinema. That brought a lot of challenges, as we couldn’t hide any failings, and it strongly affected the way we filmed and structured the story.” And what a story it is, this intimate portrait of middle-aged drug lord Braaim in Cape-Flats, one of the most criminal and violent areas of Cape Town. “No other filmmaker could have made this film”, stresses producer Neil Brandt. “The intimacy it has came about because Riaan has known Braaim since childhood, since their days of innocence. Due to fate, chance, choice, free agency, their paths diverged; as I like to say, Riaan picked up a camera instead of a gun. But twenty years later, Braaim trusted Riaan to take his story to the world in a way he would never trust another filmmaker.” The dangers of Cape-Flats, which has one of the highest murder rates in the world and was engulfed in a bitter gang war at the time of filming, constrained the filmmakers in many ways. It meant that Hendricks had to go in alone, and could only stay for a relatively short time. “Riaan went in to make it really intimate, about the minutiae of the everyday”, says Brandt. “He was there for three months, and you sense the tension in the film. Most of the film is shot from Braaim’s house, conveying that sense of claustrophobia, of being trapped in that environment.” Filming in this way is a very particular discipline, Hendricks says. “You need to know where the story is going, which means you need to be in contact with the character, to see his development. Any changes could be a trigger for this instinctual process of knowing: this part of the story is closed, that part I still need to get.” This also meant that it was up to Hendricks to edit the film himself. “We tried working with several editors, but in the end too much of the film was subjective. All of the emotions I experienced while making the film found their way into strange moments, which can’t really be verbalized. Those feelings and emotions were built up in me, and much of the editing process was about me unpacking those emotions.”
7
Audience waiting for the cinema during the Wathann Film Festival
The first ever application the Fund received, from Myanmar,
In 2013, the IBF decided to support two festivals in Myanmar – the
was for the documentary Nargis. When Time Stopped Breathing,
Human Rights Human Dignity Film Festival and the Wathann
which deals with the disastrous consequences of Cyclone Nargis.
Film Festival. IDFA and IBF director Ally Derks also made two visits
The film was produced by the Yangon Film School and finally
to the country. The first as part of a research trip through South-
screened in Myanmar in 2012, at the Wathann Film Festival, a
east Asia and the second as a jury member for the Human Rights
festival established by students from the film school.
Human Dignity Film Festival. The programmers of both festivals were invited to attend IDFA 2013.
8
IDFA Bertha Fund
Creating Awareness Myanmar seems to be slowly freeing itself from military dictatorship, with the first general elections in two decades and the release of political prisoner Aung San Suu Kyi in 2010 as the most visible signs of change. But there is still a long way to go, say several members of the fledgling documentary scene in the country. In 2011, Thu Thu Shein was one of the organizers of the Wathann Film Festival, Myanmar’s very first film festival. “Nobody knew what a film festival is! The four organizers, who had been to IDFA and other international festivals, were the only ones. For the audience, it was quite new to see documentaries and short films, and as filmmakers, we don’t have an education in the country, so we are also still learning. So we educate the audience and the filmmakers at the same time.” The festival still primarily shows films by filmmakers from Myanmar, where independent filmmaking has been on the rise in recent years, with a film school opening in Yangon and several more festivals following in Wathann’s footsteps. “I don’t know if I’d call it a movement”, says Thu Thu Shein, “but there is a growing network, a group dynamic.” Back in 2011, this wasn’t as self-evident, as even the authorities had to wrap their heads around the concept of a film festival. “We needed permission to create a public event, and the films need to be approved by censorship. But the Ministry didn’t know what a film festival is, either, and since we’re not a distributor the censors didn’t know what to do either. So for the first edition, we never got the permission, and the day before the festival we were really freaking out. But in the end we decided: everything is ready and arranged, so let’s do it anyway. And then on the very last day, an hour and a half before the close of the festival, we finally got the permission!” Min Htin Ko Ko Gyi and Mon Mon Myat had similar experiences when they travelled around Myanmar with their Human Rights and Human Dignity Film Festival. The festival, held under the auspices of opposition leader Aung San Suu Kyi, had its first edition last year, with the main event in Yangon but travelling editions in up to thirteen other villages and cities. “We needed to get permission from the Ministry of Information for every screening”, says Min Htin Ko Ko Gyi. “But even with that permission, we still need to get permission from the local authorities, who often don’t give it.” His colleague Mon Mon Myat continues: “Things are changing on the surface, but not drastically. All the local authorities are still running in exactly the same way they used to under the dictatorship. In Yangon and some other big cities, things may be more open, but other parts of the country have the same problems as before. So sometimes we screen films without permission.” One of the goals of the festival is to create a democratic space at the screenings, says Min Htin Ko Ko Gyi. “Many people that come to the films don’t even know what the term ‘human rights’ means, so we want to create awareness and to defend a democratic state in our country as much as we can. I’m often asked the question: do you have a plan B if the authorities don’t give you permission? And our plan B is always: we still screen the films!”
9
Directors Manolo Sarmiento and Lisandra Rivera at IDFA 2013 for the premiere of The Death of Jaime Roldos.
10
Manolo Sarmiento and Lisandra Rivera are part of the group
was supported for project development by the IBF in 2006 and
that founded the Encuentros del Otro Cine documentary festival
invited to the IDFAcademy Summer School in 2009.
and are still involved in the organization of the festival today. IBF
Following its national premiere at the Encuentros del Otro
supported the first edition of this festival, as well as two others
Cine festival, where it won the audience award, the film
during the past decade. The festival has grown to be a valued and
kicked up a real storm in Ecuador. The documentary forced
well-attended documentary platform in Latin America.
an opening for debate of a political issue that had for many
The Death of Jaime Roldos investigates the death of the first
years been swept under the carpet. With a theatrical release
democratically elected president of Ecuador. An attempt to find
in 12 cinemas in the 4 major cities in Ecuador, the documen-
out what was really going on behind the scenes and what secret
tary reached an audience of 52,000 people and has now also
powers and interests were pulling the strings. The documentary
been released on DVD.
IDFA Bertha Fund
Building an Industry With their documentary film festival Encuentros del Otro Cine (Edoc), Manolo Sarmiento and Lisandra Rivera and their colleagues have been instrumental in creating a viable film industry in Ecuador. At IDFA 2013, the couple presented their new film The Death of Jaime Roldós. For Sarmiento and Rivera, their own filmmaking ambitions and the organization of the festival have always gone hand in hand. “The festival was created in 2001 by a small group of documentary filmmakers, photographers and writers who were all involved in filmmaking already”, Sarmiento explains. “It all came together at that first festival, which became a motivational event for local filmmakers. There was this explosion of filmmaking at the time, partly triggered by digital technology, and the festival gave direction to all that activity. Although we only received a small grant from the IBF at the time, it was fundamental because it became the main reason we committed to finally make this project come true.” Although much has changed during the twelve editions that have been held since then, at its core the festival is still the same, says Rivera. “We have a political view about what we should and should not be doing, which has not changed. The spirit is still the same: we aim high, and never think that things are too difficult for our audience.” That strategy has, slowly but surely, reaped dividends. “The audience is really getting more and more sophisticated. People will now say things like: ‘Oh, I like Victor Kossakovsky’s second film better than this one.’ Which is fantastic!” Similarly, Ecuadorian cinema has seen an upswing, in both quality and quantity, says Sarmiento. “The group of filmmakers that created the festival and several other initiatives also pressed the state for an independently judged funding body for cinema. That was created in 2006, and that funding has supported a lot of films. In the beginning, we screened every Ecuadorian film that was submitted because we needed to make it possible for them to be visible. But now that’s impossible, because there are too many submissions. A few years ago, a group of young people even created an off-the-doc festival, where all the other films could be shown – which is great!” Organizing the festival has taken its toll on the time they could spend on their own filmmaking – their film The Death of Jaime Roldós, which had its international premiere at IDFA 2013, first received IBF support way back in 2006. But it has also formed the way they work, says Sarmiento. “The importance of social memory as a way of constructing democracy, a more pluralistic and open society, is an idea that has been in the festival program and is a big part of our film as well.” One advantage of taking so long on the film is that you get to constantly refine it, says Sarmiento. “Although as a producer, I would not recommend it to anyone! But it gave me the chance to participate in the IDFAcademy Summer School, for instance. I was lucky enough to work with Peter Wintonick, who recently passed away. When we learned about his death, we reread the advice he gave us then, which we always thought we’d ignored. The subject was: how much information about Ecuador do we need to give the audience? And he said: the minimum, only the indispensable. In the end, we did follow his advice – it’s just that the minimal and indispensable takes an hour!” 11
Directors Maheen Zia and Miriam Menacherry discussing their project The Guitar School with IDFAcademy Summer School tutor Kate Townsend (BBC).
Miriam Menacherry is a familiar face to the IBF, having received a contribution in 2011 to her documentary The Rat Race, in which she followed rat exterminators in Mumbai. The Guitar School received a project development contribution in 2013 and is expected to screen at IDFA 2014. The IBF invited Miriam and Maheen to IDFA 2013 to participate in the IBF Project Factory and to attend the IDFA Forum as observers.
12
IDFA Bertha Fund
Bridging the Gap The conditions of creation for The Guitar School became a metaphor for the film’s subject. While chronicling their two conflicting nations’ common culture, Indian filmmaker Miriam Chandy Menacherry and her Pakistani co-director Maheen Zia were stranded on opposite sides of the border, communicating online. It took a trip to IDFAcademy Summer School for them to meet in person. “I found this really interesting music from Pakistan online, with very hardhitting lyrics full of social and political commentary”, Menacherry explains of the origins of the project. “Reading the comments, I realized that many of the people following these musicians and commenting on it were from India, and it struck me that where political diplomacy fails, there is this dialogue happening through popular culture.” To investigate the subject more thoroughly, she contacted Zia, who had assisted her with some second unit photography on a previous film. “We soon discovered the music school in Karachi which became the main focus of our film”, Zia says. “They have a special program for young girls from the region around Karachi, which doesn’t have much exposure to the arts or to music education.” While work on the project was gaining momentum, the two filmmakers were divided by a border, only communicating via e-mail, or sometimes by phone. “Then, a little later, we started to Skype, which meant that at least we knew each others faces”, Zia laughs. Nevertheless, it wasn’t until both filmmakers travelled to Amsterdam for the IDFAcademy Summer School in July 2013 that the two actually met in person. Remembering the occasion, Menacherry laughs: “There was a lot of excitement, because the staff all knew it was our first meeting! But really, I think India and Pakistan are culturally one country that has been divided. A lot of Pakistani music is used in Indian films, which in turn are really popular in Pakistan. So there is something very much in common, and I hope Maheen and I get to work together again after finishing The Guitar School.” Zia concurs. “There is a lot of warmth between our countries, just not between the governments! Although I don’t think there’s ever been an Indian-Pakistani documentary coproduction before. Either way, it was really wonderful to meet finally, and it was also really good for the project to actually sit down and visualize the film together.” The time together at the Summer School helped them focus their ideas, Menacherry says. “While we were working over distance, where Maheen’s shooting on her own and I’m taking the material through post, we didn’t have that luxury. Sometimes we’re thinking the same thing but saying it in different ways. When we found our executive producer at the Summer School in Iikka Vehkalahti, that started a three-way dialogue that helped us both realize we were actually on the same wavelength.” The contributions of the veteran Finnish producer have continued to guide the filmmaking duo throughout the months since then, Menacherry says. “As a filmmaker, you can get very attached to a lot of details, which obscures the form of the whole thing. Iikka is detached from that, and yet he is well-versed in many of the subjects, which brings a lot of clarity. He’s acted as a balancing board when the two of us felt a little stuck.” 13
Activities and Results
IDFAcademy2 and Industry Talks3, including a tailor-made program with
1. IDFA Bertha Fund General
Tailor-made consultancies and feedback: Supported filmmakers can
consultancy on script, editing and outreach. receive individual consultancy in areas concerning script or editing. The
Aims
Fund can also provide advice to the filmmakers on distribution, festival
Since its foundation in 1998, the IDFA Bertha Fund has striven to
strategies or on agreements with distributors or TV stations.
stimulate the documentary film climate in Asia, Africa, Latin America, the Middle East and parts of Eastern Europe. The IDFA Bertha Fund (IBF)
Festivals and Distribution
supports independent filmmakers who make creative documentaries. In Support of documentary festivals in developing countries: By supporting addition, the Fund supports initiatives in the areas of the organization of film festivals in developing countries, the Fund wishes to support organizadocumentary film festivals. Through these, the Fund aims to stimulate
tions that ensure independent documentaries get screened.
initiatives that address the shortage of screening opportunities in devel- International distribution of IBF documentaries: Each year, the oping countries.
completed documentaries are presented at IDFA and entered into IDFA’s Docs for Sale: the place where international distributors, festival
Way of working
programmers and television buyers come to view the new documentary
The IBF acts as a financier, matchmaker and promoter of talented film-
harvest.
makers, documentaries and documentary film festivals from developing
Screenings of IBF documentaries in the Benelux: IBF-supported docu-
countries. Initially, the IBF does this by each year selecting projects for
mentaries contribute to the cultural diversity of IDFA and play a signifi-
financial support. The IBF then makes efforts to strengthen and promote
cant part in attracting curious audiences to the festival. Each year, a
these projects and to ensure that filmmakers and festival organizations
number of the titles are released on the IDFA’s Delicatessen DVD label,
have access to an international network of film professionals.
are included in The Best of IDFA on Tour, screen on IDFA TV online, are
Each year, the IBF holds two selection rounds. The applications the IBF
selected for special IDFA screening programs such as IDFA in Kriterion and
receives are assessed by an international selection committee consist-
Docu by Night in Pakhuis de Zwijger, or are offered to television channels,
ing of members active in various capacities within the documentary
cinemas and festivals in the Benelux.
film world. Appendix I shows the selection criteria applied in making the selections and Appendix II gives an overview of the selection commit-
IBF network
tees in 2013.
As part of the documentary institute that is IDFA, the Fund has built up an extensive international network of contacts, and a wealth of experience
Core activities
with local partners as well as knowledge of the documentary industry.
Funding of documentary projects
The Fund maintains a number of long-term relationships with organiza-
To strengthen documentary production in developing countries, the
tions in developing countries. Making these contacts, this experience and
Fund provides financial contributions to creative documentaries in vari-
knowledge available to filmmakers and organizations in developing coun-
ous phases. The contribution for project development during the early
tries is one of the Fund’s core tasks. Every year, the IBF sends consultants
phase plays a crucial role in starting up these projects. Financial support to workshops and festivals the world over in order to promote the Fund during the production phase of individual documentary projects allows
and IDFA, to extend its network and to provide concrete professional sup-
filmmakers to make a start on the actual realization of their projects.
port to filmmakers from developing countries.
During the post-production phase, the documentary is edited, finished
In addition, the IBF strives to bring filmmakers and organizations from
and made suitable for screening on television, in cinemas and at (inter-
developing countries into contact with the international documentary
national) festivals.
industry. To achieve this, every year the Fund invites several filmmakers and festival programmers to attend IDFA. IDFA is the major meeting
Professionalization of documentary filmmakers
place for the documentary industry, and during IDFA a large number of
By focusing on talent development and assisting the selected film-
activities take place aimed at stimulating filmmakers and organizations
makers in their further professionalization, the Fund stimulates the
to make use of existing networks and co-production markets.
development of these filmmakers, thereby also strengthening their documentaries. The Fund offers a range of activities aimed at supporting filmmakers in their creative process: IDFAcademy Summer School: Supported filmmakers can take part in the IDFAcademy Summer School, where they receive intensive coaching from leading documentary professionals from all over the world. IBF Project Factory: Filmmakers and producers of supported projects are invited to IDFA and follow a special route through the IDFA Forum1, 1 IDFA’s international co-financing and co-production market
14
2 T he IDFAcademy organizes workshops and training programs for emerging filmmakers during IDFA 3 Talks on the future of documentary, covering such topics as VOD, the latest trends in cross-media, and new distribution models
IDFA Bertha Fund
2. Selected documentary projects and festivals in 2013
number of applications received in these areas was always low, and owing to its limited budget the Fund has been forced to make choices. Support for documentary festivals best corresponds to the Fund’s aim
In 2013, the Fund supported 32 projects with a total amount of
of stimulating screening opportunities for documentaries. Also in 2013,
€ 372,865. The table below gives an overview of the selection in 2012
it has been decided that the Fund will focus more on concrete support
and 2013.
to the selected documentary projects and on long-term relationships with organizations in developing countries. Comparing to 2012, the share of projects receiving support for project
Table 1. Total selection Number of projects
Documentaries
Granted amount
Number of projects
2012
Granted amount
% DAC and OS Partnercountries
2013
development increased in 2013, as many of the applications for project development support were of a better quality than the applications for production & post-production support. In 2013, 28% of the selected projects were from the two left-hand
Project Development
7
35.000
12
57.865
17%
columns in the DAC list 4 and Development Cooperation Partner
Production & Post-Production
13
202.000
17
285.000
29%
Countries5. For reporting on the year 2013, the Fund used the 15 Development Cooperation Partner Countries as defined in 2011 by the Min-
Other Activities Workshops and Training
3
30.000
0
0
0%
Documentary Festivals
7
87.000
3
30.000
67%
Total
30
€ 354.000
32
€ 372.865
28%
istry of Foreign Affairs. For reporting on the year 2012, the Fund used the 33 Development Cooperation Partner Countries from 2009 (when the Fund signed its contract with the Ministry of Foreign Affairs). For this reason, no comparison is made in this report between 2012 and
Explanatory notes table 1: In 2013, the Fund was able to hold two
2013 in relation to the percentages from the two left-hand columns in
selection rounds. A striking feature is the increase of the total selected
the DAC list and the Development Cooperation Partner Countries.
documentary projects, only 20 in 2012 compared to 29 in 2013. Only three documentary festivals were supported in the Other Activities category. In 2013, the Fund amended the Other Activities category, calling only for applications for documentary festivals. Applications for workshops and training course, mobile cinema projects and the distribution of individual documentaries are no longer accepted. The
4 The DAC list 2011, 2012, 2013 as drawn up by the OECD, http://www.oecd.org/dac/ stats/49483614. The two left-hand columns on the DAC list are the column Least Developed Countries and the column Other Low Income Countries. 5 The Ministry of Foreign Affairs determines which countries receive development aid – these are known as the Development Cooperation [Dutch: OS] Partner Countries. For reporting on the year 2013, the Fund has taken the 15 Development Cooperation Partner Countries as defined in 2011.
ADY GASY, The Malagasy Way
Nantenaina Lova, Madagascar, completed ADY GASY, The Malagasy Way was the first project from Madagascar to receive support from the Fund. The project received post-production support in February 2013 and was finished at the beginning of 2014. The documentary started its festival career at the film festival in Fribourg at the end of March 2014, and will continue to screen at the HotDocs film festival in Canada. The film is expected at IDFA in November 2014.
15
Overview of selected projects 2013 The following projects received support from the Fund in 2013. The list below includes the amount granted to each project and a brief description of each project. Project development
16
1
The Beetle School Hajar Setta, Morocco € 5.000
A nomadic School for Tuareg children thrives in a refugee camp in Mauritania. Against all odds, the children and their families reaffirm their Tuareg identity despite the ravages of war.
2
Grandma, Is there a man at the door? Loubna Fahmi, Morocco € 5.000
As the release of her father from jail is approaching, Loubna, 35 years old and single, decides to make a journey to Casablanca to be with him. She has to stay at her grandmother, who’s trying to get her married off.
3
Anonymous Cambodia € 5.000
Anonymous
4
Anonymous Philippines € 5.000
Anonymous
5
The Road To Nowhere Shin Daewe, Myanmar € 5.000
An observational documentary that will follow the quest of a Burmese monk prepared to lose his life to save his village from being submerged beneath a dam.
6
Tempest Tatiana Huezo, Mexico € 5.000
A Journey from north to south of Mexico, seen through the eyes, the emotions and nightmares of a woman, on her way back home after being unjustly imprisoned in a high security prison.
7
The Belly of the Whale Horizoe Garcia, Cuba € 4.000
Three Cuban families share a common desire: to close their eyes and to start again. Can the inertia and apathy be broken?
8
Pepe’s Flowers Ramiro Ozer Ami/Sebastian Mayayo, Uruguay € 5.000
A portrait of Pepe Mujica who has to balance the responsibility of being President and the happiness found in country life, where he grows flowers.
9
Stolen Images Marcelo Martinessi, Paraguay € 4.000
Taking the photograph of a missing body, as a starting point, this documentary counterbalances the official version of a massacre that created the worst political crisis in Paragua’s recent history.
10
Anonymous Iran € 5.000
Anonymous
11
Anonymous Iran € 5.000
Anonymous
12
Ukrainian Sheriffs Roman Bondarchuk, Ukraine € 4.865
There is no police station in the village at Stara Zburievka. The villagers have chosen two men among their own midst to take care of the public order in the village.
IDFA Bertha Fund
Production & post-production 13
ADY GASY, The Malagasy Way Nantenaina Lova, Madagscar € 11.500
To start a concert, to cultivate the earth or to build longwearing shoes; the people in Madagascar can make a lot… with almost nothing. A portrait about the recycling, solidarity, freedom and poetry.
14
Mother of the Unborn Nadine Salib, Egypt € 17.000
A tale of a neglected world located in the remote land of Upper Egypt, told through the eyes of barren women yearning to conceive, and what happens when their dream becomes a job.
15
Little Red Dragonfly Nicole Schafer, South Africa € 17.000
Little Red Dragonfly provides an intimate account of the impact of China’s global rise on the imagination of a Malawian orphan growing up in a chinese Buddhist orphanage in Africa.
16
The Donkey that Carried the Cloud on its Back Philippa Ndisi-Herrmann, Kenya € 17.000
On a remote island on the coast of Kenya Africa’s largest port is being constructed. For the Islanders in order to evolve, what do they keep and what do they leave behind.
17
Anonymous Libya € 17.000
Anonymous
18
Anonymous Kenya € 17.500
Anonymous
Plastic China
Jiuliang Wang, China, in production The Fund granted production support to this project in 2013. This meant filming could take place throughout 2013 and principle shooting was completed in February 2014. The film is expected to be completed in September and is expected to screen at IDFA 2014.
17
Production & post-production (continued) 19
The Siren of Faso Fani Michel Zongo, Burkina Faso € 17.500
The documentary explores the disastrous consequences of global economic policies that are blind to lowcal parties. Through the eyes of former workers of the cotton factory we look back after a decade.
20
The Shadow Lawyers Samir Eshra, Egypt € 17.000
The documentary accompanies four young Egyptian lawyers who defend people in cases of injustice, oppression or violated rights, often with no prior knowledge of their victims, people who have few chances according to regular law.
21
Stone Town Dingding Ke/Jing Guo, China € 17.000
A film about the absurd lives of two men in a secluded fishing village: one man lives the life of a drunkard, and the other dreams about death.
22
The Betel Begins the Conversation Xuan Duong, Vietnam € 17.500
This documentary follows the potential legalization of same-seks marriage in Vietnam through the lives of several Vietnamese LGBT’s and their families, who were once labelled a “social evil”.
23
Weaving Yang Wang, China € 17.500
The story takes us together with grandparents in their twilight years, as they reflect on their lives and their families and attempt to make the remaining choices meaningful.
24
Anonymous Bangladesh € 17.500
Anonymous
25
Fireflies in the Abyss Chandrasekhar Reddy, India € 17.000
Even with all the odds stacked against him, a 10 year-old boy fights his way out of a life in the ‘rathole’coalmines, to educate himself.
26
Plastic China Jiuliang Wang, China € 17.500
It’s a story about a group of people who build their lives on plastic wastes from around the world, and how these lives are hurt, distorted, and maybe some day buried by the plastic wastes.
27
Proposition for a Revolution Kushboo Ranka/Vinay Shukla, India € 17.500
This is the story of bureaucrat turned activist turned politician, Arvid Kejriwal’s new political party. The party is increasingly becoming a force to reckon with.
28
Anonymous Syria € 17.000
Anonymous
29
Static Sandra Madi, Jordan € 15.000
A story about the friendship between Ibrahim, paralyzed from chest down, and Walid, caretaker in Jordan. As 15 years have passed on their friendship, they are both avoiding facing the difficult truth about the future.
Documentary Film Festival
18
30
Wathann Film Festival Thu Thu Shein, Myanmar € 10.000
The Wathann Film Festival is a platform for Myanmar filmmakers to show their films in the field of documentary, fiction and experimental films to the Myanmar public.
31
Human Rights Human Dignity FF Min Htin Ko Ko Gyi, Myanmar € 10.000
The Human Rights festival is focusing on the human, social and political issues which will use the power and creativity of the film-making to educate and encourage the Myanmar public.
32
Yxine Film Festival Ha Quynh Vu, Vietnam € 10.000
An international short film festival who brings the works of young filmmakers to the audience by screenings their films online for 4 months and organising free of charge offline screenings.
IDFA Bertha Fund
3. Funding of documentary projects
Selected documentary applications Of the 568 applications, 29 projects were selected. This represents only
The IDFA Bertha Fund supports independent documentary projects
5% of applications received. Some of the documentaries supported by
by both experienced and talented young filmmakers. In addition, the
the Fund are from unstable areas or countries with limited freedom of
IBF is one of the few funds in the world that supports projects at the
expression. In 2013, 14 projects (48%) were selected in countries where
development stage, as well as projects dealing with risky topics or shot
the situation concerning freedom of the press is difficult and 8 projects
in dangerous situations. Often, projects by young, talented filmmakers
(28%) from countries where the situation is very difficult.6 In total,
who have almost no chance of finding finance elsewhere are selected.
76% of the projects selected come from a country in which freedom of
In this way, the Fund strives to encourage a new generation of male and
expression is limited.
female filmmakers to develop a voice and style of their own.
New makers are well represented in the selection as a whole. Of the
Documentary applications received
more than 55%.
In 2013, a total of 568 applications were received for documentary
Of the selected projects in 2013, 24% were from the two left-hand
projects from Africa, Asia, Latin America, the Middle East and parts of
columns on the DAC list and Development Cooperation Partner
29 selected9% projects, 16 projects are a first or8% second documentary: i.e.
7%
28%
9%
26%
Eastern Europe. In 2012 the Fund had only one selection round, which ex-
30% 35% The Figures below show the Countries. geographical spread of the
plains the difference in the total applications received. The percentage of
selected projects.
21%
27%
applications from countries from the two left-hand columns of the DAC list and Development Cooperation Partner Countries was 17% in 2013.
Figure 2: Geographical spread of selected projects
Figure 1 shows de geographical spread of the applications received.
% Selected projects in 2012
Figure 1: Geographical spread of applications
7%
9%
28%
9%
8%
14%
20%
% Applications received in 2012 % Applications received in 2013
% Selected projects in 2013
40%
5%
14%
26%
27%
Total selected projects: 20 Africa
Total applications received: 362 Total applications received: 568 Africa
34%
30% 21%
Asia
20%
Latin America
35%
35% 35%
3%
Middle East3%Eastern Europe
14%
35% shift Explanatory notes on Figure 1: The figures above show a small 40% 5% 14% received. Although in 2013, in the geographical spread of applications the largest number of applications to the Fund still came from Latin
Asia 5%
Latin America 10%
Total selected projects: 29 Middle East
13%
Eastern Europe
20%
Explanatory notes Figure 2: In the selection, only minor shifts took place
20%percentage of projects select35%of geographical spread. The high in terms ed from Asia (34%) has remained virtually unchanged for 20% several years
50%
now. The majority of these are projects from China and India, although projects from Bangladesh, Cambodia and Vietnam 27%are also increasingly being selected by the Fund. These countries are showing a growth in
America (30%), this continent’s share is decreasing every year. For a few
documentary production.
years now, filmmakers from Argentina, Brazil, Chile 34%and Mexico (the
One striking feature seems to be the decrease in projects selected from
most developed countries) have not been permitted to submit applica-
the Middle East, although the selection of projects from this region has
tions in the production category.
remained stable in comparison to previous years. 2012 saw an increase,
In the spring of 2013, the Fund’s director and a member of the IDFA
owing in part to the increase in projects responding to the political
programming team travelled to a number of festivals in Asia to promote
unrest in that region.
35%
5% 10%
13%
IDFA and the Fund. This led to a huge increase in applications 20% from Asia in the second selection round, resulting in a total share of 27%.
62%
38%
44%
56%
The35% percentage of applications from20% Africa (26%) increased in
2012 and remained stable in 2013. In recent years, the Fund has invested 20%
50% heavily in partnerships with local organizations in Africa and is seeing
the results of this in terms of applications received, particularly during
27%
the past two years. The percentage of applications received from the Middle East and Eastern Europe remained pretty much unchanged.
6 B ased on the World Press Freedom Index 2013: http://fr.rsf.org/IMG/jpg/2013carte-liberte-presse_1900.jpg
19
35%
34%
5% 10% Female 35% filmmakers
13%
20%
20%
Explanatory notes Figure 3: For the purposes of Figure 3, both directors
The Fund considers it important that female filmmakers20% are repre-
and producers are considered filmmakers. Director and producer often
of male to female filmmakers.
terms of content and the producer in the area of getting the film made.
50% selected. The Figures below show the ratio sented among the projects 27%
More than half of the 29 selected projects in 2013 (56%) are by a female
Figure 3: Female filmmakers involved in selected projects
% Female filmmakers in 2012
play an equal role in the creation of a documentary; the director in
filmmaker – this represents a considerable increase in relation to 2012.
% Female filmmakers in 2013
Documentaries realized In 2013, 15 documentaries were realized that previously received a con-
38% 62%
tribution from the Fund. Of these, 11 were selected for IDFA 2013, and 6
44%
of these were debuts. Only 1 documentary was made in a country from
56%
the two left-hand columns of the DAC list and Development Cooperation Partner Countries. Figure 4 shows the geographical spread of the documentaries realized.
Male
Female
Mother of the Unborn
Nadine Salib, Egypt, in production This project received production support in March 2013. Two female filmmakers are involved in the project, the director and the producer, and this was essential in relation to the topic of the documentary. Mother of the Unborn is about infertile women yearning to conceive in remote Upper Egypt. These women are usually stigmatized, treated as a bad omen and forced to perform ancient fertility rituals rooted in their culture. Both filmmakers took part in the IBF Project Factory during IDFA 2013. The documentary is expected at IDFA 2014.
20
14%
20%
IDFA Bertha Fund
35%
40%
5%
3%
14%
35%
34%
Figure 4: Geographical spread projects realized
Documentaries realized 2012
Explanatory notes Figure 4: In comparison with 2012, fewer docu-
Documentaries realized 2013
5% 10%
13%
currently in production. Contrary to 2012, the regional spread of the realized documentaries in 2013 is more equal. In view of the increase in the share of African and
20%
50%
Asian projects in the selection in 2012 and 2013 (see Figure 2), the Fund expects to see a higher percentage of African and Asian documentaries
27%
Total: 20 Africa
Asia
that only one selection round took place in 2012, during which fewer documentary projects were selected, meaning that fewer projects are
20%
20%
35%
mentaries were realized than in 2013. This can be attributed to the fact
among the documentaries realized in the years ahead.
Total: 15
Latin America
Middle East
38% Press Freedom
44%
Eastern Europe
The IDFA Fund supports filmmakers working in countries where freedom of the press is limited.
62%
56%
The IDFA Fund has supported 3 editions of the Int. Documentary Festival in Agadir, a platform for freedom of expression.
8 The IDFA Fund has supported 8 documentaries in Mexico.
4 3
The IDFA Fund has supported 13 documentaries in Iran. Iran ranks 175th on the Press Freedom Index.
4 4
3
4
6 5 8 3134 3
The IDFA Fund has supported several editions of Doc à Tunis.
The IDFA Fund has supported 8 projects in Palestine.
5
4
The IDFA Fund has supported 10 projects in China, 5 of which were documentary festivals.
10
53
5
3
During the past 5 years, the IDFA Fund has supported 4 projects in Indonesia.
4 No. of projects supported
between 2008 - 2012 good situation satisfactory situation noticeable situation difficult situation very sensitive situation no data Source: Reporters without borders (2012)
In Kinshasa, the IDFA Fund supported the Balabala Cine mobile documentary cinema.
Filmmaking against all odds The Press Freedom infographic above shows the countries where freedom of the press is limited and in which the Fund has supported projects between 2008 and 2012. The importance of a contribution to projects from these countries is demonstrated by the following quote: “During the shooting, the Fund’s contribution enabled me to employ a local driver, camera assistant as well as a sound engineer for what was an intensive 10 days. Because of the nature of the film, I am often shooting on my own, but during this period I had the luxury of having a team around me. Unfortunately, the protagonists were banned from travelling to Europe for a big event in their lives one day before they were supposed to leave. However, we managed to capture their struggle as they strove towards their goal – something that may have been too much to manage if I had been shooting on my own. We also went on a trip to the south of the country, an area caught up in tribal wars. Money from the Fund paid for our flights, as well as a secure armed driver in an area that is labelled as very dangerous.” Female director of an anonymous project supported in 2013.
21
4. Professionalization of filmmakers
IBF filmmakers have been able to participate in the IDFAcademy Summer School, and since 2013 IBF filmmakers can participate in the IBF
In most countries in which the Fund is active, there is little or no film
Project Factory or can receive individual consultancy on their projects.
training and the documentary film industry is only just getting started; often there are no funds offering support to documentary filmmaking
IDFAcademy Summer School 2013
and filmmakers struggle with inadequate screening opportunities for
From July 1-6, young filmmakers, editors and producers from 14 different
their documentaries. In these countries, the filmmaking community is
countries gathered at De Brakke Grond in Amsterdam for the sixth ID-
generally small, meaning that there is also a lack of experienced film-
FAcademy Summer School, which in 2013 was called the IDFA WorldView
makers or film professionals who can give advice to those starting out.
Summer School. A week full of discussions, lectures and workshops
All of which means it is difficult for filmmakers in these countries to
helped the participants take their documentary projects to the next
develop to an international level. The IDFA Bertha Fund offers the film-
level. In 2013, a total of 16 projects were selected for the Summer School,
makers it selects a number of training opportunities to stimulate their
seven of which supported by the IBF.
development, thereby strengthening their documentaries. Since 2008,
Table 2: IBF Participants at the IDFAcademy Summer School 2013 Documentary project
Country
Filmmakers / participants
m/f
Category
Little Red Dragonfly
South - Africa
Nicole Schafer (director)
f
Development
The Guitar School
India
Miriam Chandy Menacherry (director), Maheen Zia (director)
f/f
Development
The Donkey that Carried the Cloud on it’s Back
Kenya
Philippa Ndisi-Herrmann (director), Atieno Odenyo (producer)
f/f
Development
Die Before Blossom
Indonesia
Ariani Djalal (director), Angen Sodo Pangaribowo (editor)
f/m
Editing
The Mulberry House
Yemen
Sara Ishaq (director), Doaa Fadel (editor)
f/f
Editing
The Shadow Lawyers
Egypt
Samir Eschra (director), Mostafa Nour (editor)
m/m
Editing
The Silence of the Flies
Venezuela
Eliezer Arias (director), Charles Martinez (editor)
m/m
Editing
Explanatory notes table 2: Of the abovementioned IBF projects that
22
Lair (South Africa), My Name is Salt (India) and I, Afrikaner (South Africa).
took part in the 2013 Summer School, five are still in production and
For the filmmakers of The Devil’s Lair, the Summer School in 2012 was a
two documentaries were screened at IDFA 2013: The Mulberry House
turning point in terms of their aesthetic approach to the documentary.
(Yemen) and The Silence of the Flies (Venezuela).
Early in 2014, this documentary won the award for Best South African
For The Mulberry House, the Summer School proved essential in defin-
Feature Documentary at the Jozi Film Awards and was nominated for
ing the final structure of the film and the role of the filmmaker herself
three South African Film and Television Awards.
in this personal documentary. The documentary had its world première
The director of My Name is Salt attended the Summer School in 2009
at IDFA and since then has travelled the world.
at an early stage in her project, and this provided her with the basis for
The makers of The Silence of the Flies were able to structure their storylines
the film’s final structure. The documentary was finished just in time for
and make the film accessible to international audiences. This documentary
IDFA 2013, and was selected in the IDFA First Appearance competition,
has also screened at many festivals since IDFA.
going on to win the IDFA First Appearance Award.
In addition, another three documentaries screened at IDFA 2013 that
I, Afrikaner took part in the 2012 Summer School for editing. This docu-
had participated in a previous Summer School, namely The Devil’s
mentary was likewise selected for the IDFA First Appearance competition.
IDFA Bertha Fund
Overview of the course taken by each project Since the first Summer School in 2008, the Fund has facilitated participation by a number of supported projects. Table 3 shows the course taken by these projects, and the final outcome of this. Table 3: Complete overview IBF Summer School projects 2008 – 2013 IDFA year
Docs for Sale
Total Festival screenings
Total Awards
2010: FA Comp
2010
31
5
2008: FA Comp
2008
32
5
completed
2010: Panorama
2010
45
4
South Africa
completed
2011: FA Comp
2011
7
2
2008
Argentine
completed
2008: Panorama
2008
14
3
2008
Bolivia
on hold
Anonymous
2008
Anonymous
on hold
The Death of Jaime Roldós
2009
Ecuador
completed
2013: Panorama
2013
My Name is Salt
2009
India
completed
2013: FA Comp
2013
1*
Sand Fishers
2009
Mali
completed
2012: Panorama
2012
22
World without Shadow
2009
Maleisia
completed
rejected for 2011
The Iron Demon
2009
Sri Lanka
in production
expected 2014
5 Broken Cameras
2010
Palestine
completed
2011: FA Comp.
2011
64
22
Oscar Nomination 2013, Audience Award & Special Jury Award IDFA 2011
Are you Listening!
2010
Bangladesh
completed
2012: Panorama
2012
19
7
Opening Film Leipzig Int. F.F.
Citadel
2010
Bolivia
completed
2011: Panorama
2011
7
1
Where the Condors Fly
2010
Chile
completed
2012: Panorama
2012
29
6
Child Boxers
2010
Ghana
in production
expected 2014
I belong to the Second Wealthy Generation
2011
China
in production
expected 2014
In the Dark
2011
Serbia
in production
Waiting for Heaven
2011
Palestine
in production
expected 2014
What Will Tomorrow Bring
2011
Nigeria
in production
expected 2015
The White Volta
2011
Ghana
in production
The Devil’s Lair
2012
South Africa
completed
2012
2013: Best of Fests
2013
6*
I, Afrikaner
2012
South Africa
completed
2009
2013: FA Comp
2013
1*
Red Wedding
2012
Cambodia
completed
2011 online
2012: ML Comp
2012
21
3
Winner First Appearance Award IDFA 2012
Woman with a Camera
2012
Morocco
completed
2012 online
2012: ML Comp
2012
24
3
Nomination First Appearance Award IDFA 2012
The Cleaner
2012
Morocco
in production
expected 2015
GITI - The paradise in the Hell
2012
Rwanda
in production
expected 2014
Logs of War
2012
Kenya
in production
Anonymous
2012
Anonymous
in production
The Mulberry House
2013
Yemen
completed
2013: Panorama
2013
1*
The Silence of the Flies
2013
Venezuela
completed
2013: Panorama
2013
1*
Buddha of Africa
2013
South Africa
in production
expected 2014
Decisive Moment
2013
Indonesia
in production
expected 2014
The Guitar School
2013
India
in production
expected 2014
The Shadow Lawyers
2013
Egypt
in production
expected 2014
The Donkey that Carried the Cloud on its Back
2013
Kenya
in production
expected 2015
Documentary project
Year Summer School
Country
Status
Cinema Komunisto
2008
Serbia
completed
The Caviar Connection
2008
Serbia
completed
The Devil Operation
2008
Peru
King Naki and the Thundering Hooves
2008
Retiro Shelter Good Old Bad Times
IDFA Forum
2007
2011 online
Other
Winner First Appearance Award IDFA 2013 3
1
expected 2014
expected 2015
expected 2014 2011
expected 2014
FA Comp = IDFA Competition for First Appearance ML Comp = IDFA Competition for Mid-Length Documentary *These films had their world premiere (or in the case of The Devil’s Lair European premiere) at IDFA 2013 and are starting their festival careers in 2014.
23
Explanatory notes: Of all 37 IBF projects that participated in the Summer School, 19 projects have now been realized (51%), of which 18 projects (95%) were selected for IDFA. 8 documentaries (44%) screened in one of the festival’s competition programs and 10 documentaries (56%) in another IDFA program. 3 documentaries won awards at IDFA. The documentary 5 Broken Cameras was particularly successful, and was nominated for an Oscar in 2013. The filmmakers arrived at the Summer School with a disc full of raw material and were helped by mentor and editor Menno Boerema in creating the basis for the film’s final structure. Of all of the abovementioned IBF Summer School projects, 16 projects are still in production (43%) and 2 projects (5%) are on hold owing to safety concerns. Of the projects still in production, 12 projects (75%) are expected at IDFA 2014. The other 4 projects (25%) are at a very early stage of their production and are expected at IDFA 2015.
Finding the right structure
Director Eliezer Arias is working with editing mentor Danniel Danniel on his project The Silence of the Flies. “We were invited to the Summer School 2013. At that moment we were lost regarding the film’s structure. We had great support from the tutors that provided consultancy. I believe that before the Summer School we did not have a film yet, but rather a mixture of ideas, stories and images, but the tutorial received there was decisive for the structure of the film.” Eliezer Arias, director The Silence of the Flies.
24
IDFA Bertha Fund
IBF Project Factory 2013 From November 22-29, IBF filmmakers from eleven projects in production
in the IDFA program, attend lectures and discussions, meet with consul-
were invited to attend the first edition of the IBF Project Factory during
tants in the area of development or editing and meet other international
IDFA 2013. A week long, the participants were able to immerse themselves
documentary professionals in organized, one-on-one meetings.
Table 4: Participants at the IBF Project Factory 2013 Documentary project
Country
Participants
m/f
Fireflies in the Abyss
India
Chandrasekhar Reddy
m
Freedom Fields
Libya
Naziha Arebi
f
The Guitar School
Pakistan / India
Miriam Chandy Menacherry, Maheen Zia
f/f
Lesbians United
Kenya
Peter Murimi, Toni Kamau
m/f
Mother of the Unborn
Egypt
Nadine Michael, Maartje Alders
f/f
Proposition for a Revolution
India
Khushboo Ranka, Sanyukta Kaza
f/f
Sonita is a Travelling Swallow
Iran
Rokhsareh Ghaem Maghami
f
The Storm Makers
Cambodia
Guillaume Suon
m
Ukrainian Sheriffs
Oekraine
Dar’ya Averchenko, Roman Bondarchuk
f/m
Wedding: A Closet Documentary
Iran
Mohammadreza Farzad, Farahnaz Sharifi
m/f
Yasna
Iran
Farahnaz Sharifi
f
Explanatory notes table 4: For each of the abovementioned projects,
attended the IDFAcademy, an intensive four-day training program dur-
the Fund has put together a tailor-made program. Four of the projects
ing IDFA for emerging filmmakers and producers. Three projects were
had an intensive two-day edit consult with renowned editor Menno
selected for The Fledgling/Bertha Getting to Impact Seminar, a two-day
Boerema. Two of the projects had an edit consult with Jesper Os-
workshop on setting up an outreach campaign and the use of alterna-
mund and Danniel Danniel, both well-known editors and tutors at the
tive media in this. Ten projects had one-on-one meetings with sales
IDFAcademy Summer School, among other things. Three of the proj-
agents, producers and commissioning editors.
ects received script consultation from Emma Davie or Coco S chrijber,
The Fund received highly positive feedback, both from the participat-
renowned directors and invitees to IDFA 2013. Nine of the projects
ing filmmakers and the mentors.
Getting insight and building a network Director Peter Murimi and producer Toni Kamau from Kenya were invited to IDFA 2013 to join the IBF Project Factory with their project. They received private consultancy from filmmaker Emma Davie, participated in the IDFAcademy and they were part of The Fledgling/Bertha Getting to Impact Seminar, a two-day workshop on outreach. “We come from a country where there isn’t much of a creative doc culture, therefore there’s not really anyone experienced to mentor us locally. I loved the IBF Project Factory experience. It was quite useful for us to receive mentorship and training from experienced directors and also learn more about audience and outreach. We were able to get a lot of insight and answers to some issues we were struggling with in our film and eventually ended up changing the storyline of our film for the better. Also visiting the main IDFA festival gave us a chance to watch lots of films and network with other more experienced filmmakers, some of whom we have kept in touch with.” Producer Toni Kamau, Kenya.
25
Tailor-made consultancies and feedback
their project when visiting the IDFA Forum 2013. Editor Menno Boer-
The timing of the IDFAcademy Summer School and the IBF Project Fac-
ema gave advice on the rough cut of The Devil’s Lair and editor Danniel
tory is not convenient for all filmmakers in relation to their production
Danniel did the same for I, Afrikaner.
process. In order to nevertheless offer support to these filmmakers,
In terms of the business side of documentary making, the
the Fund decided in 2013 to free up additional budget with which to
filmmakers can also approach the Fund for advice on distribution, on
bring in experts and offer filmmakers individual consultancy sessions,
a festival strategy or on agreements with distributors or TV stations.
depending on the stage their project is at.
To provide this, the Fund makes use of the knowledge present within
In 2013, editor Jesper Osmund helped the makers of Ukrainian Sheriffs
IDFA or, if necessary, the Fund can also call in advice from its interna-
edit their trailer, so that they were able to give a good presentation of
tional network.
www.yxineff.com: A festival as a springboard for young filmmakers YxineFF is
an international online short film festival, which brings the works of young filmmakers to audiences by screening their films online for 4 months and organizing offline screenings in cinemas free of charge. YxineFF’s activities also include workshops and discussions between Vietnamese and international cinema professionals with young filmmakers and cinema lovers. “Yxine Film Festival has become a trustworthy and prestigious film festival in Vietnam and internationally, a professional playground for young filmmakers. Moreover, the festival creates a professional network among young filmmakers and professional people in the industry. Many of Yxine FF’s filmmakers have found jobs or work opportunities via Yxine FF. The festival showcased their works and industry professionals come to Yxine FF to look for young talents.” Ha Quynh Vu, director Yxine Film Festival.
26
IDFA Bertha Fund
5. Festivals and Distribution
Docs for Sale often go on to have many more screenings at international festivals or be broadcast on television worldwide.
Screening opportunities in the filmmakers’ own country or region are often limited. Through providing financial support to documentary
Support of documentary festivals
festivals, the Fund creates new opportunities for the screening of inde-
In its selection of documentary festivals, the Fund has chosen to sup-
pendent documentaries in developing countries. Furthermore, various
port fledgling festivals. New festivals often find it difficult to attract
means are used to promote IBF documentaries among festivals and dis-
finance and the Fund is able to provide not only financial support, but
tributors worldwide. Most of the documentaries realized are presented
also advice in the area of organization.
at IDFA – an important starting point for the international career of a
Table 5 shows festival applications received and selected in 2013. Since
documentary. Documentaries that screen at IDFA and are included in
2012, only one selection round takes place in this category.
Table 5: Festival support in 2013 Festival Support
Africa
Asia
Latin America
Middle East
Number of received applications
10
Number of supported festivals
0
Eastern Europe
Total
9
7
3
0
0
3
29
0
0
3
1
2
1
1
1
6
34
111
59
111
61
376
Application and Selection in 2013
Results supported festivals in 2013 Number of festivals that took place in 2013 Number of screened films Number of screenings
39
76
78
250
85
528
Audience Attendance
8.600
4.034
120.000
3.000
4.900
140.534
Explanatory notes table 5: In total, three festivals received support in 2013:
were drawn from their own continent. These events attracted a total
the Wathann Film Festival in Myanmar, the Yxine Film Festival in Vietnam
of more than 140,500 visitors.
and the Human Rights Human Dignity Festival in Myanmar. In 2013, 2
The high numbers of people visiting the festival in Latin America, the
additional documentary festivals were supported from funds that were
Santiago Alvarez in Memoriam Documentary Festival in Cuba, are par-
set aside in 2012, namely RDOC in the Dominican Republic and Ciné-Doc
ticularly striking. In most cases, the Fund supports fledgling festivals,
Tbilisi in Georgia. No festivals were supported in Africa and the Middle
but in this case the Fund supported an established festival (in its 13th
East in 2013, as the applications received were not sufficiently convincing.
edition) as the festival had lost a great many financiers owing to the
All of the abovementioned festivals are fledgling festivals and four of the
economic crisis. The high visitor numbers are explained principally by
five organizations were invited to attend IDFA 2013 in order to network,
the festival’s established position in Cuba and the large auditoria the
get to know the IDFA organization and receive advice on obtaining
festival has at its disposal.
sponsorship and generating funds, as well as production and program-
In addition, the total number of tickets sold for documentary festivals
ming. The Yxine Film Festival took place during IDFA, for which reason the
in Asia was actually higher than 4,034. In calculating visitor numbers
organization was not invited to attend IDFA.
at the Yxine Film Festival in Vietnam, only the figures for the 20 offline
Two of the three selected festivals in 2013 (67%) take place in a country
screenings were recorded, and not for the main (online) program. The
from the two left-hand columns of the DAC list and Development
76 films in total selected by the festival were principally screened and
Cooperation Partner Countries.
watched online. There are no real figures available on this.
Table 5 also shows the results of all supported festivals that took
Of the six festivals that took place in 2013, two festivals (33%) were
place in 2013, six in total. Besides two festivals selected in 2013, this
from the two left-hand columns of the DAC list and Development
includes four festivals selected in 2012. Together, the six events ac-
Cooperation Partner Countries.
counted for 528 screenings of 376 films, of which on average 65%
27
International distribution of IBF-supported documentaries IDFA 2013 In 2013, 11 new IBF documentaries were presented at IDFA and included in Docs for Sale. Return to Homs was the opening film of the festival, and in total 3 documentaries were selected to participate in a competition program. My Name is Salt won the IDFA Award for Best First Appearance. See table 6 for an overview of all IBF documentaries selected and see table 7 for an overview of the audience attendance at IDFA per film. Table 6 IBF Documentaries at IDFA 2013 IDFA Competition for Feature-Length Documentary 1 Return to Homs Talal Derki Syria/Germany, 87’ WP
A remarkably intimate portrait of the unequal struggle of a group of young revolutionaries in Homs, Syria, against the national army destroying their city.
IDFA Competition for First Appearance 2
I, Afrikaner Annalet Steenkamp South Africa, 93’ WP
An intimate portrait of the documentary filmmaker’s white farming family, which has to redefine itself in violent, post-apartheid South Africa.
3
My Name is Salt Farida Pacha India/Switzerland, 92’ WP
A careful observation of the labor-intensive process of salt production in an Indian desert, where repetitive operations and events take on a ritualistic character.
Best of Fests 4 The Devil’s Lair Riaan Hendricks South Africa, 92’ EP
A confronting and intimate cinema verité portrait of the aging South African drug dealer Braaim, who must face a turf dispute with rival gangs and a marital crisis.
5
The struggle between power thief Loha Singh and an ambitious official from the electricity company offers us a peek into the socioeconomic and political affairs in Kanpur, India.
Powerless Fahad Mustafa/Deepti Kakkar India, 82’ DP
Panorama 6 The Death of Jaime Roldós Lisandra I. Rivera/Manolo Sarmiento Ecuador/Argentina, 123’ IP
Was it an accident in 1981 that killed Jaime Roldós, the first democratically elected president of Ecuador, or was it a brutal attack?
7
The Mulberry House Sara Ishaq Yemen/Syria/Egypt/Scotland, 65’ WP
Sara is half Scottish, half Yemeni. In 2011, she moved back to Yemen, where protests against President Saleh’s authoritarian rule strengthened family bonds.
8
The River Abdenour Zahzah Algeria, 86’ WP
A journey on foot along a river in Algeria, from the man who is worried about the Nestle factory to homeless kids who drink aftershave.
9
The Silence of the Flies Eliezer Arias Venezuela, 92’ WP
Two mothers living in the Venezuelan Andes recount the heartrending events surrounding the deaths of their daughters, who took their lives at 15 years old.
10
Temptation Viktar Dashuk Belarus, 83’ WP
The Belorussian Victar Dashuk attempts to make himself immortal with a film about his life, and President Alexander Lukashenko shows up as the story’s main antagonist.
11
Mercedes Sosa, The Voice of latin America Rodrigo H. Vila Argentina, 93’ EP
A portrait of the Argentine folksinger Mercedes Sosa (1935-2009), with a wide range of archive footage and conversations between her son and those who knew her.
WP = World Premiere, IP = International Premiere, EP= European Premiere, DP = Dutch Premiere
28
IDFA Bertha Fund
Table 7 Audience Attendance IDFA The admissions for IDFA are listed seperately for each screening with the number of tickets sold and the occupancy rate of the theatre. Screenings:
1
2
3
4
5
6
7
Total
IDFA Competition for Feature-Length Documentary Return to Homs
1362 (1)
100%
191
100%
725
92%
246
100%
306
99%
130
100%
15680 (2)
100%
18.640
IDFA Competition for First Appearance I, Afrikaner
176
99%
105
100%
96
100%
135
100%
346
98%
My Name is Salt
177
100%
79
75%
130
100%
142
80%
346
98%
14000 (3)
100%
14.874
The Devil’s Lair
74
30%
157
90%
124
71%
105
100%
131
97%
96
100%
687
Powerless
36
38%
51
20%
97
101%
153
88%
130
100%
71
27%
538
The Death Of Jaime Roldós
90
100%
32
13%
37
29%
41
39%
The Mulberry House
117
66%
104
77%
49
36%
148
85%
57
63%
The River
91
87%
51
57%
54
60%
130
100%
326
The Silence of the Flies
122
94%
100
95%
86
49%
94
98%
402
Temptation
33
17%
23
24%
55
52%
14
15%
125
492
98%
176
99%
294
77%
200
40%
858
Best of Fests
Panorama 200 475
Music Documentary Mercedes Sosa, The Voice of latin America
358
94%
492
98%
Totaal
2012 39.137
1 Return to Homs was the opening film of IDFA 2013 and screened simultaneously in three auditoria, two for invitees and one for the festival audience. 1,362 is the total for these three auditoria, all of which were at 100% capacity. 2 Return to Homs was selected for all of the sponsors’ days: by the VPRO broadcaster, Vrij Nederland magazine and De Volkskrant newspaper. 15,680 is the total number of visitors to these sponsors’ days, all of which were 100% sold-out. 3 My Name is Salt screened in the Best of IDFA program, which showed in five auditoria. 14,000 is the total number of tickets sold for these auditoria together, all of which were 100% sold-out.
Explanatory notes table 7: A striking feature of the figures given in the
an award-winner and therefore automatically included in the sold-out
table above is the audience numbers for Return to Homs and My Name
Best of IDFA program. The opening, the sponsors’ days and the Best
is Salt. As the opening film of IDFA, Return to Homs received a huge
of IDFA program generated a total of 31,042 tickets sold. The regular
amount of publicity, meaning almost every screening sold out. The film
screenings of IBF documentaries sold 8,095 tickets.
was also selected for several special programs. My Name is Salt was
Documentary and debate Documentary is a powerful medium through which
social or political topics can be tackled, leading to discussion of these in society. Not for nothing did IDFA chose Return to Homs as the opening film of the 2013 festival. During the festival, the film was discussed on a range of Dutch television programs such as NOS, RTL Nieuws, Pauw en Witteman and Bureau Buitenland. Indiewire calls Return to Homs “something of a revelation”. The Hollywood Reporter: “Explicitly constructed as an urgent appeal for international intervention, Return to Homs consciously follows in the footsteps of such fictional classics as Gillo Pontecorvo’s Battle of Algiers (1966).” Since the film’s world première at IDFA, Return to Homs has toured the world. Each screening is followed by debate of the issues raised.
29
Docs for Sale 2013
Explanatory notes table 8: A striking feature of the figures in table 8
Docs for Sale is an extensive ‘video library’ during IDFA where the docu-
is that, generally speaking, the documentaries that were available for
mentary industry can watch the latest documentaries in video booths. It
viewing online all year round were viewed less than the documenta-
is a major meeting point for distributors, sales agents, television buyers
ries that were available only in the months November and December.
and festival programmers worldwide. After IDFA, the documentaries
Docs for Sale Online always really takes off in the months November
can be watched at Docs for Sale Online all year round. The Fund pays
and December. Subscribers to Docs for Sale (distributors, sales agents,
for the IBF-supported titles to be offered in Docs for Sale and Docs for
television buyers and festival programmers) can see the new harvest of
Sale online for a period of one year, in order to reach those documentary
films from IDFA online from the beginning of November. Thanks to the
professionals who couldn’t be at IDFA in person.
IDFA buzz, the latest documentaries are also watched online all over
In 2013, 12 documentaries were included in Docs for Sale and 26 docu-
the world during and after the festival. Documentaries from previous
mentaries in Docs for Sale Online, 14 of which all year round (the IDFA
IDFAs are also watched, although these are considerably less popular
2012 harvest) and 12 documentaries only in the months November and
than the newer documentaries.
December (the IDFA 2013 harvest). Table 8 includes all viewing figures World Documentary Exchange
for Docs for Sale and Docs for Sale Online for 2013.
The IDFA Bertha Fund is a partner in the World Documentary ExTable 8 Docs for Sale viewing figures
change (WDE) program that takes place during Docs for Sale to help
IDFA 2013
Docs For Sale @ IDFA 2013
Docs For Sale online 2013
filmmakers in their search for distribution channels for their docu-
Return to Homs
84
336
tary markets. Filmmakers and producers can attend panel discussions
I, Afrikaner
36
36
on various documentary markets and receive individual advice from
My Name is Salt
48
65
sales agents and TV buyers. Several filmmakers from the Fund have
The Devil’s Liar
16
28
joined the WDE program.
Powerless
12
25
The Death Of Jaime Roldós
14
25
Cooperation with sales agents
The Mulberry House
27
49
Several weeks before IDFA, interested sales agents are given an oppor-
The River
25
22
tunity to watch the Fund’s new harvest online. This accelerates the po-
The Silence of the Flies
19
27
tential cooperation between a sales agent and an IBF filmmaker during
Temptation
14
7
IDFA. Since 2013, sales agents who are interested in an IBF documentary
Mercedes Sosa, The Voice of latin America
18
28
can represent the Benelux rights held by the Fund, meaning they have
The Shark’s Eye*
6
0
mentary and to build up their knowledge of the different documen-
access to a more complete package of rights. For newly selected projects from 2013, the Fund has decided to no longer ask for the Benelux rights in exchange for support. In view of increasing levels of interest in IBF-
IDFA 2012 Who will be a Ghurka
nvt
9
Camera/Woman
nvt
54
Red Wedding
nvt
25
Fallen City
nvt
32
Gulabi Gang
nvt
30
Magic Words (to break a spell)
nvt
10
The Girl from the South
nvt
4
Are you Listening!
nvt
24
The Last Station
nvt
12
Sand Fishers
nvt
2
United Red Army
nvt
2
Voice of a Nation: My Journey through Afghanistan
nvt
1
When Hari got Married
nvt
6
Where the Condors Fly
nvt
8
*The Shark’s Eye was not selected for the IDFA program, but did take part in Docs for Sale
supported films from sales agents, the Fund considers it better if they take over this role. After all, sales agents have more time to dedicate to this and more expertise in the area of distribution. The Fund will however continue to promote selected projects in the Benelux. Festival circulation of IBF documentaries worldwide After IDFA, most of the documentaries go on to have a lot of screenings at international festivals worldwide. In 2013, IBF documentaries screened on the international circuit at the major festivals in Berlin, Sundance, New York and Dubai. The number of festival screenings and the number of awards won is one way of measuring appreciation for a documentary. The international appreciation of a documentary can then give an impulse to local production, inspire new filmmakers who are just starting out and ensure that a filmmaker is able to build a good reputation, making it easier to find financiers for his next project. Table 9 shows the results of the circulation of the documentaries in 2013 at national, regional and international film festivals. In order to understand this table it is important to know that a documentary can have a festival life of 18 to 24 months, some exceptions even up to 36 months.
30
IDFA Bertha Fund
Table 9: Circulation of IBF-supported documentaries at film festivals in 2013 Documentaries from
Africa
Asia
Latin America
Middle East
Eastern Europe
Total
2012
2013
2012
2013
2012
2013
2012
2013
2012
2013
2012
2013
Number of IBF films shown at festivals
6
6
15
15
19
13
5
3
6
5
51
42
Number of festivals that selected IBF films
24
50
73
182
123
92
88
18
87
25
395
367
% national screenings at festivals
0%
6%
25%
10%
15%
11%
1%
6%
8%
0%
11%
9%
% regional screenings at festivals
63%
12%
16%
15%
17%
27%
15%
11%
20%
16%
20%
17%
% international screenings at festivals
38%
82%
59%
75%
68%
62%
84%
83%
72%
84%
69%
74%
0
8
17
34
14
14
17
5
9
1
57
62
Totaal number of awards
Explanatory notes table 9: In 2013, a total of 42 IBF documentaries
Island and Powerless from India have clocked up many festival appear-
screened at 367 film festivals. More than half of them (66%) were IBF-
ances, at 30 and 26 festivals respectively. Both documentaries started their
supported films from Asia and Latin America, which together account-
festival careers at the Berlinale in Germany, one of the most prestigious
ed for 75% of festival screenings. This can be explained by the fact that
film festivals in the world and therefore a good starting point for a docu-
in 2012 85% of the IBF harvest came from Asia or Latin America; these
mentary. Red Wedding from Cambodia (20 festivals) and Fallen City from
documentaries started their festival careers in 2013. In 2011 too, the
China (18 festivals) were also successful on the festival circuit in 2013. Red
majority of the harvest came from these regions, and these films too
Wedding won the IDFA Award for Best Mid-Length Documentary at IDFA
were still screening on the festival circuit in 2013.
2012 and following its world première at IDFA Fallen City was selected for
Another striking fact is that, while the number of documentaries from Asia
the prestigious Sundance Film Festival in the USA.
screening on the festival circuit stayed the same as in 2012, the number of
In 2013, the same number of documentaries from Africa also toured the
screenings more than doubled. This is explained in part by the amount of
festival circuit as in 2012, but the number of screenings in 2013 was double
new documentaries that were doing the festival circuit in 2012 and 2013.
that of the previous year. In 2012, only 1 of the 5 documentaries was new
In 2012, 4 of the 15 documentaries were newcomers, while in 2013 this was
to the market, and this film did not have many screenings. In 2013, 2 of the
9 out of 15. New documentaries generally receive more festival screenings
5 documentaries were new, and both were relatively successful: Camera/
in a year than older documentaries, which often have already spent a year
Woman from Morocco attended 23 festivals and Sand Fishers from Mali 18.
touring the festivals. In particular the documentaries Char… the No-Man’s
From Latin America, The Last Station from Chile (24 festivals) was par-
Documentary in regional cinemas Several films supported by the IDFA Bertha Fund received cinema releases in their own countries in 2013. In recent years, documentaries have been released in India in particular. But in 2013, Nepal also experienced a first. The documentary Who Will Be A Gurkha became the first Nepalese Feature Film ever theatrically released in Nepal. “Usually, documentaries are shown at film festivals and small venues, so this will test the public appetite for documentaries. A cinema release for a documentary is very difficult or impossible in all of South Asia, but it’s happening in Nepal”, said the film’s director. The documentary had its premiere in Nepalese cinemas on 15 March 2013, following its festival World Premiere at IDFA in November 2012.
31
ticularly popular. No new IBF-backed documentaries from the Middle
and released on DVD. In 2013, 5 Broken Cameras was added to the IDFA’s
East entered the market in 2013, and just one IBF documentary from
Delicatessen DVD label. Under IDFA’s Delicatessen label, IDFA and dis-
Eastern Europa.
tributor Cinema Delicatessen present a collection of quality contempo-
In comparison with 2012, fewer films could be seen on the festival circuit
rary documentaries on DVD, ranging from recognized public favorites
in 2013. However in spite of the triumphs of Oscar nominees 5 Broken
to artistic highlights of modern film history. Since 2010, a selection of
Cameras and !Vivan las Antipodas! by renowned Russian maker Victor
titles from IDFA’s Delicatessen has also been offered on the Interactive
Kossakovsky, both of which played at more than 50 festivals in 2012, the
TV service offered by telecom provider KPN, and since 2011 on pay-per-
average number of screenings per film was higher in 2013. 2013 saw no
view platform Ximon. Both of these are a form of digital TV, allowing
such extreme success stories, but a larger number of documentaries had
consumers to choose themselves when to watch the content.
some success. A quarter of documentaries played at 15 or more festivals
The Dutch public broadcasters purchased several titles for the digital
in 2013. In 2012, only 12% of the documentaries achieved this.
Holland Doc channel, and the IKON broadcaster screened Fallen City and Gulabi Gang in 2013. Furthermore, 56 Fund-supported documen-
Screenings of IBF documentaries in the Benelux
taries were available on IDFA TV during the year under review. In total,
In 2013 in the Benelux, IBF-supported documentaries were shown at
these documentaries were watched 4,364 times in 2013.
IDFA, on the internet, on TV, at festivals, in special themed programs
For an overview of all screenings in the Benelux, see Table 10 below.
Table 10: Screenings in the Benelux of IBF-supported documentaries Film Screenings Benelux IDFA in Kriterion
Amsterdam
Screening of Gulabi Gang and I, Afrikaner followed by a discussion
Milennium Film Festival
Brussels
Screening My Migrant Soul, A Certain Liberation, The Last Rites, Are you Listening?, CHAR… the No-Man’s Island, On the Way to School, The Girl from the South, Camera/Woman
Docville
Leuven
Screening Powerless
Beeld voor Beeld
Amsterdam
Screening CHAR… the No-Man’s Island, The Devil’s Lair
Latin American Film Festival Flanders
Antwerp
Screening Where the Condor’s Fly
Cinéma d’attac
Brussels
Screening 5 Broken Cameras
Festival Cinéma Méditerranéen
Brussels
Screening Camera/Woman
Dutch Embassy in Bangladesh
Dhaka
Screening Are you Listening?
TV Screenings Benelux Holland Doc
The Netherlands
The Other Cup, Presumed Guilty, Sea Point Days, The Bridge
IKON
The Netherlands
Screening Fallen City, Gulabi Gang
Interactive TV: KPN and Ximon
The Netherlands
Last Train Home, On the Way to School, 5 Broken Cameras, Sins of My Father
Gulabi Gang in IDFA in Kriterion Gulabi Gang screened in Kriterion as part of a Hot Topic
program at the beginning of 2013, prompted by the brutal gang rape of a young Indian woman on a bus in December 2012. Gulabi Gang is a subtle portrait of women’s rights organization Gulabi Gang, which denounces injustices taking place in corrupt and poverty-stricken northern India. The documentary was shown in the Kriterion cinema, followed by a debate with Dutch broadcaster and journalist Jelle Brandt-Corstius and Shantie Jagmohansingh, a Dutch-Indian journalist specializing in women’s rights, among other areas. “It was a really successful evening. Completely sold-out, positive responses to the documentary and an interesting debate afterwards with lots of questions from the audience.” Kriterion organization.
32
IDFA Bertha Fund
6. IBF Network
The aim of this pitch is to stimulate the documentary industry in Africa. The IBF and IDFA were able to apply their expertise in this area and were
Having been around for 16 years, the Fund has an extensive network
involved in the selection of projects, the organization of the pitch and
consisting of both local organizations in developing countries and the
the structuring of the program.
international documentary industry. In 2013, the Fund undertook a range
Since 2007, the Fund has maintained good contacts with the Syrian organi-
of activities to bring organizations within this network into contact with
zation of the Dox Box festival. The Fund supported the first three editions
one another, to stimulate joint ventures between organizations and to
of Dox Box, but since 2012 it has not been possible to hold a regular edition
allow filmmakers from developing countries to participate in activities in
of this festival. Instead of a regular festival, in 2012 and 2013 they set up an
order to expand their own international networks.
online program under the name Dox Box Global Day. In 2013, this program – made up of documentaries and videos from the Syrian people – was
Local partner organizations
made available on IDFA TV. In addition, the Fund provided advice on the
In 2013, the Fund concentrated particularly on continuing and reinforc- foundation of a Syrian Film Institute. ing existing partnerships with the Durban International Film Festival
The IBF has been advising on the setting up of a film fund for East
in South Africa, Dox Box from Syria and the new East African film fund
Africa since 2011, officially launched in 2013 under the name DOCUBOX.
DOCUBOX.
This fund supports documentary filmmakers from Kenya, Uganda
For the third year in succession, IDFA and the IBF provided help and ad-
and Tanzania by providing grant money to help them complete their
vice in the organization of the Doc Circle Pitch at the Durban Internation- documentary projects. The initiative also provides support and input al Film Festival. This co-finance market for documentary projects from
from internationally acclaimed documentary filmmakers, from thought to
the region is part of the festival’s annual market, the Durban FilmMart.
screen. The IBF will continue to act as one of the advisors of DOCUBOX.
Pitching at the Doc Circle Pitch At a round table session, Rwandan filmmaker Yves Montand pitched his project GITI – Paradise in Hell to David Makubyane (a representative of Top TV from South Africa), among others. Following the pitch in Durban, the project won the IOF Prize of the Organisation Internationale de La Francophonie, the award for the best project from French-speaking Africa. The IBF supported this project with a development contribution in 2012 and invited the director to attend the IDFAcademy Summer School, likewise in 2012. The documentary is expected at IDFA 2015.
33
Embassies
Kingdom. Through the exchange of experiences and contacts between
Since 2009, the Fund has also provided advice to the Dutch embassies in
the two organizations, more and more filmmakers are familiar with these
those countries where the IBF has supported a festival or documentary
two organizations. The IBF has maintained a good relationship with the
project. In this way, the Fund expands its own network and opens this up
Hubert Bals Fund for many years now and the organisations are exchang-
to local partner organizations. The Fund attaches great importance to
ing experiences and contacts. Also documentary filmmakers wishing to
keeping the embassies informed of the IBF’s activities in the many differ-
make a fiction film are referred on to the HBF, and vice versa.
ent developing countries. A number of embassies around the world are
Furthermore, the IBF is part of a network of coproduction funds (World
already aware of the way the Fund works, the selection rounds and the
Cinema Fund, Sorfond and Hubert Bals Fund) that consult with each
application procedure: these include the embassies in Cuba, Indonesia
other on a regular basis and share experiences and evaluations. The net-
and Morocco. Sometimes, embassies show documentaries supported by
work lobbied successfully with the European Union to include a scheme
the Fund from the country in question. For instance, in 2013 the Dutch
for co-production funds within the new Creative Europe program.
embassy in Bangladesh showed the documentary Are You Listening? Consultancy worldwide
International partner organizations
Each year, the Fund sends consultants to workshops and festivals all
The Fund has a number of close relationships with other organizations
over the world. During these visits, concrete support is provided to
involved in working with filmmakers from Africa, Asia, Latin America, the
individual filmmakers from the region, local organizations are incor-
Middle East and Eastern Europe, such as the Sundance Institute Docu-
porated into the Fund’s network, the Fund is promoted in developing
mentary Fund from the United States, CBA WorldView from the UK and
countries and the knowledge and contacts obtained are shared. Dur-
the Hubert Bals Fund of the International Film Festival Rotterdam. The IBF
ing the individual consulting sessions, filmmakers are given concrete
provides the contact details of filmmakers from developing countries to
feedback on their documentary project, advice on fundraising in
the Sundance Documentary Fund. And the Sundance Documentary Fund
general and on the IDFA Bertha Fund in particular. In 2013, working
gives filmmakers who have already received a contribution from the IBF
visits were made to documentary events in South Africa, Myanmar,
an extended period in which they can submit their project to Sundance.
Cambodia and Costa Rica, among others. Table 11 shows all consul-
Since 2012, the IBF has cooperated with CBA WorldView from the United
tancies at events worldwide in 2013.
Table 11 Consultants at events worldwide in 2013 Country
Documentary event
Activity
Cambodia
Strategy Seminar by DocNet
Individual meetings with filmmakers.
Cambodia
Bophana Film Center of Rithy Panh
Presentation IDFA and IBF, individual meetings with filmmakers.
Costa Rica
Cinergia
Jurymember for the Central American projects, individual meetings with filmmakers
Czech Republic
One World Human Rights Film Festival
Jurymember
Czech Republic
Jihlava International Film Festival
Individual meetings with filmmakers.
France
Cannes Film Festival
Individual meetings with filmmakers.
Georgia
Ciné-Doc Tbilisi
Consultant at workshop and individual meetings with filmmakers.
Germany
Berlinale
Presentation IBF at Talent Campus
India
Docedge
Panellist for project pitches and individual meetings with filmmakers
Malaysia
Asian Side of the Doc
Meetings with producers, directors and commissioning editors of local tv stations. Individual consults
Morocco
Greenhouse Marrakech Projects 2012
Panellist for project pitches and individual meetings with filmmakers (january 2013)
Morocco
Greenhouse Marrakech Projects 2013
Panellist for project pitches and individual meetings with filmmakers (december 2013)
Myanmar
Yangoon Film School and meeting with the
Promotion IDFA and IBF, advice on the organisation of the festival, individual meetings with filmmakers.
with filmmakers. Panel for project presentations.
organisation of the Wathan Film Festival Myanmar
Meeting with the organisation of the Human
Promotion IDFA and IBF, advice on the organisation of the festival, individual meetings with filmmakers.
Rights Human Dignity Film Festival.
34
Myanmar
Human Rights Human Dignity Film Festival
Jurymember of the festival
South Africa
Doc Circle Pitch - Durban Film Festival
Organisation of the pitch, individual consults with filmmakers
South Africa
Encounters Documentary Festival
Individual meetings with filmmakers.
Taiwan
CNEX Chinese Doc Forum
Panellist for project pitches and individual meetings with filmmakers
Explanatory notes table 11: The table above also includes trips to the
where the Fund is active, but are regularly visited by filmmakers from
Czech Republic, France, Germany and Taiwan. These are not countries
regions where the Fund is active.
IDFA Bertha Fund
Meeting at IDFA
The IBF filmmakers present at IDFA can also visit the IDFA Forum, IDFA’s
Each year, the Fund invites all filmmakers of the IBF harvest at IDFA to
annual co-financing market. This is one of the major meeting places for
the festival. In 2013, for the first time a group of filmmakers who have
filmmakers and the industry, which gives the Forum a very significant
a project in production were also invited for the IBF Project Factory.
networking function.
Alongside opportunities to see all of the IDFA films, attending IDFA is
The World Documentary Exchange program gives the participating
a great opportunity for documentary professionals to expand their
filmmakers an opportunity to get to know various sales agents and
networks. They can then make direct contact with the international
television buyers in person, allowing the filmmakers to expand their
professionals who are present in Amsterdam during the festival.
networks while at the same time gaining insight into the business as-
The Fund also invites festival programmers to IDFA to bring them into
sociated with the distribution of a documentary.
contact with documentary organizations worldwide, to see all of the
Another important meeting place at IDFA is Guests Meet Guests, a
IDFA documentaries, to pick up ideas for the organization of their own
regular opportunity every day during the festival for all documentary
festivals and to expand their networks.
professionals present to come together in an informal setting.
During IDFA, many activities take place, such as the IDFAcademy, the IDFA Forum, the World Documentary Exchange program and Guests
Filmmakers with a selected documentary
Meet Guests.
All directors and/or producers from the 11 selected documentaries at-
IBF-supported filmmakers were able to attend plenary sessions at the
tended the festival – 19 directors and producers in total. After IDFA, the
IDFAcademy, at which established filmmakers, producers and other
Fund sent out a survey to the filmmakers who attended. All filmmakers
experts in the area of documentary speak. These sessions are not only
stated that they considered their attendance at IDFA to be valuable.
of great educational value, but are also important opportunities to
The principal reason given for this was that their visit enabled them
meet documentary professionals. All of which makes the IDFAcademy
to expand their network. 100% of the makers invited stated that they
a great addition to the network of any young filmmaker.
met other film professionals and filmmakers. In addition, the survey re-
Visiting the Human Rights Festival in Myanmar Ally Derks, director of
IBF and IDFA (2nd from the right), was part of the jury of the Human Rights Human Dignity Festival in Myanmar. The prize awarded by the jury was presented by Aung San Suu Kyi (center), the leader of the democratic movement in Myanmar placed under house arrest for 15 years by Myanmar’s military junta. Alongside her jury duties, Derks also had individual meetings with local filmmakers.
35
vealed that almost all of the filmmakers (89%) gained knowledge about
Festival programmers
the documentary industry and also used their visit to watch other
In 2013, organizations from Syria, the Dominican Republic, Myanmar,
documentaries and bring a new project to the attention of attending
Georgia, Morocco and Sierra Leone were invited, in total 10 festival
documentary experts. More than 20 filmmakers were introduced to
programmers. The Fund covered all expenses for these visits to IDFA.
the Forum and the IDFA Bertha Fund lunch (82%), Guests Meet Guests
Furthermore, the Fund arranged individual meetings for the program-
(82%), the Industry Talks (44%) and Docs for Sale (67%) were also much
mers with experts in the fields of raising sponsorship, program and
visited by the IBF-supported filmmakers.
production, as well as putting the festivals in touch with one another. The programmers were also given access to Docs for Sale as well as Docs
Filmmakers from the IBF Project Factory
for Sale online, the market for documentaries, where they have access
The Fund invited the directors and producers of 11 IBF-supported
to a catalogue of 500 documentaries. In the future, the Fund wishes to
documentary projects to attend IDFA. The IBF Project Factory not only
expand this program for festival programmers.
aims to give these filmmakers extra knowledge and skills, as described in paragraph 4, but also to increase the networks of the IBF filmmakers. During IDFA, they will have various opportunities to meet the international documentary industry, such as the IDFAcademy program, Guests Meet Guests and the World Documentary Exchange program. In addition, the Fund organized one-on-one meetings with sales agents, producers and commissioning editors.
Networking at the IBF Lunch During IDFA 2013, the Fund organized a lunch for all IBF-supported filmmakers present, invited programmers, the Fund’s selection committee and financiers. This lunch was a good opportunity for the guests to get to know the Fund and one another. This photo shows filmmakers from South Africa, Iran, Kenya, India, Pakistan, Ukraine and Venezuela, among other countries.
36
IDFA Bertha Fund
Appendix I: Selection Criteria Selection criteria: In selecting the projects the selection committee uses the following criteria: General criteria for selection: • Intrinsic qualities of the proposed project • The cinematographic qualities of the project • The importance of the subject • Originality of the subject, the perspective on the subject and/or the style of the proposed film • The narrative structure of the proposed project Secondary criteria for selection: • Trust in the filmmaker and the proposed project • Need for financial aid from the fund to achieve the proposed project • The situation of the documentary climate in the region or the country • The presence of a documentary tradition • Options for fundraising • Intensity of general documentary productions • The position of the producing country on the DAC-list of the OECD1 For the financial support of organizations the fund has a preference for festivals that have a role in the distribution of locally produced films. These festivals should stimulate the dialogue between filmmakers and between filmmakers and audiences. 1 Organisation for Economic Cooperation and Development (OEDC). The DAC list of the OECD gives an overview of countries which qualify as a developing country.
37
Appendix II Organization 2013 Board The board has the following members:
Selection committee:
• Chairman: Walter Etty, partner at Andersson Elffers Felix
The selection committee of the documentary projects is composed of
• Member: Laugé Nielsen, director Pathé Theaters (till April)
a group of alternating members and guest readers for each selection
• Member: Arend Jan Heerma van Voss, former chairman VPRO, board
round. The committee consists of five members per round. The Fund
member IDFA (till December) • Member: Jan Hoekema, mayor of Wassenaar, former director Cultural
has a small committee for the selection of Other Activities made up of three members of the IDFA staff.
Cooperation at the Ministry of Foreign Affairs. • Member: Marijn Wiersma, transition development and innovation at MFO (from April) • Member: Adrienne van Heteren, director small media foundation, London (from December) • Member: Marischka Leenaers, consultant in fundraising and sponsoring (from December)
Selection committee February 2013: • Adriek van Nieuwenhuijzen, Head of IDFA Industry Office • Don Edkins, producer, Steps International (South Africa) • Isabel Arrate Fernandez, IDFA Bertha Fund manager • Jan Röfekamp, sales agent, Films Transit (Canada/the Netherlands) • Rebecca Lichtenfeld, director of Social Impact Media at Bertha Philanthropies (UK/USA)
Staff Director: Ally Derks
Selection committee May 2013:
Manager: Isabel Arrate Fernandez
• Adriek van Nieuwenhuijzen, Head of IDFA Industry Office
Producer: Mélanie de Vocht
• Isabel Arrate Fernandez, IDFA Bertha Fund manager • Orwa Nyrabia, producer, Proaction Film (Syria/Germany)
Pre-selection committee:
• Peter Wintonick, independent filmmaker, producer, mentor (Canada)
Since 2013, all projects are first assessed by a pre-selection committee.
• Rebecca Lichtenfeld, director of Social Impact Media at Bertha
This committee is composed of IDFA staff members and documentary
Philanthropies (UK/USA)
experts on specific regions. Selection committee Other Activities 2013: Pre-selection committee February 2013:
• Ally Derks, director IBF and IDFA (the Netherlands)
• Don Edkins, producer, Steps International (South Africa)
• Isabel Arrate Fernandez, IDFA Bertha Fund manager (the Netherlands)
• Carmen Cobos, producer, Cobos Films (the Netherlands/Spain)
• Mélanie de Vocht, IDFA Bertha Fund producer (the Netherlands)
• Denis Vaslin, producer, Volya Films (the Netherlands/France) • Martijn te Pas, Coordinator of the IDFA Program Department • Laura van Halsema, Press & Publicity IDFA • Isabel Arrate Fernandez, IDFA Bertha Fund manager • Mélanie de Vocht, IDFA Bertha Fund producer Pre-selection committee May 2013: • Neil Brandt, producer, Fireworx Media (South Africa) • Denis Vaslin, producer, Volya Films (the Netherlands/France) • Orwa Nyrabia, producer, Proaction Film (Syria/Germany) • Joost Daamen, researcher IDFA Program Department • Raul Niño Zambrano, researcher IDFA Program Department • Laurien ten Houten, Docs for Sale coordinator IDFA • Isabel Arrate Fernandez, IDFA Bertha Fund manager • Mélanie de Vocht, IDFA Bertha Fund producer
Colophon Text Joost Broeren, Isabel Arrate Fernandez, Mélanie de Vocht Translation Mark Baker Production Mélanie de Vocht Lay-out Sjoukje van Gool This is a publication of the Jan Vrijman Fund/ IDFA Bertha Fund.
38
IDFA Bertha Fund
Appendix III Statement of Income and Expenditure 2013 Foundation Jan Vrijman Fund, Amsterdam INCOME Government grants Other grants Other income
2013
2012
FNL. STMNT 2013 BUDGET 2013 € € 230.000 230.000 369.890 388.725 12.958 18.000
FNL. STMNT 2012 €
292.255 254.040 25.795
EXPENDITURE Administration costs Staff Housing/support costs
612.848 636.725 97.992 90.300 29.550 26.000
572.090
Total administration costs Activity costs Staff Projects and programmes
127.542 116.300 12.117 10.000 450.312 510.425
123.033
Total activity costs Contingency Net result
96.658 26.375
862 452.964
462.429
520.425
453.826
709-
-
1.825
589.262
636.725
578.684
23.586
-
6.594-
39