Daily Tiger #5 (English) by International Film Festival Rotterdam

daily tiger

42nd International Film Festival Rotterdam #5 Monday 28 January 2013 ZOZ voor Nederlandse editie

(NEWS P3)

(Longing for the rain / our nixon / my sister’s quinceaÑera P5)

(36 P7)

Following a successful first day of meetings, IFFR’s Head of Industry/CineMart Manager Marit van den Elshout welcomes CineMart delegates and other industry professionals for drinks in de Doelen.

photo: Ruud Jonkers

A room of its own Further details have been revealed of IFFR in the Cloud, the new gateway for festival filmmakers to reach international audiences via iTunes. By Geoffrey Macnab

Through a ground-breaking partnership with French digital distribution company and aggregator Under The Milky Way, IFFR is opening up its very own “room” on iTunes (itunes.com/iffr) where – initially – viewers from the Benelux will be able see selected Rotterdam titles. Under The Milky Way first approached Rotterdam last year, shortly after Cannes. “I don’t remember if we were really talking about iTunes or if it was a more general proposal at that stage”, recalls Juliette Jansen, who oversees distribution at IFFR. “For us, the interesting thing about the proposal was that we really needed a partner to internationalize our distribution policy.” Effective distribution

“It all started last year, when I was invited here to give a talk on digital distribution”, Under The Milky Way CEO Pierre-Alexandre Labelle explains of why he decided to pitch the festival. The aim for both parties is, as Labelle puts it, to help “filmmakers and rights holders who often bring films to great festivals like Rotterdam but have a hard time getting effective distribution on a global basis.” IFFR already had its own distribution label, Tiger Releases. Festival films have also been available on other VOD platforms, among them Mubi, Ximon and Cinemalink. The festival acquires rights on selected titles for the Benelux. “We have broadened

the selection. We used to have only the Hubert Bals Fund titles within the distribution section, but now we want to have a more representative selection from the Festival.” For example, IFFR released last year’s highly controversial Tiger winner, Clip, on DVD and various VOD platforms. iTunes, though, promises to give the Rotterdam brand a huge boost internationally. Under The Milky Way serves more than 170 rights holders and has offices in 10 countries. It has aggregation contracts with global platforms like Google, Sony and Amazon, as well as iTunes. By partnering with Rotterdam, the company has practical plans to give the festival’s filmmakers access to international distribution. The attraction for the filmmakers is that they have few upfront costs or risks. The Festival will pay for 30% of the encoding costs while Under The Milky Way will cover the remaining 70% (this can cost from €700 to €1,000). Rights holders will be given “quality reports” detailing exactly how their films are performing. Go for it

At first glance, an internet giant like iTunes may not seem a natural home for festival films. However, as Labelle notes, “these guys are like retailers. They have big shops … they understand that the film market is very atomized. There are many different players out there – producers, distributors, sales agents. The whole patchwork of rights is a very complicated matrix … that’s where we come in.” In other words, this is another example of the “long tail” wagging. (In the words of Wired Magazine’s

Chris Anderson, long tail theory posits that in “an era without the constraints of physical shelf space and other bottlenecks of distribution, narrowly-targeted goods and services can be as economically attractive as mainstream fare.”) Jansen contacted around 100 rights holders and producers from the Bright Future and Spectrum sections to see if they were interested in putting their films on iTunes Benelux. The initial selection will be limited to 30 titles that have no sales agent or Benelux distributor attached. “I notice that people are waiting a little bit”, Jansen observes of their original response. “It might be the case that they will find a sales agent during the Festival. They have to wait for the US premiere because they can’t be on iTunes. They still have many questions.” Today, Jansen will be meeting rights holders, trying to address their concerns. “So far, I think I have six or seven that immediately said, ‘Yes, I’ll go for it’.” Timing

“With IFFR in the Cloud, there’s a direct contract between the filmmaker and Under The Milky Way in order to have distribution”, Labelle explains. “The Festival is involved in helping us manage the material aspects and obviously the communication, branding and so forth.” Labelle suggests that Under The Milky Way’s working method is akin to that of a traditional video distributor, putting DVDs into a shop. “I think it’s just a question for the filmmakers of finding the right timing and when it feels good for them”, Labelle says.

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Branding

Thanks to the digital revolution, there are tens of thousands of films available on VOD platforms. That’s why branding is so important and why the Festival is trying so hard to guide viewers into Rotterdam’s room on iTunes. To underline just how IFFR in the Cloud can help filmmakers, Labelle cites the example of David Dusa’s Fleurs du Mal (Flowers of Evil). The film, which came through CineMart and screened in Rotterdam, was a festival success but didn’t find a distributor willing to give it commercial distribution. “What we did was brought it on iTunes and gave it a global release in 60 territories simultaneously … the film all of a sudden is available in 60 countries with different subtitle tracks. That is a typical example of what it can lead to.” At present, Labelle points out, the IFFR room is available in the Benelux only, but the aim is to expand it further so that “the brand of the festival can also be seen in the Canada, USA and Australia.” “I am dreaming of that!” Jansen states.

Industry Panels today 11 a.m.–1 p.m. Aggregate partners and get your films seen online. Rotterdam Lab, De Unie, Mauritsweg 34-35 2 p.m.–3 p.m. IFFR in the Cloud Industry Club, de Doelen 4th floor

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23/01/13 09:19

Clear on rights New York-based producer Madeleine Molyneaux will lead a panel discussion this afternoon on the ever-lively topic of rights negotiation and clearance. Fellow panellists include Fortissimo’s Nelleke Driessen, Luxembourg-based producer Paul Thiltges and filmmaker Penny Lane, whose Our Nixon screens in Bright Future (see page 5). “The purpose of the panel is to empower both filmmakers and producers internationally to pursue stories that they wouldn’t normally want to go after because they might be deemed high risk as they have to deal with real life personages, having to chase music rights from estates that haven’t been cleared and to demystify the whole rights and clearances process”, Molyneaux says. “This panel has never been done before at IFFR. As a producer and also a business affairs and rights and clearances person I have been involved with this for many years and have watched how a lot of projects gets derailed because of people’s fears of legal issues.” Molyneaux argues that it is essential to have a sales representative on the panel “as they basically have to sweep up after a messy project” – a fact which may determine whether or not they will take the project on in the first place. The producer further explained how she recently had to acquire the rights for a Screaming Jay Hawkins song that had never previously been cleared. “I did it in the old fashioned hard way, tracking down the person that owned the estate on Google, negotiating with them for four months, begging, pleading and ultimately getting the rights. When somebody says to you ‘you can’t use that song, you’ll never get it, you can’t afford it’, there are always ways around it.” Nick Cunningham

Industry Panel today 3 p.m.-4.30 p.m. Navigating rights and clearances Industry Club, de Doelen 4th floor, limited access

Short surprises in the Tea House Today’s High Tea consists of two short presentations by women artists/filmmakers with work in different sections of the festival: Bani Khoshnoudi is the director of Ziba, a premiere in Bright Future, and Desiree Akhavan has work showing in the Changing Channels Web Lounge. They will be bringing some short extra surprises along to the tea party. Tea House/Gallery Inside Iran, Schouwburgplein 54, 4 p.m. – 6 p.m.

IFFR Director Rutger Wolfson listens to Dutch Minister of Culture Jet Bussemaker at the festival yesterday.

photo: Bram Belloni

Gimme shelter Attending IFFR yesterday to discuss an upcoming summit on local film finance, the Netherlands’ new Culture Minister found time to talk to the Daily Tiger. By Geoffrey Macnab

Cuts in Dutch public funding for film made under the previous Government won’t be restored. That was the blunt message from new Culture Minister Jet Bussemaker. “We also see that the cutbacks create some problems, but they also create new innovations”, Minister Bussemaker said. “I don’t want to make steps back but I want to make step forwards. I see a whole new generation of young filmmakers and young painters. They think in terms of crowd-funding. They also find new ways and it is my goal to support them and not only to go back to the years past.” Bussemaker was in town to discuss further the special Government ‘summit’ on the film industry being organized in late March by the Ministry of Economic Affairs and the Ministry of Culture.

“The last years, we see that a lot of Dutch productions go to Belgium and go to Germany because it is very expensive to make a film in the Netherlands”, the Minister noted. The summit will discuss potential solutions to this ongoing drain of Dutch talent and investment. Ideas being floated include “a tax shelter like they have in Belgium or a tax rebate like they have in Germany. This has not only to do with the Government policy in relation to culture, but also our tax policies and economic policies.” Bussemaker emphasised her commitment to helping the film industry in the Netherlands to “develop in the future.” Asked about the perception abroad that the culture sector has been unduly heavily hit by cuts, the Minister acknowledged that the previous Government created a hostile atmosphere toward the arts. “I hear nowadays from the people working in the field of culture that they did not feel appreciated at all”, the Minister said. “(In) the new coalition … I believe that we need culture

and creativity to have a strong future in the Netherlands. At the same time, we need to find new ways in the organisation of culture.” However, in the Netherlands, she suggested, the film industry was still heavily dependent on public funding. The challenge now was to “find a balance between public money and private money.” “The problem in the Netherlands is that there is so much public money and so little private money. We have to find a way to increase the private money for the film industry”, the Minister continued. She said that, compared to other countries, “we have huge film funds in the Netherlands.” During her visit to Rotterdam, Bussemaker was shown around de Doelen by IFFR Director Rutger Wolfson, also dropping in on both the CineMart and the Video Library. She also attended a screening of David Verbeek’s How to Describe a Cloud. Asked about her favourite Dutch film of recent times, the Minister spoke of her enthusiasm for Maria Peters’ Sonny Boy (2011).

Core concerns A former employee of the Binger used her time there to develop a project now in CineMart. By Nick Cunningham

Daan Gielis

photo: Nadine Maas

Daan Gielis has attended countless CineMarts in the past, but this is her first as a screenwriter. This time last year she was handling press for the Binger, the renowned Amsterdam-based training and development programme. In 2013, she is pitching La Holandesa, produced by Smarthouse Films’ Danielle Guirguis and to be directed by Joost van Ginkel (170Hz). The film, based on the Gielis-scripted short film Undertow, concerns a woman whose desire to become a mother cannot be fulfilled. Her feature script was developed at the Torino Film Lab. “I was writing already for a couple of years – I studied film – but always other jobs came along, and I really liked them”, Gielis comments. “But then I pitched this idea to Danielle, and we made this short film, and I liked it so much. That’s how it happened.” Gielis used her time at the Binger wisely, attending lectures and workshops, learning the process of screenwriting from leading exponents of the craft. “I saw so many amazing people doing lectures and

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I also understood the importance of working with a script editor. To focus on the core of the story, especially when you are a first time writer I think it is so difficult – you have so many things to tell. You see a lot of first-time films which are a bit too over-crowded … I also learned a lot from reading many scripts and being on the (Binger) selection committee – that is also very helpful to see how people write and how mistakes can be made.” Her project is a very personal story, and deals with how the inability to have children was an obsession of some of the women she observed. “They were doing really weird things, going around the world to get pregnant and doing IVF, and I thought I really wanted to do a short film about that, and after that was finished I thought I really wanted to tell more. I guess I wasn’t done yet.” So why a male director? “I must say that I was talking to female directors as well, but the writer is female, the producer is female, so I thought it would be good to have a male approach”, she points out. “Of course, when I wrote the short film, I was expecting a lot of reactions from women but I also got a lot of reactions from men who were saying that they were struggling with this problem too, so I thought – why not.”

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Sister act Aaron Douglas Johnston’s new film My Sister’s Quinceañera grew out of an acting workshop in his home town. By Edward Lawrenson

Material girl Yang Lina’s Tiger-entrant debut feature Longing for the Rain is a supernatural critique of China’s creeping consumerism. By Edward Lawrenson

“I feel in my life there are often quite supernatural scenes. I’m not satisfied with the surface of everyday life.” So says Yang Lina of her debut feature, Longing for the Rain (Chunmeng), which has its world premiere in the Hivos Tiger Awards Competition. It’s a telling remark because her film also combines fantastical elements with the humdrum stuff of real life. Set in contemporary Beijing, Longing for the Rain revolves around Fang Lei, a middle-class mother whose routine is disturbed when she is visited by a phantom-like fig-

ure in a series of increasingly erotic encounters. An assured blend of closely observed domestic drama and unsettling ghost story, the film combines documentary-style depictions of Fang’s family life with unsettling, dreamlike sequences that may – or may not – be the product of Fang’s unhappy imagination. The film’s exploration of spiritual concerns – Fang visits various religious elders for advice on her ghost lover – is set against the increasingly consumerist values of China’s growing middle class. Fang’s husband spends more time on his tablet computer than with his young family, while her best friend is obsessed with expensive designer clothes boutiques. “Chinese society now is quite crazy,” says Yang, “people feel a lot of anxiety. No matter if you’re man or a

woman, rich or poor, people are under a lot of different pressures. When everybody gets more material goods, it seems everyone becomes more insecure. Fang is one of these people. Everybody needs to be rescued – even religious power is useless to help.” In Rotterdam for the first time, Yang is well aware of IFFR’s reputation. “Many independent Chinese filmmakers have been supported by the festival”, she says, adding that she’s grateful for the support the Hubert Bals Fund gave her during post production.

“Film is great excuse for you to get to know a world you’re not accustomed to.” Aaron Douglas Johnston is talking about his new film My Sister’s Quinceañera, a warm and subtle family drama set in the Iowa town of Muscatine which receives its world premiere in Bright Future today. Johnston himself originates from Muscantine, but his movie is set among the town’s Hispanic community, with which he had little familiarity before embarking on this project. Its focus is on Silas (Silas Garcia), a quietly spoken, gently curious young man who is the eldest brother in a large family presided over by single mother Becky (Becky Garcia). Boasting a low-key charm and told with unforced naturalism, the movie revolves around Silas’ decision whether or not to leave home for the city as his younger sister nears her ‘quinceañera’, a traditional family celebration to mark a girl’s fifteenth birthday. The film grew out of an acting and filmmaking workshop Johnston initiated some two months before the shoot. It was in working with the people who became his actors that Johnston first learnt of the quinceañera ritual.

Hivos Tiger Awards Competition Longing for the Rain / Chunmeng – Yang Lina

Mon 28 Jan 21:15 PA6 Sat 02 Feb 12:30 PA7

Notes on a scandal Richard Nixon emerges as an avuncular boss in a fascinating archive-only documentary. By Ben Walters

Few people’s home-movie footage includes the Pope, Haile Selassie or Henry Kissinger eating cake. But then few people’s workplace is the White House under Richard Nixon. “It’s so goofy, this combination of the innocuous, sweet, humanising nature of home movies as a concept with the knowledge that it’s the Nixon administration”, says director Penny Lane. “We knew those two things together would be interesting.” Our Nixon, which plays in Bright Future as a world premiere, offers a uniquely intimate perspective on one of the most notorious periods of recent American history. The foundation of the documentary is a newly retrieved archive of Super-8 home movies shot between 1969 and 1974 by three of Nixon’s closest allies: chief of staff H.R. Haldeman, advisor John Ehrlichman and assistant Dwight Chapin, all three of whom would later receive criminal convictions over the Watergate scandal. As its title suggests, Our Nixon presents a different perspective on that subject. Without offering any apologies, it shows life in the administration on its own terms: a dynamic, often jovial enterprise of men

seeking to change the world, only gradually realising the enormity of the scandal growing around them. “It all looks different from that position”, Lane notes. “It seems so obvious, but they didn’t see the future. They thought they were part of this other story.” The film fleshes the story out with contemporary news footage, public broadcasts, archive material, later interviews with Haldeman, Ehrlichman and Chapin and audio from the famous White House tapes – the secret recordings Nixon instigated that came back to haunt him. But the documentary’s core comprises material from the 500-odd reels of Super-8 footage, totalling around 30 hours, that the producers digitised to preservation standard at a cost of around $50,000 (raised via Kickstarter). “This stuff was slightly legendary in the archival and presentation worlds, but no one (outside that world) has really been interested in it”, says Lane. “For a researcher or historian or conspiracy theorist, they’re useless. They don’t get at anything to do with criminality or conspiracy.” Nor do they offer a new, unguarded aspect on the disgraced president as a man. “We were thinking it might be more like intimate time with Nixon, but it’s not”, Lane acknowledges. “He’s there in the background – he’s like your boss or your dad, or sometimes your son who needs your support.”

As well as world-historical moments, there’s footage of staff goofing around, flora and fauna of the White House garden and simply getting on with the business of government. “They filmed when they were bored, or when something really interesting was happening and there were already a hundred million news cameras on him. Everything’s really amateur. If Nixon’s in the shot, he’s over there and you get the back of his head. The stuff doesn’t work as anything but diary, showing the world from ‘our’ position”, Lane explains. And that’s the special appeal of the film. Ultimately, Our Nixon allows us to see Haldeman, Ehrlichman and Chapin not as cartoon villains but as people forced to live with the consequences of the corrupt machine to which they were party. “My interest is the human casualties,” Lane says, “and in the end that wasn’t the people who were spied on and harrassed. They came out of it as heroes and they’re still heroes. It’s the people in the administration – they ruined their own lives and besmirched their children’s names. [These home movies are] so full of dramatic irony it can be painful.”

Bright Future Our Nixon – Penny Lane

Tue 29 Jan 19:15 LV1 Thu 31 Jan 11:45 CI1

Partnering with leaders in the town’s Latino community to publicise his workshops and attract participants, Johnston uses the process to develop his storyline. “I went in saying, ‘I’m going to train you guys and we’re going to make a film afterwards.’ I started out not knowing what the film was going to be about in terms of story.” Silas is played by Silas Garcia, who brought a great deal of his own biography and experience to the character (although he’s unrelated to his onscreen ‘family’). “When he got there, he saw a whole load of Dutch people” – Amsterdam-based Johnston works with a crew from the Netherlands – “and he thought, ‘What’s this?’” Johnston recalls: “There were also some beautiful Dutch women there – that was enough of an interest for Silas to make him stay!” Having lived in the Netherlands for ten years – he went to film school in Amsterdam and says his entire “film network” is in the city – Johnston admits he has “an ‘outsider’s eye’ on my home town and indeed on American culture.” Charting the quiet compromises and everyday tensions of an ordinary working family, the film even owes something to a tradition of social realism. “This is how I would describe it”, says Johnston. “I’ve been trained by European art house films, and you don’t see a lot of films like this in the US: there’s something that feels very European about it.”

Bright Future My Sister’s Quinceañera – Aaron Douglas Johnston Mon 28 Jan 09:00 CI3 (press & industry) Mon 28 Jan 18:15 PA6 Tue 29 Jan 10:00 PA6 Thu 31 Jan 16:30 CI4 Sat 02 Feb 22:30 CI2

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Colofon Daily Tiger NL: Anton Damen (hoofdredactie), Kim van der Meulen (eindredactie), Joost Broeren, Paul van de Graaf, Sietse Meijer, Maricke Nieuwdorp, Nicole Santé, Veerle Snijders (redactie), Loes Evers, Rik Mertens, Pete Wu (web), Sanne de Rooij (marketing en communicatie), Marieke Berkhout (traffic) UK: Edward Lawrenson (editor-in-chief ), Nick Cunningham, Geoffrey MacNab, Mark Baker (editors), Ben Walters (web) Met medewerking van: Harriëtte Ubels Programmainformatie: Chris Schouten, Melissa van der Schoor Coördinatie A-Z: Saskia Gravelijn (tekst), Amanda Harput (beeld) Fotografie: Felix Kalkman, Bram Belloni, Corinne de Korver, Marije van Woerden, Ruud Jonkers, Nichon Glerum, Nadine Maas Vormgeving: Sjoukje van Gool, Laurenz van Galen, Gerald Zevenboom Drukker: Veenman+ Acquisitie: Daily Productions Oplage: 10.000 per dag, Volkskrantdag 12.000

Persistence of memory Nawapol Thamrongrattanarit’s Tiger competitor 36, a delicate mood piece about the transience of memory, was inspired by a note about a lost memory stick. By Edward Lawrenson

Nawapol Thamrongrattanarit

photo: Felix Kalkman

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It was a short announcement Nawapol Thamrongrattanarit saw on the bulletin board of a hostel in Berlin a few years ago that provided the inspiration for 36, the Thai director’s debut feature which screens tonight in the Hivos Tiger Awards Competition. A fellow guest was asking about the whereabouts of a memory stick he or she had lost; the note prompted Thamrongrattanarit to think about the way so much of our memory is now dependent on digital storage. “I’ve got lots of hard drives to edit my movies and I have about 10,000 digital photos on the drives. And I realised if the drives broke, everything would disappear”, he says. These thoughts feed into 36, a delicate, melancholy mood piece that explores ideas of transience and permanence and the shift from analogue to digital technologies. The movie tells of the meeting between Sai, location scout on an unnamed movie shooting in Bangkok, and another member of the crew. As they explore a potential location – a derelict old building – and take photos, they strike up a friendship that may lead to a romance. Thamrongrattanarit then jumps forward a few years, and finds Sai trying to retrieve the photos of that first encounter – which are stored on a drive that is now corrupted – reflecting with quiet sadness on the lost moments of that first meeting with her potential lover. Told in a series of 36 static shots – the number of images on a roll of 35mm photographic film – the film is impressionistic, dreamy and poignant. Each scene is introduced by a short text, too; some have a direct connection with the action on screen, while others are more oblique: “The title of each scene is like when you put a caption on a photo you post on Facebook. Sometimes it’s very personal; you’re the only one who knows what it means.” “The first part [charting Sei’s time on the location recce] is quite slow”, says Thamrongrattanarit. “I tried to make it feel like the memory of the main characters: there’s no clear story, it’s as if they are thinking about the past. Only after that does the storyline become clear: the story of exploring the memory in the present day.”

The film is also concerned with the relationship between memory and architecture, depicting the effects of the rapid demolition of Bangkok’s older buildings. “Thailand has no policy to preserve old buildings,” says Thamrongrattanarit, “everything is destroyed. I often walk around the old parts of the city and I feel that the old buildings have memories in them. It’s our history, but the government doesn’t want us to experience it. So many parts of the city are disappearing, everything is changing – it’s like the digital era. We forget many things very fast.” Thamrongrattanarit mostly financed his film’s $20,000 budget himself, and to keep costs down shot digitally: “In order to tell a story about analogue I had to use digital equipment”, he says. Digital technology is also a focus of his new film, which he plans to call The Year of June. Recently awarded a production grant from Venice’s Biennale College Cinema, it is based on the twitter feed of an anonymous girl whom Thamrongrattanarit is following. “It’s an experimental piece but also a narrative, something like 36.” Given 36’s concern with the fragile nature of digital storage – “with a hard drive, when it breaks you won’t know why”, he says – has Thamrongrattanarit ever lost files like Sai did? “Yes, I’ve lost things, but only small things.” So does he back his files up? “No, no; but this is life. It comes and goes!”

Hivos Tiger Awards Competition 36 - Nawapol Thamrongrattanarit

Mon 28 Jan 11:30 DJZ (press & industry) Mon 28 Jan 16:30 PA4 Tue 29 Jan 12:30 PA7 Thu 31 Jan 21:15 PA6 Sat 02 Feb 17:45 CI4

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International Film Festival Rotterdam and Under The Milky Way are proud to present

IFFR in the Cloud

WOENSDAG 5 JUNI ZIGGO DOME AMSTERDAM

The best opportunity to get your film distributed in VoD

KAARTVERKOOP VIA WWW.LIVENATION.NL EN WWW.TICKETMASTER.NL

Lu Zo, the incarnation of a high lama of Drepung Monastery. Photo by Joseph Francis Charles Rock, taken in 1931. Courtesy Harvard-Yenching Library

IFFR in the Cloud gives filmmakers the opportunity to distribute their films on iTunes in the Benelux within the itunes.com/iffr collection. Films can also be offered to other territories according to rights and material availability. Entering this innovative programme is open to all feature filmmakers with an IFFR 2013 selection for Bright Future or Spectrum. IFFR in the Cloud provides standard yet very flexible conditions for filmmakers to effectively distribute their films. Also, through its partners, IFFR in the Cloud significantly lowers the technical costs of preparing films for Global VoD Distribution on platforms such as iTunes.

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For more information on IFFR in the Cloud, please contact: Juliette Jansen distribution@ﬁlmfestivalrotterdam.com

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Tulkus 1880 to 2018 Paola Pivi

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25.01.13 — 05.05.13 Witte de With Center for Contemporary Art Witte de Withstraat 50, Rotterdam www.wdw.nl

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Press & Industry Screenings Monday 28 January PROGRAMME CHANGES

11:00 DEAD BODY WELCOME [wp]

Japan’s Tragedy from Pathé 5 to Cinerama 5, 13:45

09:15 Watchtower [ep]

Pathé 2

09:15 La tendresse [wp]

Pelin Esmer, Turkey/Germany/France, 2012, DCP, 96 min, Turkish, e.s.

11:15 Dummy Jim [wp]

36 is the number of shots on an analogue roll of film. It’s also the number of shots in this film. Yet it’s not a strict film, but the playful quest of a young photographer for the photos that disappeared on her computer: a whole year’s worth, including one of a challenging encounter.

Beto is dead and can no longer hide this with make-up and perfume. Life stops. For zombies too, at some stage. But before we get that far, Beto experiences a special friendship with the vivacious Luly. Contemporary Gothic story with an unusual twist. TG

Cris (12) and her brother are thrown out of the car by their parents after their endless squabbling. That marks the start of a brief ramble through northwestern Brazil. In this modern fable, an upper-class teenager learns to see the world from a different perspective. 17:30 Happiness Building 1 [ep]

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The artist built, in a huge timber mill still in operation, a grand and dark installation and told his actors to reconnoitre the space. A prison as happiness building. BF

•geel•

The six friends of suicide victim Miguel gather to clear out his things, guess his motives and celebrate his life. Uneasy and sultry atmosphere in this psychological drama whose soundtrack surrealistically erases the boundaries between past and present.

Bestaat uit:

Postface à la brochure de 1942 [wp]

Stanislav Dorochenkov, France/Russia, 2013, DCP, 27 min, Russian, e.s. •FLM•

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Sarah is 16. She pretends to be in distress at the side of highways, then robs those who stop to help. A man dies of a heart attack, as a result. Haunted by the spirit of her victim, she soon ﬁnds herself on the widow’s doorstep. 11:30 Melaza [ip]

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Carlos Lechuga, Cuba/France/Panama, 2012, DCP, 80 min, Spanish, e.s.

Money and love worries of swimming teacher Aldo and rum factory worker Monica in Melaza, the cradle of Cuban sugarcane. With tangible love for Cuba, the director takes a fresh look at his struggling characters: you can also learn to swim in a piscina without water.

Cinerama 5

•FLM•

09:30 Kidd Life [ip]

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Riri Riza, Indonesia, 2012, Video, 90 min, Indonesian, e.s.

•geel•

Clever young local burglar in a suburb is commissioned by immigrant traders. When he also does jobs for local gangsters, the extra earnings bring major problems. Exciting second feature by co-director of widely praised prison drama R. Nominated for The Big Screen Award.

Atambua is a very hot, dusty town in the Indonesian part of Timor. A boy from a family torn by East Timor’s bloody independence is in conﬂict with his drinking father, misses his mother and falls for a girl with a past. Real people and real heat. 13:45 Japan’s Tragedy [ep]

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Kobayashi Masahiro, Japan, 2012, Video, 101 min, Japanese, e.s.

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Family life during wartime: children are against parents, brothers are against sisters, wives are against husbands... A highly realistic family portrait that turns into a metaphor of a totally messed up society. Disturbing, epic and intimate at once.

Black-and-white, with rice-paper doors. The director knows his classics, but remains a modernist. A father and son wrestle with death and loss. Strangely enough, the tone remains light.

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Jacek Borcuch, Poland/Spain, 2012, 35mm, 93 min, Polish/Spanish, e.s.

Two Polish students fall in love with each other during a holiday in Spain. But a horrible accident ruins their relationship and their plans. A thrilling existential drama in which fate seems to overcome the best-laid plans of men. TG

Karaoke is not always nice for everyone. Because you’re too shy to sing. Or because you are forced to satisfy the audience with more than just your voice. This sensitive look behind the screens shows the life of an escort girl and the poor idyll she hails from.

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18:30 One Day When the Rain Falls [wp]

Historic ﬁlm shows in a special way - special for both countries - the violent divorce between the colonial Netherlands and the new and militant Indonesia. Besides Bishop Soegija, the ﬁlm follows young Indonesians and Dutch. About love and war. Nominated for The Big Screen Award.

Cinerama 3 09:00 My Sister’s Quinceañera [wp]

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Ifa Isfansyah, Indonesia, 2013, Video, 98 min, Indonesian, e.s.

Meticulous family story set in an old Javan house. Outside, it’s raining incessantly. The story’s three parts, each with a relative as protagonist, reveal contradictions between faith, generations and views of the future. Atmospheric ﬁlm about old and new Indonesia.

Cinerama 6

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Aaron Douglas Johnston, USA/ Netherlands, 2013, DCP, 72 min, English

A different Americana, far removed from jeans ads and truck commercials. Mexican-American residents of small-town Iowa, non-professional actors, depict the power of family ties in an intensive collaboration with a director born in Iowa and based in Amsterdam.

21:45 I.D.

An essay which deals with the desire to preserve and organise objects, and by doing so, to tell a speciﬁc historical tale. Walt Disney’s ‘Taxi Driver’ [ep]

Bryan Boyce, USA, 2012, DCP, 4 min, English

Walt Disney’s re-imagineering of Martin Scorsese’s classic ﬁlm Taxi Driver follows Mickey Mouseobsessed Travis’ search for love. County Down Episode 1 [ep]

Something Necessary

Laura Parnes, USA, 2012, DCP, 9 min, English

Mirroring rave culture and unbridled optimism around technology, a society is so obsessed with novelty and consumerism that it embraces its own ruin. Plastic Rap with Frieda [ep]

Frieda performs her rap song with a bevy of dolls as back-up singers and dancers. Song lyrics by Barbara Lipp and Tom Koken. A Day for Cake and Accidents [wp]

Steve Reinke/Jessie Mott, Canada, 2013, DCP, 4 min, English

A cast of animated animal characters engage in absurdist dialogues, confessing various melancholic desires and transgressive secrets.

Happiness Building

nocturne #2

Pieter Geenen, Belgium, 2012, DCP, 12 min, no dialogue

A mobile phone camera registers the main roads and squares of Tehran. The absence of revolutionary powers becomes evident in the silence. Der Doppelgänger [wp]

Bernard Gigounon, Belgium, 2013, DCP, 6 min, no dialogue

The actor is the killer of his own image, sometimes older, sometimes younger, in different aesthetic contexts and ﬁlmic universes.

LantarenVenster 5

Soegija

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Garin Nugroho, Indonesia, 2012, DCP, 120 min, Indonesian/Dutch/ English/Japanese/Javanese/ Cantonese/Latin, e.s.

Dana Levy, France, 2012, DCP, 7 min, no dialogue

Judy Kibinge, Kenya/Germany, 2013, DCP, 85 min, Kikuyu (Gikuyu)/English/Swahili, e.s.

A gangster film that doesn’t look or 16:00 What They Don’t Talk feel like one, but like life itself. At About When They Talk least, life in the lawless border area About Love [ep] BF between Myanmar (Burma) and Thailand. A lively trade in drugs, Mouly Surya, Indonesia, 2013, DCP, 101 min, Indonesian, e.s. young girls and other illegal things. A wondrous film, and that is With plenty of dreams and few clearly what the maker wanted. winners. She tells cheerful love stories about young blind people, played by blind actors. Apparently someone who can’t see has to possess more 20:45 imagination. Maybe that explains the imaginative power of the film. Soegija [ep] SP

Pathé 7

Dead World Order

12:00 Something Necessary [wp] SP

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Bellas mariposas

Russia’s new capitalists have demolished over 200 historic buildings in the city. Parallels with the siege of Leningrad are looming.

Tom Rubnitz, USA, 2012, DCP, 4 min, English

11:45 Atambua 39° Celsius [ep]

Midi Z, Taiwan/Myanmar, 2012, DCP, 105 min, Mandarin/Thai, e.s.

Mátyás Prikler, Slovakia, 2013, 35mm, 130 min, Slovak/Hungarian, e.s.

Visra Vichit Vadakan, Thailand, 2013, 35mm, 77 min, Thai, e.s.

DINAMO (Distribution Network of Artists’ Moving image Organizations) distributors show recently acquired work. These titles can also be seen in the festival video library.

Danish ﬁlmmaker is there with his camera when Kidd, an ordinary kid, changes from one day to the next into the sensation of the year with his catchy rap songs. Even the Prime Minister wants his autograph. Gripping documentary about rap, fame and riches - and their price.

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13:45 Poor Folk [ep]

de Doelen Willem Burger Zaal

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Andreas Johnsen, Denmark, 2012, DCP, 97 min, Danish, e.s.

Michael Noer, Denmark, 2013, DCP, 96 min, Danish, e.s.

Alexey lives in asmall town near Moscow and delivers pizzas. One day he gets a dubious opportunity to make money for the treatment of his terminally ill father. An existential thriller and a moral parable on the problem of choice and the ambiguity of sacriﬁce.

19:00 Karaoke Girl [wp]

A day in the life of 12-year-old Caterina who, from the slums of the Sardinian capital Cagliari, spreads her optimistic view of the world on the large-scale wrongs she sees around her. Committed and moving, cheerful and sad, colourful and contrasting. Nominated for The Big Screen Award.

11:30 Northwest [wp]

Andrey Stempkovsky, Russia, 2013, DCP, 90 min, Russian, e.s.

12:45 Lasting [ep]

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Leonardo Brzezicki, Argentina, 2013, DCP, 85 min, Spanish, e.s.

Chen Chieh-jen, Taiwan, 2012, Video, 84 min, no dialogue, e.s.

10:00 Fine, Thanks [wp]

Salvatore Mereu, Italy, 2012, DCP, 102 min, Italian, e.s.

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10:00 DINAMO P&I Screenings 4 SH Verzamelprogramma, 73 min

Sébastien Rose, Canada, 2012, DCP, 96 min, French, e.s.

Over 50 years ago, the deaf James Duthie biked from his Scottish ﬁshing village to the Arctic Circle and back again. Why? Just because. Hulse worked for 12 years on this visual mix of documentary and ﬁction. A treat for the eyes and ears.

09:30 Noche [wp]

21:45 The Delivery Guy [wp]

Cinerama 4

Matt Hulse, United Kingdom, 2013, DCP, 90 min, English/French, e.s.

Pathé 5

Marcelo Lordello, Brazil, 2012, DCP, 105 min, Portuguese, e.s.

When he arrives in India, Kees Brienen hears that his friend has died. It’s a bitter welcome, taking him to his friend’s remote village and a slow reconciliation with the way all life has to go. A feature based on and mixed with true events.

09:15 Avant que mon coeur bascule [ip]

13:15 Bellas mariposas [ip]

Sebastián Hofmann, Mexico, 2012, DCP, 85 min, Spanish, e.s.

15:15 They’ll Come Back [ip]

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Hänsel’s first film based on her own script gives the concepts of personal and anecdotal a wise and loving significance. Beautiful roles by Canto as mother and Gourmet as her ex. They drive to a ski resort to fetch their son, a ski instructor with a broken leg.

Nawapol Thamrongrattanarit, Thailand, 2012, DCP, 68 min, Thai, e.s.

13:15 Halley [ep]

Marion Hänsel, Belgium/France/Germany, 2013, DCP, 81 min, French, e.s.

He hides from his own conscience by ﬂeeing into a remote watchtower. She ﬂees her surroundings in the basement of a rural bus station. Both have a secret that they can no longer hide when they meet each other. 11:30 36 [ep]

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LantarenVenster 2

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Kees Brienen, Netherlands, 2013, DCP, 80 min, English/Dutch, e.s.

Poor Folk from Cinerama 5 to Pathé 5, 13:45

de Doelen Jurriaanse Zaal

ADMISSION WITH P&I ACCREDITATION ONLY

The past weighs heavier for some than for others. For this Kenyan woman, a victim of political and racial violence, it is heavier than conceivable. Nor is the past that light for that Kenyan man, even though he was the culprit. They must hate each other. The story decides otherwise.

LantarenVenster 6 09:30 First Comes Love [ep]

The Delivery Guy

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Nina Davenport, USA, 2012, Video, 105 min, English

Single and over 40 but wanting children. Davenport decides not to wait any longer and goes for IVF. Pregnancy, a ‘modern family’ and changed relationships. Perfectly captures the spirit of the age. 22:15 Fahrtwind Aufzeichnungen einer Reisenden [wp]

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Karaoke Girl

Bernadette Weigel, Austria, 2013, DCP, 85 min, German, e.s.

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Austria, on the doorstep of the East. But what is out there, in the East? Bernadette Weigel sets out to ﬁnd out with her 8mm camera, without knowing when and where it will end. A sensitive and beautiful travelogue like no other.

Kamal Karamattathil Muhammed, India, 2012, DCP, 87 min, Hindi/English, e.s.

A worker suddenly collapses in the ﬂat of two girls in Mumbai. Charu follows a lead from his cell phone, trying to ﬁnd his identity. She encounters unfamiliar urban spaces and lifestyles. Dynamic, cinematically challenging work of an upcoming Indian talent.

Avant que mon coeur bascule

97’

11:00

BF 86’

SH 95’

36 Nawapol Thamrongrattanarit

Li Luo

11.00 the Hell

TG 68’

12:30

70’

12.00

11:15 Emperor Visits BF

84’

II 86’

113’

12:30

13.00 Eva van End

94’

14:15

98’

87’

90’

85’

104’

Die Welt Alex Pitstra 14:30

Competition for Short Films 6

80’

Watchtower Pelin Esmer 10:00

81’

Fine, Thanks Mátyás Prikler

La tendresse Marion Hänsel Noche Leonardo Brzezicki

96’

85’

11:30

80’

68’

Halley Sebastián Hofmann

13.00

13:15

90’

85’

13:45

93’

TG 85’

105’

101’

16:00

105’

16:45

16:30

17.00

96’

80’

96’

68’

Mater Dolorosa Adolfo B. Alix Jr.

18.00

18:15

139’

18:30

18.00 SP

21.00

22.00

23.00

24.00

91’

79’

130’

97’

99’

24.00

83’

96’

164’

94’

85’

106’

20.00

82’

Long Farewells Kira Muratova

61’

87’

90’

23.00

19.00

Wasteland Rowan Athale 22:15

Kid Fien Troch

96’

Lonely Bones

89’

24.00

118’

21:45

124’

22:15

22:30

Malody

Krivina Igor Drljaca

Jeremy Xido

120’

Mirror Mirror verzamelprogramma

22:30 Death Metal Angola

22:30

The Delivery Guy Andrey Stempkovsky

22.00

Frankenstein’s Army Richard Raaphorst

94’

22:15 The Complex Penumbra Nakata Hideo TG Eduardo Villanueva

23.00

CHANGED

21:45

22.00

70’

21:30

CHANGED

El muerto y ser feliz Javier Rebollo

92’

Diego Star Frédérick Pelletier BF

Jirafas Enrique Álvarez

Alberto Gracia

of Kaspar Hauser

22:00 Fifth Gospel

22:00

96’

Daniel Hoesl

Jeannette

22:15 Soldate

21:45

Fine, Thanks Mátyás Prikler

21:45

21.00 21:45

Soegija Garin Nugroho

106’

21.00

Big Talk

No Pablo Larraín

80’

90’

22:00

100’

Longing for the Rain Yang Lina

Nordvest Michael Noer

82’

21:15

21:00

20:00 Misericordia SP a Cloud Khavn De La Cruz David Verbeek 80’

Blancanieves Pablo Berger

95’

20.00

74’

20:45

I.D. Kamal Karamattathil Muhammed

Bernadette Weigel

nungen einer Reisenden

22:15 Fahrtwind – Aufzeich- BF

90’

20.00

SP 81’

85’

It Felt Like Love Eliza Hittman

BF 72’

19:45

GFP Bunny Tsuchiya Yutaka 20:00

21:00

86’

Our Honest Bread Kira Muratova

96’

98’

65’

Celluloid Man Shivendra Singh Dungarpur

Kamran Heydari

SP 89’

Das Gelübde Dominik Graf SS

69’

20:30 My Name Is II Negahdar Jamali

75’

Towheads Shannon Plumb

Necessary

Judy Kibinge 20:00

Wavemakers Caroline Martel

89’

verzamelprogramma

82’

20:00 Terra Incognita

Gets Tough

verzamelprogramma

19:30 When the Going

19:30

Big Boy Shireen Seno

verzamelprogramma

Taanila

19:45 Short Profile: Mika

19.00

TG Karaoke Girl Visra Vichit Vadakan

SP 98’