daily tiger
42nd International Film Festival Rotterdam #9 Friday 1 February 2013 ZOZ voor Nederlandse editie
(news P3)
(touch / lukas the strange / comrade kim goes flying P5)
(the gardener P7)
Attending the Q&A after the premiere of Burning Bush, HBO executive producer Tereza Polachová, screenwriter Štepán Hulík, producer Pavla Kubeckova and actor Emma Smetana
photo: Bram Belloni
Trial by fire Directed by Agnieszka Holland, Burning Bush explores an iconic moment in recent Czech history. By Geoffrey Macnab
In January 1969, Jan Palach, an idealistic Czech student, set fire to himself in Wenceslas Square in Prague. He died of his burns four days later. His suicide was a symbolic gesture – an act of defiance against the Soviet invasion of Czechoslovakia the previous summer and against the way that political and social life had become paralysed in its wake. Palach’s suicide is the starting point for Burning Bush, a major new series from HBO Europe that is receiving its international premiere here in Rotterdam. Formative experience
The series is directed by Agnieszka Holland, the Polish director who has worked on such HBO US series as The Wire and Treme and on such celebrated European films as A Lonely Woman and Europa, Europa. It is scripted by newcomer, Štepán Hulík. Holland was a student in Prague during the heady days of the Prague Spring in 1968. The director still describes this as a key formative experience in her life.
She had left Czechoslovakia for the winter holidays and so wasn’t in the country at the time of Palach’s self-immolation. She eventually arrived back in Prague just after his funeral and was “very much involved in everything that happened later. It was something which formed me for the future”, Holland says of her time in Czechoslovakia in the late 1960s. “It was an incredible gift that I was able to come back to this.” She was therefore receptive when Hulík and his producer partners turned up at her door in Poland to pitch their project. (She does acknowledge her surprise at how young they were.) Spirit
Hulík’s first screenplay was written on spec when he was about to graduate from FAMU, the film school in Prague. Two fellow students, would-be producers called Tomas Hruby and Pavla Kubeckova, helped Hulík develop the project further. “We were sitting in some pub in Prague and we were thinking about which director would be able to do it,” Hulík recalls. The trio went through a list, starting with Czech directors but didn’t think anyone was quite right. Eventually, they thought of Holland. When the Polish director read the screenplay, she was immediately struck by how “true” it was to the spirit of the time.
of the events he has dramatized. “It is about how we shouldn’t be apathetic to the things that are happening around us. Sometimes, we have to sacrifice something to make things better.” When the young writer began to research the story of Jan Palach, he was fascinated by Dagmar Buresová, the young female lawyer who defended Palach’s family. “The most difficult thing was to get behind the symbol [of Palach] and find what was human … I was trying to do it for two or three years, but couldn’t find the right point of view. But then I discovered this story of a trial that started after Jan’s death, when Jan’s mother was suing this member of parliament for slander.” Liberties
Dagmar (played by Slovakian actress Tatiana Pauhofová) showed huge heroism in even taking on the case, in the face of the Soviet occupiers. “I was reading the article and I was saying to myself, this is the real story. I see her as a real follower of Jan Palach.” Hulík insists that his screenplay is very firmly rooted in fact. “I was trying to take all the liberties I could but finally I realised that even more than 80 per cent of the
Sacrifice
Burning Bush
Hulík and his collaborators may still be in their twenties, but their recreation of late 60s Prague has been widely praised by those who lived through the Prague Spring. (Celebrated Czech New Wave auteur Jirí Menzel, director of Closely Observed Trains, recently called Hulík to congratulate him on the show’s accuracy.) “I see it as a very contemporary story”, Hulík says
INTERNATIONAL film festival rotterdam
Burning Bush
script is really based on fact and is really truthful.” He worked closely with a Czech historian and had access to archival material from the police and courts. It helped, too, that even as he was working on his screenplay, Hulík was preparing a book about the late 60s in Czechoslovakia. “Because of this book, I met a lot of people who had lived in that period. I was asking them about their experiences and memories.” Complex
No, his parents weren’t directly involved in the political uprising around the Prague Spring. “They love the film, but I have to say I am a proletarian child. My mother is a nurse, my father is a locksmith … they were just trying to live their lives. They weren’t politically exposed.” The screenplay was originally written as a 90-minute feature. Holland was delighted to be able to expand it and make it as a TV series. “I thought the story is so complex it needs the time to be told”, the Polish director states. Czech TV originally refused to back Burning Bush. Then HBO came in. The irony is obvious. The big American major was far more receptive to this intensely Czech story than local funders. The series started its broadcast last Sunday. To Hulík’s surprise, Burning Bush appears to have struck a chord with younger as well as with older audiences. Facebook and Twitter are buzzing with debates about the film. Meanwhile, the relatives of the characters depicted in the drama have also voiced their approval. Jan Palach’s brother gave the project his blessing. Here is Rotterdam, Palach’s niece watched the movie. “At the end, she was crying and she told us she was really moved”, Hulík notes. Burning Bush screens tomorrow at 9.45 a.m. in Cinerama 5.
E INFO FOR MOR 20 622 8790
am: 0 Amsterd 951 010 411 7 : m a d r e Rott
Y OPEN DA 013 ary 2
23 Febru
Shopping • eating • drinking • sleeping
ish Daily d €8,50 * ********
breakf
ast
lunch
dinner
Meet the
real world! 4 - 7 april 2013 the cinemas willemstad curacaoiffr.com
witte de withstraat 16 • 3012 BP Rotterdam • www.hotelbazar.nl reservations: 010-206 51 51 (hotel & restaurant)
MovieZone picks winner God’s Horses (Les chevaux de Dieu) by Nabil Ayouch (Morocco/France/Belgium, 2012) has won the MovieZone IFFR Award 2013. This was announced by the MovieZone young people’s jury yesterday afternoon at the MovieZone Award Ceremony in Pathé 7. MovieZone is organised by EYE in cooperation with the larger film festivals in the Netherlands. The winning film receives the opportunity to be programmed in one of EYE’s educational programmes and €1,500 to be used to promote the film among young people. The jury, made up of five young people aged 17 to 19 years, selected the winner from twenty nominated festival films, to which the jury added the films Me
Nina Davenport
and You (Io e te) by Bernardo Bertolucci (Italy, 2012) and Call Girl (Callgirl) by Mikael Marcimain (Sweden/Ireland/Norway/Finland, 2012). In their statement about God’s Horses, the jury said: “The film shows a situation we know from the newspapers in a special and authentic way, from the perspective of the young Moroccan boys who live in the slums. We all felt that this story should be told and found almost every aspect of this film good!” God’s Horses will be released in the Netherlands by Cinéart from 2 May 2013. MovieZone IFFR jury is an initiative of EYE in cooperation with the International Film Festival Rotterdam and is sponsored by SNS REAAL Fund. MB
photo: Corinne de Korver
First person singular For her new documentary, Nina Davenport turns the camera on herself. By Nick Cunningham
New Yorker Nina Davenport, who won IFFR’s KNF Award (awarded by the Dutch Circle of Critics) in 2007 for Operation Filmmaker, returns to Rotterdam this year with her very personal documentary First Comes Love, selected in Spectrum. Five years ago, single and over 40, Davenport decided to change her life radically. Thankfully, she also decided to record the process. “It begins around the time, when I was 41 and was wondering what to do about my biological clock, feeling it was about to explode any second and run out of time”, she says. “So I approached my very best friend who is gay and ask him for his sperm. That is the beginning of the journey, but that takes us to unforeseen places such as the death of my mother and dealing with the difficult relationship I had with my father and his own childhood experiences that made him the person that he is, and my very intimate relationship – platonic – with my best female friend, although we do go to couples’ therapy at one point in the film to work out our issues.” The first person narration can offer wider possibilities to
Body picked up Kees Brienen’s debut feature Dead Body Welcome, which world premiered in IFFR’s Bright Future, has been picked up for Dutch release by Amsterdam-based Mokum Filmdistributie. The film, based on true events, follows a man’s endeavours to transport the body of his friend to its final resting place. “The film is a very personal document”, comments Mokum MD Rieks Hadders, who plans to release the film before the summer. “You have to go with the story. I heard a lot of people here have a great affection with the film – if you don’t have this, then perhaps it’s a pity for you – but if you have it, it’s an amazing story to follow to the end. And it’s well done. I had a lot of people who are programming for art house who like the film a lot. So I think there is a good chance for it in the Netherlands.” NC
filmmakers, she opines, but the telling of such a personal story conversely works against the film’s business potential. “One of the strengths of personal documentary film is the voice-over which allows you to take the film in a lot of unforeseen directions because you can write your way into things”, she says. “So the tentacles of the film can spread further and in more unpredictable ways than a more conventional documentary. So I find this format so artistically challenging, although it makes your life a lot more difficult when it comes to distribution because people are a little pre-disposed against personal films.” As of 2013, the KNF Award guarantees Dutch distribution in the Netherlands. Back when Davenport won it, she received a rose – not that she’s overly complaining. “I was completely shocked to be summoned out of the audience to accept the award because as a documentary filmmaker in a huge impressive festival like this I did not consider for one moment that I would get that kind of attention. It was one of the most thrilling moments of my life. Now I am very jealous – but very happy – to hear that the prize now includes distribution!” First Comes Love screens today (10.30 p.m.) and tomorrow (7.30 p.m.) in Cinerama 7.
Video library top 10 As IFFR industryites were printing out their boarding passes, Video Library supremo Rob Duyser revealed the numbers for this year’s service. Views totalled 9,147 (to 3pm Thursday) with the busiest day being Monday 28 January (1,464 views). The top 10 requested films were: 1. Karaoke Girl 2. Halley 3. Fat Shaker 4. It Felt Like Love 5. Soldier Jane 6. My Dog Killer 7. Dummy Jim 8. Penumbra 9. Letter 10. ... Because Superglue Is Forever!
God’s Horses
Event horizon Launched six months ago, Poland’s first art house multiplex is off to a promising start. By Edward Lawrenson
Roman Gutek is a regular visitor to IFFR. As director of the T-Mobile New Horizons International Film Festival in Wroclaw, which takes place in July, Gutek is quick to acknowledge the importance of Rotterdam in drawing up his programme: Tiger and other IFFR premieres have figured prominently in past editions of New Horizon, which focuses on challenging art house fare. In 2011, the festival screened a sidebar of Soviet-era Westerns, drawn from the IFFR’s Red Westerns retrospective earlier that year. Gutek returns to Rotterdam having recently acquired control of a large city-centre cinema in Wroclaw under the New Horizons banner. In September, he took over the city centre’s nine-screen Helios multiplex, with the aim of showing art house titles in a venue that had previously screened mainstream commercial movies. It’s an ambitious undertaking, but nearly six months into the initiative Gutek is cheered by how things are progressing. “It’s going well,” he says to the Daily Tiger in between his schedule of screenings and meetings. Roman Gutek
Budgeted at €4 million over five years, the project is a partnership between New Horizons and Wroclaw city council: with the city set to become the European City of Culture in 2016, the venture is intended to double the participation of Wroclaw inhabitants in cultural cinema, from eight per cent to 16 per cent. The city is providing 25 per cent of the budget and, says Gutek, ”the rest is our own risk”. As well as showing big art house titles like Holy Motors, the cinema hosts educational events, part of Gutek’s wider commitment to developing a cinephile audience in Wroclaw and beyond. New Horizons has partnered with local schools to stage screenings and debates every month as part of primary and high school curricula. It also offers university-accredited courses on film history. Gutek admits that finding an audience for the venue’s two largest screens (600 and 500 capacity) is a challenge and he still relies on commercial titles like The Hobbit and Skyfall for those auditoria. “Of course, we need time,” he says, suggesting it will take “another two years to change the position of the cinema among most Wroclaw inhabitants. But after five months it’s looking promising.” photo: Felix Kalkman
Reach for the sky Director Jeremy Teicher confirmed yesterday that his Tall as the Baobab Tree will be among the first titles signed up to IFFR in the Cloud, the festival’s dedicated iTunes ‘room’. By Edward Lawrenson
In partnership with digital distribution company Under The Milky Way, IFFR is to select 30 titles from its 2013 edition and offer them Belelux distribution through the high-profile iTunes platform. “This is great for an art house festival-style film like ours”, says Teicher of his debut feature, a drama set in a Senegalese village. With upfront costs for launching each film on iTunes covered by IFFR and Under The Milky Way, the initiative is especially attractive to low-budget projects like Tall as the Baobab Tree: “A
production,” the American director tells the Tiger, “where every dollar counts.” “We’re a small team and came into this as outsiders”, Teicher says of his film, which he began aged 22. “We weren’t going to sell through a traditional sales agent deal so this is a fantastic opportunity for us.” “There’s also the association with the IFFR brand,” he continues, “we’ll get viewers who know the festival’s reputation.” The film should be online in about three months. Teicher also discussed his latest project, a screenplay he’s developing with his writing partner Alexi Pappas. It’s a coming-of-age tale about a teenager who is world-class runner, and it draws on the first-hand experience of Pappas, who is herself an elite runner, having competed last year in a US Olympic trial.
INTERNATIONAL film festival rotterdam
3
PROUD PARTNER OF INTERNATIONAL FILM FESTIVAL ROTTERDAM 2013 Join Jameson on Facebook: facebook.com/JamesonNederland
Geniet, maar drink met mate.
Neighbourhood watch Shelly Silver’s new film Touch was shot in her own backyard. By Geoffrey Macnab
“I live in Chinatown,” New York based artist Shelly Silver says of her new film Touch, a painstaking exploration of life on the streets around her. “I have lived in Chinatown for 20 years. But when you live in a neighbourhood, you don’t necessarily look at it or film it.” Silver was originally commissioned by a local museum to make a 10-minute short. This eventually became 5 Lessons and 9 Questions about Chinatown. “10 square blocks, past, present, future, time, light, movement, immigration, exclusion, gentrification, racism, history, China, America, 3 languages, 13 voices, 152 years, 17,820 frames, 9 minutes, 54 seconds, 9 questions, 5 lessons, Chinatown,” is how her website
describes the project. “When I finished the film, I had 60 hours of film already”, the director recalls. Touch is about a fictional Chinese-American character returning after 50 years to tend to his dying mother. He is “a librarian, a re-cataloguer, a gay man, a watcher, an impersonator.” He spends his time collecting images. In terms of the playful, essayistic structure of the film, Silver took inspiration from Chris Marker’s Sans Soleil. Touch also has a strong political subtext. The director interviewed immigration experts and researched the history of the area. She talks of the “very particular history of the Chinese in America” as a result of the Chinese Exclusion Act of 1882, which restricted Chinese immigration to the US. Within the US, racial discrimination forced the Chinese to live in enclaves. They grouped together in the area that is still known as Chinatown today.
Silver was writing and editing at the same time. The project was constantly evolving. The script was in English, but Silver’s collaborator Cassandra Guan, one of her former students, helped her translate it into Mandarin and Cantonese. Shortly after the Rotterdam premiere, Touch will be heading to Cinema du Réel, the documentary event in Paris. The idea that the same film can screen at both documentary and fiction events intrigues the director. “I am very interested that they (Cinema du Réel) selected this film. I am really excited to show it there and talk about it – the differences between documentary and fiction and what hybrid this film is.” Having just completed Touch, the prolific Silver has been busy finishing off another new project. This has the intriguing title frog spider hand horse house, and will be screening at the Berlinale in its new Fo-
rum Expanded section next week. Alongside her filmmaking, Silver teaches in the Visual Arts Faculty at Columbia University. “It’s a very difficult balance,” the director says of juggling the university commitments with her filmmaking. “The teaching is fairly recent, the full-time teaching. I will say that it gives you a lot of energy. I give the students a lot, but they give me a lot in terms of the way they’re looking at the world.” As for premiering one film in Rotterdam in January and another in Berlin a few days later, she describes it as “super exciting ... except that I haven’t slept in a week!”
Spectrum Touch – Shelly Silver Fri 01 Feb 17:00 CI5
Myth maker Filipino myth, memories of troubled political times and a loving film tribute combine in John Torres’ new film. By Edward Lawrenson
“I was drinking with a buddy in Manila and he was telling me all these stories about his father”. John Torres is discussing one of triggers for his latest film, Lukas the Strange. “At one point I misheard my friend. I thought he said his father told him that he was a ‘tickbalang’ [a fabled half-man/half-horse creature who features in Filipino folklore]. It was the difference of a word but I was consumed by this idea.” That mythical figure turns up in Torres’ movie, which received its world premiere in IFFR’s Spectrum strand and revolves around a teenager in a Filipino village. The youth learns that his father is himself a ‘tickbalang’. It’s somehow telling that the inspiration for this conceit should be based on Torres’ misunderstanding a comment his drinking companion made. “I’m not too concerned with accuracy, says Torres, “I want to capture feelings.” Riffing on his memories of My Husband, Your Lover (a film by the Filipino auteur Ishmael Bernal) and his reflections of the end of martial law in the Philippines in the 1980s, Torres’ film, like his other work, eschews narrative clarity in favour of a style that is dreamlike,
digressive, intensely personal and quietly lyrical. “I had a script but I basically threw the first draft away”, recalls Torres of the week-and-half long shoot (in his mother’s home village). “Initially I limit myself to the footage I have, which is very documentary, random, unplanned scenes. It’s basically a gathering of all these scenes that I thought I might need. Then I went back to Manila and started to make connections in the edit room, but still sticking with the things I’d thought about.” Torres – whose Years When I was a Child Outside was a 2008 Tiger entrant – was shooting for the first time on 35mm. The format was a challenge, but a rewarding one: “It’s very hard, it’s torture, but I enjoy it. We handheld everything. I wasn’t used to another person doing the focus pulling and measuring the light – I’d always done it on my own. So in that regard it was a wrestling match,” he says, “but it teaches me to be patient and to persevere.” Like Lukas the Strange, Torres’ next project Tempestuous is Hubert Bals Fund-backed, support for which Torres is very grateful. “It is set in a flood during the typhoon season”, he says. “It’s mostly atmospheric, with minimal dialogue.” He also hopes to shoot it on film.
Spectrum Lukas the Strange / Lukas nino – John
Torres
Feelgood factor Comrade Kim Goes Flying is that rare thing: a North Korean coproduction. By Nick Cunningham
The Belgium/UK/North Korea co-pro Comrade Kim Goes Flying, which enjoyed its international premiere in IFFR Spectrum, started life not as a feature, but as a short. “We wanted to do a fairy tale with a female character doing something in the circus. It was a little love story”, says the film’s producer/co-director Anja Daelemans, who hatched the idea to shoot a film in North Korea with Nicholas Bonner, a British filmmaker who also organises cultural exchanges with the territory. But when the North Koreans eventually came on board it was transformed – not without a degree of resistance – into the tale of a young woman who leaves the mine and sets off for the circus. Initially such a pursuit of a personal quest, without regard for party or country, wasn’t deemed acceptable by North Korean broadcasters, but the persistence of Daelemans and her North Korean producer Mi Hwa Ryom finally paid off. By a stroke of luck, the script found its way to director Kim Gwang-Hun, who persuaded his studio to back the film, which in turn provided access to some of the country’s leading talents. The resulting film is colourful and expansive and unashamedly feelgood. The two leads, however, were not actors. “One of my short films was called Tango, and the actors need-
INTERNATIONAL film festival rotterdam
ed three months of rehearsing before we shot, so I thought that’s not a very good idea for this film. You cannot train an actor to become an acrobat”, comments Daelemans. So the producers signed up acrobats instead. In the case of Han Jong Sim (who plays Comrade Kim) they found a genuine talent. “We were very lucky with her”, Daelemans adds of a performer who usually plays the fairy who flies across the national stadium during state functions. Daelemans maintains that the production team were able to retain editorial control over a project which was made as much for the domestic market as for international exploitation – the film opened two weeks ago across 7 theatres in capital Pyongyang, attracting audiences in excess of 50,000, she confirms. “We were our own censors and from the beginning we didn’t want to do anything with politics, violence, sex or drugs or rock ‘n’ roll, or war”, she says. “I do not like these movies … I personally want to go to the cinema to be entertained. If I pay 7 or 9 euros in Belgium for a ticket, and I get a little depressed, then I am always a little angry. It’s not that everything has to be joyful, but if you want to be depressed, go and see the news.”
Spectrum Comrade Kim Goes Flying – Anja Daelemans, Nicholas Bonner, Kim Gwang-Hun Fri 01 Feb 11:45 SGZ
5
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
Conversation pieces Iranian director Mohsen Makhmalbaf still believes that cinema can change the world. By Jutta Sarhimaa
Mohsen Makhmalbaf compares the appeal of films to mixing at a social gathering: “Like at a party, there are many people around you but one of them is a more interesting person than the others, just by what he says or does. Film is like that. Many people can make films, but you will be interested in only some of them.” Coming from one of two the most significant auteurs in Iranian history (the other being Abbas Kiarostami), the simile carries extra meaning. But Makhmalbaf wants to clarify something: he is not talking about technique. According to him, quality of image, composition, editing and acting are all minor, stylistic details: just 10 to 20 per cent of cinema. You can make a great film with your mobile phone if it affects people. Cinema’s purpose is to shed light on people’s way of thinking and show them different paths. “I use cinema like conversation. I try to give it different voices so it would be more democratic. If there exists only one truth behind the camera, cinema becomes monologue”, Makhmalbaf explains. Mohsen Makhmalbaf was at IFFR with his latest film The Gardener, made with his son Maysam Makhmalbaf. It tells the story of the persecuted Bahá’í, a peaceful religion born in Iran 170 years ago and scattered now to all corners of the world. Very low-budget and shot with two digital camcorders in various gardens maintained by members of the Bahá’í faith in Israel, The Gardener reveals a style of poetic realism that is familiar from Makhmalbaf’s previous works, such as Gabbeh (1996) and A Moment of Innocence (1996). The guerrilla-style shoot entailed some difficulties. Although the filmmakers had permission from the Bahá’í community to film, the Israeli police confiscated some of the footage, just to show their power, the director says. Fortunately, the filmmakers were able to re-shoot the lost scenes and finish the film. The London-based Iranian’s film is part of the IFFR Signals: Inside Iran series, compiled by Bianca Taal and Gertjan Zuilhof. When asked about the younger generation of Iranian filmmakers in the series, Makhmalbaf sounds excited. “Iranian cinema is a
Mohsen and Maysam Makhmalbaf
movement that started many years ago, even before the Islamic revolution. For nearly three decades now, this movement has been carrying on. At the beginning, you start with only a few things and now, you see it growing in numbers”, he says smiling. One of the most important reasons for this is the digital revolution. All of the films in Inside Iran were shot on either digital or video cameras. According to Makhmalbaf, digitalisation means that government control is getting weaker. The controlling influence of the producer can also diminish because the
photo: Marije van Woerden
budget becomes less important: it’s a format that can make for more director-led work. “Money cannot control the art form as much as before”, he says. “Nowadays, cinema is like a pen in your hand: like an author writing a novel, you don’t need anything except one notebook and a pen. First you create, then they can refuse publishing but you can always print it out and share it. Cinema is the same: you can make a film, then afterwards you can put it on the internet. If there is something interesting in it, it will succeed.”
THIS IS REALITY NOT FICTION
Inside Sudan Today, Inside Iran shifts focus to Sudan. With four young Sudanese filmmakers: Abdallah Mohamad, Bahaeldin Ibrahim, Masaab Fadul and Mohamed Hanafi. Tea House/Gallery Inside Iran, Schouwburgplein 54, 4 p.m. – 6 p.m.
HIVOS GEEFT FILMMAKERS WERELDWIJD EEN STEM HOOFDSPONSOR VAN IFFR
INTERNATIONAL film festival rotterdam
7
verzamelprogramma
11:30 Empire of the Sun
RG
78’
LantarenVenster 6
LantarenVenster 5
LantarenVenster 2
LantarenVenster 1
Cinerama 7
Cinerama 6
85’
64’
76’
BF
Soul Hotel verzamelprogramma
Dominik Graf
Mädchen
SH
Kalter Frühling Dominik Graf
09:30 Das unsichtbare
09:45
György Pálfi
RG
Pablo Delgado Sánchez
and Gentlemen
09:15
72’
09:30 Las lágrimas BF
Bruno Safadi
Harmonica’s Howl
SP
Paula Gladstone
The Dancing Soul...
RG
Vergiss mein nicht David Sieveking
09:15 La pionnière
09:15
Wakamatsu Koji
Chose His Own Fate
88’
Ginger and Rosa Sally Potter
09:00 Final Cut: Ladies
Cinerama 5
Cinerama 4
Lasting Jacek Borcuch
99’
DG
DG
SP
95’
SP
11:30
105’
89’
Wasteland Rowan Athale
Poor Folk Midi Z
12:45
Michiel ten Horn
97’
90’
70’
Éden Bruno Safadi
75’
The Tiger’s Mind
SP
Kamran Heydari
SP
II My Name Is Negahdar Jamali
Spieler Dominik Graf
Silent
12:00
12:15
On the Steep Cliff Kira Muratova
Steel Is the Earth Mes De Guzman
11:45
BF
12:00 Letter to America KM
Yosep Anggi Noen
and Other Illnesses
Dan Sallitt
BF
98’
TS
DG
BF
105’
14:15
14:30
16:45
CC
RG
92’
89’
110’
81’
BF
119’
RG
SP
95’
69’
SP
DG
II
DG
89’
90’
122’
SP
BF
BF
80’
70’
98’
70’
SP
BF
SP
80’
18:30
Drug War Johnnie To
89’
109’
BF
19:00
90’
19:45
20:00
Oh Boy Jan Ole Gerster
F*ck for Forest Michal Marczak
Sébastien Rose
bascule
19:30
BF
96’
87’
SP
BF
BF
Die Katze Dominik Graf
Call Girl Mikael Marcimain 19:30
BF
Melaza Carlos Lechuga
I.D. Kamal Karamattathil Muhammed
164’
67’
SP 75’
21:45
96’
85’
85’
BF 80’
21:45
140’
21:45
BF
22:30
CC
BF 138’
SP
86’
106’
98’
Jiseul O Muel
Dominik Graf
mir nicht nach
SS
22:15 Dreileben: Komm
Ektoras Lygizos
87’
108’
88’
90’
SP
96’
92’
107’
Sample: Not For Sale
96’
SP
DG
Boy Eating the Bird’s Food
BF
First Comes Love Nina Davenport
BF
24.00 101’
SP
80’
Emperor Visits the Hell Luo Li
Wavemakers Caroline Martel
22:00
22:30
22:15 km
118’
200’
BF
SP
BF
BF
22:30 The Hunter and the Skeleton BF
Ixjana Józef Skolimowski / Michal Skolimowski DG
86’
80’
92’
Grenzgänger Florian Flicker
Kayan Maryam Najafi
SP
96’
BF
SP
101’
BF
Kern Veronika Franz / Severin Fiala
21:30 Axel und Peter
22:15
Mater Dolorosa Adolfo B. Alix Jr.
Mouly Surya
When They Talk About Love
90 Minutes Eva Sørhaug
The Complex Nakata Hideo
Mike Ott
21:15 What They Don’t Talk About BF
21:45
22:00
22:00 Pearblossom
Hwy
75’
Vulgaria Pang Ho-cheung
Frankenstein’s Army Richard Raaphorst
22:30
BF
Hélène Fillières
d’amour
22:30 Une histoire
Rengaine Rachid Djaïdani
115’
22:00
SP
Eron Sheean
23.00
Errors of the Human Body
22.00 22:15
21:30 Lonely Bones
103’
Les revenants Fabrice Gobert / Frédéric Mermoud
Ricardo Pretti
to Us
19:15 Avant que mon coeur
19:15
KM
19:15
19:45
120’
107’
SP
91’
21.00
RG Rotterdam Classics: Andor von Barsy
SP
115’
SP
75’
74’
20:00 Rio Belongs
20:00
Nairobi Half Life David ‘Tosh’ Gitonga
113’
Soegija Garin Nugroho
BF
SP
Sleepless Night Jang Kun-Jae
SP
90’
Surprise Film
Karaoke Girl TG Visra Vichit Vadakan
Les chevaux de Dieu Nabil Ayouch
18:45
19:15
SP
20:00
BF
89’
Reality Matteo Garrone
Io e te Bernardo Bertolucci
20:00
DG
20.00 Diego Star Frédérick Pelletier
19:00 Men of the Earth
Riri Riza
Celsius
110’
19:30
19:30
19.00
Dominik Graf
Freunde
19:15 Die Freunde der
18:30 Atambua 39°
BF
90’
95’
Japan’s Tragedy
Torres & cometas Gonçalo Tocha 68’
Ziba Bani Khoshnoudi
17:00 When the Curtain Falls
Vladimir Todorovic
Landscape
17:00 Disappearing
Lore Cate Shortland
16:45 Ao Lobo da Madragoa SP
16:45
The Tuner Kira Muratova
L’ étoile du jour Sophie Blondy
Touch Shelly Silver
BF
Gegenwart Thomas Heise
Ari Deelder
de liefde
17:00 Living Still Life
17:00
18:15
98’
BF
Paradies: Glaube Ulrich Seidl
94’
85’
100’
128’
BF
96’
SH
18.00
17:15 Toegetakeld door
17:15
Leones Jazmín López
137’
80’
94’
SP
BF
16:30 The Certificate
16:30
16:30
SP
Alexandra Gulea
Miner
BF
SP
El muerto y ser feliz Javier Rebollo
De nieuwe wereld Jaap van Heusden
BF
SP
TG
Miss Lovely Ashim Ahluwalia
Wadjda Haifaa Al Mansour
15:30 Matei Child
Losing Dwoskin verzamelprogramma
Der Felsen Dominik Graf
Big Boy Shireen Seno
Wakamatsu Koji
Chose His Own Fate
Easy Rider James Benning
14:30
15:45
16:00
16:00
17.00 The Delivery Guy Andrey Stempkovsky
The Patience Stone Atiq Rahimi
17:00
verzamelprogramma
Directors
17:00 Wondering Alien
Watchtower Pelin Esmer
In the Fog Sergei Loznitsa
verzamelprogramma
Showtime
14:30 TV Night:
Shanghai Dibakar Banerjee
Dominik Graf
Erinnerung
14:15 Lawinen der
110’
16:15
16:30
16.00
117’
SP
SH
La cinquième saison Jessica Woodworth / Peter Brosens
Rhino Season Bahman Ghobadi
Low Tide Roberto Minervini
14:00
15:15
15:30
122’
The Master Paul Thomas Anderson
14:30
85’
106’
74’
85’
BF
TG
14:15
BF
14:00
105’
90’
100’
SP
13:45 11.25 The Day Mishima
13:45
91’
114’
65’
12:00 The Unspeakable Act SP
Kidd Life Andreas Johnsen
BF
BF
Sunshine Boys Kim Tae-Gon
TG
Fat Shaker Mohammad Shirvani
Competition for Short Films 4
SP
SP
La noche de enfrente Raúl Ruiz
101’
14:15
Après mai Olivier Assayas
13:15 Tiger Awards
My Dog Killer Mira Fornay
Eva van End
12:00
12:15
12:45
13:00
14.00
Odayaka Uchida Nobuteru
Japan’s Tragedy Kobayashi Masahiro
11:30 Peculiar Vacation
11:30
93’
77’
12:30
81’
13:30
13.00
13:15
SP
11:45 De ontmaagding van
84’
TS
119’
SP
II
diverse regisseurs
Goes Flying
12.00
11:45 Comrade Kim
11.00
Competition for Short Films 5
10:15 Tiger Awards
Taboor Vahid Vakilifar
09:45 Voice Over
10:00
10:00
10.00
09:15 11.25 The Day Mishima
09:00 The
Cinerama 3
Cinerama 2
Cinerama 1
Pathé 7
Pathé 6
Pathé 5
Pathé 4
Pathé 3
Pathé 2
Pathé 1
Schouwburg Grote Zaal
de Doelen Jurriaanse Zaal
Oude Luxor
09.00
15.00
verzamelprogramma
Factory
14:00 Sudan’s Swinging Film
Programmaschema vrijdagFriday 1 februari Public Screenings 1 February
LantarenVenster 6
TG
SP
BF
TS
SH
CC
Een greep uit het geheugen van de cinema. Met aandacht voor het experiment, gerestaureerde klassiekers, speciale evenementen en exposities, en de huidige opvattingen over film, geschiedenis en beeldcultuur. Vast onderdeel van de sectie Signals.
Signals: Regained
Niet beeld, maar geluid staat centraal in Sound Stages. Het festival als jukebox, met een keur aan filmische klankervaringen en live performances, installaties, optredens en films die de oren strelen. Binnen, maar nadrukkelijk ook buiten de bioscoopzaal.
Signals: Sound Stages
RG
SS
De fraaiste voorbeelden van ‘episodic storytelling’ met televisie- en internetseries die gemaakt zijn door onafhankelijke filmmakers, voor één keer groot(s) te zien op het scherm of in de speciale weblounge in Cinerama.
Signals: Changing Channels
II
KM
DG
Actuele Iraanse cinema en videokunst, afkomstig uit het levendige undergroundcircuit van Teheran waar galeries ontmoetingsplaatsen zijn voor makers en publiek.
Signals: Inside Iran
Voor het eerst is het volledige oeuvre van een van de meest uitzonderlijke Oost-Europese kunstenaars van de afgelopen vijftig jaar buiten Rusland en Oekraïne te zien. Een onnavolgbaar en onweerstaanbaar oeuvre dat geen grenzen kent.
Signals: Kira Muratova
Retrospectief van Dominik Graf, de belangrijkste chroniqueur van het hedendaagse Duitsland. Met een oeuvre van zestig producties – voornamelijk voor televisie – het best bewaarde geheim van de Duitstalige film.
Signals: Dominik Graf
De kracht van kort: films van één tot negenenvijftig minuten lang, uit alle windstreken. Ze worden gebundeld in verzamelprogramma’s of in combinatie met lange films vertoond.
Spectrum Shorts
Rotterdam op zijn breedst. Het festival selecteerde actueel, krachtig en vernieuwend werk uit alle windstreken, van veteranen tot minder bekende regisseurs.
Spectrum
Vers bloed. Eerste of tweede speelfilm van filmmakers waarvan het festival in de toekomst nog veel goeds verwacht.
Bright Future
Prijzen voor kort maar krachtig. Drieëntwintig films korter dan zestig minuten zijn geselecteerd voor deze competitie, waarin drie gelijkwaardige Canon Tiger Awards for Short Films te winnen zijn.
Tiger Awards Competitie voor Korte Films
Prijzen voor de nieuwe generatie. Zestien genomineerde filmmakers strijden met hun eerste of tweede speelfilm om drie gelijkwaardige Hivos Tiger Awards.
Hivos Tiger Awards Competitie
Kleuren en afkortingen