41ST INTERNATIONAL FILM FESTIVAL ROTTERDAM #8 THURSDAY 2 FEBRUARY 2012
Getting a boost: one of the 1,800 meetings at this year’s CineMart photo: Bram Belloni
The Numbers Game After four days of intense activity, CineMart delegates will be leaving with a good feeling, CineMart’s Senior Coordinator Jacobine van der Vloed tells Nick Cunningham
Four days, 36 projects and 1,800 meetings later, 780 exhausted (but generally satisfied) pitchers, financiers, distributors, sales agents, co-producers and press last night put on their dancing shoes and partied for the last time at CineMart 2012. As doors finally closed, market chief Jacobine van der Vloed reflects on the past four days. “During the whole event I was continually assessing the common feeling, and the people with projects were generally very happy,” she comments. “Especially the ones who are quite new to the experience, like the artists-turned-filmmakers. For them it was really overwhelming. It was tough for them and they’re tired, but they were happy to have this opportunity to discover how this structure works because some of them haven’t had dealings with the film industry before.” Those sitting on the other side of the table had an extensive menu of works to consider, she maintains, and with budgets ranging from €350,000 to 6 million Euros, all tastes were catered for. Embarkation
CineMart is very often the embarkation point for projects as they set sail into international waters,
and the 78 Rotterdam Lab attendees were on hand to observe a process that many of them hope to replicate in years to come. Two of last year’s Rotterdam Lab alumni joined forces and presented their project The Lunchbox at CineMart 2012 and secured co-pro support from A.S.A.P. Films (France). The team is fairly certain that their film will commence principal photography before year end. Van der Vloed estimates that 70 percent of projects pitched at CineMart go on to be made – eventually. IFFR closer The Hunter (Daniel Nettheim, Australia) was pitched at the CineMart in 2004. In the film business, patience really can be a virtue, she maintains. Power lunches
The annual CineMart power lunches serve two very distinct purposes. One is to get together sector representatives who rarely get the time or opportunity to sit down and thrash matters out. The other benefit is that they enable CineMart staff to shape future editions, based upon the express needs of the industry. This year’s digital distribution power lunch offered film sellers and platform owners a no-holds-barred, off the record opportunity to address the inadequacies and imbalances, but also the benefits, of their current business model. “These professionals are almost never together at the same table,” Van der Vloed points out. “They have their own conferences and their own gettogethers but we said ‘come on, this is how you need to
work in the future because the industry is changing’. So for us it is imperative to know what their needs are and what they are thinking, what are their thoughts about developments over the coming years. I think for them it also really necessary because it was a closed session and they could say whatever they wanted. That’s why we organise these lunches. You need to have a spicy conversation – you can talk about sales and distribution and all that stuff we’ve been talking about for ages, but you need to have a bit of controversy, and you need to seek different solutions. Likewise in the other power lunch with the funding bodies. They are re-inventing themselves too, and that information is very important to us,” she continues. Crossover
Van der Vloed was very pleased with the new Dark Room screening facility – “it was fully booked and is another benefit we offer professionals here” – and with the standard of, and response to this year’s Art:Film and Transmedia panels. “Transmedia is still there, but what was quite surprising was that there were fewer transmedia projects and more art projects,” she comments. “That’s why we thought of organising a panel on the subject of artists turning to the film world. The Jurriaanse Zaal was full and the panellists were very happy to participate, even if many of the audience knew little about the subject. But this was an opportunity for us all to become better informed.”
The panel was co-organised with CPH:DOX and both festivals have indicated a willingness to collaborate on future events. Van der Vloed is also keen to engage the support of a partner within the art world. “In our opinion, it was very successful. You can organise such a thing reciprocally at an art fair. We got the galleries and museum directors to a festival. Now we can in turn deliver the filmmakers to an art fair to continue the discussion. That is the crossover we need. We want to continue this discussion into the future.”
AWARDS! The ARTE France Cinéma and Euroimages Awards were announced at the CineMart Closing Night Party last night. Athina Rachel Tsangari’s Duncharon (Greece, France, Germany) won the ARTE France Cinéma award of €10,000 for Best CineMart Project. The Euroimages Award of €30,000 for the Best CineMart Project with a European Partner went to Nikola Ljuca’s Humidity (Serbia, Germany). The Jury (comprising Arte France’s Claire Launay, Petri Kempinnen from the Finnish Film Foundation and Fortissimo Films’ Winnie Lau) also awarded a Special Mention to Ritesh Batra’s The Lunchbox (India, USA).
Kijk thuis met UPC on Demand de beste lms van het International Film Festival Rotterdam
Alle rechten voorbehouden. 13 Assassins: 2011 · Cinéart Nederland - Attenberg: Copyright © 2011 Lumière - Blue Valentine: © 2011 - Paradiso Films - Drei: Copyright © 2011 Lumière - Essential Killing: 2011 · Cinéart Nederland - Incendies: 2011 · Cinéart Nederland - Post Mortem: Copyright © 2011 Lumière - Somewhere: Copyright © 2010 A-Film Distribution - Win Win © 2011 Twentieth Century Fox Film Corporation.
PACKED LUNCH CineMart producer Guneet Monga confirmed yesterday that her Mumbai-based drama The Lunchbox, to be directed by Ritesh Batra whom Monga met at the Rotterdam Lab in 2011, has been joined by Cedomir Kolar of Paris-based A.S.A.P. Films. “CineMart is very special for us,” Monga comments. “Cedomir was extremely excited about it. We first talked about it at Film Bazaar in Goa (November 2011) and he has now come on board. Now we are discussing how to put the funds together and the co-production in place. So it’s completely on the road. I am looking forward to delivering a great film and being able to shoot in December of this year.” (NC)
Four-year Plan The Netherlands Film Fund is aiming to consolidate the recent success of Dutch films in cinemas and at festivals, in the face of budget cuts, Nick Cunningham reports
The Netherlands Film Fund yesterday submitted for approval its 2013-2016 policy document to the Ministry of Culture, Education and Science. During this period, the funding purse will be lightened by 25% (from 35.5 million Euros per year to 26.5 million Euros). According to the report, the primary objective remains to “stimulate a robust production volume, to raise quality and to continue the established relationship with the (international) public.” Particular emphasis is placed on heightened entrepreneurship, effort and collaboration from the sector as whole. “Each link in the chain is responsible for quality and results,” the report adds. Main Fund proposals include the creation of the three programmes to replace the existing development and production funding structures. These are: New Screen NL, for new talent, innovation and experimental work from new and experienced fi lmmakers in all genres including short (and animated short) fi lms. The proposed budget for this programme is 4 million Euros. Screen NL is for feature fi lms, feature-length animation fi lms, feature docs and international co-pros from fi lmmakers with three or more fi lms under their belts (proposed budget 12 million Euros). Screen NL Plus, is a matching scheme for cinema fi lms targeting a large audience (proposed budget 8 million Euros). This will mark a reduction of approximately 3.5 million Euros from the existing Supplementary Fund pot, currently valued at 11.54 million Euros. A further 2.5 million Euros will be available for distribution activities such as festivals and training. The report also proposes that experienced fi lmmakers should be better rewarded on the basis of artistic and/or box-office success, and/or their ability to raise international finance. “We propose to reward the efforts of people who have had a lot of success with their work before, either in cinemas or at festivals,” adds Fund director Doreen Boonekamp. “We really want to stimulate people going abroad and attracting international money as well.” Another feature of the report is the as-yet-unspecified increase in the (maximum) contribution to co-productions in which a Dutch producer has a minority stake. This figure currently stands at 200,000 Euros. The Fund also proposes to offer slate-funding both to experienced producers for the development of feature fi lms and to distributors for the purchase and crossplatform release of foreign arthouse fi lms. “You have to be stronger and able to react more quickly to get the good titles when you’re at markets,” Boonekamp opines. “So we are putting money into the market another way, by setting a few slates that arthouse distributors can apply to. The money will be more bundled, not given project by project.” “We will not be able to retain production volume like we have now, but I think that, with the provisions that we create within the new policy we can, by differentiating within the amounts of support people get, and rewarding their success, create more than we could if we would just have kept the policy the way we had it before,” Boonekamp continues. “We changed a lot around, including the way we work as a fund, to be as direct and efficient as possible, and to get the best opportunities to the fi lmmakers. If you want to sustain the success we currently have in cinemas, and at international festivals, you have to raise quality and gain that success with fewer fi lms. As an individual you have to work that way and it must be an ambition of the sector itself.”
Catching and dancing Nanouk Leopold tells Nick Cunningham about the pressures and excitement leading up to her new project
“My old style was very fixed frame, with much emphasis on what was in the frame itself, the mise en scène. Now it will be more a moving camera. Catching and dancing. You catch an image and you dance with it.” Dutch director Nanouk Leopold goes into production later this month on her fifth feature, It’s All So Quiet, an adaptation of Gerbrand Bakker’s novel of the same name, about a middle-aged farmer who feels a growing resentment against his aged father. The production marks a shift in more ways than one. It is Leopold’s first adaptation, and the first time men are forefronted in her work. In her previous films, such as Guernsey (2005) and Brownian Movement (2010), the stories revolve around strong women. But the most significant change in her approach to future productions, she stresses, stems from pressure upon her to make films that can deliver more revenue and a larger Dutch audience. While her films have won numerous awards at home and abroad, domestic returns have been scant. Brownian Movement may have won Golden Calves for best director and screenplay at the 2010 Netherlands Film Festival, but not many more 3,000 people came to see the film, Leopold claims. “People tell me I can’t continue the way I have been working up until now because it’s not successful enough, and they’re very clear on that,” she stresses. Funding bodies? Distributors? “Everybody.” Is there a pressure on you to change your style and subject matter? “Yes.” But rather than feel constrained by this imperative towards greater revenue and bigger audiences, Leopold feels emboldened by it. “I like to see if I can learn, and I think in every film I try to learn more ... I don’t want to be pessimistic. I want to be pragmatic. I think that’s important. If the world tells you to go in a certain direction, you should go with it, see what happens and make the best of it,” she emphasises. “You can always continue in your own style and see how far you go. I was asked to write the screenplay for It’s All So Quiet just as a job, but I fell in love with it, and that was new for me – that I could fall in love with a story that I didn’t initiate from the beginning. It gives me an awful lot of freedom. Because it’s not your own story, you have a little distance from it and you are able to mould it in another way.” Photography will continue to May 2012 and the film will be ready for delivery early 2013. So, a few months ahead of the shoot, how does she feel? “This is the worst time. You are so anxious that they won’t deliver the donkeys and the sheep. I just want to start”, she concludes.
Nanouk Leopold
photo: Corinne de Korver
Submarine sails forth
Femke Wolting (centre) and Bruno Felix (standing) at the premiere of Shock Head Soul in the Pathé last Monday
As well as expanding into the US, Dutch production outfit Submarine has a raft of new projects afloat, Geoffrey Macnab reports
Innovative Dutch production outfit Submarine (whose Shock Head Soul screens in Spectrum) has opened an office in Los Angeles. Submarine founders Femke Wolting and Bruno Felix have launched the venture together with US producer Tommy Pallotta.
photo: Corinne de Korver
SubLA will concentrate on transmedia productions. It will work both for studios and production companies and develop its own IP. Another aim of the newly formed company is to facilitate co-productions between Submarine and US partners – and thereby gain more access to the US market. One of its first projects, commissioned by Paramount, was an interactive firewall that came out just before the release of Mission Impossible 4. Back in Amsterdam, Submarine has a bulging produc-
tion slate. Among the new projects it is currently pushing is The Little Captain, an adaptation of one of Holland’s best loved children’s books. This will be directed by Arne Toonen. Submarine is partnering with Fu Works on the project. Submarine and Fu Works are also partnering on Peter Greenaway’s project, Eisenstein In Guanajuato. Meanwhile, the company has hired US writer Bob Engels to work with director Vincent Bal on the screenplay for Bal’s new project, based on the graphic novel Amour Et Interim by Louis Trondheim. Another Submarine title, Peace Versus Justice, is a world premiere in IFFR’s Spectrum section. This is about Ugandan rebel leader Joseph Kony, whose army (with many child soldiers in its ranks) is accused of multiple war crimes. A number of Submarine’s new projects have been picked up by Austrian sales outfit Autlook, among them Peace Versus Justice, Meet The Fokkens and Shock Head Soul. Wolting herself is in the frame to direct another Submarine fi lm, The Obsessions of Kyle Cooper, about the life and times of the celebrated designer of movie title sequences. This is currently being fi nanced. Another new Submarine project likely to surface soon is How I Invented the Volkswagen, a feature length documentary about Jewish engineer Josef Ganz, who (many believe) invented Adolf Hitler’s dream car, the Volkswagen Beetle, and who ultimately lost everything. This fi lm is to be directed by Oeke Hoogendijk and Sander Snoep and is being made in collaboration with the Jewish Broadcasting Company.
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18-01-12 10:04
Bigger picture The Irish Film Board and broadcaster RTE are coming together to support new productions in tricky times, Geoffrey Macnab reports
Irish Film Board CEO James Hickey (appointed last year) confirmed in Rotterdam that the IFB is in discussions about a joint venture with broadcaster RTE. “I am in detailed discussions with RTE and we are in discussions about funding some feature fi lm projects,” Hickey confi rms. No formal pact has been signed as yet but there is a willingness among both parties to work together. “From my point of view, feature fi lm production is the primary motivation for engaging with them, but we’re also looking at television drama ... and continuing to work with them in relation to animation and television series.” Active support
Seven percent of the TV license fee already goes to regulator the Broadcasting Authority of Ireland
(which also invests in film). However, it has long been a complaint of Irish producers that RTE has not more actively supported the film sector. RTE has a new Director General, Noel Curran, appointed around the same time Hickey took up the reins at the Film Board. Curran is understood to be keen to work closely with the Film Board. Hickey, aware that IFB funding is being reduced, is pushing for RTE and other broadcasters to make up the shortfall. “One of the things we’re trying to do is get all the Irish broadcasters to see a bigger picture, not just in terms of making films and television programmes for the local market, but films and television programmes that have international opportunities,” the IFB boss comments. The hope now is that the broadcasters (including RTE) will throw their weight behind the new feature film projects nurtured by the IFB. These currently include: Flann O’Brien adaptation At Swim Two Birds (being put together as an Irish/Luxembourg adaptation). Brendan Gleeson is writing and directing the €4 – €5 million project. The IFB has already agreed to pump €1 million into the film. The Broadcasting Authority of Ireland is
putting up €500,000. Parallel Films is the Irish production company; Run And Jump, the first feature from Steph Green (produced by Samson Films); Byzantium, Neil Jordan’s £8 million vampire film starring Saoirse Ronan and Gemma Arterton and produced by Number 9 Films and Parallel Films. The IFB contributed just over €1 million. In spite of the travails of the Irish economy, Hickey points out that the country’s film and TV industry has been “bucking the trend”, with local production still buoyant and international projects being lured to the country in increasing numbers. The IFB is facing a reduction in capital funding of 18% from the Ministry of Culture, taking its budget down from €16 million to €13.15 million. However, its administrative funding of €2.4 million has not been reduced. (This is the money for overheads and running costs.) Coproduction
Hickey has confi rmed that the IFB will continue to invest in coproduction. The CEO said he aimed
to follow up on the work done by his predecessor Simon Perry into building relationships with European coproduction partners. “He did a tremendous job ... I will be trying my best to continue those relationships and to foster them further.” The funding set aside for creative coproduction in 2012 will be confi rmed shortly. It is expected to be in a similar range to the €1.5 million allocated last year. Ireland’s much vaunted tax break 481, which provides 28% of eligible spend paid up front in cash on the fi rst day of principal photography (and thereby helps draw international production to Ireland), is in place till the end of 2015. Late last year, the IFB announced a joint venture with the BBC’s documentary strand Storyville. The Board is currently responding to proposals contained in last summer’s Creative Capital Report. One key ambition is to boost employment in the audiovisual sector. There are currently around 5,500 people working in the sector. The aim is to increase that to over 10,000 by 2016.
Art of noise Kleber Mendonça Filho’s Tiger entrant Neighbouring Sounds explores fear of violence. By Edward Lawrenson
“Look at the windows in Holland,” says Brazilian director Kleber Mendonça Filho, in Rotterdam in advance of the IFFR world premiere of his debut feature Neighbouring Sounds. “They’re huge. But windows in Brazil are tiny – you can’t see inside a house because people are protecting themselves.” This telling observation comes as no surprise. An absorbing, superbly acted multi-character study of a middle-class area of Recife in Brazil, the movie reveals Filho’s sharp eye for the small details that point to what he calls “the paralyzing paranoia” of urban Brazilian culture. “Brazil is a fantastic place and you can be perfectly happy there,” he says, “but there is an underlying aspect of life which is really bad – the fear of violence.” Filho’s fi lm captures the everyday texture of his set of characters with engaging naturalism: not surprising really, given that Filho fi lmed the movie in and around the street where he lives, and based much of his screenplay on things he’s witnessed. But for all its focus on ‘ordinary’ domestic life, there is a quiet and creeping sense of unease to much of the fi lm. Filho exploits and plays with his audience’s pre-existing fi lm knowledge to create and heighten this sense of tension. Citing an example, he refers to the moment when a car passes down a street at night, arousing the suspicion of a couple of sleepy security guards (on sentry duty on behalf of the residents). It’s an eerie and unsettling sequence precisely because it preys on preconceived genre notions. “Your fi lm culture will probably tell you,” says Filho, “that the car contains
Kleber Mendonça Filho
gang members who will probably come out with machineguns and shoot (the security guards) down.” It would be wrong to reveal the car’s actual occupants, but we can say that the sequence is just one of Filho’s many succesful attempts to wrong-foot the audience. Sprawling and expansive, Filho’s plot is also elliptical and avoids tidy tying together of its narrative strands. How much did the structure change during editing? “I could play a little bit, but the fi lm is frighteningly faithful to the script. I wrote the first draft very fast – in eight days. And over a period I kept adding details but it never lost any of the original scenes that I wrote. When I was writing a script I had this relationship to it as if I was reading a novel and I had to keep going home because I myself didn’t really know how things were going to turn out.” Having just finished the fi lm last week, Filho arrives in Rotterdam without a sales agent on board. “It was very tough post-production process,” he says, not least because of a complex sound design which brilliantly evokes the clamour of urban life in Brazil. Filho raised the rest of the budget of around €900,000 from state and government funds in Brazil, and is grateful to the Hubert Bals Fund for help on post production and script development. In fact, the HBF development fund was the first award he received: “The encouragement I got at Rotterdam was an early sign I had something,” he says.
Óskar Thór Axelsson
photo: Bram Belloni
Geezers need excitement
Tiger Awards Competition Neighbouring Sounds – Kleber Mendonça Filho
Thu 02 Feb 13:30 CI3 (Press & Industry) Thu 02 Feb 18:30 PA7 Fri 03 Feb 17:30 LV3 Sat 04 Feb 13:00 PA1
photo: Lucia Guglielmetti
Icelandic director Óskar Thór Axelsson’s Tiger contender Black’s Game is a whiteknuckle ride based on a real situation, writes Geoffrey Macnab
“Make it as violent as you can,” was the advice executive producer Nicolas Winding Refn (the creator of Pusher and director of Drive) gave Icelandic director Óskar Thór Axelsson when Axelsson was finishing the screenplay for the fi lm. It was advice Axelsson took to heart. Based on the novel Black Curse by Stefán Máni, the fi lm is set in the late 1990s – a transitional moment in the Icelandic underworld. In the “old” days, drug smuggling and gangsterism had been small-scale. Cops and criminals co-existed in what amounted to an unofficial truce. Violence was minimal. After all, Iceland is a small country. However, as Iceland became ever more integrated into Europe, new smuggling routes emerged. “All of a sudden, we had drastic change,” Axelsson recalls. Whereas a dealer in the early 1990s might be caught with 100 grams, by the end of the decade cops were catching dealers with several kilos in their possession. The characters are fictional, but are based on real-life prototypes. (“Inspired by some shit that actually happened,” the fi lmmakers tell us early on.) Máni researched his novel exhaustively. Axelsson likewise tried to learn as much as he could about the Icelandic underworld. He studied Máni’s notes and met cops (who played him tape recordings of dealers’ phones they’d bugged). He even spoke with one or two reallife gangsters. “They were just into the fi lmmaking part of it,” the director recalls of their enthusiasm for the movie. They told Axelsson and his producer all sorts of secrets about their smuggling routes and tricks for fooling the police. “We just looked at each
other and thought, OK, we’ll just keep this info to ourselves!” Axelsson was determined to make sure his actors were as colourful and compelling as the characters described in the book. Novelist Máni gave him free license to adapt the book in whatever way he wanted. “Whenever I changed something, you’d imagine the author being protective but he was always thrilled about it!” The director claims his storytelling style is closer to that of Goodfellas than of Refn’s Pusher fi lms. Black’s Game is stylized and very frenetic, not a gritty realist drama. “I wanted to have it fast-paced and exciting,” Axelsson says. “We used all sorts of things – stills, split screen. I felt from the beginning, reading this book, that the story calls for it and that the fi lm should have this kind of energy ... I always felt that, with this movie, you could just throw every crazy idea in it.” A lawyer’s son, Axelsson grew up in Iceland but studied fi lm in New York, where he spent eight years. He admits that he has always been a movie nut … he was only 11 when he started making his first gangster movies on video. The Icelandic premiere is set for early March. The writer-director is currently writing a fi lm called The Traveller, which he describes as a Charlie Kaufmanstyle drama. He is also contemplating working on a ghost story, I Remember You, another project with Icelandic production company Zik Zak and veteran LA-based Icelandic producer Joni Sighvatsson. Tiger Awards Competition Black’s Game – Óskar Thór Axelsson Thu 02 Feb 12:30 PA7 Thu 02 Feb 18:00 CI3 (Press & Industry) Fri 03 Feb 19:30 PA4 Sat 04 Feb 19:00 PA1
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International Film Festival Rotterdam 2012 would like to thank:
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Partners
Stadsontwikkeling
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CineMart
M U N D U S
ACE • Binger Filmlab • Catalan Films & TV • Centre for the Moving Image • Cinéfondation Résidence du Festival • CineLink • Cinergia • CPH:DOX • Creative Scotland • Doha Film Institute • Durban FilmMart Durban Film Office • EAVE • EYE Film Institute Netherlands • Festival Scope • Film I Vast • Film- und Medienstiftung NRW • Finnish Film Foundation • Flanders Audiovisual Fund • Fundación TyPA • HAF • IFP • Indigenous Branch - Screen Australia • Internationale Filmfestspiele Berlin • Irish Film Board • Israel Film Fund • KOFIC • Media Desk Netherlands • Medienboard Berlin-Brandenburg • Meetings on the Bridge • NCN Rome • NCP • New Zealand Film Commission • NFDC India • Paris Cinema • Producers Network Cannes • Proimagenes Colombia • Rio de Janeiro State Secretary of Culture • Rotterdam Media Fonds • Skillset • Sundance Institute • Telefilm Canada • Wallonie Bruxelles Images
Tiger Business Lounge 3PO • ABN AMRO Bank N.V. • Argos Oil • Bilderberg Parkhotel Rotterdam • Center for Strategy & Leadership • DHL • Dubois & co Registeraccountants • Dura Vermeer Bouw Rotterdam • Ernst & Young • Freeland Corporate Advisors • Gemeente Rotterdam • Globe Business Travel • Groot Handelsgebouwen NV • HDI-Gerling Verzekeringen NV • Hogeschool Rotterdam • Hogeschool Inholland Rotterdam • Houthoff Buruma • ING Bank Rotterdam • Intermax Managed Hosting • Manhave Vastgoed • Matrans Holding BV • Men At Work TV Produkties • NautaDutilh • Nedspice Holding BV • Organise to Learn • PriceWaterhouseCoopers • Rotterdam Media Fonds • Smit Internationale • Syntrus Achmea • Veenman+ • Vestia Groep
Campagnebeeld 2012 Concept en ontwerp: 75B Festivaltrailer Concept en ontwerp: IN10, CCCP • Distributie: Jean Mineur, Gofilex
Distributeurs ABC - Cinemien • A-Film Distribution • Benelux Film Distributors • Cinéart Netherlands • Cinema Delicatessen • EYE Film Institute Netherlands • Filmfreak Distribution • IDTV Film • Imagine Nederland • Just Film Distribution • Lumière • Nederlands Instituut voor Mediakunst - NIMk • O’Brother Distribution • Sony Pictures Releasing Netherlands • Universal Pictures Benelux • Warner Bros. Pictures Holland • Wild Bunch Benelux
COLOFON DAILY TIGER NL: Anton Damen (hoofdredactie), Else de Jonge (eindredactie),
Programma informatie: Chris Schouten, Melissa van der Schoor Coördinatie A-Z: Saskia Gravelijn, Lot Piscaer, Robert-Jan Schiphorst,
Joost Broeren, Paul van de Graaf, Elsbeth Jongsma, Sietse Meijer, Kim van der Meulen, Maricke Nieuwdorp (redactie), Lotte Kroese, Niki van der Ende, Fabian Schellevis (web), Afke Duinkerken (marketing en communicatie) UK: Edward Lawrenson (editor-in-chief ), Nick Cunningham, Geoffrey MacNab, Mark Baker, Ben Walters (web)
Anne Lynn Cleuren Fotografie: Felix Kalkman, Bram Belloni, Corinne de Korver, Ruud Jonkers, Lucia Guglielmetti, Rogier Maaskant, Nichon Glerum Met medewerking van:
Vormgeving: Sjoukje van Gool, Laurenz van Galen, Gerald Zevenboom, g7b.nl Drukker: Veenman+ Acquisitie: Daily Productions Oplage: 10.000 ex
Anne Lynn Cleuren
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House rules Concern about arrest meant Ai Weiwei couldn’t come to Rotterdam, but the artist did send a couple of new films in his place. By Ben Walters
fi lmed deep in the provinces over months or years. “They document a way of life which is left out of the official picture, which is all about progress and everybody getting wealthy,” says Zuilhof. “Go five minutes out of the centre of Beijing and you see incredible poverty. Many of them follow one person who stands for a way of life shared by millions.”
While no fi lm festival is without its problems, IFFR fi lmmakers and audiences can at least expect not be raided by the police. The same cannot be said for China’s small and vulnerable independent fi lmmaking community, as Rotterdam programmer Gertjan Zuilhof recently discovered on a trip to Beijing. He was in a café – a typical venue for screenings that are often announced at the last minute without permission from authorities. “It was the opening fi lm of a small festival and 20 policemen walked in. They weren’t violent but they were there, they were the police, and they said it’s over,” Zuilhof says. “It can happen any time.”
Freedom to do
Hidden Histories
Such experiences were the inspiration for the Ai Weiwei Café, a specially created venue next to the year-round IFFR headquarters on Karel Doormanstraat that forms the hub of Hidden Histories, an IFFR 2012 Signals strand dedicated to independent Chinese cinema programmed by Zuilhof and fellow IFFR programmer Gerwin Tamsma. “I did a very Chinese thing,” Zuilhof admits. “I pirated a café from Beijing – even the red drapes and the sofas. I just gave our production staff pictures and they recreated it.” Airily dominated by a pair of two-storey white tree trunks adorned with moss and flowers, and a handful of twelve-foot potted bamboo plants, the Café also has a big-screen TV with seating for 20, on which visitors connected to Hidden Histories present unprogrammed fi lms every day at 2 pm. “This was inspired by the underground scene in Beijing,” Zuilhof says. “We asked Chinese fi lmmakers to bring a DVD of a fi lm they thought is important.” Eight sofas are arrayed around four TVs, showing on loops the fi lmed work of an artist who has become synonymous with issues of state control in the new China: Ai Weiwei. These works document – at considerable length and in considerable detail – Beijing’s social topography, systematically surveying ring
Ai Weiwei (burning some Chinese herbs) with IFFR programmer Gertjan Zuilhof
roads and boulevards. We sit in front of the screen showing Beijing 2003, a 150-hour tour of the city’s streets. Zuilhof admits he hasn’t watched it all: “these are more like gallery pieces, though Ai Weiwei says he also considers them documentaries. It is a document – already there’s much more traffic in Beijing and almost no bicycles.” Contentious
Travel is, of course, a more contentious subject for Ai than he could have imagined a decade ago. The artist is currently under house arrest after being held by authorities for more than two months last year. During his dealings with Ai for the IFFR, Zuilhof got to see a little of his life. “He has a huge compound where he works with a team of about ten people and
he’s not allowed to leave the building, though he walks to his neighbours and picks his son up from school, that kind of thing. I invited him to a small exhibition of some of my drawings about half an hour away – he asked the police and got permission.” Did he invite Ai to Rotterdam? “Of course, I asked. He said, ‘Impossible’. They live with permanent insecurity and fear of what might happen. Every now and then a collaborator is arrested. They come up with new charges all the time – the latest one was that a cameraman was arrested for pornography. There will be maybe five or six cases against him, for tax fraud, all kinds of charges – never [overtly] political.” Beyond Ai’s work, Hidden Histories also contains 11 recent fi lms (10 of them documentaries) dealing with the strains of China’s rapidly changing society, often
Compared to conceptual pieces such as Beijing 2003, Ai Weiwei’s recent work for the camera is more explicitly concerned with the power of the state. Disturbing the Peace (2009) deals, with absurd humour, with police obstruction of the trial of a civil liberties activist. “It’s reportage, showing how things work,” Zuilhof says. “And he’s in the fi lms, approaching people, scolding policemen. I have the feeling it’s also documented for his safety: if there’s a camera around, the chance that he’ll be hit is less.” Ai has been severely beaten by police in the past. His camera is often incidental to a larger process – the means of racking up hundreds of hours of documentation of political or artistic actions. “The goal is not even to make a movie,” Zuilhof notes. “He has several of these kinds of unfinished movies. So when I talked to him about this programme, on the spot he said, ‘Maybe we can finish this one or this one for your festival’.” Those the artist did complete for IFFR are So Sorry (about lethally shoddy building practices) and Ordos 100 (about a grand architecture project in Mongolia). Ai’s focus is mostly local now. “I don’t think he’s very interested in festivals,” Zuilhof suggests, though “he’s very easy and generous in showing his works and he’s interested in the internet.” The fi lms from the Café will be on the IFFR YouTube channel. “YouTube is forbidden in China but some people can get around that, especially students who are computer savvy – so maybe a million people in China can see the works online and I think that’s interesting for him.” No surprise, then, that the artist left the logistics of the Café and his fi lms’ screenings entirely in the IFFR’s hands. “He’s not the kind of person to give detailed instructions,” Zuilhof smiles. “His approach, on many levels, is that you should have the freedom to do things.”
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7
PRESS & INDUSTRY SCREENINGS ADMISSION WITH P&I ACCREDITATION ONLY
10:00 Sur la planche
Leïla Kilani, Morocco / France, 2011, 35mm, 106 min, French, e.s.
Badia and Imane work in Tangier peeling shrimps and at night they earn money robbing men. The determined Badia hates peeling shrimps and sees two new girlfriends, who are slightly better off, as a springboard. A dynamic film in which Badia’s energy explodes off the screen.
Pathé 5
24:00
106’
BF
TG
67’
69’
23:00
Parts of the Heart Paul Agusta
L Babis Makridis
BF
L’anabase Eric Baudelaire
21:00
SP
BF
19:45 A Dangerous Method
•geel•
John Shank, Belgium / France, 2011, Video, 103 min, French David Cronenberg
20:00
Headstrong young cattle farmer in a remote area in France refuses to adapt his way of working to the demands of the modern era. Controlled and beautifully photographed debut by a young filmmaker, who is tangibly bonded to his subject. Beautiful music by the Antwerp group Die Anarchistische Abendunterhaltung.
TG
9:30 Chapiteau-show [ip]
BF
•geel•
Sergey Loban, Russia, 2011, Video, 207 min, Russian, e.s.
Light-hearted epic on four kinds of communication (love, friendship, respect, collaboration). Not just another Russian ‘art-flick’ but an off-beat manifesto on freedom and the despair of being yourself. This contemporary puzzle plunges you into inspiring weirdness. Be ready for being crazy.
Une vie meilleure
13:30 Neighbouring Sounds [wp] TG Kleber Mendonça Filho, Brazil, 2012, Video, 124 min, Portuguese, e.s.
Meandering past the residents of a wealthy street in Recife, where private security guards ply their trade, this self-assured debut portrays the two sides of the Brazilian Dream. Filho scratches the varnish of a culture that revolves around paranoia, fear and revenge. 16:00 A Shape of Error [wp]
A Temple
SP
•paars01•
Abigail Child, USA / Italy, 2012, Video, 70 min, English
Child based this imagined home movie about the life of Mary and Percy Shelley on the real diaries of Mary and her sister Claire. Together with the factual intertitles and intimate voiceover, her film provides a visual and emotionally original picture of the author of Frankenstein. 18:00 Black’s Game [wp]
TG
•oranje01•
Play
Óskar Thór Axelsson, Iceland, 2012, Video, 104 min, Icelandic, e.s.
19:00
Inspired by the style of Nicolas Winding Refn’s Pusher films (the executive producer), Black’s Game reflects the increasing violence in the Icelandic crime and drug scenes of the 1990s. It all starts with Stebbi meeting his childhood friend Tóti.
18:00
84’
105’
SP
245’
93’
77’
17:45 L’hiver dernier
Neighbouring Sounds Kleber Mendonça Filho
BF
92’
HH
SP
130’
22:00
22:15 Shelter
22:30
22:15
22:30
HH
240’
•paars01•
With merciless precision, Östlund dissects how three kids are robbed of their mobile phones by street toughs. Does it matter that the perpetrators are immigrants? Or whether this is a reconstruction of actual events? ‘Food for thought’ is an understatement.
124’
96’
BF
Weekend Andrew Haigh
•oranje01•
19:15
95’
HH
Bachelor Mountain Yu Guangyi
78’
BF
20:15 Il se peut que la RG beauté ait renforcé notre résolution Grandrieux 74’
Die Räuberin Markus Busch
90’
que deu cria
João Silvério Trevisan
MG
19:30
82’
SP
17:30 Patience (After
21:45 Deux inconnus
128’
Four Suns Bohdan Sláma 22:30
SP
20:30
20:00 Orgia ou o homem
80’
BF
A la Cantábrica Ezequiel Erriquez
I Wish Kore-eda Hirokazu
Fragments of Kubelka Martina Kudlácek 20:00
SP
110’
SP
Mercado de futuros Mercedes Álvarez
Corta Felipe Guerrero
106’
Shock Head Soul Simon Pummell
22:15 Hope
81’
Dernière séance Laurent Achard 20:00
Unfair World Filippos Tsitos 19:45
Giacomo
Alessandro Comodin
BF
20:00 L’estate di
119’
TG
70’
Living Vasily Sigarev
Matt McCormick
18:30
Northwest
•FLM•
Sur la planche
17:00
17:00
Nick Fow Pyng Hu
Twilight Portrait Angelina Nikonova
16:00
80’
SP
16:45
17:30
100’
The Unfinished History of Life Cong Feng
16:45
Gaamer Oleg Sentsov
17:30
Marie Voignier
Mokélé-Mbembé
Grant Gee
Sebald)
17:00 L’hypothèse du
BF
17:00
91’
SIGNALS: FOR REAL 80’
BF
BF
SP
RG
SF – Paraati Yrjö Norta
SP
78’
•paars01•
SP
France / Denmark, 2011, 35mm, 113 min, Swedish
•paars01•
118’
22:30
22:30
Rat Fever Cláudio Assis
Kill List Ben Wheatley 22:30
21:30 Romance
Un amour de jeunesse Mia Hansen-Løve
73’
BF
Malaventura Michel Lipkes 21:15 BF
18:15 The Great
86’
SP
230’
86’
PB
SP
SP
15:00 14:00
80’
diverse regisseurs
13:00 12:00
Public Screenings Friday 3 February
cheveux
Boris Lehman
14:30 Histoire de mes
SP
90’
Rua Aperana 52 Júlio Bressane 15:15
110’
13:00 The Hyperwomen BF
Une vie meilleure Cédric Kahn
13:45
164’
A Time of Roses Risto Jarva
11:00
165’
PB
PB
123’
12:15
09:15
Reframing the Artist
10:00 09:00
Man in the Shadows diverse regisseurs
10:00 Drama of Time
Apuda He Yuan
09:45 One Old Man
Een lege garage en een gesloten deur die door kunstenaar Wouter Huis wordt geopend. Het dagelijkse straatleven wordt zo het speelveld van de fantasie. Vrijdag 3 februari. Om 16:00 en 20:00 uur, in de Gouvernestraat 133. Prijs €2,50/gratis, duur tien minuten.
LantarenVenster 6
LantarenVenster 5
LantarenVenster 3
LantarenVenster 2
LantarenVenster 1
Videoinstallatie waarin vijftig kunstenaarsdialogen in een onverwacht perspectief worden geplaatst. Gratis, in Reality Check.
Cinerama 7
Cinerama 6
Cinerama 5
Cinerama 4
Cinerama 3
Cinerama 2
Cinerama 1
HH
One Recluse Ai Weiwei
89’
BF
The Sound of Light Yamasaki Juichiro 10:00
Jan Zabeil
Pathé 7
Ga met de smartphone als souffleur op zoek naar een tegenspeler en speel een rol in de mobiele fi lm die zich op en rond het Schouwburgplein afspeelt. Dagelijks tussen 16:00 en 20:00 uur. Vertrek vanuit Reality Check, daar kunt u ook de bijbehorende app installeren. Deelname is gratis.
Our Broken Voice
Home Movie Factory
Het begrip ‘flash mob’ is inmiddels in brede kring bekend, maar wat is een ‘subtle mob’? Bij dat laatste draait het in ieder geval om onzichtbare participatie. Hoe dat eruitziet, merkt u vanzelf als u zich via productofcircumstance.com aanmeldt voor het evenement van donderdag 2 februari. U ontvangt vervolgens instructies om van de subtle mob een succes te maken. Our Broken Voice start om 18:00 uur en duurt 35 minuten. Deelname is gratis.
In Michel Gondry’s Home Movie Factory kan iedereen direct aan de slag met het maken van een korte film. Talent, ervaring en opleiding doen er niet toe. Enthousiasme wel! Het ter plekke geformeerde team krijgt een dvd van de film mee naar huis. Bovendien komt er een exemplaar in de videotheek, waar bezoekers de film kunnen bekijken. De Home Movie Factory is elke dag geopend, van 11:00 tot 18:00, voor vier sessies per dag en blijft daarna tot 4 maart in Roodkapje ROTTTERDAM gevestigd. Deelname is gratis. U kunt zich het best van tevoren inschrijven. Op de bonnefooi langskomen kan ook, maar wellicht vist u dan achter het net – het aantal plaatsen is beperkt. Surf dus snel naar filmfestivalrotterdam.com/homemoviefactory en kijk welke data er nog vrij zijn.
Eye Trap
De Canadees Vincent Morisset maakte een interactief webproject dat is uitgebreid tot een vrolijke geanimeerde omgeving, waarin de communicatie tussen mensen centraal staat. Gratis te zien in De Erker, Rotterdamse Schouwburg (eerste verdieping).
Performance #1
11:00
Ian Olds / James Franco
83’
09:30 Der Fluss war
einst ein Mensch
BF
78’
A. Baciu / R. Muntean
Visiting Room
Meet Your Stranger
SP
180’
BLA BLA
Het Sputnik Effect openbaart zich alleen als u een 3D-brilletje opzet. Installatie van Simon Pummell die een prachtige double bill zou vormen met David Cronenbergs film A Dangerous Method. Op reis door de schizofrene geest van een van Freuds beroemdste patiënten, die tevens de hoofdpersoon is van Pummels speelfilm Shock Head Soul, óók dit festival te zien. Doorlopend in TENT, dagelijks van 11:00 tot 18:00 uur. Tickets à €4 zijn bij TENT te koop. Tiger Friends, studenten en CJP-pashouders mogen gratis naar binnen.
Pathé 6
15:00
118’
BF
Sentimental Animal Wu Quan
14:45
espejo Error
Abigail Child
SP
12:30 A Shape of
11:45 Francophrenia
12:30
Els noms de Crist Albert Serra
SP
69’
L’hiver dernier John Shank
Los pasos dobles Isaki Lacuesta SP
09:30 House Party
Born in Beijing Ma Li
Daniel Rosenfeld
193’
70’
87’
SP
HH
BF
84’
SP
Even een reality check doen? Dat kan dagelijks van 12:00 tot 20:00 uur. Reality Check (Schouwburgplein 54) is het vertrekpunt voor de ‘subtle mob’ Our Broken Voice, de mobiele fi lm Meet Your Stranger, en het werk van Pilvi Takala. Tegelijkertijd is het een goed oriëntatiepunt op de werkelijkheid, want alle informatie over For Real-activiteiten is hier onder één dak verzameld. In Reality Check begint de vertrouwde realiteit al aardig te vervormen, niet alleen dankzij de Reframing the Artist-videoinstallatie van Sascha Pohle, maar ook als gevolg van de bijzondere (audio)visuele aankleding van de ruimte. Bovendien staan er in de rest van de week activiteiten als gesprekken en tv-en fi lmvertoningen op het menu. 103’
15:15
Reality Check
The Sputnik Effect
12:15
14:30 Cornelia frente al
Jason Cortlund / Julia Halperin
About Love & Fungi
14:15 Now, Forager: A Film
15:30
BF
93’
SP
Nuit #1 Anne Émond
A arca do Éden Marcelo Felix
In For Real vormt niet het bioscoopscherm, maar de alledaagse realiteit het canvas voor een onvergetelijke voorstelling. De diverse activiteiten bestrijken de hele stad, maar het hoofdkwartier is Reality Check aan het Schouwburgplein 54.
12:00
Die Unsichtbare Christian Schwochow
21:45 95’
SP
The Comedy Rick Alverson
18:45 80’
Year, There Was a Fire Wichanon Somumjarn
15:45 In April the Following TG
The cream of Argentine acting talent collaborated on this fiction debut by the award-winning documentary filmmaker Rosenfeld. Stylish and mysterious drama about a beautiful young woman who wants to commit 15:30 suicide in her parental home. Play She receives visits from people Ruben Östlund, Sweden / who try to change her mind.
Miike Takashi has a reputation for dark, violent films. So it was 12:00 a surprise when he announced Une vie meilleure SP he would be adapting a lightCédric Kahn, France / Canada, 2011, hearted Nintendo game (Phoenix Video, 110 min, French / English, e.s. Wright: Ace Attorney). But he After failing in the restaurant proves capable of pulling this business, Nadia travels to Caoff. A funny, comic-strip-like, nada to earn a living. She leaves charming film. her son in the excellent hands of her friend Yann. Everything 17:00 goes well, but then Nadia disapRat Fever [ip] SP pears. Yann’s financial situation Cláudio Assis, Brazil, 2011, becomes increasingly dire. Fast35mm, 110 min, Portuguese, e.s. paced, modern family drama by High-power report of freeveteran Kahn. dom and love on the fringes of tropical Recife. Anarchistic poet Zizo falls for the down-toPathé 6 earth Eneida, while his friends succumb to sex, drugs and other 10:00 hedonistic activities. In other L [ep] TG words, a colourful black-andBabis Makridis, Greece, 2012, white film, this latest from Tiger 35mm, 87 min, Greek, e.s. Award winner Assis (Bog of A man lives and works in his Beasts, 2007). car. He meticulously, dutifully works as its driver until, one day, a New Driver is employed. Absurdist-existentialist film about bears, the best honey and the importance of wearing the right footwear.
BF
gueule, ma révolte, mon nom) Sylvain George
12:45 Les éclats (Ma
•geel•
•FLM•
•oranje01•
•paars01•
A light-hearted black comedy that explores states of the human mind. Kesha, a young village man, gets a visit from God. Satirical regarding religious belief, social change and political ideas on development in today’s India, the film expresses sharp criticism in an appealing way.
BF
105’
110’
SP
94’
BF
•paars01•
117’
113’
SP
SP
Umesh Vinayak Kulkarni, India, 2011, 35mm, 146 min, Marathi, e.s.
Daniel Rosenfeld, Argentina, 2012, Video, 100 min, Spanish, e.s.
Miike Takashi, Japan, 2012, 35mm, 135 min, Japanese, e.s.
Pathé 5
12:30 A Temple [ep]
•FLM•
9:30 Cornelia frente al espejo [wp]
The history of a Kurdish family from 1979-2009, utilising a mix of documentary and fiction. Exquisite images and personal sound recordings (tapes sent to the father abroad) embellish this film about the repression of the Kurds, immigrant labour and language.
Deep in the hinterland of Brazil, in the sleepy town of São Romão, magic and everyday events are juxtaposed in this beautiful debut to create a loving, dreamy story. Bastu (81) has just lost her husband; the grandchildren and her girlfriend Maria help her to pick up the thread again.
Wuthering Heights Andrea Arnold
•oranje01•
•geel•
19:30
TG
Orhan Eskiköy / Zeynel Dogan, Turkey / Germany / France, 2012, 35mm, 88 min, Kurdish / Turkish, e.s.
BF
Helvécio Marins Jr. / Clarissa Campolina, Brazil / Germany / Spain, 2011, 35mm, 90 min, Portuguese, e.s.
BF
Meticulous in every way: the non-professional actors with incredible skills, the beautiful camerawork, the timing and dosing of the tragic storyline about a fourteen-year-old Chinese girl from the countryside. A grownup feature film debut by a major talent.
14:00 Ace Attorney [wp]
•geel•
Buenas noches, España Raya Martin
Huang Ji, China, 2012, Video, 97 min, Mandarin, e.s.
Cinerama 3
•FLM•
10:00 Girimunho
BF
SP
•oranje01•
20:15 Boxing in...
TG
12:00 Voice of My Father [wp]
Cinerama 2
•FLM•
BF
9:45 Egg and Stone [wp]
Pathé 4
•FLM•
97’
Doelen Jurriaanse Zaal
Misschien wel het mooiste dat u dit festival gaat zien: het spectaculaire vergezicht op de Maas vanuit de Rotterdamse Cruise Terminal. Daar brengt het Metropole Orkest op vrijdagmiddag 3 februari van 17:00 tot 18:30 uur, een speciaal voor de gelegenheid – en het uitzicht – gecomponeerde soundtrack ten gehore, in samenwerking met Muziekinstituut MultiMedia en kunstenaar Germaine Kruip. Prijs: €15, met korting €12,50.
Soundtrackcity Rotterdam Vier geluidswandelingen langs een vaste route, met als startpunt LantarenVenster, transformeren de Kop van Zuid tot fi lm. De soundtracks voor de circa 45 minuten durende tocht zijn gecomponeerd door diverse kunstenaars. U verwonderen kan, maar verdwalen kan niet, want er is een routebeschrijving/ plattegrond bij de prijs (€11/8,50) inbegrepen. 12:30: Lee Patterson/ 14:30: Katarina Zdjelar & Maziar Afrassiabi/ 16:30: Jeroen Stout/20:00: Francisco López/
Among Others Diverse monitoren duiken op in (semi-)openbare ruimtes in het festivalhart. Een project van de geruchtmakende Finse kunstenaar Pilvi Takala. Zij won vorig jaar de eerste prijs van de Prix de Rome 2011 Beeldende Kunst. Gratis, doorlopend, vertrekpunt Reality Check
Map Bent u op het Schouwburgplein of staat u in een Google Map? De Duitse kunstenaar Aram Bartholl laat beide werkelijkheden in elkaar overlopen. Dagelijks op het Schouwburgplein.
15 21
Programmaschema donderdag 2 februari 09:00
10:00
11:00
12:00
13:00
14:00
15:00
16:00
17:00 17:00
Oude Luxor
18:00
Unfair World Filippos Tsitos
19:00
20:00
19:30
Hello, Mr. Tree! Han Jie
SP
21:00
22:00 22:15
BF
118’
Alms for the Blind Horse Gurvinder Singh
13:30
16:30 Bonz
BF
maison close
Bertrand Bonello 10:00
King Curling Ole Endresen
13:00
16:00
BF
122’
The Descendants Alexander Payne
12:30
SP
The Year 1939 Peter von Bagh
94’
Un amour de jeunesse Mia Hansen-Løve
Pathé 3
15:30 A Day at Karl Marx’s Grave
PB
16:15
TG
117’
The Comedy Rick Alverson
13:00
106’
SF – Paraati Yrjö Norta
15:15
of Her Beauty
Terence Nance 9:30
Pathé 7
L’hiver dernier John Shank
12:30
BF
Black’s Game Óskar Thor Axelsson
15:45
14:15
SP
Sebald)
Grant Gee
82’
L Babis Makridis
18:15
TG
A Simple Life Ann Hui
21:15
TG
Neighbouring Sounds Kleber Mendonça Filho
19:30
SP
82’
HH
Apuda He Yuan
115’
Voice of My Father Orhan Eskiköy / Zeynel Dogan
21:30
Dernière séance Laurent Achard
Jan Zabeil
My Hometown
Cinerama 4
Mokélé-Mbembé
Zhang Zanbo 9:30
The Pettifogger
Marie Voignier
90’
Fairytale Ai Weiwei
Lewis Klahr
78’
17:30 Les éclats (Ma
BF
Cinerama 6
He Was a Giant with Brown Eyes Eileen Hofer
Cinerama 7 9:30
The Patron Saints
15:00
BF
The Sound of Light Yamasaki Juichiro
20:00
101’
12:15 I Am the One Who
Carries Flowers to Her Grave H. Alabdalla / A. Al-Beik
16:45
14:30
LantarenVenster 2
La jubilada Jairo Boisier Olave
Living Vasily Sigarev
12:30 It Looks Pretty
Parts of the Heart Paul Agusta
from a Distance
Anka & Wilhelm Sasnal
106’
11:45 Short Syrian
Documentaries 3
LantarenVenster 5
Goodbye Mohammad Rasoulof
77’
verzamelprogramma
14:30 Short Syrian
SP
cheveux
Boris Lehman
Documentaries 2
verzamelprogramma
90’
17:00
PC
09:00 09:00
10:00 10:00
09:45
Oude Luxor de Doelen Jurriaanse Zaal de Doelen Jurriaanse Zaal4 Pathé
11:00 11:00
Egg and Stone Huang Ji
12:00 12:00
12:00
TG 97’
10:00
Sur la planche Leïla Kilani
13:00 13:00
Voice of My Father Orhan Eskiköy / Zeynel Dogan
Cornelia frente al espejo 10:00
Pathé Pathé 16 09:30
09:30
12:00
SP
Daniel Rosenfeld
Une vie meilleure Cédric Kahn 13:00
TG
Ace Attorney Miike Takashi
SP
87’
19:45
BF
Hello, Mr. Tree! Han Jie
Clip Maja Milos
TG
13:30 Silêncio de dois sons
H. Marins Jr. / C. Campolina
100’
72’
small roads James Benning
SP
Kotoko Fever CláudioShinya Assis Tsukamoto
19:00 19:00
SP
SP 97’
20:00 20:00
signAls: power CuT middle eAsT
21:00 21:00
Bunohan Dain Iskandar Said
19:30
22:00 22:00 22:15
SP
23:00 23:00
Snuff: Vitímas do prazer Cláudio Francisco Cunha
Heart’s Boomerang Nikolay Khomeriki
20:00
22:30
BF
12:30 12:30
BF
BF 117’
BF 88’
The Year 1952 A Temple Peter von Bagh Umesh Vinayak Kulkarni
16:00
BF
207’
King Curling Ole Endresen
A Fish Park Hong-Min
15:30 Olavi Virta 15:30 Play
SP 120’
18:30
BF
SP
PB
Paavo Nurmi Ruben Östlund Peter von Bagh / M. Koski
146’
Sounds
RithyKleber Panh Mendonça Filho
13:30
Bertrand Bonello
Louise Wimmer Cyril Mennegun
Miss Bala Gerardo Naranjo Gonzalez
16:00
TG 103’
124’
TG 105’
113’
16:15 The Day He
SP A Shape Arrives of Error Hong Sang-Soo
Abigail Child
17:45
SP 91’
SP
18:00 79’
70’
16:30 Mourir auprès ...
21:30
Pablo Richard Goldgewicht
21:30
Surprise Film
21:30
Hoy no tuve miedo Iván Fund
RG 103’
SP
SP
113’
A Woman’s Revenge BF L’hiver dernier Rita Azevedo Gomes John Shank 18:30
Black’s Game Óskar Thór Axelsson
103’
71’
90’
SP 100’
The Descendants TG Alexander Payne 19:30
BF
The Pettifogger Lewis Klahr
19:15
SP
22:15 La leggenda di
SP
Kaspar Hauser
115’
22:30
TG 100’
SP
Davide Manuli
The Ultimate Pranx Case
90’
BF 80’
hh
Speelfilms en documentaires uit China die een beeld schetsen van de Chinese realiteit dat haaks staat op dat uit de partijpropaganda, met onderwerpen als armoede, corruptie, ontworteling en wanbestuur. Naast films bevat Hidden Histories ook een bijzondere ontmoetings plek: het Ai Weiwei Café.
signAls: For reAl
122’
100’
Black’s Game Óskar Thor Axelsson
signAls: hidden hisTories
BF 80’
122’
75’
PB
13:15 Duch, le maître des 13:30 Neighbouring forges de l’enfer
maison close
96’
pC
Het dagelijkse bombardement van beelden van de volksrevoluties in het MiddenOosten wekt de suggestie dat de Arabische Lente een vlam in de pan was. Power Cut Middle East onderzoekt wat die beelden nu precíes zeggen en laat, aan de hand van eerder werk van filmmakers, zien dat de revolte al tijden in de lucht hing.
109’
Shame Steve McQueen
18:45 L’Apollonide – Souvenirs de la SP
SP
24:00 24:00 MG
97’
110’
mg
Retrospectief van klassieke trash, horror, sociaal drama, avantgarde en pornofilms, die de beruchte Braziliaanse rosse buurt Boca do Lixo in São Paulo als bakermat hebben.
103’
18:00 18:00
104’
110’
La jubilada Jairo Boisier Olave
16:15
BF
SP Girimunho
signAls: The mouTh oF gArBAge
80’
Admission with P&i AccreditAtion only
16:45 Moxie 17:00 Rat
135’
22:15
PC
verzamelprogramma
58’
17:00 17:00
83’
87’
Women on the Edge SP 10:00 BF KobayashiGirimunho Masahiro Helvécio Marins Jr. / 101’ Clarissa Campolina 90’ 10:15 Alms for the Blind Horse Chapiteau-show Gurvinder Singh Sergey Loban 10:30
16:00 16:00
SP
99’
100’
L Babis Makridis
14:00
TG
15:00 15:00
110’
Year, There Was a Fire Wichanon Somumjarn
BF 106’
09:30
14:00 14:00
rg
Een verfrissende duik in de filmgeschiedenis met parels uit de schatkamer van de cinema. De vangst: gerestaureerde klassiekers, docu mentaires over cinema, animatie, filmische experimenten en een aantal exposities.
SP
I’m Still Alive Peter van Houten
signAls: regAined
86’
76’
Programmaschema vrijdag 3 Thursday februari 2 February Press & Industry Screenings
Mercado de futuros Mercedes Álvarez
83’
20:15 In April the Following TG
TG
Timelines 1
89’
22:00
120’
76’
19:30 Egyptian
Wavumba Jeroen van Velzen
Carlos Reichenbach
22:30
PC
verzamelprog.
83’
MG
Confidencial
BF
97’
Shores 2
22:30 Lilian M.: Relatório
Cinéma Vérité
104’
16:45 Shifting
109’
HH
verzamelprogramma
Tokyo Playboy Club Okuda Yosuke
17:30
SP
PC
12:00 Histoire de mes
LantarenVenster 6
14:45
TG
Bachelor Mountain Yu Guangyi
20:00 Rotterdam Classics: SP
Carnival Madhuja Mukherjee
pB
Dankzij het oeuvre van Peter von Bagh (filmmaker, festivaldirecteur en wandelende filmencyclopedie) kunt u binnen één festival Finland kenner worden. Zijn documentaires hebben cinema en de woelige Finse geschiedenis als onderwerp. Het retrospectief wordt aangevuld met bijzondere historische speelfilms uit Finland.
64’
Made in Rotterdam 1
95’
BF
17:15 Dance of Ganesha
TG 119’
LantarenVenster 3
22:15
BF
115’
83’
BF
Klaartje Quirijns
80’
20:00
HH
Shattered Xu Tong
105’
signAls: peTer von BAgh
Justice
92’
17:15 Whose Eyes
72’
10:00 Shelter
84’
22:45 Peace versus SP
diverse regisseurs
verzamelprogramma
PC
SP
20:15 The Hyperwomen BF
PC
Documentaries 1
89’
BF
M. Shatzky / B. Cassidy
Twilight Portrait Angelina Nikonova
sh
De kracht van kort: films van één tot 59 minuten lang, uit alle wind streken. Ze worden als voorfilm bij lange films vertoond, of gebundeld in compilation prog.’s.
SP
105’
17:30 Short Syrian
BF
Iceberg Gabriel Velázquez
BF
90’
12:30 The Search
22:30
80’
Matías Meyer
152’
Alps Yorgos Lanthimos
95’
A arca do Éden Marcelo Felix
84’
17:00 Los últimos cristeros SP
HH
9:45 Il se peut que la RG beauté ait renforcé notre résolution Grandrieux 74’
20:15
BF
gueule, ma révolte, mon nom) Sylvain George
71’
speCTrum shorTs
22:30
93’
Michael Palm 15:00 Mourir auprès ...
BF
87’
SP
83’
– Malfunctions #0
Cinerama 3
sp
Rotterdam op zijn breedst. Het festival selecteerde actueel, krachtig en vernieuwend werk uit alle windstreken, van veteranen tot minder bekende regisseurs.
TG
81’
20:00 Low Definition Control BF
12:30 L’hypothèse du
speCTrum
21:30
BF
einst ein Mensch
10:00 The Interceptor from HH
85’
TG
164’
20:00 Der Fluss war
Cinerama 2
Pathé 4
TG 124’
17:00 One Old Man
SP
Return to Burma Midi Z
84’
117’
Stateless Things Kim Kyung-Mook
Pat Holden
BF
Vers bloed. Eerste of tweede film van filmmakers waarvan het festival in de toekomst nog veel goeds verwacht.
106’
SP
Went Out
103’
86’
100’
11:45 Patience (After
SP Punk in Africa Keith Jones / Deon Maas
21:45 When the Lights
Rithy Panh
BrighT FuTure
BF
Die Räuberin Markus Busch
SP
forges de l’enfer
96’
TG
SP 94’
104’
18:45 Duch, le maître des
SP
93’
103’
9:15
De jueves a domingo Dominga Sotomayor
Monsieur Lazhar Philippe Falardeau
22:15 Deux inconnus
Made in Rotterdam 2
19:30
102’
Pathé 6
22:15
SP
180’
12:15 An Oversimplification BF
Prijzen voor kort maar krachtig: 21 films korter dan zestig minuten zijn geselecteerd voor de Tiger Awards Competitie voor Korte Films, waarin drie gelijkwaardige prijzen te winnen zijn.
105’
Heart’s Boomerang Nikolay Khomeriki
Ts
Tiger AwArds CompeTiTie voor KorTe Films
98’
PB
96’
95’
The Blindfold Garin Nugroho
The Last Summer 1944 Peter von Bagh
21:30 99’
19:15
PB
MovieSquad Award + Award-winning film 15:45
BF
só existem quando lembradas Julia Murat
BF
Tg
Prijzen voor de nieuwe generatie. Zeventien genomineerde filmmakers strijden met hun eerste of tweede film om drie gelijkwaardige Hivos Tiger Awards.
102’
22:00 HISTÓRIAS que
SP
86’
15:30
SP
Shame Steve McQueen
18:30
115’
Pathé 5
Pathé 33 Cinerama
Tiger AwArds CompeTiTie
BF
BF
Nuit #1 Anne Émond
91’
PB
Sodankylä Forever Peter von Bagh
Romance Joe Lee Kwang-Kuk
13:15
Pathé 4
Pathé 22 Cinerama
Skoonheid Oliver Hermanus
21:45 Café Regular, Cairo
SP 100’
Kotoko Tsukamoto Shinya
19:00 113’
107’
SP
A Woman’s Revenge Rita Azevedo Gomes
119’
SP
75’
115’
10:15 Romance
Die Unsichtbare Christian Schwochow
19:15
BF
About the Pink Sky Kobayashi Keiichi
117’
10:15 L’Apollonide – Souvenirs de la SP
Pathé 2
Schouwburg Grote Zaal5 Pathé
Kleuren en AfKortingen
BF
99’
Pathé 1
LantarenVenster 1
Kill List Ben Wheatley 22:30
Schouwburg Grote Zaal
Cinerama 5
24:00
88’
de Doelen Jurriaanse Zaal
Cinerama 1
23:00
Geen films, maar het echte leven. Met een scala aan activiteiten en evenementen wordt de alledaagse realiteit tot filmische ervaring getransformeerd.
Fr