Catalogue International Film Festival Rotterdam 2014 by International Film Festival Rotterdam

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Contents

2 Using the Catalogue 4 Foreword 6 Jury Hivos Tiger Awards Competition 8 Jury Tiger Awards Competition for Short Films

9 Hivos Tiger Awards Competition 27 Tiger Awards Competition for Short Films 39 Bright Future 73 Spectrum 111 Spectrum Shorts 171 Signals: The State of Europe 207 Signals: Mysterious Objects – 25 Years of Hubert Bals Fund 219 Signals: Nils Malmros 231 Signals: Regained 259 Signals: How to Survive… 271 IFFR+ 280 The Supportive Festival 284 Catalogue & Festival Staff 286 Thanks to 288 Partners & Sponsors 291 Industry Services & Facilities 297 Addresses Print & Sales 309 Film List by Country 315 List of Premieres 321 Index Directors 325 Index Films & Compilation Programmes 331 Programme Day by Day 353 And More…

43RD INTERNATIONAL FILM FESTIVAL ROTTERDAM

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USING THE CATALOGUE

Hivos Tiger Awards Competition

Awards for the new generation. Fifteen nominated filmmakers compete with their first or second feature-length film for one of the three equal Tiger Awards. Tiger Awards Competition for Short Films

Awards for short but sweet. Twenty-four films of less than sixty minutes are in the running for the three equal Canon Tiger Awards for Short Films. Bright Future

Fresh new talent. First or second films by directors from whom the festival expects big things in the future. Spectrum

Rotterdam at its most eclectic. Current, powerful, innovative work from all over – from veterans to new faces. Spectrum Shorts

The strength of the short: films from one to fifty-nine minutes long, either brought together in compilation programmes or screening with feature-length films. Signals: The State of Europe

GT EU PE

With three big programmes (Grand Tour, EU-29 and My Own Private Europe), the festival provides a platform for reflection on and discussion of the future of Europe. Signals: Mysterious Objects – 25 Years of Hubert Bals Fund

The Hubert Bals Fund is celebrating its 25th anniversary, and presents a selection of world cinema that underlines the artistic variety of projects supported by the Fund. Signals: Nils Malmros

Retrospective of the work of Danish director and screenwriter Nils Malmros. His central themes are the darker aspects of adolescence and loss of innocence. Signals: Regained

A look into the memory of cinema. Featuring experimental works, restored classics and current thinking on film, history and image culture. Signals: How to Survive…

Man is a born survivor. But how can he pit himself against violent forces of nature as well as man-made disasters and systems?

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USING THE CATALOGUE

Abbreviations

Prod = Producer Prod Comp = Production Company Sc = Screenplay Cam = Camera Ed = Editor Prod Des = Production Design Sound Des = Sound Design With = The main actors and actresses Distr NL = Distributor in the Netherlands b&w = black-and-white min = length in minutes ∞ = ongoing loop

2 = combined programme

=P receded by a Big Talk (discussion) with filmmaker and/or cast and crew. DGZ = de Doelen Grote Zaal DWBZ = de Doelen Willem Burger Zaal DJZ = de Doelen Jurriaanse Zaal SGZ = Schouwburg Grote Zaal SKZ = Schouwburg Kleine Zaal PA1-PA7 = Pathé 1-7 CI1-CI7 = Cinerama 1-7 LV1-LV6 = LantarenVenster 1-6 LUX = Oude Luxor UN = De Unie Hubert Bals Fund = The film has received financial support from the Hubert Bals Fund. CineMart = The film participated in the CineMart co-production market. The Big Screen Award Competition = The film has been nominated for IFFR’s new competition, introduced in 2013, aimed at promoting the distribution of films in cinemas in the Netherlands. All films are English spoken or subtitled in English (e.s.), except for films marked: d.s. = Dutch subtitles, n.d. = no dialogue. The films being screened at the festival can be found in the catalogue listed by IFFR programme section. Films are ordered by the director’s family name in the following sections: TG, BF and SP. Filmmakers from China, Japan and Korea (following the tradition) are listed with their family name first, followed by their given name. Check filmfestivalrotterdam.com for festival news, film descriptions and programme information, director profiles, film stills and trailers.

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Foreword The temporary absence of artistic director Rutger Wolfson owing to a serious autoimmune disease is a massive loss for International Film Festival Rotterdam. This, in combination with other setbacks in terms of the festival’s human resources, as well as a forced reorganisation, made 2013 a drastic year. However, this turbulent period has once again clearly demonstrated the resilience of ‘Rotterdam’: we can say with some pride that IFFR is a typical product of its home city. Roll with the punches and don’t complain – completely in line with the ‘roll up your sleeves and get on with it’ image of this tough port city. Alongside the organisation’s practical and mental resilience, its fearlessness is also testament to the strength of the IFFR brand. In close cooperation with managing director Janneke Staarink, the team of programmers and all the other festival staff, Rutger Wolfson has created a platform for cinema that in terms of policy and stability is greater than the sum of its parts. Naturally, this is a continuation of a long-established festival tradition; nevertheless, the contribution of the above-mentioned to this tradition should not be underestimated. The three pillars on which the Wolfson/Staarink et al approach rests – the festival as a platform for exceptional cinema; a festival that adds value for cinema, and the festival as network, the essential connection both internally (within the film world) and externally (with the wider world surrounding the film world) – these pillars stand rock solid, and this year once again provide the foundation upon which the many and varied artistic and business activities can take place. In 2014, IFFR’s ambition to be more than just a showcase is perhaps best illustrated by the programme put together around the theme of Europe. For a detailed description of the three perspectives brought together in The State of Europe, see the relevant sections in this catalogue. Here, I would principally like to stress the festival’s goal of being at the heart of the community. A festival that is not a reservation; not a remote island, difficult to access from the ‘everyday’ world, but completely the opposite: a sensitive, receptive membrane picking up the sounds, opinions and tendencies all around it (in international, national and local terms). For this reason, IFFR wishes to give cinema a voice within the debate on Europe currently going on throughout all sectors of society. After all, many films being made at the moment do more than relate to Europe; they can throw a surprising new sidelight on the question of Europe, break open and influence the debate. With its Europe programme, Rotterdam seeks to stimulate this interaction. IFFR’s need to see film production within a broader context is nothing new. That is amply demonstrated by the fact that, this year, the Hubert Bals Fund celebrates its 25th anniversary. The Fund, established in 1989 to give film plans from mainly nonEuropean countries a kick-start, can look back on 1,000 projects supported and a great deal of praise. The Hubert Bals Fund has made a modest but essential contribution to the realisation of countless exceptional projects, including films by directors such as Chen Kaige, Carlos Reygadas, Apichatpong Weerasethakul and

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Cristian Mungiu. Clearly, during its first quarter century, the HBF has more than earned its stripes. To celebrate these achievements, this year the festival will be screening a beautiful, unpredictable selection of works from the rich legacy of HBF-supported projects. In addition, IFFR will again be screening, across its programme sections, a wide range of recently completed films backed by the HBF, including this year’s official opening film, Indian drama Qissa by Anup Singh. IFFR strives to not only take a broad view, but also to zoom in on the particular and the peculiar. We closely monitor films and filmmakers that may be in danger of slipping through the net. After all, the publicity machine can be extremely ruthless at times. Films and makers that don’t make a lot of noise run the risk of being overlooked. To some extent, this is the case with the oeuvre of Danish film auteur Nils Malmros. Compared to the work of his countryman, provocateur and revolutionary Lars von Trier, Malmros’s work may seem modest, even intimate. However, although Malmros clearly bases his work on his own experiences and surroundings, his films are never a private affair. In a highly personal way, he is able to elevate his work to a level that appeals to and moves very many people. The films of German polymath Heinz Emigholz are just as remarkable. The programme IFFR has dedicated to his work, in cooperation with Het Nieuwe Instituut, focuses on his films about architecture. A wondrous collection of films in which buildings can be experienced rather than merely examined; in which cinema is not the servant of architecture, but in which the qualities of the medium are used to the full in order to foster a real dialogue between space and movement. Solid and protective though the architecture in Emigholz’s films (for example) seems, today we experience things differently. We are quicker to see threats, prompted perhaps by economic uncertainty coming at us from all directions. To a certain extent, justifiably. Violent natural phenomena, terrorist attacks, an everexpanding security apparatus; nothing can protect us against these. All that is left is survival. Hence the revival of the survival film. In the wake of blockbusters such as Gravity, Captain Phillips and All Is Lost, IFFR is showing a package of films in which people are mainly busy – literally – saving their skins. Action films, you could say – but Rotterdam wouldn’t be Rotterdam if it didn’t present a slight twist on this mainstream genre. And for those who have survived all this, there is of course much more: our Tiger Competitions; an extensive range of highquantity short films; a challenging programme that seeks out and pushes the boundaries of the medium, not to mention the many performances, get-togethers, debates and talks. In other words, owing to the absence of festival figurehead Rutger Wolfson it will undoubtedly be a slightly different festival this year, but nevertheless recognisably Rotterdam. Presenting, as ever, a rich, varied and inspirational programme that largely bears Rutger’s fingerprints. And, we are pleased to say, next year he will be back in person. We wish you a wonderful festival! Mart Dominicus interim artistic director, since November 2013 supervisory board member since 2010

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Jury Hivos Tiger Awards Competition The Tiger Awards Competition was established by IFFR in 1995. Having been a non-competitive event up until then, the idea behind the competition was to discover, highlight and support emerging film talent in world cinema. Every year, the jury of the Tiger Awards Competition names three equal winners. Since its inception, some 291 filmmakers have competed with their first or second feature-length films. Violeta Bava was born in Buenos Aires and works as a programmer at the Buenos Aires International Independent Film Festival, where she has been involved since its founding in 1999. She is co-director at the Buenos Aires Laboratory (BAL), a leading co-production market for Latin American independent film projects. Bava is also cofounder of Ruda Chine, a Film Production Company focusing on Latin American Films, and is a member of the Advisory Board at Torino Film Lab. She produced the feature film Back to Stay, which won many awards, including the FIPRESCI Award in 2011. Edwin was educated in graphic design in

his home town Surabaya before moving to Jakarta to study film. At first, he made short films only, but soon Edwin expanded his body of work with feature films, music videos and documentaries. In 2005, his Kara, the Daughter of a Tree became the first Indonesian short film ever invited to the Directorsâ&#x20AC;&#x2122; Fortnight in Cannes. Edwinâ&#x20AC;&#x2122;s feature debut Blind Pig Who Wants to Fly (2008) was awarded the FIPRESCI Prize in Rotterdam. In 2014, he returns to the port city as jury member in the Hivos Tiger Awards Competition.

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Nanouk Leopold is an established figure in Dutch art house cinema. She studied Directing at the Dutch Film and Television Academy. She won the Tuschinski Award for her graduation film Weekend (1998) as well as the Kodak Prize at the Munich Film Festival. Her feature debut Îles flottantes was nominated for a Tiger Award at IFFR 2001. In cooperation with visual artist Daan Emmen, she started ‘Beeldcollectief Leopold Emmen’ which led to the film Close-up (2009). Her latest film It’s All So Quiet, based on the novel by Gerbrand Bakker, was the opening film of the Panorama Special programme at the Berlinale in 2013, going on to win awards worldwide.

is a Japanese actress and producer. She made her acting debut in One Shining Day, in which she played the lead role. In 2010, she produced and acted in Hospitalité, winning the Best New Actress Award at the Yokohama Film Festival. At the Tokyo International Film Festival, the film was also awarded Best Picture in the Japanese Eye Division. The film Odayaka (2012) brought her a Best Creator and Actress Award and a New Producer Award. In 2011 and 2013, the film festivals in Tokyo and Taipei devoted special programme sections to Sugino. Kiki Sugino

left Israel at the age of 21 to travel around Europe and the United States. In 1981, New York became his home base, where he directed his first two short films. His Introduction to the End of an Argument (1991) was a critique of Western representations of Arabs and Palestinians. In 1994, Suleiman moved to Jerusalem where he established a faculty for film and other media at Birzeit University. His worldwide breakthrough came in 2006 with Divine Intervention, which got him the Jury Prize in Cannes. Suleiman has served as a (head) jury member at many film festivals, such as Abu Dhabi and New Horizons.

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Elia Suleiman

43RD INTERNATIONAL FILM FESTIVAL ROTTERDAM

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Jury Tiger Awards Competition for Short Films In the IFFR section Tiger Awards Competition for Short Films, 24 films of up to 60 minutes in length will be presented to an international jury. The winners of the three Canon Tiger Awards for Short Films, each with a cash prize of €3,000 plus a video camera, will be announced on Sunday, 26 January at 21:00 hours in LantarenVenster. Mati Diop lives and works in Paris and is both filmmaker and actress. While attending Le Fresnoy and Le Pavillon (Palais de Tokyo), she directed her first four short films. She is the niece of the great Senegalese film director Djibril Diop Mambéty, and made her film A Thousand Suns (2013) as a homage to his Touki bouki. In Rotterdam, Diop has won a Tiger Award for Short Films twice: in 2010 for Atlantiques and in 2012 for Big in Vietnam. In 2014, she is in Rotterdam with A Thousand Suns and as a jury member for the short films competition. Bart Rutten is an art historian and curator at the Stedelijk Museum, Amsterdam. He focuses on film and video art, conceptual art and installation art, and on the merging of fine arts with other cultural expressions. Previously, he worked at the Stedelijk Museum in ‘s Hertogenbosch and the Dutch Media Art Institute. As a guest lecturer in video art, he has visited art schools and universities worldwide. Rutten is a member of various advisory councils, including the One Minute Foundation, and appears every month as a speaker in the Dutch television programme Kunstuur. Mika Taanila graduated

in Video at Lahti University of Applied Sciences. He is based in Helsinki and works as a filmmaker and artist in the fields of documentary, avantgarde filmmaking and visual arts. Many of his films and installations deal with utopias in historical and contemporary science. For several years, Taanila was the programmer of Avanto, until 2009 an important festival in Finland for experimental films. His work has been shown at numerous international film festivals and solo and group exhibitions. His film Six Day Run was nominated in 2013 for a Tiger Award for Short Films. European Film Academy – European Short Film Award

At IFFR, the jury of the Tiger Awards Competition for Short Films will nominate one European film to enter the competition for the European Short Film Award. The nominee will be announced on Sunday, 26 January at 21:00 hours in LantarenVenster. The members of the European Film Academy will vote for the overall winner, which will be presented at the European Film Awards Ceremony in December.

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HIVOS Tiger Awards Competition

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Hivos Tiger Awards Competition

Casa Grande Fellipe Barbosa The big house of the title is indeed a very large one in a chic neighbourhood of Rio de Janeiro, where Jean (17) lives with his younger sister and parents. Naturally, there is also staff: a driver and two housekeepers. Jean is in his last year at secondary school, has to choose what to study and is busy with girls, his appearance and nightlife – as he should be. Above this well-organised and elitist world, dark clouds gather when it becomes apparent that his dad, without informing his children, has nearly used up all his money. This first fiction feature by Fellipe Barbosa, who previously made it clear with the documentary Laura that he had an excellent eye for the customs of the New York upper class, provides a sharply drawn and authentic picture of growing up among the elite of Rio. He also reveals himself to be an excellent narrator who regards his characters both critically and lovingly, with subtle detail; worried parents, unconcerned maidservant, girlfriend from a different class, a sister no one listens to. While looking at grand and topical themes such as class differences and racism, Casa Grande is nonetheless also very personal and partly autobiographical. The cast, acting naturally and comprising a well chosen mix of TV stars and non-professional actors, clearly are enjoying their work.

WORLD PREMIERE

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Nånting måste gå sönder Something Must Break

Ester Martin Bergsmark Two kids, the big city. The city is Stockholm, not seen here as a collection of tourist attractions, but on the fringes: deserted industrial areas, grubby clubs, badly maintained parks. And then there are the kids. The gay Sebastian dresses as a woman and often seeks danger in his sexual adventures with strangers. When things nearly go wrong in a public toilet, there is Andreas – a guardian angel in a scruffy leather jacket. Even though Andreas isn’t gay, the attraction between them turns out to be more powerful than any labels. Director Ester Martin Bergsmark was inspired by the cult novel You Are the Roots That Sleep Beneath My Feet and Hold the Earth in Place by his partner Eli Levén, with and about whom he had previously made the hybrid documentary She Male Snails. But he also bases it on his own experiences as a transgender. Bergsmark captures the turbulent relationship between Sebastian and Andreas in energetic, jumpy punk images that mesh with the underground in which their lives are set, but juxtaposes these with dreamy sequences filled with images of nature, focusing on the awakening of Sebastian’s other identity. The result is an intimate and energetic picture of people looking for who they can be and are allowed to be.

INTERNATIONAL PREMIERE

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Happily Ever After Tatjana Božic´ ‘All I want is a calm, good life with a man I love!’ filmmaker Tatjana Božić exclaims desperately after the umpteenth relationship crisis. She just can’t hold down a lengthy relationship for some reason. What is wrong with her? Her love resumé reads like a travelogue through European culture: Božić went from the romantic Russian soul of Pavel via the German weltschmerz of Frank and the British reliability of Jacob to the Dutch level-headedness of Rogier. In an ultimate attempt to keep the last man – with whom she has a child – Božić faces up to her exes, and above all to herself. In archive footage, family films and old photos, Božić relives her youth and her relationships. She films everything as she sees her old lovers again, even the intimate and occasionally painful conversations that follow. Božić is just as uncompromising when she registers the many quarrels with her present husband. Of course many people have advice for her: ‘The problem is in your head, not in your men,’ or: ‘Keep silent and suffer if you want to keep your marriage.’ Happily Ever After is an open-hearted self-portrait of a woman stuck between the urge for freedom and the conventional ideal of true love, marriage and a ‘happily ever after’. Intimate street portraits of random women throughout Europe give this personal document a universal feel.

WORLD PREMIERE

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Mein blindes Herz My Blind Heart

Peter Brunner Christos Haas, who plays the role of Kurt, suffers from Marfan Syndrome (a genetic disorder of the connective tissue, which causes hearth problems, blindness and extreme growth) in real life. But the film is much more than a document of Christos’ condition. After killing his clinging mother, Kurt goes on a journey that blurs the boundaries between perpetrator and victim. He meets other disabled people in a care home, drifts about in the confines of that society, befriends Conny, a thirteen-year-old escapee from a broken home who readily participates in Kurt’s protest against his body, ignoring the abyss into which his body is heading. The film, while also being a study of a disabled person from the perspective of that character, surprisingly but effectively also questions fundamental issues through poetic narrative and stunning black-andwhite images. The contrast between the formal aesthetics and the often unbearable content perfectly reflects Kurt’s contradictions. Where to draw the line between judgment and compassion? How to deal with the disturbing conflict between condition and will, survival and morality, and the extensive technological environment of our times, which seems to turn our bodies into a distant object? How much guilt can one individual endure?

EUROPEAN PREMIERE

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Pavang rak Concrete Clouds

Lee Chatametikool As an editor, Lee Chatametikool has acquired the reputation of being a kind of doctor, the way you also have script doctors: someone who can get good stories that have foundered back on track and who doesn’t just heal but also improves. He has also released those magic healing powers in his feature debut as a director. A widely branching and layered story acquires an almost lighthearted form. Two time periods are flexibly interwoven. The film focuses on two brothers in Bangkok in 1997, the year when the Asian economy collapsed. But the childhood and school years of the brothers are just as important for the mood of the story. The filmmaker evokes the mood cleverly by reconstructing complete television and music shows from the period with his actors in the leading roles. The elder brother returns from New York to Bangkok after the father has committed suicide because of the crisis. He has to clear up the financial situation in the family company and look after his younger brother. Both brothers cherished a puppy love and this evokes yet other crises. This unusual and complex debut probably can’t be described as autobiographical, but Chatametikool did introduce his personal experiences as well: just like his protagonist, he moved between two cultures: America and Thailand. EUROPEAN PREMIERE

Thailand/Hong Kong/China, 2013 | colour, DCP, 99 min, Thai/English Prod: Apichatpong Weerasethakul, Sylvia Chang, Anocha Suwichakornpong | Prod Comp: Kick the Machine, Far Sun Films, Electric Eel Films | Sc: Lee Chatametikool | Cam: Jarin Pengpanich | Ed: Lee Chatametikool, Kamontorn Eakwattanakij | Prod Des: Akekarat Homlaor | Sound Des: Akritchalerm Kalayanamitr | With: Ananda Everingham, Janesuda Parnto, Apinya Sakuljaroensuk, Prawith Hansten | Print/ Sales: Mosquito Films Distribution | www.houdinistudio.com/films/concreteclouds Public SCREENINGS Fri 24-1 22:00 Pathé 7 Sat 25-1 09:15 Pathé 2 Mon 27-1 21:45 Pathé 2 Wed 29-1 20:00 LantarenVenster 3 Sat 1-2 11:30 Cinerama 4

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Yamamori clip koujo no atari Anatomy of a Paper Clip

Ikeda Akira Gawkish Kogure passively allows himself to be cursed by the boss of the paperclip factory where he works as a paperclip bender. Without protest, he lets his clothes be stolen by fairly clumsy thieves. Kogure doesn’t put up a fight about anything. One day he finds a butterfly in his small flat; he allows the insect to fly to freedom. Another day he finds a woman speaking strangely (a gibberish invented by the makers) in his flat. He lets her stay, just like her father who turns up. In Kogure’s imagination, the woman is a transformation of the butterfly. Anatomy of a Paper Clip is an unusual romantic comedy. The humour is fairly bizarre and the staging unreal. The story is like a fairytale, but not the colourful childlike kind; everything has a black edge. Ikeda Akira sketches a strange, small world where peculiar and fairly unsavoury food gets eaten. Yet the mechanisms of work and relationships look suspiciously like those in the real world. Ikeda based his story on the mood and magic of old Japanese folk stories. The final film emerged in close corporation with the actors, most of whom had worked previously with the filmmaker (for instance in his debut film Blue Monkey). Anatomy of a Paper Clip was made under the auspices of the PIA film festival in Tokyo, which has a reputation for finding and guiding new film talent.

EUROPEAN PREMIERE

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War Story Mark Jackson An exhausted woman is at the desk of a small hotel in Sicily. She is being rather difficult, has special wishes and doesn’t explain much. Lee (a brilliant role by Catherine Keener) is a war photographer, just back after being held hostage in Libya. She spends her days chain-smoking in bed, unable to discuss her feelings. In her self-imposed isolation, she shuts herself off from any human contact. Between naps, she roams the streets of Sicily, her camera always at the ready. It’s a way to understand the world while keeping it at arm’s length. The only person she visits is her former mentor and lover (Ben Kingsley), who tries to get through to her with confrontational questions. Only when Lee meets a young Tunisian refugee and decides to help her, there is a breakthrough in her own healing process. War Story is a captivating film about a traumatised woman who can no longer flee her past. With delicate camerawork, director Mark Jackson provides a striking picture of Lee’s inner world. Without looking for an explanation, the film slowly but surely provides the necessary hints about Lee’s past. Together with the protagonist, the viewer searches for the elusive story she holds within her. This is Jackson’s second feature. His debut Without won several prizes at international festivals.

INTERNATIONAL PREMIERE

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Han Gong-Ju Lee Su-Jin As a victim, how do you come to terms with a traumatic event if the whole world seems to blame you for it? That’s the question facing 17-year-old Han Gong-Ju. After an incident in the small Korean village where she grew up, she is banished; sent to the large port of Incheon. Here, the viewer becomes acquainted with Gong-Ju: lonely, isolated. She shyly seeks solace with the grumpy old woman who has taken her into her home, for instance by working for her in her small supermarket. At school, she slowly allows her classmate Eun-Hee to make friends with her, and she allows herself to be enrolled in the local a cappella singing group with apparent reluctance. But everything is coloured by that incident in the past that remains shrouded in mist for the viewer for a long time. Director and scriptwriter Lee Su-Jin deliberately leaves many questions in the air in order to provide small snippets of information in flashbacks. Where are Gong-Ju’s parents? Why doesn’t she see her old friends any more? And above all: what happened that meant she had to be banished? As the camera stays close on Gong-Ju all the time, we slowly break through her meticulously constructed armour. But will she really be able to leave the past behind her?

EUROPEAN PREMIERE

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Kombinat Nadezhda The Hope Factory

Natalia Meschaninova Due to its vast industrial areas and enormous industrial output, the Russian city of Norilsk has become one of the most polluted places in the world. However, despite the persistent ecological crisis, the severe northern climate and harsh living conditions, life goes on there in its own extreme, as well as routine, way. But the will to live that such an existence fosters is actually the will, or rather the dream, to escape, especially for a young generation. A desperate, hardly possible dream that moves and traps its adherents, turning against them. Norilsk, with its arctic landscapes, huge factories, anonymous soviet architecture and post-soviet capitalism, is the gripping backdrop and important protagonist of The Hope Factory, the first feature by Natalia Meschaninova, a young filmmaker with an extensive background in documentaries. A dramatic coming-of-age story about two girls – two rivals who pursue the same goal of leaving their homeland but who take different steps to reach it, testing the blurring boundaries of morality and transgression. Restlessly shot on a hand-held camera and genuinely performed by mostly first-time actors, this kinetic docudrama nearly gets under the skin of its characters and raises universal issues about the ‘age of blooming’.

WORLD PREMIERE

Russia, 2014 | colour, DCP, 90 min, Russian Prod: Elena Stepanischeva, Zaur Bolotaev, Alexander Plotnikov | Prod Comp: First Creative Union, Look Film | Sc: Natalia Meschaninova, Lubov Mulmenko, Ivan Ugarov | Cam: Eugeny Tsvetkov, Ivan Mamonov | Ed: Daria Danilova, Dmitry Kubasov | Prod Des: Olga Urasova | Sound Des: Saulius Urbanavicius | With: Daria Savelieva, Polina Shanina, Maxim Stoyanov, Stepan Devonin, Daniil Steklov, Ivan Prill | Print/Sales: First Creative Union | www.1tvo.ru/portfolio/nadezhda Public SCREENINGS Sat 25-1 22:00 Pathé 7 Sun 26-1 09:15 Pathé 6 Mon 27-1 21:45 LantarenVenster 1 Thu 30-1 15:45 Pathé 4 Sat 1-2 09:15 Pathé 6

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Stella cadente Falling Star

Luis Miñarro At first sight, Falling Star presents itself as a historic film about the brief rule of Amadeo van Savoy, a prince from Turin who was king of Spain for two years. His mainstay, the powerful General Prim, was murdered before Amadeo was properly installed and then he had no one to fall back on; Spain in 1871 was already plagued by administrative and financial crises. In this feature debut by Luis Miñarro, who is so far best known as a producer, we can feel the (contemporary) crisis as a source of inspiration and resistance, albeit in an unusual way. The king withdraws into himself in order to escape from his loneliness and frustrations. Things aren’t safe outside the palace, and within its walls Amadeo and his servants succumb to playful adventures which focus on love and pleasure, food and drink, beauty and melancholy. And in that labyrinthine story it is soon no longer strange that the historic film adopts the form of a musical, with French chansons or dreamy homoerotic melodrama. The beautiful tableaux are filled with casual references to art and literature, from Baudelaire to Lucian Freud and Caravaggio. Amadeo is played with intensity and elusiveness by Alex Brendemühl, colourfully and radiantly filmed by Jimmy Gimferrer, cameraman for Albert Serra, among others. WORLD PREMIERE

Public SCREENINGS Mon 27-1 15:45 Pathé 4 Tue 28-1 12:15 Pathé 6 Wed 29-1 17:00 LantarenVenster 3 Thu 30-1 21:45 Pathé 6 Sat 1-2 14:30 Cinerama 2

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Arwad Samer Najari, Dominique Chila The tiny island of Arwad off Syria’s coast has a long history. It is one of those places that, just like its inhabitants, never seems to change. When you leave, as Ali once did, letting go is tough, however perfect your new life may seem. Using small jumps in time, the directors Samer Najari (half Syrian, half Lebanese, born in Moscow, currently residing in Canada) and Dominique Chila tell the story of an emigrant from the perspectives of Ali, his wife Gabrielle and his mistress Marie. Ali has an emotional crisis after his mother’s death. In spite of his nice family and great job, he feels like an outsider in Canada, his new homeland. But returning to his birthplace, Arwad, doesn’t offer solace either. During his stay there with Marie, Ali drowns whilst swimming at night. Was it an accident or suicide? Both Marie and Gabrielle struggle with the question, which they have to answer alone. Gabrielle has to carry on with her two daughters; Marie can’t talk to anyone about Ali. In their sincere, soberly filmed, balanced and consummate debut, directors Najari and Chila give their characters room for their emotions, convincingly played by a strong cast. The sparse, effective score of bouzouki, guitar and oud emphasises the loneliness and loss felt by all.

INTERNATIONAL PREMIERE

Public SCREENINGS Tue 28-1 22:00 Pathé 7 Wed 29-1 12:30 Pathé 7 Thu 30-1 22:15 LantarenVenster 3 Fri 31-1 09:15 Pathé 5 Sat 1-2 22:00 Pathé 7

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Riocorrente Riverrun

Paulo Sacramento ‘It has to start somewhere. It has to start sometime. What better place than here? What better time than now?’ This is how Riocorrente, a portrait of three people, but above all an impression of a moment of crisis, opens. The moment when tension is at its greatest, when change is unavoidable, when doing nothing is no longer an option. Carlos is a former car thief trying to stay on the straight and narrow, among other things by taking street kid Exu under his wing. Marcelo is an art critic for a major newspaper; living a life in the service of big ideas. Renata goes back and forth between the two: the ascetic and the Molotov cocktail thrower, the extremes of her desire. However, Paulo Sacramento’s elliptic film – dedicated to Brazilian director Carlos Reichenbach, who died in 2012 – is not about the love triangle melodrama. Its focus is more on the pressure that has built up within the three. Not the narrative’s facts but its atmosphere, created using brooding images, and the indefinable soundtrack are important. Balance has been lost, an inequality has lasted too long and now has to change. The film therefore also has a lot to say about contemporary Brazil. Not as a didactic pamphlet, but as an urgent, poetic reflection on a society in which everything is set to change.

INTERNATIONAL PREMIERE

Brazil, 2013 | colour, DCP, 79 min, Portuguese Prod: Paulo Sacramento, Pablo Torrecillas, Moema Muller | Prod Comp: Olhos de Cão | Sc: Paulo Sacramento | Cam: Aloysio Raulino | Ed: Idê Lacreta, Paulo Sacramento | Prod Des: Akira Goto | Sound Des: Ricardo Reis, Armando Torres Jr. | Music: Paulo Beto | With: Lee Taylor, Simone Iliescu, Roberto Audio, Vinicius dos Anjos | Print/Sales: Olhos de Cão | www.riocorrenteofilme.com.br Public SCREENINGS Fri 24-1 19:15 Pathé 4 Sat 25-1 22:15 Pathé 3 Mon 27-1 19:15 Pathé 4 Thu 30-1 09:30 LantarenVenster 2 Sat 1-2 09:15 Pathé 5

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Vergiss mein Ich Lose My Self

Jan Schomburg Undiagnosed meningitis erases successful academic Lena’s biographical memory. The medical diagnosis: retrograde amnesia, i.e. she recognises no one, including herself. She knows the words, but they no longer have meaning. Terms like rain, love and anger are empty. She has to reshape her ‘self’ like a first-time actress learning her lines. Her husband Tore tries to teach her everything again with ‘love and patience’. The last thing he makes Lena accept is that she loved him and that their joint past has the meaning it bears for Tore. In Lose My Self, Jan Schomburg, who also had a female lead see life’s certainties erased before her very eyes in his prize-winning debut feature Above Us Only Sky (2011), utilises Lena to examine how identity is shaped. To what extent is it determined by environment? In Lena’s prosperous, progressive bourgeois milieu in which total selffulfilment seems a god-given right, the brain-mangling concept of no longer having memory leads to more universal questions about identity, freedom and choice. Maria Schrader plays the helpless, yet in her personal vacuum almost invulnerable, Lena intensely, yet ironically and humorously.

WORLD PREMIERE

Germany, 2014 | colour, DCP, 95 min, German Prod: Claudia Steffen, Christoph Friedel | Prod Comp: Pandora Film Produktion GmbH | Sc: Jan Schomburg | Cam: Marc Comes | Ed: Bernd Euscher | Prod Des: Cora Pratz | Sound Des: Andreas Hildebrandt | Music: Tobias Wagner, Steven Schwalbe | With: Maria Schrader, Johannes Krisch, Ronald Zehrfeld, Sandra Hüller, Paul Herwig, Jeff Zach | Print/Sales: The Match Factory Public SCREENINGS Mon 27-1 20:00 Pathé 1 Tue 28-1 12:30 Pathé 7 Wed 29-1 12:30 LantarenVenster 3 Fri 31-1 21:45 Pathé 6 Sat 1-2 19:30 Cinerama 5

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Afscheid van de maan Farewell to the Moon

Dick Tuinder It’s the hot summer of 1972: the Americans launch their last mission to the moon; also a time of dungarees and hallucinogenic wallpaper. On the eighth floor of a new Dutch apartment block, 12-year-old Duch lives with his family. His hobbies are space travel and Mary, the pretty woman next door. Duch’s father prefers to watch the neighbour who recently moved in two doors down. Her arrival makes the residents aware of the free-sex morality. Up until now it had left the eighth floor untouched, but that is clearly not to everyone’s satisfaction. Visual artist Dick Tuinder contrasts the tragicomic adventures of his protagonists with the lost illusions of the transitional year 1972. In 1969, there was still optimism and the first man stood on the moon. Three years later, the Vietnam War had been virtually lost and the oil crisis was approaching. While radio and TV reports brought world news into living rooms, things got pretty much out of hand on the eighth floor. Farewell to the Moon is a lot like an exuberant sitcom, but the film certainly doesn’t have the cardboard cutout sets that go with the genre. On the contrary: every detail looks authentic. Tuinder filmed on location in the Zonneflat in Deventer – a block like many another in Holland, but also where he happened to grow up. This could confirm the suspicion that the film has more than a touch of autobiography.

WORLD PREMIERE

Public SCREENINGS Wed 29-1 20:00 Pathé 1 Thu 30-1 12:30 Pathé 7 Fri 31-1 19:15 Pathé 4 Sat 1-2 16:30 Cinerama 6

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Viktoria Maya Vitkova Viktoria is born – without an umbilical cord – against the will of her mother, who never wanted to give birth in communist Bulgaria. After having this baby that she tried to abort, her lifelong dream of fleeing to the West can hardly come true. On top of that, Viktoria becomes a symbol of the Communist regime her mother hates so badly. Thanks to her unusual physique, the girl is proclaimed ‘baby of the future’ and is taken to live in socialist luxury. Until one day the Eastern Bloc falls apart, confronting mother and daughter with each other again. The opening credits say that this film, which will shortly turn into an incredible epic tale, even a dark fairy tale, is based on a true story. Indeed, it works both ways. Director Maya Vitkova follows the strong line of new Romanian cinema, particularly its deconstruction of the Socialist past. On the other hand, she mixes this rigorous tradition with unforced magic realism, if not surrealism, allowing the bleak realities of late Socialism to be visually rich and filled with graphic symbols. Linking the intimate history of a dysfunctional family to the grand history of Eastern Europe, the film visualizes the veritable ‘blood ties’ between the personal and the impersonal, between homeland and desolation, revolution and alienation.

EUROPEAN PREMIERE

Public SCREENINGS Sun 26-1 15:45 Pathé 4 Mon 27-1 09:30 Pathé 4 Tue 28-1 15:30 Pathé 3 Thu 30-1 15:00 LantarenVenster 3 Sat 1-2 18:45 Pathé 4

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our Tempo

Lorena Zilleruelo

Deborah Stratman

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hacked Circuit In these post-Snowden revelation times, Gene Hackman’s Coppola directed embodiment of surveillance expert Harry Caul is brought into pertinent resonance with the black arts of foley artist Gregg Barbanell. Multiple layers of fabrication and imposition are laid bare by this fluidly choreographed, singleshot embodiment of control. We’re unambiguously reminded that professionalism still means invisibility, but we’ll need to tear more than our rooms apart to find that bug. See also Immortal, Suspended in the compilation programme Order of Things.

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notre tempo

Notre tempo is a rhythmic portrait of the Roma teens Tabita, Geanina and Denis who live in a camp in Roubaix, Northern France. They talk openly and honestly about daily life, which the threat of eviction and the absence of parents or the right papers make very uncertain. They enjoy going to school, playing, singing and dancing and take life at face value with a disarming smile.

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walk with me Johan Oettinger, Peter Tukei Muhumuza This complex, sometimes dark short film skilfully combines animation and feature film techniques. The two directors were brought together as part of the Copenhagen documentary festival’s Dox:Lab project. Walk with Me was shot in Uganda and completed in Denmark. A young girl in Uganda dreams of being a ballerina, which is remarkable and almost infeasible in rural Africa.

world premiere Uganda/Denmark, 2014 | colour, video, 12 min, no dialogue Prod: Johan Oettinger, Nathan Magoola, Patricia Drati Rond, Ellen Riis, Tine Fischer | Sc/Cam: Johan Oettinger, Peter Tukei Muhumuza | Ed: Jesper Maintz | Sound Des: Rune Thuelund, Troels Floe Kristensen, AudioNation | Music: Marybell Katastrophy | With: Melanie Kemigisa, Lillian Kateba, Frederik Fikadu Oettinger | Print/Sales: Johan Oettinger

nch

giant Salla Tykkä Giant was filmed at the famous, Romanian, Communist-era gymnastics schools of Onesti and Deva where people still train fanatically. Top young gymnasts talk about their love of the sport, their fears and dreams. The combination with archival material from the 1970s onwards lets Tykkä reveal links between the photogenic sport and the severe, modernist architecture of the sports centres.

The Chimera of m. Sebastian Buerkner The Chimera of M. is a beautiful, stereoscopic 3D animation. Buerkner uses the computer to create abstract interiors, stylised forms and fluid coloured planes in many layers. The voice-over guides us through an ambivalent universe: a web of spatial deception, snatches of dialogue and moral quandaries. Portrayals of couples’ misunderstandings, contained arguments, desires, intimacy and lust. A confusing delight for eye, ear and mind.

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here is everything Emily Vey Duke, Cooper Battersby Art video has not yet outworn its practical, conversation evolving utility. A cat and rabbit, our spirit guides from the future, realise we’re pretty confused about a lot of things and having already tried architecture – which we ignored – finally set out to put us right. They remind us of tapeworms, of the gutter and that we seem drawn to fire, whilst nudging us towards a horizon of dogma-free affirmation and possibility.

eUropeAn premiere USA/Canada, 2013 | colour, video, 14 min, English Prod/Sc/Cam/Ed/Prod Des/ Sound Des: Emily Vey Duke, Cooper Battersby | Print/Sales: Emily Vey Duke | www.dukeandbattersby.com

Carlos Motta

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nefandus Trilogy Two men seek unknown stories and coloured historical reports on sexuality and sodomy in pre-colonial South America. The indigenous inhabitants were politically, religiously and sexually subjugated by their colonisers. Pecados nefandos or horrific sins were harshly punished. Untrammelled beauty versus a coercive sexual moralism. A stimulating, three-part visual essay: Nefandus, Naufragios and La visión los vencidos.

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it has Already Been ended Before You Can See the end Arikawa Shigeo Idiosyncratic film with an inner rhythm, tangible from the start. A window opens, but the perspective never really moves outside. This universe is created solely indoors with some insects, cacti and the movement of light. Talented Japanese artist Arikawa Shigeo visualises our experience of time in his own unique style, which is mysterious, yet utterly consistent. A film that works like a time vacuum; closed, yet not hermetic.

inTernATionAl premiere Japan, 2012 | colour, DCP, 11 min, no dialogue Prod/Sc/Cam/Ed:/Prod Des/ Sound Des/Print/Sales: Arikawa Shigeo | www.back2now.org

Ancha es Castilla/ n’importe quoi Sergio Caballero In this grotesque story, Sergio Cabellero (a Tiger Award winner with Finisterrae) pays homage to the horror film sub-genre exorcism. The visual style, inspired by Goya’s black paintings, alternates artificial, absurdist and improvised puppetry animation with ditto live action. Cabellero always first shoots a number of separate situations. The story, the dialogues and the soundtrack develop in the editing room. See also The Distance.

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Chu-Li Shewring, Adam Gutch

Michael Moshe Dahan

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Two points of Failure Various events can be blamed for the disappearance of analogue film. Two Points of Failure uses an anecdote from 1976, when Jean-Luc Godard commissioned the development of a handy 35mm camera with the compactness of an 8mm and the userfriendliness of the Portapak, the first portable video camera. The image looks like a liquid slide disintegrating in a chemical solution; a memento mori for a film medium.

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working to Beat the devil Opening with, ‘There must have been some strange error in these experiments, the solution must have been too strong’, this deeply cinematic incantation shows that nothing could be more wrong. Conjuring up Shelley’s Frankenstein, the natural history films of Jean Painlevé, and speaking in the words of Darwin, the film instils a quiet yet powerful sense of wonder in rediscovering the wild shapes of nature.

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hai shang huang gung The palace on the Sea Midi Z Simple, yet complex. A man (favourite actor Wang Shin-hong) meets a woman (favourite actor Wu Ke-xi) on a moored ship, a sort of floating palace decorated like a Buddhist temple. The woman or her spirit struggles with her memories and the man takes on the form of a Buddhist monk in his next life. Complex and yet simple. The man, the woman and the camera move gracefully ‘dancing’ through the space. Only the thought of escape.

inferno Yael Bartana Inferno deals with the current construction of the third Temple of Solomon (Templo de Salmão) in São Paulo, by the Universal Church of the Kingdom of God. Built to biblical specifications, this new temple will be a replica of the first temple in Jerusalem, the violent destruction of which signalled the dispersal of the Jewish people in the 6th century BC. Shot and edited in grandiose Hollywood style, Inferno mingles fact and fiction, prophesy and history.

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PUBLIC SCREENINGS Sat 25-1 20:00 LantarenVenster 1 Sun 26-1 12:00 LantarenVenster 1 Fri 31-1 15:15 Pathé 6

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Thing Anouk De Clercq An architect talks about the city he built. We travel through his virtual memory to a boundless, imaginary space. About a place’s memory, about fictitious buildings and the continuation of the past in today’s urban patterns. The architect’s ideas do not take on a particular form, but that does not make them less appealing. Thing reveals an unreliable, yet beautiful reality.

o porto

The harbor Clarissa Campolina, Julia De Simone, Luiz Pretti, Ricardo Pretti Rio de Janeiro as we don’t know it. The Harbor shows us layers of a city haunted by progress. One port on top of the other. One city on top of the other. The camera can be a tool to excavate multiple invisibilities in space and time, buried and forgotten realms. Emptied urban spaces reveal a political project of capitalistic exploration, which is camouflaged with an idealised discourse on progress that repeats itself over the course of our history.

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world premiere Brazil, 2014 | colour, DCP, 21 min, Portuguese Prod: Clarissa Campolina, Julia De Simone | Prod Comp: Teia Filmes, Mirada Filmes, Itaú Cultural | Sc/Cam/Ed: Clarissa Campolina, Julia De Simone, Luiz Pretti, Ricardo Pretti | Prod Des: Julia De Simone | Sound Des: Pedro Aspahan, Hugo Silveira | Music: Pall Nilssen-Love, Mats Gustafsson | Print/Sales: Teia Filmes

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even pricks Ed Atkins Even Pricks is a slick Tourettes tic, an ‘I Like’ smog of Hotel California and handclaps, shimmering with the glossy seductive joy of CGI. Instead of bringing us the hard sell, it’s abundantly underfilled and sincerely insecure, recalling the sweetly troubling bass lines of 1970s French psychedelic pop and pastel-coloured dreams too good to be true. But that can’t stop it tasting so good.

English

uguese

inTernATionAl premiere UK, 2013 | colour, video, 8 min, English Prod/Sc/Cam/Ed/Prod Des/Sound Des/ Music: Ed Atkins | Print/Sales: CABINET

letter to a refusing pilot Akram Zaatari In the summer of 1982, a rumour made the rounds about an Israeli fighter pilot who had been ordered to bomb a target in Lebanon. Knowing the building was a school, he veered off course and dropped his bombs into the sea. Letter to a Refusing Pilot is a study of this act of defiance which marked Zataari’s childhood memories. Oscillating between documentary, essay and comingof-age-drama, this film analyses a personal gesture in the face of a greater conflict.

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A s c p s c P v w d t t a p

la isla

The island Dominga Sotomayor, Katarzyna Klimkiewicz Family reunion on a beautiful, quiet island in Chile explores the places where memories of a carefree existence come to the fore. They wait for Jaime, who should have arrived earlier that day. This magical, subtle film is the first cooperation between Tiger Award winner Sotomayor and Klimkiewicz, who were inspired by a Wislawa Szymborska poem and personal memories of youth.

inTernATionAl premiere Chile/Poland, 2013 | colour, DCP, 30 min, Spanish Prod: Rebeca Gutiérrez Campos, Jan Naszewski | Prod Comp: Cinestación, New Europe Film Sales | Sc: Katarzyna Klimkiewicz, Dominga Sotomayor | Cam: Inti Briones | Ed: Catalina Marín | Prod Des: Valentina MacPherson | Sound Des: Julia Huberman, Roberto Espinoza | With: Rosa García-Huidobro, Francisca Castillo, Gabriela Aguilera, Niles Atallah, Carmen Couve | Print/Sales: New Europe Film Sales | www.facebook.com/LaIsla

Village modèle model Village Hayoun Kwon Kijong-dong, a propaganda village from the 1950s, is situated in one of the world’s most inaccessible spots: the Korean demilitarised zone. From South Korea it can only just be seen and looks like a film set. The brightly painted concrete flats are empty shells, the flagpole is one of the tallest in the world and the loudspeakers blast nationalist slogans and songs. Model Village envisages a visit to this forbidden zone.

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grandma’s dream Laure Prouvost A partner to Wantee, we’re instantly seduced by Grandma’s Dream – carpets, dancing, silky bottoms, planes that are half-teapot, half-plane serving tea from the sky, and where conceptual art takes care of dinner. Prouvost brings us a rosy blue-sky vision, but one that’s also suffused with anxiety, asking us to draw the dots, add our own associations to the images and powerfully complete the meaning for ourselves. See also Wantee in the compilation programme Dreams and Myths.

inTernATionAl premiere UK, 2013 | colour, video, 9 min, English Prod/Sc/Cam/Ed/Prod Des: Laure Prouvost | Print/Sales: LUX | www.laureprouvost.com

n, Spanish

Trento Symphonia Flatform At sunset a large orchestra, a choir and a group of young people position themselves against the backdrop of a mountain landscape. The musicians play the first section of Mahler’s 8th Symphony, moving in precise choreography. Then, almost unnoticed, groups of them start disappearing and in the dying light, not only the landscape, but also the sounds slowly dissolve into twilight.

, Korean

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Tiger Awards Competition for Short Films 6 PUBLIC SCREENINGS Sun 26-1 19:30 LantarenVenster 1 Mon 27-1 14:15 LantarenVenster 1 Fri 31-1 09:15 Pathé 6

The Backup Tapes from moon and mars eteam In Pennsylvania, eteam discovered the towns Mars and Moon that seem to be simulations, scale models for testing whether people could live on other planets. With a cultural anthropologist’s perspective they view the dark and sunny side of human society from the future: ‘This is no barbershop, this is the last undercover recharge center for humanity.’ A melancholy portrait of U.S. society’s archetype.

inTernATionAl premiere USA, 2013 | colour, DCP, 34 min, English Prod/Sc/Cam/Ed/Sound Des: eteam | Print/Sales: Video Data Bank (VDB) | www.meineigenheim.org

A million miles Away Jennifer Reeder Contemporary relationship drama reaches its apotheosis to the beat of a 1980s heavy metal anthem. A woman (the conductor) is on the verge of a nervous breakdown and just like the teen girls (the choir) undergoes a transformation. Teacher and pupil roles are reversed when the woman can’t decipher her lover’s text message. Melancholy as a survival strategy in the American Mid-West.

The Voice Thief Adan Jodorowsky During a spat, opera singer Naya loses her enchanting voice. Desperate Noev journeys through Miami’s mythical underworld to recover his wife’s voice using supernatural means. His odyssey takes him to a dwarf prostitute’s lair, to a giant transvestite-worshipping sect and, ultimately, back to Naya, where the dark script for this surreal fairy tale climaxes violently.

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Oilfields Mines Hurricanes Fabian Altenried

WORLD PREMIERE

Germany/Iceland, 2014 | colour, video, 122 min, English/German/Icelandic Prod: Philipp Käßbohrer, Fabian Atenried, Kristof Gerega | Prod Comp: BTF, Schuldenberg Foundation | Sc: Fabian Altenried, Kristof Gerega and many others | Cam: Smina Bluth | Ed: Fabian Altenried, Kristof Gerega | Prod Des: Kristof Gerega | Sound Des: Dinah Rothenberg | Music: Victor Tricard | With: Kristof Gerega, Rúnar Lund, Mortiz Altenried, Hanne Bohmhammel | Print/ Sales: BTF | www.fabian-altenried.de Public SCREENINGS Tue 28-1 21:45 Pathé 3 Wed 29-1 16:45 Cinerama 3 Fri 31-1 19:45 LantarenVenster 2 Sat 1-2 11:30 LantarenVenster 6 Press & Industry SCREENING Mon 27-1 14:45 Cinerama 3

This road movie takes the classic idea of the genre – the search for your own identity – to the absurd. For the collective production Oilfields Mines Hurricanes, eighteen different screenwriters took turns writing a scene, without any hierarchy. The series of events in their fragmentary micro stories full of duckweed, mud and glaciers show no causal relationship. The number and sequence of the scenes are based on John Cage’s 639-year organ work As SLow aS Possible. Main character Salpa travels by car through a world that seems pretty strange – both to us, and to him. He is looking for something he’ll never find. Salpa is accompanied by a salp, a primitive fish he wears on his chin like a translucent beard. Salpa is like a migratory bird, drifting ever further from his destination. The voice-over also calls our attention to a flock of birds, which take decisions collectively, without a leader – the same way this film was made.

B for Boy Chika Anadu

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Even in the 21st century, having a son is still a really big deal in Nigeria. As Sanaka – a modern woman with a career, a daughter and a loving, understanding husband – finds out to her cost in this psychological drama. She is almost forty and pregnant with their second child. Her husband’s entire family – led by his mother – are passionately hoping that it will be a boy, and they will do anything to continue the family line. The film devotes a great deal of attention to the consequences of adhering to these traditional values for the various relationships: between Sanaka and her husband Noonso, between Noonso and his mother, but also between the various women. This also throws a sidelight on the complexity of relations within Nigerian society. Unexpected developments steer the film towards an inevitable clash between age-old values and modern visions of family, love and loyalty.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

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Las voces The Voices Carlos Armella

WORLD PREMIERE

Mexico/Argentina, 2014 | colour, DCP, 106 min, Spanish Prod: Yadira Aedo, Alejandro Moreno | Prod Comp: Dreammaker Productions | Sc: Carlos Armella | Cam: Diego Rodríguez | Ed: Carlos Armella | Prod Des: Marcela Venegas | Music: Carlos Mier | With: Gilberto Barraza, Waldo Facco, Jesús Vallejo, Natalia Gatto | Sales: Dreammaker Productions | Distr NL: Hubert Bals Fund Public SCREENINGS Mon 27-1 18:30 Pathé 2 Tue 28-1 22:15 Cinerama 4 Thu 30-1 11:45 LantarenVenster 5 Press & Industry SCREENING Sun 26-1 14:45 Cinerama 4

In 2006, Carlos Armella made his co-directing debut with Toro negro, an impressive docu portrait that undoubtedly was the inspiration for his own first feature. In the ominous The Voices, Armella asks what can happen to the main character of a documentary once their filmic purpose has been served. Filmmaker Sebastian makes the reverse journey from Mexico City that almost all of the inhabitants of the deserted, dusty hamlet La Estancia have made. Searching for inspiration (and a better life?), he comes across the two sole remaining residents: the aged Don Jesús Vallejo and his son Juan Diego. Fascinated by their isolated lives and Juan Diego’s absolute loneliness, Sebastian starts to film. The improbable but intense friendship that arises between them is rudely disrupted when Sebastian goes back to the city – but he promises to return. Years later, he keeps his word, and although Juan Diego seems nowhere to be found, their close bond still reverberates in the hamlet.

Rhymes for Young Ghouls Jeff Barnaby

INTERNATIONAL PREMIERE

Canada, 2013 | colour, DCP, 88 min, English/Mi’kmaq Prod: John Christou, Aisling Chin-Yee | Prod Comp: Prospector Films | Sc: Jeff Barnaby | Cam: Michel St Martin | Ed: Jeff Barnaby | Prod Des: Elisabeth Williams | Sound Des: Joe Barrucco | Music: Jeff Barnaby, Joe Barrucco | With: Kawennáhere Devery Jacobs, Glen Gould, Brandon Oaks, Mark Anthony Krupa | Print/ Sales: eOne Films International Public SCREENINGS Sun 26-1 22:15 Pathé 4 Mon 27-1 15:30 Cinerama 1 Tue 28-1 21:45 LantarenVenster 1 Sat 1-2 13:00 Oude Luxor Press & Industry SCREENING Sat 25-1 13:00 Cinerama 6

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The feature debut of Canadian director Jeff Barnaby, himself born on a Mi’kmaq reservation, is set against the background of the ‘residential schools’ tragedy: for almost a century the children of native Canadians were taken away from their parents, resulting in thousands of broken homes. It later emerged that many of the children at these schools were abused. Or even worse. In Barnaby’s brutal, hallucinogenic thriller, fifteen-year-old Aila takes over her father’s drug business following his arrest. But the recurring appearance of a sadistic native police officer brings the situation to a head. After she is imprisoned and her father is again arrested, Aila decides to take revenge. Barnaby does not merely show rage and vengeance, however. The fable of the wolf that consumes its own body, told by one of the characters in the film and referring to the drug trade, makes it clear that destructive forces are not only outside the reservation.

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The Ugly One Eric Baudelaire

France, 2013 | colour, DCP, 101 min, Arabic/Japanese/ French/English Prod: Eric Baudelaire | Prod Comp: Poulet-Malassis | Sc: Eric Baudelaire, Laure Vermeersch, Masao Adachi | Cam: Claire Mathon | Ed: Stéphane Elmadjian, Cécile Frey | Sound Des: Jean Holtzmann | Music: Julius Eastman | With: Rabih Mroue, Juliette Navis, Masao Adachi, Manal Khader | Print/Sales: PouletMalassis | www.pouletmalassis.com Public SCREENINGS Mon 27-1 21:45 LantarenVenster 6 Tue 28-1 14:00 Cinerama 6 Wed 29-1 19:15 LantarenVenster 5 Fri 31-1 11:30 Cinerama 6

Michel and Lili meet on the beach in Beirut, capital of Lebanon. We see glimpses of their lives, with a focus on particular events: a terrorist attack and the disappearance of a child. Who are Michel and Lili? What do they have to do with the attack? The screenplay for The Ugly One was written at the request of director Eric Baudelaire by Masao Adachi, about whom Baudelaire made the documentary The Anabasis of May and Fusako Shigenobu, Masao Adachi and 27 Years Without Images, which screened two years ago in Rotterdam. In the 1970s and 80s, Adachi was part of the extreme left-wing Japanese Red Army movement. The JRA fought not only in Japan, but also in Lebanon, where Adachi lived for many years, and where he actively supported the Palestinian revolution. On the soundtrack, we hear Adachi reminisce about this period and reflect on film and politics. Images of contemporary Beirut are interspersed with scenes featuring Michel and Lili.

Tonight and the People Neil Beloufa

INTERNATIONAL PREMIERE

France/USA, 2013 | colour, DCP, 81 min, English Prod: Jean des Forêts | Prod Comp: Petit Film | Sc: Neil Beloufa | Cam: Guillaume Le Gontrec | Ed: Ermanno Corrado | Prod Des: Dorian Gaudin, Florian Fournier | Sound Des: Arno Ledoux | Music: Arno Ledoux | With: Tony Audin, Willis Cooks, Alexandra Godinez, Trip Langley, Alex Rotaru, Joseph Bastian | Print/Sales: Petit Film Public SCREENINGS Fri 24-1 19:15 Cinerama 6 Sat 25-1 12:30 LantarenVenster 3 Mon 27-1 19:30 Cinerama 2 Wed 29-1 09:30 Cinerama 5 Press & Industry SCREENING Tue 28-1 17:00 Cinerama 7

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‘Hell is other people.’ This famous quote from the play No Exit hangs like a storm cloud above Tonight and the People. Like this one-act play by Sartre, the film is set in a single location – a television studio, where some cowboys, activists, hippies, gangsters and teenagers are waiting for something big to happen: the Apocalypse. To kill time, they talk about their ideals and dreams, how they imagine perfect love and the influence politics has on their lives. Gradually, they realise that the world has already ended and that they have been in hell for quite some time. Everything about the film is artificial: the dialogue, the claustrophobic setting, the stylistic nods to sitcoms and westerns, the world-weary approach to big themes. This represents an elaboration by director Neil Beloufa on his previous (multiple awardwinning) short video films. Beloufa’s feature debut has more than a little in common with the visual arts, which at times has a disorienting effect.

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Swim Little Fish Swim Lola Bessis, Ruben Amar

EUROPEAN PREMIERE

USA/France, 2013 | colour, DCP, 96 min, English/French Prod: Lola Bessis, Ruben Amar | Prod Comp: Les Films de la Fusée | Sc: Lola Bessis, Ruben Amar | Cam: Brett Jutkiewicz | Ed: Thomas Marchand | Prod Des: Yvette Granata | Sound Des: Arnaud Marten | With: Lola Bessis, Dustin Guy Defa, Brooke Bloom, Olivia Durling Costello, Anne Consigny | Print/Sales: Jour2Fête | www.swimlittlefishswim.com Public SCREENINGS Sun 26-1 18:30 Pathé 2 Mon 27-1 15:30 Pathé 7 Tue 28-1 15:30 Cinerama 1 Fri 31-1 11:30 Schouwburg GZ Press & Industry SCREENING Sat 25-1 09:00 Cinerama 6

Musician Leeward can never refuse a needy person he meets on the street – he always brings them home with him. He is constantly composing nice little songs for his three-year-old daughter Rainbow. He sees the world as a magical place. Leeward’s a nice guy. Only his wife Mary now sees this a little differently. She works hard as a nurse in a hospital for the minimum wage, while he refuses to write some music for a commercial because it would undermine his artistic integrity. Their marriage, which has become a succession of irritations, is completely tipped out of balance when the young artist Lilas appears. We all have to grow up sooner or later, seems to be the message of Swim Little Fish Swim, but this needn’t mean giving up our dreams – or rather, our capacity to dream. This sketch of mores and characters shows an almost surrealist lightness of touch; even generally hyper-aggressive New York looks like a friendly, fairytale world.

De chair et de lait Meat and Milk Bernard Bloch

France, 2013 | colour, video, 104 min, French/ Bambara/English/Telugu Prod: Frédéric Féraud | Prod Comp: Les productions de l’oeil sauvage | Sc: Bernard Bloch | Cam: Jacques Mora, Jérôme Colin, David Helft | Ed: Christian Girier | Sound Des: Gaël Trevinec | Music: Hervé Birolini | Print/Sales: Les productions de l’oeil sauvage Public SCREENINGS Thu 23-1 15:452 Pathé 3 Fri 24-1 16:452 Cinerama 3 Sat 25-1 14:152 Cinerama 5 Fri 31-1 19:152 LantarenVenster 6

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At the easy pace of an unhurried cow, sixteen scenes from a cow’s life pass by, showing how close the relationship between cow and man really is. The makers of this documentary sought out cows all over the world, from a herd in Mali crossing the River Niger to the misty mountains of Aubrac in France, where the cows still have names. The rock art in Tassili n’Ajjer shows the origins of domestication and the bond forged by man with animals very early on in his existence. These days, radical breeding practices raise questions about our relationship with nature. In India, cows still peacefully roam the streets, and are cared for until the end of their days. Famous American autism activist Temple Grandin says she understands the pain and fear suffered by cows, prompting her to improve their living conditions. Industrialised slaughter in Colorado and a robot milking machine in the Swiss Alps signal a new era, in which efficiency is all.

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Bella Vista Vera Brunner-Sung

WORLD PREMIERE

USA, 2014 | colour, video, 80 min, English Prod: Jeri Rafter, Brooke Swaney, Vera Brunner-Sung | Sc: Vera BrunnerSung | Cam: Alexandra Cuesta | Ed: Petra Demas, Vera BrunnerSung | With: Kathleen Wise, Hiroka Matsushima, Fahad Alsaif, Aman Assatov | Print/Sales: Slowtale LLC | www.bellavistafilm.com Public SCREENINGS Wed 29-1 19:45 Cinerama 3 Thu 30-1 12:302 Pathé 3 Fri 31-1 17:452 LantarenVenster 2 Press & Industry SCREENING Mon 27-1 22:30 Cinerama 5

In her first feature, Vera Brunner-Sung shows in calm, unembellished scenes a period in the life of a woman who gives English lessons to immigrants. She recently came to a small town in the Missoula valley in Montana, where she leads an isolated existence. In order to escape her restricting surroundings, she explores the nearby landscape, where she finds more signs of alienation. All this time, she keeps up appearances for her classes, until finally it is her students who hand her the key to a new start. The stunning landscape around Missoula, where the director also lives, plays an important role in this modest drama about a woman at a crossroads in her life, appropriately filmed from winter to spring. She has swapped her familiar environment for these remote parts and taken on temporary work that offers no security or permanence whatsoever. Like her students, she makes efforts to feel at home – but that requires a great desire to adapt and innovate.

La distancia The Distance Sergio Caballero

WORLD PREMIERE

Spain, 2014 | colour, DCP, 80 min, Russian/ Japanese/German Prod: Sergio Caballero, Ibon Cormenzana | Prod Comp: Advanced Music S.L., Arcadia Motion Pictures | Sc: Sergio Caballero | Cam: Marc Gómez del Moral | Ed: Martí Roca | Prod Des: Jordi Picazos | Sound Des: Pedro Alcalde | Music: Pedro Alcalde, Sergio Caballero | With: Michal Lagosz, Alberto Martínez, Jinson Añazco, Roland Olbeter, Fx Vidi Vidal | Print/ Sales: Advanced Music S.L. | www.amfilms.eu/ladistancia Public SCREENINGS Sat 25-1 19:15 Pathé 4 Sun 26-1 09:15 Pathé 2 Tue 28-1 21:45 Cinerama 1 Sat 1-2 15:00 LantarenVenster 3

A heist film unlike any you’ve ever seen. In his second film (following his debut Finisterrae which won a Tiger Award in 2011), Sergio Caballero plays fast and loose with all the laws of genre filmmaking. The ‘distance’ in the title is the ultimate MacGuffin – the term coined by Hitchcock for the thing the characters are pursuing, but which for the audience is completely meaningless. The fact that everyone communicates by telepathy enables Caballero to ‘speak’ a lingua franca made up of many different languages: from the Russian of the dwarves and the guard, to the German of the artist and the Chinese of the guard with the brazier. Caballero is one of the creative forces behind the SONAR sound festival, and this is noticeable not only in the film’s atmospheric soundtrack but also in its structure, which seems to follow the laws of musical composition rather rather than of the traditional narrative. Inimitable and intriguing. Nominated for The Big Screen Award.

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A história da eternidade The History of Eternity Camilo Cavalcante

WORLD PREMIERE

Brazil, 2014 | colour, DCP, 118 min, Portuguese Prod: Marcello Maia | Prod Comp: Republica Pureza Filmes | Sc: Camilo Cavalcante | Cam: Beto Martins | Ed: Vânia Debs | Prod Des: Julia Tiemann | Sound Des: Nicolas Hallet, Miriam Biderman | With: Irandhir Santos, Marcélia Cartaxo, Cláudio Jaborandy, Zezita Mattos, Débora Ingrid | Print/ Sales: Republica Pureza Filmes Public SCREENINGS Tue 28-1 15:15 Pathé 6 Wed 29-1 22:15 Pathé 4 Thu 30-1 16:00 Schouwburg GZ Sat 1-2 09:00 Cinerama 6 Press & Industry SCREENING Mon 27-1 09:00 Pathé 3

The inhabitants of a scorchingly hot, dusty village in the Brazilian outback have great expectations. Alfonsina’s quinceañera (a milestone 15th birthday celebration) is approaching, granny Aureliana is looking forward to a visit from her grandson and the deeply sad Querencia enjoys a daily serenade. The History of Eternity dreamily sketches the intense relationships of three passionate women with their fathers, brothers and fellow villagers. Around the village square, where the telephone box and the communal television set are, they share spicy exotic meals and domestic woes. They expectantly await what tomorrow will bring. Accompanied by melancholy accordion music, a fleeting touch awakens deep-rooted desires. Director Camilo Cavalcante flirts with the magic-realist imagination that life in the vast expanses of northeastern Brazil virtually demands. This glowing debut film captures the cycle of life in pithy, intuitive moments.

Ruin Michael Cody, Amiel Courtin-Wilson

Australia/Cambodia, 2013 | colour, DCP, 90 min, Khmer Prod: Amiel Courtin-Wilson | Prod Comp: Flood Projects | Sc: Michael Cody, Amiel CourtinWilson | Cam: Ari Wegner | Ed: Simon Price, Luca Cappelli, Sally Blenheim | Prod Des: Leah Popple | Sound Des: Rob Mackenzie, Sam Petty | Music: Steve Benwell | With: Sang Malen, Ros Mony | Print/Sales: Reel Suspects | www.reelsuspects.com/2013/08/ruin Public SCREENINGS Wed 29-1 21:45 Pathé 5 Thu 30-1 12:00 LantarenVenster 1 Fri 31-1 22:00 Pathé 7 Sat 1-2 12:15 Pathé 2 Press & Industry SCREENING Wed 29-1 10:45 Pathé 5

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Nineteen-year-old prostitute Sovanna tries to escape from her tyrannical pimp. Factory worker Phirun is sick of being used as a doormat by his boss and kills him in a fit of rage. The two outcasts flee Phnom Penh together, going deeper and deeper into the jungle, where a fragile love unfolds. The harshness of Cambodian society, where ‘kill or be killed’ is the principal motto, deals the pair some very bad cards. Nevertheless, Sovanna and Phirun refuse to be defenceless victims, and are able to strike back, violently. Ruin is an impressionist, rough-edged fairytale. As most of the film was made through improvisation around a minimal, constantly changing script, it does not have a traditional narrative structure. Every now and again, the traumas borne by the protagonists emerge through the enigmatic shrouds of mist, supported by an atmospheric soundtrack, while the horrific recent history of Cambodia lurks just beneath the surface.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

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Atlas Antoine D’Agata

France, 2013 | colour, DCP, 76 min, English/ Hindi/Russian/Khmer Prod: Valentina Novati | Prod Comp: Independencia Productions | Sc: Antoine d’Agata | Cam: Antoine d’Agata | Ed: Dounia Sichov | Sound Des: Gilles Benardeau | Print/ Sales: Independencia Productions Public SCREENINGS Fri 24-1 22:00 Cinerama 7 Sun 26-1 10:00 LantarenVenster 6 Tue 28-1 22:00 Cinerama 5 Sat 1-2 12:30 Cinerama 2

The bodies of junkies and whores are transformed into beautifully lit sculptures in this guided tour of the underworld by French Magnum photographer Antoine d’Agata, reminiscent of a mix between Caravaggio and Pedro Costa. Bodies living in suspended animation, exhausted, surviving from client to client and shot to shot. At times, the only movement comes from a flame heating the heroin, the rest of the image caught in an endless still loop. The women’s voices are heard in voice-over, some railing against the world, others still hoping to be discovered, ‘like a jewel in the dark’. But d’Agata doesn’t just observe. His body too appears before the lens in chiaroscuro: fucking, anaesthetised by opiates. Atlas asks penetrating, complex questions. Are the women being abused? Are the bodies here being reduced or elevated to art? Whatever answers you may find to these questions, the images are certain to make a deep impression.

El día trajo la oscuridad Darkness by Day Martín Desalvo

EUROPEAN PREMIERE

Argentina, 2013 | colour, DCP, 76 min, Spanish Prod: Pepe Salvia, Laura Mara Tablón | Prod Comp: Domenica Films | Sc: Josefina Trotta, Martín Desalvo | Cam: Nicolás Trovato | Ed: Andrés Tambornino | Prod Des: Laura Mara Tablón, Pepe Salvia | Sound Des: Adriano Salgado | With: Mora Recalde, Pablo Caramelo, Luciano Suardi, Romina Paula | Print/Sales: m-appeal Public SCREENINGS Sun 26-1 21:45 Pathé 2 Mon 27-1 20:00 Doelen JZ Wed 29-1 14:15 LantarenVenster 5 Sat 1-2 22:15 Cinerama 4 Press & Industry SCREENING Sat 25-1 20:00 Cinerama 7

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Martín Desalvo (Kept and Dreamless, Tiger Awards Competition 2005) is finally back in Rotterdam with his latest – breathtaking and unsettling – work. Virginia and her niece Anabel are staying in an old family home surrounded by beaches, woods and rocks. But the initial sunshine doesn’t last: right from the opening scene, we know something strange is going on. There is an outbreak of rabies in the area, but the ominous atmosphere points to even greater dangers. Anabel only sleeps during the day, wandering through the dark trees at night. As Virginia’s (prescient?) dreams grow increasingly horrific, their dads – tough guys in lumberjack shirts used to being able to tackle any threat – stand by helplessly as darkness looms ever closer. This dreamlike, stylised Argentinean horror film combines recognisable elements with alienating twists. Desalvo cleverly plays with the genre, and with viewers’ expectations.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

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Bright Future

Neposlusni The Disobedient Mina Djukic

EUROPEAN PREMIERE

Serbia, 2014 | colour, DCP, 112 min, Serbian Prod: Nikola Lezaic | Prod Comp: Kiselo Dete | Sc: Mina Djukic | Cam: Dorde Arambasic | Ed: Ivan Vasic | Prod Des: Nikola Bercek | With: Hana Selimovic, Mladen Sovilj, Minja Subota, Danijel Sike | Print/Sales: Visit Films Public SCREENINGS Wed 29-1 19:15 Pathé 4 Thu 30-1 16:15 Oude Luxor Sat 1-2 15:45 Pathé 4 Press & Industry SCREENING Mon 27-1 13:30 Cinerama 5

The road movie takes many forms, and this romantic, playful film about growing up proves that a bicycle can also be a suitable vehicle for a lifechanging journey. Lazar and Leni were best friends growing up in a village in Serbia. Years later, Lazar is living abroad, while Leni has chosen to stay on her native soil. Then Lazar returns, right as Leni’s life is at a crossroads. It seems the perfect opportunity to take a cycling trip together through Serbia in the summer. To renew their friendship – this time as a man and a woman. But this turns out to be more complicated than their wonderfully uncomplicated youthful friendship. In atmospheric, at times comic scenes, we follow the young duo during their adventures. They cause chaos in a fruit & veg market, crash the wedding of complete strangers and dare to be quiet together. What is the definition of their bond, now they are adults? What they don’t yet know themselves is revealed to us by an omniscient narrator.

Edén

Eden Elise DuRant

WORLD PREMIERE

USA/Mexico, 2014 | colour, DCP, 95 min, English/Spanish Prod: José Leandro Córdova Lucas | Sc: Elise DuRant | Cam: Vicente Pouso | Ed: Yibrán Asuad Müjica | Prod Des: Nohemí González | Sound Des: Kiyoshi Osawa | With: Will Oldham, Diana Sedano, Paula María Landa Hartasánchez | Print/Sales: Atlantis 8 Films LLC | www.edenfilm.net Public SCREENINGS Sun 26-1 18:30 Pathé 6 Mon 27-1 14:15 Cinerama 2 Tue 28-1 12:00 LantarenVenster 2 Wed 29-1 13:00 Pathé 5 Press & Industry SCREENING Sat 25-1 16:00 LantarenVenster 4

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Twenty-five years later, Alma returns to the place in Mexico where she lived as a child with her father. In Alma’s eyes, this was an exceptional, magical time, which ended abruptly when she was forced to flee the country in a big hurry. But why? The young woman remembers many beautiful, but also confusing moments that still exert a stifling influence on her current life. Making leaps back and forward in time, we follow this young woman’s journey into the past and learn about Alma’s life as a 9-year-old girl, at home with the father she loves so much. All the flashbacks in this complex, sensitive and highly personal film are filmed from a young girl’s point of view. The film subtly shows how much a child can absorb, even while not really understanding. For the adult Alma, unravelling the puzzle from the past involves discovering her own voice. Where is home really, for her?

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

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Southcliffe Sean Durkin

United Kingdom, 2013 | colour, video, 190 min, English Prod: Peter Carlton, Derrin Schlesinger | Prod Comp: Warp Films UK | Sc: Tony Grisoni | Cam: Mátyás Erdély | Ed: Victoria Boydell, Daniel Greenway | Prod Des: Tom Bowyer | Sound Des: Paul Davies | With: Rory Kinnear, Sean Harris, Shirley Henderson, Anatol Yusef, Eddie Marsan | Print/Sales: BBC WorldWide Public SCREENINGS Fri 24-1 19:15 LantarenVenster 2 Wed 29-1 18:00 Cinerama 1 Fri 31-1 10:30 Cinerama 5 Sat 1-2 09:30 Pathé 3

A village is the dramatic focus of many new TV series. For example, Broadchurch, The Fall and Top of the Lake. Regarded as one of 2013’s best, Southcliffe also revolves around a small rural community, wrapped up in greyness, rain and suspicion. When the emotionally unstable recluse Stephen Morton snaps and starts shooting his fellow villagers seemingly at random, a collective trauma is added to the general malaise. Southcliffe tries to uncover how it could all go so wrong. More than this, however, this four-part series is a study in the process of mourning. The tangled – and eventually deadly – web of relations within the village unfolds through the eyes of journalist David Whitehead, who grew up there and has returned to report on the aftermath of the tragedy. Top British acting talent, art direction dominated by shades of brown and grey and a constant sense of barely repressed unease make watching Southcliffe an almost claustrophobic experience.

Hross í oss

Of Horses and Men Benedikt Erlingsson

Iceland/Germany, 2013 | colour, DCP, 81 min, Icelandic/ Swedish/English Prod: Fridrik Thor Fridriksson, Christoph Thoke | Prod Comp: Leiknar myndir ehf., Mogador Film | Cam: Bergsteinn Björgúlfsson | Prod Des: Sigurdur Olí Pálmason | Sound Des: Pall S. Gudmundsson, Fridrik Sturluson | Music: David Thór Jónsson | With: Ingvar Eggert Sigurdsson, Charlotte Bøving, Kristbjörg Kjeld, Maria Ellingsen, Helgi Björnsson | Print/Sales: Film Sharks International | www.hrosss.is Public SCREENINGS Fri 24-1 19:00 Pathé 1 Sat 25-1 21:45 Pathé 5 Thu 30-1 16:30 Cinerama 4 Fri 31-1 13:45 Schouwburg GZ

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In an inhospitable valley in Iceland, horses are just as important to the community as people. With their striking, understanding eyes, they observe the existence of the people who ride them – who, just like them, seem to live by their animal instincts. Together with the animals, the villagers brave the icy conditions – thanks in part to the local heart-warming alcohol – in the gorgeous landscape. The thickset, powerful Icelandic horses have as much character and balls as their masters. This can lead to completely absurd scenes in this comic drama, in which sometimes horse and sometimes man comes off worst. Nonetheless, what connects man and beast is at the heart of this unusual feature debut by Benedikt Erlingsson. Both suffer the slings and arrows of love and death alike. Erlingsson’s original story is beautifully filmed and has a rhythm all of its own, akin to the typical ‘tölt’ gait of the Icelandic horse. Iceland’s submission for the 2014 Academy Awards.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:46

Bright Future

Masked Monkey –

The Evolution of Darwin’s Theory Ismail Fahmi Lubish

WORLD PREMIERE

Indonesia, 2014 | colour, DCP, 110 min, Indonesian Prod: Ismail Fahmi Lubish, Agustiya Herdwiyanto | Prod Comp: Lubish Team Worker | Sc: Ismail Fahmi Lubish, Oyjai Nanta | Cam: Ismail Fahmi Lubish | Ed: Lilik Subagyo | Sound Des: Hadrianus Eko | Music: Yaser Arafat | Print/ Sales: Fourcolours Films Public SCREENINGS Fri 24-1 16:45 LantarenVenster 5 Sat 25-1 09:15 Cinerama 2 Wed 29-1 14:00 LantarenVenster 6 Thu 30-1 16:45 Cinerama 2 Press & Industry SCREENING Tue 28-1 22:00 Cinerama 7

Masked Monkey opens as a classic, romantic nature film – but this quickly changes when a monkey playing in the wild is captured and the scene shifts to hectic Jakarta. Street artists use monkeys in the most incredible shows. It turns out that these street artists are not much freer than their monkeys; both are being exploited. The shows with monkeys wearing masks – so they look even more like little people – are in fact illegal, but their popularity makes them hard to control. The film follows the people and animals involved in these shows and gives a disconcerting picture of a metropolis where many people live in appalling conditions. Despite its clear social commitment, however, Masked Monkey maintains a cheerful, playful tone. The filmmaker gambols around his subject (like a monkey, you could say) and does not ask too many questions. He simply observes – something he is very good at.

Les rencontres d’après minuit You and the Night Yann Gonzalez

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Press & Industry SCREENING Tue 28-1 09:30 Pathé 3 [e.s.]

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This award-winning debut by Yann Gonzalez is about an exceptional night in a country house belonging to a young couple Ali (Kate Moran) and Matthias (Niels Schneider). The pair have invited a colourful collection of people to a party with lots of drink, conversation and sex: The Stud (played by former football god Eric Cantona); The Star (Fabienne Babe); The Slut (Julie Brémond) and The Teen (Alain Delon’s son Alain Fabien Delon). During the course of the night, the guests reveal themselves, both metaphorically (in expansive monologues) and literally, and it becomes clear that the relationship between Ali and Matthias is a complex one. Gonzalez makes use of lavish sets, intentionally contrived effects and a hypnotic soundtrack by M83, underlining the magic-realist feel. You and the Night, which was shot on 35mm, took best film awards at both the international film festival in Athens and the Milano Film Festival.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:46

Bright Future

Male stluczki

ory

Little Crushes Aleksandra Gowin, Ireneusz Grzyb

WORLD PREMIERE

Poland, 2014 | colour, DCP, 78 min, Polish Prod: Agnieszka Dziedzic, Jakub Burakiewicz | Prod Comp: Koi Studio | Sc: Ireneusz Grzyb | Cam: Ita Zbroniec-Zajt | Ed: Ireneusz Grzyb, Aleksandra Gowin | Prod Des: Dorota Borkowska, Katarzyna Golaszewska | Sound Des: Radoslaw Ochnio | With: Helena Sujecka, Agnieszka Pawelkiewicz, Szymon Czacki | Print/ Sales: Koi Studio | www.malestluczki.pl Public SCREENINGS Tue 28-1 18:30 Cinerama 1 Wed 29-1 09:152 Pathé 6 Thu 30-1 19:152 Cinerama 6 Fri 31-1 14:152 LantarenVenster 5 Press & Industry SCREENING Mon 27-1 14:30 Cinerama 4

Mumblecore from Poland? This freshfaced auteur film may not tick all the genre boxes, but it makes a lot of nods in that direction. The natural dialogues, dry humour and delicate singersongwriter music from Polish band Enchanted Hunters make a comparable, natural impression. Little Crushes takes us into the lives of three young adults looking for solidarity, love and independence. Kasia and Asia share an apartment, a car and a job: clearing out the houses of the recently deceased and selling the treasures they find at a secondhand market. Peter works in a factory screwing lids onto jars, but ends up on the street. He is still struggling with his recent divorce and a mother who isn’t exactly the most stable person on earth. When the girls ask him to help out with their ‘two-person business’, he needs no second bidding. He quickly falls for Asia, but this disrupts the balance of the brand-new friendship between the three; it turns out Kasia is also in love…

Hotel Nueva Isla Irene Gutiérrez, Javier Labrador

WORLD PREMIERE

Cuba/Spain, 2014 | colour, DCP, 80 min, Spanish Prod: Jose Angel Alayon Devora, Claudia Calviño | Prod Comp: El Viaje Films, Producciones de la 5ta Avenida | Sc: Irene Gutiérrez, Javier Labrador | Cam: Javier Labrador | Ed: Lorenzo Salazar | Sound Des: Carlos García | Print/Sales: El Viaje Films Public SCREENINGS Wed 29-1 16:30 Cinerama 4 Thu 30-1 09:30 Pathé 7 Fri 31-1 19:30 Cinerama 2 Sat 1-2 11:30 Schouwburg GZ Press & Industry SCREENING Tue 28-1 11:00 Cinerama 7

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In bygone days, the Nueva Isla hotel in Cuba was a place of grandeur, overflowing with life and guests. Now, it is a dilapidated ruin, with parts of the ceiling falling down and damp eroding the walls. Nevertheless, the building is still inhabited – by the aged Jorge and his faithful dog, as well as a few of his friends who find themselves homeless. Jorge’s best years were spent working as an official in a strictly governed but vital Cuba. Now, he spends his days poking around and digging – if you look carefully, there is memorabilia buried beneath the rubble. His friends have a more realistic outlook, and one by one leave the disintegrating building. The old man is followed in tender, calm footage of his day-to-day life – ‘maintaining’ the hotel, talking to the other residents, carrying on a romantic relationship with a woman in his improvised home; with kind words and a cautious dance to music recalling an era that has gone forever.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:46

Bright Future

The Quiet Roar Henrik Hellström

WORLD PREMIERE

Sweden/Norway, 2014 | colour, DCP, 80 min, English/Swedish Prod: Erika Wasserman | Prod Comp: Idyll | Sc: Henrik Hellström, Fredrik Wenzel | Cam: Fredrik Wenzel | Ed: Janus Billeskov Jansen, Henrik Hellström, Fredrik Wenzel | Prod Des: Josefin Åsberg | Sound Des: Andreas Franck | Music: Robert Hefter | With: Evabritt Strandberg, Hanna Schygulla, Joni Francéen, Jörgen Svensson | Print/Sales: BAC Films Public SCREENINGS Fri 24-1 18:30 Pathé 5 Sat 25-1 22:002 LantarenVenster 1 Mon 27-1 13:002 Pathé 1 Thu 30-1 15:302 Cinerama 1 Press & Industry SCREENING Sun 26-1 09:15 Cinerama 5

It isn’t exactly the most reassuring environment in which to undergo a medical procedure. But terminally ill, depressed 60-something Marianne isn’t looking for conventional medicine in a well-furnished bus in a car park. She is seeking enlightenment, and finds it – in the form of an LSD trip. ‘If you’re looking for food for thought, you will miss the very essence of the experience, which is not in the words but within yourself.’ This is the assignment Marianne is given by her mentor Eva before the trip begins, although director Henrik Hellström also addresses this comment to the viewer. Marianne looks back at her 25-yearold self – when she was still with the husband she left and the child she no longer speaks to. Looking back across time, to a holiday in a stunningly beautiful Norwegian landscape, idyllic and yet desolate, Marianne talks to her younger self and her husband and considers the end of their relationship.

L’éclat furtif de l’ombre The Sparkling Shadows Alain-Pascal Housiaux, Patrick Dechesne

WORLD PREMIERE

Belgium/Germany, 2014 | colour, DCP, 90 min, Amharic/French Prod: Joseph Rouschop, Valérie Bournonville | Prod Comp: Tarantula | Sc: Alain-Pascal Housiaux, Patrick Dechesne | Cam: Hélène Louvart, Frédéric Noirhomme | Ed: MarieHélène Dozo | Prod Des: Sophie Dubuisson | Sound Des: Nico Bunnik | Music: David Menessier | With: Faroul Joseph, Aba Brahani, Abebe Efrem | Print/Sales: Tarantula Public SCREENINGS Mon 27-1 18:30 Cinerama 1 Tue 28-1 12:30 Cinerama 4 Thu 30-1 17:00 LantarenVenster 2 Sat 1-2 09:15 Pathé 2 Press & Industry SCREENING Mon 27-1 09:15 Pathé 5

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In a languid coastal village in Ethiopia, young fisherman Adisu is affected by the violence of war. He is forced to leave his home in order to survive, and wanders into the desert. He often roams around alone; now and again he encounters someone else. Forty years later, an old man sits in a taxi in Liège, thinking of the past. The two characters seem worlds away, but it is the same man. This dreamy, subtle debut by AlainPascal Housiaux and Patrick Dechesne is told through memories triggered by observations of present events. The nocturnal industrial landscape around Liège causes Adisu to think of the desert; a dead bird, of hunting for food. In the meantime, every night he dreams of the woman he met so many years ago on those smooth rocks. He never saw her again. In spite of the war that drove him from his home, Adisu feels a desire for a particular place and time that can never be fulfilled.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:46

Bright Future

The Iranian Film Yassine el Idrissi

WORLD PREMIERE

Morocco/Netherlands/ Egypt, 2014 | colour/b&w, DCP, 67 min, Arabic Prod: Yassine el Idrissi | Prod Comp: Nederlandse Film en Televisie Academie | Sc: Yassine El Idrissi | Cam: Yassine El Idrissi, Rachid Boughanem | Ed: Alexander Goekjian | Prod Des: Yassine El Idrissi | Sound Des: Alexander Goekjian | With: Yassine El Idrissi, Rachid Boughanem, Yassine Halabi, Houssine Bouhssine | Print/Sales: Yassine el Idrissi Public SCREENINGS Thu 23-1 18:30 Pathé 2 Fri 24-1 12:30 Cinerama 1 Sun 26-1 09:00 Cinerama 6 Thu 30-1 20:30 LantarenVenster 3 Press & Industry SCREENING Mon 27-1 22:15 Cinerama 4

Yassine El Idrissi is a great admirer of Iranian cinema. As part of his Master’s at the Film Academy in Amsterdam, he decided to make a film in Morocco following the rules of Iranian filmmaking. The production of this political satire about a village in danger of being without flags on a national holiday was not without its troubles. Bureaucratic hurdles, remote locations and working with an amateur cast did not make things easy for Yassine and his friends. In line with the Iranian masters to whom he often refers (including Abbas Kiarostami, Jafar Panahi and Mohsen Makhmalbaf), El Idrissi’s ‘Iranian film’ perches on the knife edge between documentary and fiction. This film about making a film feels like a spontaneous, light-hearted home movie, but meanwhile, and in an inventive and humorous way, El Idrissi investigates the state of Moroccan cinema. How come Iran has such a flourishing film culture and Morocco doesn’t, despite more freedom?

Mejima Izutani Tomonori

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INTERNATIONAL PREMIERE

Japan, 2013 | colour, video, 79 min, Japanese Prod: Izutani Tomonori | Sc: Yamaguchi Takahisa | Cam: Nomura Naoki | Ed: Izutani Tomonori | Prod Des: Fuji Masato | Sound Des: Konishi Kanta | Music: Oshima Ryo | With: Ban Michio, Okazaki Satsuki, Ronkiki | Print/Sales: PIA Film Festival Public SCREENINGS Sun 26-1 19:00 Pathé 3 Mon 27-1 15:45 Pathé 3 Wed 29-1 15:30 Cinerama 1 Sat 1-2 22:30 Cinerama 3 Press & Industry SCREENING Tue 28-1 14:30 Cinerama 3

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Mejima is a young Japanese man who earns his living in a small slaughterhouse. He is very proud of not having any goal in life, even though his eyes sometimes give the game away. Sex worker Mon thinks she was made for her job, as she never gets her period and so cannot become pregnant. Her Chinese boss is a young criminal – the opposite of Mejima in every way. The illegal Chinese community in Tokyo see him as their saviour, and Japanese Mon also admires him. When Mejima encounters the pair, his indifference starts to make way for romantic desires and jealousy, and his smouldering resentment finally explodes. Debut director Izutani is one of the finds of Tokyo’s PIA festival, which specialises in new talent. Mejima turns out to be an atmospheric cross between a crime story and a melancholy reflection on the meaning of life, regularly punctuated by blood. It is also an incisive portrayal of the differences between Japan and China.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:46

Bright Future

Helium Eché Janga

WORLD PREMIERE

Netherlands, 2014 | colour, DCP, 90 min, Dutch Prod: Frans van Gestel, Arnold Heslenfeld, Laurette Schillings | Prod Comp: Topkapi Films | Sc: Sammy Reynaert, Eché Janga | Cam: Tibor Dingelstad | Ed: Axel Skovdal Roelofs | Prod Des: Floris Vos | Sound Des: Michiel de Boer | Music: Christiaan Verbeek | With: Hans Dagelet, Poal Cairo, Manou Kersting, Dennis Rudge | Sales: Topkapi Films | Distr NL: Wild Bunch Benelux Public SCREENINGS Sat 25-1 18:30 Pathé 5 Sun 26-1 22:002 Cinerama 6 Thu 30-1 18:302 Pathé 2 Sat 1-2 15:152 Pathé 6 Press & Industry SCREENING Mon 27-1 22:15 Doelen JZ

Criminal Frans Weeling is a cold, blunt man. He bites off his sentences, never using a word more than necessary. So he doesn’t engage much in chit-chat with his henchmen John and Elias, who accompany him to a deserted holiday park on a Dutch island, where he is hiding out from vengeful Nigerian rivals. They sigh, remain silent. Then, somewhere between a visit to an old lighthouse and a tropical swimming pool, Frans realises how little the skin he is so desperately trying to save is worth. Back in the Amsterdam underworld, when confronted by a ruthless power struggle, he is unable to act. Helium is a portrait of a man who slowly erases himself – a man who also realises that maybe there isn’t even that much to rub out. This is an account of an existential crisis in someone whose life consists mainly of things such as ‘put a bullet through his head’ and ‘a load of bother for a few hundred grand’. A sombre debut with a great lead role for Hans Dagelet.

L for Leisure Lev Kalman, Whitney Horn

WORLD PREMIERE

USA/Mexico/France/ Iceland, 2014 | colour, DCP, 69 min, English Prod: Lev Kalman, Whitney Horn | Prod Comp: Special Affects Films | Sc: Whitney Horn, Lev Kalman | Cam: Whitney Horn | Ed: Whitney Horn, Lev Kalman | Music: John Atkinson | With: Marianna McClellan, Bro Estes, Trevor Haav, Libby Gery, Kyle Williams, Mati Diop | Print/Sales: Special Affects Films | leisureiswar.tumblr.com Public SCREENINGS Sat 25-1 18:30 Pathé 2 Sun 26-1 21:45 Cinerama 1 Mon 27-1 12:30 Pathé 7 Sat 1-2 16:45 Cinerama 7 Press & Industry SCREENING Sun 26-1 11:00 Cinerama 4

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A dreamy, ironic comedy about a generation of hedonistic students in the 1990s. Their favourite activity: talking endlessly. During a series of vacation days filled with sun-drenched naps, squabbling, waterskiing competitions and love-making, the (amateur) actors discuss their concerns in dry dialogues. For instance, semiintellectual reflections on the end of time and how Michael Jordan plays basketball. The young American directing duo Lev Kalman and Whitney Horn present an almost plotless experience for the viewer, in a film that is a cross between art and arthouse. Its design and style seem inspired by 1990s TV series like Melrose Place and Baywatch. The film is backed by a powerful chill-wave soundtrack. The makers previously came to Rotterdam with their short film Blondes in the Jungle. In their first full-length feature, filmed over four years with periodic breaks, they return nostalgically to the era of their youth.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:46

Bright Future

Ajomies

The Driver Jarkko T. Laine, J-P Passi

INTERNATIONAL PREMIERE

Finland, 2013 | colour, DCP, 62 min, Finnish Prod: Jussi Rantamäki | Prod Comp: Aamu Filmcompany Ltd | Sc: Jarkko T. Laine, J-P Passi | Cam: Jarkko T. Laine, J-P Passi | Ed: Samu Heikkilä | Sound Des: Kirka Sainio | With: Matti Laine, Elina Ylisuvanto, Veera Degerholm, Tapio Aarre-Ahtio, Raimo O. Niemi | Print/ Sales: Aamu Filmcompany Ltd Public SCREENINGS Thu 23-1 22:00 LantarenVenster 5 Fri 24-1 16:45 Cinerama 5 Sat 25-1 09:45 Pathé 4 Press & Industry SCREENING Mon 27-1 11:15 Cinerama 4

Restrained romantic drama set in the horse racing world, but mainly in the pace car that keeps the horses lined up at the start of the race. Its driver, Antti, teaches tough girl Mari the ins and outs of the job and – almost inevitably – romance develops. Which is complicated because he lives with Riikka, Mari’s second cousin. The two try to end the affair a number of times, but to no avail. When Riikka gets a job elsewhere, which entails moving, decisions have to be made, but this doesn’t really end particularly well for anyone. Developments are presented casually with understated humour and a light, almost laconic tone without a trace of sentimentality. A recognisable story about contemporary romance, lies, loyalty, false expectations and the resulting disappointments. Semi-feature: new presentation format that foregrounds the so-called mid-length film.

Love Steaks Jakob Lass

Germany, 2013 | colour, DCP, 89 min, German Prod: Ines Schiller, Golo Schultz | Prod Comp: Potsdam-Babelsberg University of Film and Television “Konrad Wolf” | Sc: Jakob Lass, Ines Schiller, Timon Schäppi, Nico Woche | Cam: Timon Schäppi | Ed: Gesa Jäger | Prod Des: Caspar Pichner | Sound Des: Julius Middendorff, Christoph Kozik | Music: Golo Schultz | With: Lana Cooper, Franz Rogowski | Print/Sales: Potsdam-Babelsberg University of Film and Television “Konrad Wolf” | www.lovesteaks.de Public SCREENINGS Wed 29-1 18:30 Pathé 5 Thu 30-1 14:15 LantarenVenster 1 Fri 31-1 12:30 Cinerama 1 Sat 1-2 10:00 Pathé 1 Press & Industry SCREENING Fri 24-1 11:00 Cinerama 6

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This first FOGMA film is set in a luxury wellness hotel where the corridors smell of massage oil and steak. For six weeks, the actors worked in the steamy kitchen and serene massage rooms of the Kurhaus Ahrenshoop, where they had to improvise without any real script. On one of his first days at work, the timid, clumsy Clemens gets taken in by the liberated cook Lara, who can’t keep her hands off the cooking wine and hip flasks. A Hawaii massage gets out of hand, and is the starting point of a secret and not very tender love affair in which Lara calls the tune. The hierarchical relations on the shop floor also become increasingly oppressive. Love Steaks was made at PotsdamBabelberg University, and emerged from the FOGMA manifesto, ‘Rules Are Freedom’, in which the makers state that they want to plan the unpredictable and create a structure that offers both grip and freedom so they can surrender entirely to impulses.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:46

Bright Future

Bukas na lang, sapagkat gabi na Leave It for Tomorrow, for Night Has Fallen

Jet Leyco

INTERNATIONAL PREMIERE

Philippines, 2013 | colour/b&w, DCP, 100 min, Filipino Prod: Veronica Santiago, Ronald Arguelles, Jet Leyco, Neil Derrick Bion | Prod Comp: Kerberus Kinorama Klassiks, CinemaOne Originals, Barong Tagalog Films, Punch Kick! | Sc: Norman Wilwayco, Jet Leyco | Cam: Tristan Jed Salas | Ed: Jet Leyco | Prod Des: Harley Alcasid | Sound Des: Jet Leyco | Music: Wu Quan, Earthmover | With: Raul Morit, Lemuel Silvestre, Ma. Veronica Santiago, Hector Macaso, Jack Yabut | Print: Kerberus Kinorama Klassiks | Sales: ABSCBN Creative Programs Inc. Public SCREENINGS Wed 29-1 21:45 Pathé 6 Thu 30-1 14:00 Cinerama 4 Fri 31-1 11:45 LantarenVenster 5 Press & Industry SCREENING Mon 27-1 10:45 Cinerama 3

On 21 September 1972, the Philippines were plunged into a dark night lasting sixteen years. On that day, President Marcos announced a state of emergency. Censorship, intimidation and distrust tarnished the days in the oldest democracy in Asia, until the dictator fled the country after the controversial elections of 1986. ‘Leave it for tomorrow, for night has fallen’ is the answer Jet Leyco was given as a child when he asked about the old days. He never knew his grandparents, on either side, and the only story he knew about his mother was of her simple wedding. In Leave It for Tomorrow, for Night Has Fallen he reconstructs the past; a past of which he has only hazy childhood memories. Using four interwoven stories, he sketches an era that gradually dissolves into no longer wanting to know and deliberate silence. Leyco’s experimental style, which at times leaves the viewer grasping for something to hold onto, increases the sense of indefinable threat.

Rigor Mortis Juno Mak

Hong Kong, 2013 | colour, DCP, 105 min, Cantonese Prod: Shimizu Takashi, Juno Mak | Prod Comp: Kudos Films Ltd. | Sc: Leung Lai-yin, Philip Yung | Cam: Ng ManChing | Ed: David M. Richardson | Sound Des: Benny Chu | Music: Nate Connelly | With: Anthony Chan, Chin Siu-hou, Kara Hui, Lo Hoi-Pang, Richard Ng | Print/Sales: Fortissimo Films Public SCREENINGS Fri 24-1 22:30 Oude Luxor Mon 27-1 19:15 LantarenVenster 1 Thu 30-1 21:45 Pathé 5

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This stylish directorial debut by actor Juno Mak was inspired by cult films in the Jiangshi genre: Cantonese folklore about Taoist priests raising the dead, who manifest as zombies or vampires. In the 1980s, these stories were made into what are now classics of Hong Kong cinema, such as Mr. Vampire (Ricky Lau, 1985). Mak reinforces the link by casting several actors from that film. In Rigor Mortis, a grieving film star moves into a flat in a social housing block, where he intends to take his own life. It goes otherwise: he is saved and discovers how mysterious forces have the building and its inhabitants in their grip – particularly when the body of a recently deceased resident is used in a supernatural struggle. This dark, immaculate drama was coproduced by J-Horror icon Shimizu Takashi. Rigor Mortis does not depend on shock, but by using gruesome sets and special effects, Mak cleverly creates a general sense of unease.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:46

Bright Future

Depois da chuva

After the Rain Cláudio Marques, Marília Hughes

INTERNATIONAL PREMIERE

Brazil, 2013 | colour, DCP, 95 min, Portuguese Prod: Cláudio Marques, Marília Hughes | Prod Comp: Coisa de Cinema | Sc: Cláudio Marques | Cam: Ivo Lopes Araújo | Ed: Cláudio Marques | Prod Des: Natalice Salles | Sound Des: Edson Secco | Music: Nancy Viégas, Mateus Dantas | With: Pedro Maia, Sophia Corral, Talis Castro, Paula Carneiro, Victor Corujeira | Print/Sales: Coisa de Cinema | www.coisadecinema. com.br/depois_da_chuva Public SCREENINGS Tue 28-1 18:30 Pathé 6 Wed 29-1 13:00 Cinerama 1 Thu 30-1 22:45 Doelen JZ Sat 1-2 22:30 Cinerama 5 Press & Industry SCREENING Mon 27-1 22:45 Cinerama 3

Brazil, 1984. After 20 years of dictatorship, there are free elections at last, although critics say both candidates are too close to the old military regime. Permission is given for the election of a school council again at Caio’s secondary school, and in no time the school is bubbling with debates, campaigning and criticism. Stimulated by his radical, anarchist friends outside of school, Caio throws himself into the struggle, with his attractive classmate Fernanda as a level-headed ally. Youthful political consciousness is anything but repressed: when the school announces the results, there is ‘still no place for real change!’ In original, equally engaging and hilarious 1980s television shots, we see the presidential election circus in parallel with the fracas in Caio’s microcosm. This subtle reflection by directing duo Hughes and Marques on a neglected political episode effectively captures the intoxicating sense of limitless possibilities – however fleeing.

Cherry Pie Lorenz Merz

INTERNATIONAL PREMIERE

Switzerland, 2013 | colour, DCP, 85 min, French/Russian/English Prod: Simon Jaquemet | Prod Comp: 8horses | Sc: Lorenz Merz | Cam: Lorenz Merz | Ed: Lorenz Merz, Nicolas Chaudeurge | Prod Des: Frederik Kunkel | Sound Des: Maurizius Staerkle-Drux | Music: Marcel Vaid | With: Lolita Chammah, Henrie Campanella, Fiorella Campanella, Orfeo Campanella, Marie-Claire Boscher, Michel Boscher | Print/Sales: Film Republic | www.cherrypie-film.com Public SCREENINGS Tue 28-1 18:45 Pathé 2 Wed 29-1 15:30 Pathé 7 Thu 30-1 22:15 Pathé 4 Fri 31-1 15:00 LantarenVenster 3 Press & Industry SCREENING Mon 27-1 21:45 Pathé 6

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Zoé is running away. With not a cent to her name, she roams through an anonymous part of France. Via desolate petrol stations and dismal suburbs, she eventually reaches the English Channel, where she slips aboard a ferry. Some time later, she arrives in Brighton, clad in a stolen coat. Narrative is minimal in Cherry Pie, as is dialogue. What exactly motivates Zoé, what she thinks, where she is going – we can only guess. She slowly sinks into a catatonic silence. We, the viewers, watch all this from uncomfortably close-by. The camera is constantly trained on Zoé; we hardly see any other characters. Actress Lolita Chammah embodies the lost loneliness of this damaged soul. Director/cameraman Lorenz Merz records her state of mind in atmospheric shades of silver, but can also be cruel – several times, a hand appears from behind the camera and gives Zoé a good shake. Cherry Pie is an intense emotional drama that takes place between, and is by, two people.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:47

Bright Future

Dzma/Brother Téona Mghvdeladze, Thierry Grenade

WORLD PREMIERE

France/Georgia, 2014 | colour, DCP, 94 min, Georgian Prod: Juliette Lepoutre, Marie-Pierre Marcia | Prod Comp: MPM Film (Movie Partners in Motion) | Sc: Téona Mghvdeladze, David Chubunishvili | Cam: Julie Grunebaum | Ed: Pauline Rebière | Sound Des: Thomas Fourel, Antoine Bailly, Pierre Bariaud | With: Irakli Ramishvili, Zuka Tsirekidze, Natasha Shengelaia, Kahi Kavsadze, Elena Glurjidze | Print/ Sales: MPM Film (Movie Partners in Motion) | www.mpmfilm.com Public SCREENINGS Fri 24-1 18:45 Pathé 7 Sat 25-1 09:15 Pathé 6 Mon 27-1 21:45 Cinerama 1 Fri 31-1 16:00 Schouwburg GZ Press & Industry SCREENING Tue 28-1 13:00 Pathé 5

The republic of Georgia was founded after the USSR collapsed in 1991. Giorgi is sixteen that year. The city he lives in, Tbilisi, changes daily, ruled by a dangerous chaos as capitalism gradually takes over. Forbidden American films reveal a new world; bread lines dwindle and suddenly cigarettes are available – if you have money. Like his heroes, Tony Montana and Vito Corleone, Giorgi is dazzled by easy money and power on the streets. It’s irresistible; even little kids are wheeling and dealing. The older people look at the changes with a certain trepidation. Meanwhile, Datuna, Giorgi’s talented younger brother, is studying to be a concert pianist. How can Giorgi contribute to his future without revealing his dodgy dealings? Poignant scenes from the brothers’ daily lives show how much everyone has to keep up a balancing act between tradition and a highly uncertain future. Brother is a classic drama full of beautiful shots of Tbilisi.

About Sarah Elisa Miller

WORLD PREMIERE

Mexico/UK, 2014 | colour, DCP, 76 min, English/Spanish Prod: Sadie Coles, Jose Kuri, Sebastian Celis, Elisa Miller | Prod Comp: Sadie Coles HQ, Kurimanzutto, Molinera Cine | Sc: Elisa Miller | Cam: Elisa Miller | Ed: Paulina del Paso | Music: Mariana Uribe | Print: Sebastian Celis | Sales: Sadie Coles HQ Public SCREENINGS Tue 28-1 16:30 Cinerama 6 Wed 29-1 09:15 LantarenVenster 5 Fri 31-1 22:30 Cinerama 4 Press & Industry SCREENING Mon 27-1 13:00 Cinerama 3

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1992 saw the global breakthrough of contemporary British art when art collector and promoter Charles Saatchi stuck the label ‘Young British Artists’ on a group of up-and-coming talents, who rode the waves of Cool Britannia, with a lot of PR savvy and sensation, to international fame. Their favourite themes: sex, death, religion. Damien Hirst preserved sharks and cows sawn in half. Tracy Emin exhibited her unmade bed. One of the most articulate of these Young British Artists is Sarah Lucas. She made a Christ on the cross from cigarette ends, a T-shirt with two fried eggs over the breasts, and a neon coffin. As her 50th birthday approaches, Lucas looks back. Director Elisa Miller follows the chain-smoking, heavy-drinking artist in the run-up to a big solo exhibition in Mexico. She switches constantly between Lucas’ home – a country house that once belonged to composer Benjamin Britten – and Central America, where the artist eagerly absorbs all of the exotic influences.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:47

Bright Future

The Liar’s Dice

Geethu Mohan Das

EUROPEAN PREMIERE

India, 2013 | colour, DCP, 98 min, Hindi Prod: Alan McAlex, Ajai G Rai, Rajeev Ravi | Prod Comp: Jar Pictures, Unplugged | Sc: Geetu Mohan Das | Cam: Rajeev Ravi | Ed: Ajith Kumar B. | Prod Des: Prakash Moorthy | Sound Des: Mohandas V.P. | Music: John Bosters | With: Nawazuddin Siddiqui, Geetanjali Thapa, Manya Gupta | Print/Sales: Jar Pictures | www.geetumohandas.com Public SCREENINGS Sun 26-1 16:00 Pathé 1 Mon 27-1 09:30 Cinerama 1 Tue 28-1 19:15 LantarenVenster 1 Fri 31-1 18:30 Cinerama 1 Press & Industry SCREENING Sat 25-1 11:00 Cinerama 4

After her remarkable short film Are You Listening? (premiered in Rotterdam in 2010), Geetu Mohan Das, an established actress since childhood, makes her feature debut with a refined road movie that tackles the social position of migrant workers in the big city. A young mother from a tribal mountain community on the border between India and Tibet embarks with her small daughter and her pet goat on a dangerous journey to find her husband, who works in Delhi and has failed to contact her for several months. She encounters a rough army deserter who helps them quid pro quo. Nawazuddin Siddiqui, the new shooting star in Indian cinema, and the beautiful, young and talented Geetanjali Thapa (introduced in I.D. at IFFR 2013) establish in their acting a perfect balance between deep drama and everyday reality. Sophisticated direction and breathtaking photography allow the audience to contemplate and become immersed in this captivating drama.

Sobre la marxa

The Creator of the Jungle Jordi Morató

WORLD PREMIERE

Spain, 2014 | colour, DCP, 77 min, Catalan Prod: Isaki Lacuesta, Isa Campo, Jordi Morató | Prod Comp: La Termita Films SL | Sc: Jordi Morató | Cam: Jordi Morató, Laia Ribas | Ed: Jordi Morató, Laia Ribas | Sound Des: Jordi Morató, Laia Ribas | Music: Charly Torrebadella | Print/Sales: La Termita Films SL Public SCREENINGS Fri 24-1 19:30 Cinerama 4 Sat 25-1 12:15 Cinerama 3 Tue 28-1 12:30 LantarenVenster 3 Press & Industry SCREENING Mon 27-1 09:00 Cinerama 3

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In a wood near the Catalan village of Argelaguer, an eccentric recluse has spent 45 years building the most amazing, labyrinthine, dreamlike structures. He creates tree houses, mazes and waterfalls – all with his bare hands. It looks like the set for a jungle adventure film. Garrell has just one aim, to ‘keep busy’. Everyone is welcome in his jungle – the woods do not belong just to him. The eccentric but loveable Garrell also calls himself ‘the Tarzan of Argelaguer’. One day, a local teenager who sometimes came to play brought a video camera along; for years, he and Garrell filmed scenes as if acting in a Tarzan film, including wicked intruders with machines that drive the King from his Jungle. Filmmaker Morató uses this fascinating footage, combining it with documentary material from later years (when the Jungle was repeatedly razed and then built up again by its creator), in an intriguing debut that respectfully keeps the enigma that is Garrell alive.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:47

Bright Future

Die Frau hinter der Wand Whispers Behind the Wall Grzegorz Muskala

INTERNATIONAL PREMIERE

Germany, 2013 | colour, DCP, 89 min, German Prod: Sol Bondy, Jamila Wenske, David Keitsch | Prod Comp: One Two Films | Sc: Grzegorz Muskala, Robby Dannenberg | Cam: Phillip Kaminiak | Ed: Vincent Assmann | Prod Des: Theresia Ficus | Sound Des: Martin Frühmorgen | Music: Conrad Oleak | With: Vincent Redetzki, Katharina Heyer, Florian Panzner | Print/Sales: EastWest Filmdistribution GmbH Public SCREENINGS Sat 25-1 18:30 Pathé 6 Sun 26-1 13:00 Oude Luxor Thu 30-1 22:15 Pathé 3 Sat 1-2 18:30 Pathé 5 Press & Industry SCREENING Tue 28-1 21:00 Pathé 5

When Martin moves to Berlin to study, finding accommodation proves a real challenge. So he lives in his car, while pretending to his parents that everything is fine. He is really pleased when he gets an offer of an apartment from an unexpected quarter; the previous occupant, also a young man, has suddenly disappeared. Once Martin has moved in, he starts to find clues about the previous tenant and his relationship to the female landlord, Simone – a seductive temptress against whom the sexually naive student has no chance. From the very start, this dark psychological thriller, set largely within the oppressive walls of the dingy apartment, bulges with suppressed tension, fed by the appearance of strange minor characters and Martin´s growing obsession with the mysterious life of his deadly female landlord. This intriguing graduation project has a strong cast and, thanks to the exceptional atmosphere it creates, adds an extra dimension to the genre.

El lugar del hijo The Militant Manolo Nieto

EUROPEAN PREMIERE

Uruguay/Argentina, 2013 | colour, DCP, 120 min, Spanish Prod: Lisandro Alonso, Manolo Nieto | Prod Comp: 4L, Roken Films | Sc: Manolo Nieto | Cam: Arauco Hernandez Holz | Ed: Pablo Riera, Martín Mainoli | Prod Des: Nohemí González, Alejandro Castiglioni | Sound Des: Catriel Vildosola, Santiago Fumagalli | Music: Genuflexos | With: Felipe Dieste, Alejandro Urdapilleta, Rosana Cabrera, Leonor Courtoisie | Print/Sales: FiGa Films Public SCREENINGS Fri 24-1 15:30 Pathé 7 Sat 25-1 21:45 Cinerama 1 Mon 27-1 15:15 Pathé 2 Sat 1-2 11:15 LantarenVenster 1 Press & Industry SCREENING Sun 26-1 22:00 Cinerama 4

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In 2002, Uruguay is gripped by a financial and political crisis that divides and paralyzes the country. Ariel, a slow-speaking young man with a slight disability, is a member of the students’ union and becomes involved in strikes. When Ariel’s father dies, he returns to his father’s home. The mortgage on the house is a millstone round Ariel’s neck, as are the debts his father has run up, partly to pay for Ariel’s education. A dubious business contact and his father’s girlfriend – who is increasingly making herself at home there – force Ariel to take care of his father’s land and livestock. This makes him a reluctant member of the bourgeoisie he so detests. Ariel’s lethargy and frustration represent a whole generation – perhaps even the whole country. With searching, at times dreamy images, Director Nieto (who won a Tiger Award in 2006 for The Dog Pound) effectively shows how a potentially rich inheritance can be frittered away. Nominated for The Big Screen Award.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:47

Bright Future

Jo-nan-ja-deul Intruders Noh Young-Seok

EUROPEAN PREMIERE

Sang-Jin is looking for peace and quiet so he can finish his screenplay. In that respect, his producer´s hut in the mountains may not be the ideal place – but it offers plenty of inspiration. Enough events take place here to fill three films. Timid Sang-Jin finds he has uninvited and unwanted company from a jailbird, his brother (a chief of police), a group of skiers (including a beautiful girl) and a couple of local poachers. They all get snowed in, telephones stop working, a murder is committed and Sang-Jin is accused of voyeurism and attempted rape. Director Noh Young-Seok proved his talent for dry, black humour – often compared to Jim Jarmusch’s early work – in his debut Daytime Drinking. In this successor, he creates an even more genial mix of thriller and comedy of errors. More seriously, Intruders is also a commentary on all the modern distractions that get in the way of the creative process.

September Penny Panayotopoulou

Greece/Germany, 2013 | colour, DCP, 105 min, Greek Prod: Thanassis Karathanos, Penny Panayotopoulou | Prod Comp: Twenty Twenty Vision, P.P Productions | Sc: Kallia Papadaki, Penny Panayotopoulou | Cam: Giorgos Michelis | Ed: Petar Markovic | Prod Des: Lili Kendaka | Sound Des: Dinos Kittou | Music: Giorgos Zachariou | With: Kora Karvouni, Maria Skoula, Nikos Diamantis | Print: Penny Panayotopoulou | Sales: Twenty Twenty Vision | www.facebook. com/SeptemberTheMovie Public SCREENINGS Sun 26-1 21:45 Pathé 6 Tue 28-1 13:00 Oude Luxor Wed 29-1 22:00 Cinerama 1 Sat 1-2 16:15 Schouwburg GZ

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Ana is a thirty-something single whose life is dominated by the companionship and welfare of her border collie Manu. They live a satisfied existence in Ana’s small apartment. Until Manu suddenly dies. Desperate and grieving, Ana looks longingly at the life of a family on the other side of the street. She makes contact with Sophia, housewife and mother of two children, hoping she will allow her to bury Manu in her garden. This is the start of a fragile bond between Ana and the family. She tries to involve them in her grief and seems to want to become a member of the family. Cautiously at first, then ever more obsessively. Penny Panayotopoulou tells this story of deep loneliness and the desire for togetherness tenderly, organically and with great compassion. The Greek director paints a portrait of her protagonist without a word too much, and without melodramatic elements; not every drama has to be shown to make it palpable.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:47

Bright Future

Costa da Morte Coast of Death Lois Patiño

Spain, 2013 | colour, DCP, 84 min, Galician/Spanish Prod: Felipe Lage, Martin Pawley | Prod Comp: Zeitun Films | Sc: Lois Patiño | Cam: Lois Patiño | Ed: Lois Patiño, Pablo Gil Rituerto | Sound Des: Miguel Calvo, Eric T. Jensen | Music: Ann Deveria | Print/Sales: Zeitun Films | www.zeitunfilms.com/en/cdm/index Public SCREENINGS Thu 23-1 11:00 Pathé 6 Mon 27-1 16:45 Cinerama 7 Tue 28-1 09:15 LantarenVenster 5 Fri 31-1 11:30 Cinerama 4

The ‘Coast of Death’ is the stretch of Galician coast in the extreme northwest of Spain. Centuries ago, Roman legionnaires marched to the town of Finisterre to watch the sun sink into the underworld here. On misty days or during heavy storms, the end of the world can seem nigh. Shipwrecks on the Atlantic Ocean are frequent along this rocky coastline. Spanish director Lois Patiño has made an impressive film essay on the Coast of Death, with stunning, tranquil, extremely contemplative images of man and nature; of the fishermen, beachcombers and woodcutters; of the sea; of the rocks, the trees and the wind. The locals tell their personal, intimate stories, which are given an additional charge by the long history of this legendary landscape. The incredibly peaceful sequence in which the water rises and falls, rises and falls in a channel could be seen as a homage to James Benning’s Casting a Glance (2007).

Mouton

Sheep Marianne Pistone, Gilles Deroo

France, 2013 | colour, 35mm, 1:1.85, 100 min, French Prod: Gilles Deroo | Prod Comp: Boule de Suif Production | Sc: Gilles Deroo, Marianne Pistone | Cam: Gilles Deroo, Marianne Pistone | Ed: Gilles Deroo, Marianne Pistone | Sound Des: Gilles Deroo, Marianne Pistone | With: David Merabet, Michael Mormentyn, Cindy Dumont, Benjamin Cordier, Emmanuel Legrand, Sébastien Legrand | Print/ Sales: Boule de Suif Production Public SCREENINGS Wed 29-1 19:00 Pathé 3 Thu 30-1 14:15 Cinerama 2 Fri 31-1 10:00 LantarenVenster 3 Sat 1-2 12:45 Pathé 4

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Aurélien, known as Mouton (Sheep), works in the kitchen of the local fish restaurant in the little town of Courseulles-sur-Mer on the Normandy coast. In the first part of Sheep, we get to know him as a cheerful seventeen-yearold with a simple life, loved by those who take the trouble to get to know him. Until, halfway through the film, he disappears after a bizarre accident with a chainsaw during the ‘Fête de la SainteAnne’. The focus then shifts to the people left behind, who miss Mouton. Like the viewer, they had grown greatly attached to the uncomplicated young man. For their highly original debut, the two directors, Marianne Pistone and Gilles Deroo spent a long time among the inhabitants of Courseulles-sur-Mer, which outside of the summer season evokes a melancholy that only seems to bring the locals closer together. They found their actors mainly through chance encounters, and this increases the natural feel of this film, packed with small gestures.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:47

Bright Future

Shui Yinjie Trap Street Vivian Qu

A ‘trap street’ is a street that doesn’t exist, placed by cartographers on their maps as a kind of copyright to protect themselves against counterfeiters. Li Quiming, the main character in Trap Street, encounters the opposite. When a young, somewhat naive intern at a company that makes digital maps bumps into an attractive woman one day, he is unable to find her again. The street where he met her and where, according to her business card, she works turns out not to exist. A thriller with Kafkaesque elements unfolds at a great pace. Director Vivian Qu subtly comments on Chinese state control through the Internet, telephones and other technology – a highly current topic given the recent NSA snooping scandals and WikiLeaks revelations. Even gadget-addict Quiming, who alongside his regular job installs security cameras to make ends meet, is forced to examine how relative his freedom actually is.

Of Good Report Jahmil X.T. Qubeka

South Africa, 2013 | b&w, DCP, 109 min, Xhosa/English Prod: Michael Auret | Prod Comp: Spier Films UK | Sc: Jahmil X.T. Qubeka | Cam: Jonathan Kovel | Ed: Cobus Roussouw, Che Amuru Tunstead | Sound Des: Joel Kapenda | Music: Phillip Miller | With: Mothusi Magano, Petronella Tshuma, Phoenix Mabote, Tshamano Sebe, Lee-Anne Van Rooi | Print/Sales: 6 SALES | http://spierfilms.com/of-good-report/ Public SCREENINGS Fri 24-1 12:15 Pathé 6 Mon 27-1 22:30 Oude Luxor Wed 29-1 09:15 Cinerama 2 Sat 1-2 19:30 LantarenVenster 5

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Parker Sithole served as a UN soldier in the Congo, is very proud of his teaching diploma and with his wise, peaceful demeanour somewhat resembles Nelson Mandela. He is clearly a man ‘of good report’ when he is hired to teach English at a secondary school. Cracks quickly appear in his blameless facade, however. Parker meets the super sexy Nolitha in a local bar. Having spent a wild night together, the girl nonchalantly walks into his class on his first day of work. Parker realises he has crossed a line. But will he be able, now that he has discovered his dark, bestial side, to control himself? Jahmil Qubeka films Nabokov’s famous novel Lolita as a classic film noir, complete with atmospheric blackand-white photography and evermore ominous music. Shakespeare quotes and musical intermezzos make it clear that Parker’s moral decline and fall is unstoppable. Psychopathy looms once the mask of civilisation has been dropped, even momentarily, Qubeka warns.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:47

Bright Future

Pleng khong kao The Songs of Rice Uruphong Raksasad

WORLD PREMIERE

Thailand, 2014 | colour, DCP, 75 min, Thai Prod: Pimpaka Towira | Prod Comp: Extra Virgin | Sc: Uruphong Raksasad, Kriengsak Wittayaaniwat | Cam: Uruphong Raksasad | Ed: Uruphong Raksasad | Print/ Sales: Mosquito Films Distribution Public SCREENINGS Tue 28-1 19:15 Cinerama 6 Wed 29-1 11:452 LantarenVenster 5 Thu 30-1 09:152 Pathé 6 Sat 1-2 22:302 Cinerama 7 Press & Industry SCREENING Mon 27-1 12:45 Cinerama 4

In Thailand, rice is the basis of every meal. Little wonder then that the crop is praised in many ways. In this lyrical film, the rice cycle is given a musical accompaniment – from the moment the crop is planted in endless, moist fields beneath spectacular cloudy skies until the cooked rice is shared out in temples. A significant part of the film is dedicated to the harvest celebrations, at which men race on bulls and set off huge (and potentially deadly) homemade fireworks, and women swathed in gleaming, colourful fabrics and headpieces move seductively to hypnotic, drawn-out beats. There are songs praising the qualities of rice, songs about harvesting and preparing it – some simple, some accompanied by an exuberant film clip. And there are moments when the pace slackens – literally – when the images speak for themselves, in slow motion, and tell a story of deep-rooted traditions and affinity with the land that produces this celebrated foodstuff.

Ni sisi

It’s Us Nick Reding

EUROPEAN PREMIERE

Kenya, 2013 | colour, DCP, 92 min, Swahili Prod: Krysteen Savane | Prod Comp: SAFE | Sc: Nick Reding | Cam: Joan Poggio | Ed: Carole Gikandi Omondi | Sound Des: Alex Njuguna | With: Jospeh Babu Wairimu, Mercy Wanjiru, Edna Daisy | Print/ Sales: The Festival Agency Public SCREENINGS Sun 26-1 15:30 Pathé 7 Mon 27-1 09:15 Pathé 2 Thu 30-1 13:00 Pathé 1 Sat 1-2 13:45 LantarenVenster 1 Press & Industry SCREENING Sat 25-1 11:00 Doelen JZ

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Until the 2007 elections, Kenya was seen as a beacon of stability in a troubled region. But when the presidential candidates incited their followers with accusations of election fraud, tribal tensions proved to simmer below the surface here too. More than 1,200 Kenyans lost their lives in the violence that erupted. To send out a message of national unity and peace, the theatre group SAFE produced the play It’s Us immediately following the bloodshed. After several years touring the country, it has now been filmed. It’s Us does more than point the finger at those stirring up tribal unrest. The film also poses questions on the individual responsibility of those who became involved. It’s Us paints a portrait of a typical Kenyan community. Ethnic background is not really important; Luo, Kikuyu, Kalenjin and Luhya live side by side – until a local politician hopes to win the elections by spreading rumours. Suspicion and distrust grow and things start to escalate. Nominated for The Big Screen Award.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:47

Bright Future

Obvious Child Gillian Robespierre

INTERNATIONAL PREMIERE

USA, 2014 | colour, DCP, 83 min, English Prod: Elisabeth Holm | Prod Comp: Born & Raised, LLC | Sc: Gillian Robespierre | Cam: Chris Teague | Ed: Casey Brooks, Jacob Craycroft | Prod Des: Sara K. White | Music: Chris Bordeaux | With: Jenny Slate, Jake Lacy, Gaby Hoffmann, Polly Draper, Gabe Liedman, Richard Kind | Print/Sales: Elisabeth Holm Public SCREENINGS Fri 24-1 18:30 Pathé 2 Sat 25-1 22:152 Pathé 1 Thu 30-1 15:302 Pathé 7 Sat 1-2 22:302 LantarenVenster 1 Press & Industry SCREENING Mon 27-1 13:30 Doelen JZ

Within just a few days, stand-up comedian Donna (27) manages to get rudely dumped by her boyfriend, lose her job and accidentally fall pregnant from a onenight stand. And all this shortly before Valentine’s Day. She decides to have an abortion, and then gets to know the father of her unborn child better. Women – foul-mouthed or well-spoken – who accidentally become pregnant have become a regular feature of film and TV drama since Knocked Up, Juno and the series Girls. However, these pregnancies generally end with a false alarm or the birth of a child. Abortion, a not uncommon event in reality, is still, it seems, too controversial. In this (secretly pretty romantic) tragicomedy, director and screenwriter Gillian Robespierre tackles the issue head-on with a great deal of humour – including candid revelations about vaginas and a good dose of toilet humour – as well as with a great cast. Jenny Slate in particular excels as the captivating Donna. Nominated for The Big Screen Award.

Tres D

Three D Rosendo Ruiz

WORLD PREMIERE

Argentina, 2014 | colour, DCP, 87 min, Spanish Prod: Ines Moyano | Prod Comp: El Carro SRL | Sc: Rosendo Ruiz | Cam: Pablo Gonzalez Galetto | Ed: Ramiro Sonzini, Leandro Naranjo | Prod Des: Ines Moyano | Sound Des: Atilio Sanchez | With: Matias Ludueña, Micala Ritacco, Maura Sajeva, Lorena Caviccia, Eduardo Leyrado | Print/Sales: El Carro SRL Public SCREENINGS Sun 26-1 15:15 Pathé 6 Mon 27-1 20:00 Cinerama 6 Thu 30-1 19:15 LantarenVenster 6 Fri 31-1 11:00 Doelen JZ Press & Industry SCREENING Sat 25-1 11:00 Cinerama 6

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The third Argentinean Festival Internacional de Cine Independiente de Cosquín (a small town of 19,000 inhabitants, close to Córdoba) lasted only three wintry days last May. This gave director Rosendo Ruiz little time to shoot Three D: a film about a film festival, at a film festival, with filmmakers, about filmmaking. The hugely successful result includes countless celebrities from the Argentine independent film scene, either in character or just passing by on screen. Film lovers Matías and Mica conduct interviews and report on the tiny festival. Regular festivalgoers will recognise the way they work, discuss and enjoy the festival. A natural phenomenon for which everyone has to don sunglasses makes staying inside even more attractive. After all, this is where that ecstatic festival feeling can be found, like a blossoming love affair. The days of the festival merge and blur to an infectious soundtrack as the unavoidable climax approaches for the beguiling Matías and Mica: the closing party.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:47

Bright Future

A Spell to Ward Off the Darkness Ben Russell, Ben Rivers

France/Estonia, 2013 | colour, DCP, 98 min, English Prod: Julie Gayet, Nadia Turincev | Prod Comp: Rouge International | Sc: Ben Russell, Ben Rivers | Cam: Ben Russell, Ben Rivers | Ed: Ben Russell, Ben Rivers | Prod Des: Black Hands – Indrek Kasela | Sound Des: Chu-Li Shewring, Nicolas Becker, Philippe Ciompi | Music: Queequeg, Robert AA Lowe | With: Robert AA Lowe, Taraka Larson, Nimai Larson | Print/Sales: Rouge International | www.aspelltowardoffthedarkness.com Public SCREENINGS Sat 25-1 21:45 Pathé 2 Sun 26-1 19:30 Cinerama 4 Mon 27-1 11:30 LantarenVenster 6 Fri 31-1 09:00 Cinerama 6

Musician Robert AA Lowe, known principally from his intense performances under the name of Lichens, plays an anonymous man in three seemingly different phases of his life. Directors Ben Rivers and Ben Russell show him philosophising at a 15-strong commune on the small island of Vormsi in Estonia; alone and isolated in the majestic wilderness of Hyrynsalmi in northern Finland; and during a wild concert as singer and guitarist of a black-metal band in Oslo, hypnotically filmed in a single take. Like much of their previous work, this first, close cooperation between experimental filmmakers Rivers and Russell is full of symbolism, slowly-changing landscapes, rituals, and nomads who have withdrawn from society. Loneliness, Utopia and ecstasy succeed one another in a meandering triptych without commentary, somewhere between fiction and non-fiction. In this way, the makers strive to create space for uncertainty and mystery in an age when everything has to be explained. See also Let Us Persevere in What We Have Resolved Before We Forget in combined programme Before We Forget in Spectrum Shorts.

Not at Home Shahrbanoo Sadat, Katja Adomeit

INTERNATIONAL PREMIERE

Denmark/Afghanistan/Germany, 2013 | colour, DCP, 65 min, Dari/ German/Swahili/Arabic/Russian Prod: Shahrbanoo Sadat, Katja Adomeit | Prod Comp: Adomeit Film, Junafilm | Sc: Shahrbanoo Sadat, Katja Adomeit | Cam: Niels Buchholzer, Jamil Jallah, Jalal Hussaini, Morteza Shahed | Ed: Janina Gerkens | Sound Des: Kristoffer Salting, Brian Dyrby | With: Hilla Wali-Mohammad, Nikmal Dostakhel, Homed Ahmadi, Fatima Hussaini | Print/Sales: Adomeit Film Public SCREENINGS Sat 25-1 16:30 Cinerama 4 Sun 26-1 09:15 Cinerama 2 Tue 28-1 14:00 LantarenVenster 6 Wed 29-1 11:45 Cinerama 2

A family in Kabul, consisting of two parents and four daughters, has just moved to a new home. Every day, the father curses his children for not following the old religious traditions. In the meantime, a young Afghan girl in a refugee centre in Germany starts to find her place. We follow her in her aimless daily routine, during which she builds up an understanding without words with a fellow refugee. The resignation with which the residents of the refugee centre live their lives put on hold is not acted: they are playing themselves. In their feature debut, directors Shahrbanoo Sadat and Katja Adomeit mix fiction and documentary in a sophisticated way. In the fictitious part of the film – in the family’s new home in Kabul – the clash between tradition and inevitable progress is subtly captured in natural dialogues.

Press & Industry SCREENING Sat 25-1 09:00 Cinerama 4

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43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:47

Bright Future

Los insólitos peces gato

The Amazing Catfish Claudia Sainte-Luce

Mexico, 2013 | colour, DCP, 89 min, Spanish Prod: Geminiano Pineda Moreno | Prod Comp: Cine Canibal | Sc: Claudia Sainte-Luce | Cam: Agnès Godard | Ed: Santiago Ricci | Prod Des: Barbara Enriquez | Sound Des: Frédéric Le Louet | Music: Madame Recamier | With: Ximena Ayala, Lisa Owen, Sonia Franco, Wendy Guillen, Andrea Baeza, Alejandro Ramirez Munoz | Sales: Pyramide International | Distr NL: Imagine Filmdistributie Nederland Public SCREENINGS Tue 28-1 16:00 Schouwburg GZ Wed 29-1 20:00 Doelen JZ Fri 31-1 17:00 LantarenVenster 6 Sat 1-2 15:45 Pathé 1 Press & Industry SCREENING Thu 23-1 11:30 Doelen JZ

Director Claudia Sainte-Luce and her lead actors have received one award after the other since The Amazing Catfish premiered at the Locarno film festival last year. This debut film tells a heart-breaking story with a light touch about young introverted Claudia, who after a short stay in hospital is adopted very naturally into the unruly household of her hospital roommate Martha. What starts off as a playful, modest friendship within Martha’s hippie family and among her fast-talking daughters quickly becomes a precarious pact in which Claudia doesn´t want to lose her adopted family, and Martha and her daughters equally can´t live without Claudia. It is no coincidence that the main character has the same first name as the filmmaker; this nimble film is also a very personal one. Director Sainte-Luce (1982) packages her serious subject in a dynamic, feminine drama that once again shows you don’t need blood ties to be family.

Shuvuukhai Remote Control Byamba Sakhya

EUROPEAN PREMIERE

Mongolia/Germany, 2013 | colour, DCP, 90 min, Mongolian Prod: Innbo Shim | Prod Comp: Guru Media | Sc: Byamba Sakhya | Cam: Charles Libin | Ed: Byamba Sakhya, Naomi Spirio | Prod Des: Ariunsaikhan Davaakhuu | Sound Des: Abigail Savage | Music: Sansar Sangidorj | With: Baasandorj Enkhtaivan, Bayarmaa Nergui, Ganbaatar Chagnaadorj | Print/Sales: Guru Media Public SCREENINGS Mon 27-1 16:00 Pathé 1 Tue 28-1 11:15 LantarenVenster 1 Wed 29-1 19:30 Cinerama 4 Sat 1-2 14:00 Schouwburg GZ Press & Industry SCREENING Sat 25-1 12:30 Cinerama 7

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Tsog, a teenage boy from Mongolia, sells milk in the capital, Ulan Bator. When he is in his home village, he tries to flee the quarrels at home. His hero is a young monk who, legend has it, was persecuted because he found out how to fly. Tsog recreates his hero´s adventures in a home-made flip book cartoon. One day, Tsog decides to camp out on the roof of a block of flats. A young woman who is just as dissatisfied with her lot as Tsog lives opposite – but she doesn’t dare to fly. Tsog incorporates her into his dreams, although he daren’t actually approach her. Nevertheless, he tries to make contact using a stolen remote control and his skill at drawing. Remote Control, a poetic reflection on dreams and taking new steps, is the first feature by Byamba Sakhya, who has made several documentaries and worked on several international productions (including Khadak). He has said that the story is also a metaphor for the changes taking place in Mongolia.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:47

Bright Future

Jacky au royaume des filles

Jacky in Women’s Kingdom Riad Sattouf

WORLD PREMIERE

France, 2014 | colour, DCP, 87 min, French Prod: Anne-Dominique Toussaint | Prod Comp: Les Films des Tournelles | Sc: Riad Sattouf | Cam: Josée Deshaies | Ed: Virginie Bruant | Prod Des: Alain Guffroy | Sound Des: Valérie Deloof | With: Charlotte Gainsbourg, Vincent Lacoste, Michel Hazanavicius, Laure Marsac, Didier Bourdon | Print/Sales: Pathe International Public SCREENINGS Sat 25-1 16:15 Oude Luxor Sun 26-1 20:00 Doelen JZ Wed 29-1 15:45 Pathé 6 Sat 1-2 20:15 LantarenVenster 3 Press & Industry SCREENING Sat 25-1 22:45 Doelen JZ

In La république démocratique et populaire de Bubunne, the women are in power. They rule the country and maintain order, while the men – clad in robes from head to toe – take care of the households. Things are not very democratic; General Bubunne rules with an iron fist – opponents are hanged. In this strange country, where horses are worshipped and the national cuisine is a slimy gruel, Jacky gets ready for the Grand Ball, at which the General’s daughter (Charlotte Gainsbourg) will choose a husband. Jacky fervently hopes he will be chosen, but he’s not the only candidate. In his second feature film, cartoonist Riad Sattouf, who made his directing debut with the award-winning The French Kissers (2009), challenges common assumptions about men and women. The satirical Jacky in Women’s Kingdom is not only witty, but often very sharp in its radical switching of gender roles. It’s also a romantic fairytale, brimming with black humour and with a particularly surprising end. Nominated for The Big Screen Award.

Blue Ruin Jeremy Saulnier

USA, 2013 | colour, DCP, 92 min, English Prod: Anish Savjani, Richard Peete, Vincent Savino | Prod Comp: Film Science | Sc: Jeremy Saulnier | Cam: Jeremy Saulnier | Ed: Julia Bloch | Prod Des: Kaet McAnneny | Music: Brooke Blair, Will Blair | With: Macon Blair, Devin Ratray, Amy Hargreaves, Kevin Kolack, Eve Plumb | Sales: Memento Films International | Distr NL: Filmfreak Distribution Public SCREENINGS Sun 26-1 22:45 Oude Luxor Wed 29-1 13:45 Schouwburg GZ Fri 31-1 22:30 Cinerama 5 Sat 1-2 19:00 Pathé 3

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Dwight Evans is an unlikely avenging angel. His eyes flit about nervously above an unkempt beard and he lives in an abandoned car on the beach, where he collects plastic bottles and forages his lunch from litter bins. But when he hears that Will Cleland is being released from prison after 20 years, Evans springs into action. He steals a gun and a pick-up truck, races to the town where he used to live and without much ado shoots Cleland dead. In a regular revenge fantasy, this would be enough for the whole film. In Blue Ruin, however, it is just the prologue. We then have to wait for the bloodthirsty response from Cleland’s family, and the inevitable reaction – until no one knows any more what started this whole vendetta off in the first place. Unpredictable plot twists, jet-black humour and skilfully constructed suspense are the trump cards of this unorthodox thriller, which had a great reception in Cannes, attracting comparisons to the Coen brothers’ Blood Simple.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:47

Bright Future

Qissa Anup Singh

EUROPEAN PREMIERE

Germany/India/Netherlands/ France, 2013 | colour, DCP, 109 min, Punjabi Prod: Bero Beyer, Johannes Rexin, Bettina Brokemper, Thierry Lenouvel | Prod Comp: Augustus Film, Heimatfilm, Ciné-Sud Promotion, National Film Development Corporation India | Sc: Anup Singh, Madhuja Mukherjee | Cam: Sebastian Edschmid | Ed: Bernd Euscher | Prod Des: Tim Pannen | Sound Des: Peter Flamman | Music: Béatrice Thiriet | With: Irrfan Khan, Tisca Chopra, Tillotama Shome, Rasika Dugal | Sales: The Match Factory | Distr NL: Just Film Distribution Public SCREENINGS Fri 24-1 15:45 Pathé 3 Sun 26-1 19:30 Oude Luxor Wed 29-1 13:15 Pathé 3 Thu 30-1 19:15 LantarenVenster 1

After his memorable debut Name of a River (IFFR 2002), Anup Singh returns with a fragile family drama that depicts profoundly emotional bonds, tradition and social expectations. The story unfolds around a Sikh family in which only daughters are born. The desire to have a family heir is nevertheless fulfilled through a secretive turn of events. The territory of Punjab, right after the Partition of India, gives a meaningful historical frame to this sensitive issue of a family that moved from Pakistan to India. Visually reminiscent of the beautiful canvases of old masters, the colours and shades of the film emphasize heaviness and pain. The calm and minimalist acting style by the main protagonists, the famous Irrfan Khan as well as a talented newcomer, Bengali actress Tillotama Shome, provides the spectator with an intense experience. Singh is certainly one of the most exciting and genuine voices of the new Indian cinema. Official Opening Film IFFR 2014.

Press & Industry SCREENING Thu 23-1 13:30 Doelen JZ

Manakamana Stephanie Spray, Pacho Velez

USA/Nepal, 2013 | colour, DCP, 118 min, Nepali/English Prod: Lucien Castaing-Taylor, Verena Paravel | Prod Comp: Harvard Sensory Ethnography Lab | Cam: Pacho Velez | Ed: Stephanie Spray, Pacho Velez | Sound Des: Stephanie Spray | Print/Sales: Stephanie Spray | www.manakamanafilm.com Public SCREENINGS Thu 23-1 22:15 Pathé 3 Fri 24-1 16:30 Cinerama 6 Sat 25-1 12:15 Pathé 6 Fri 31-1 16:00 Cinerama 6

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The Nepalese Manakamana temple stands out against the Himalayas like a huge magnolia tree. This has been a place of pilgrimage for Hindus since the 17th century. They come here to beg for happiness from Bhagwati, the goddess of beauty. The really devout pray for five or ten hours at a stretch. Until 15 years ago, they would have also just completed a three-hour hike, uphill. But these days, pilgrims can take a cable car and get there in ten minutes. Ten minutes also happens to be the duration of a roll of 16mm film. Documentary makers Stephanie Spray and Pacho Velez do not make any cuts, and with Manakamana have made a film with less than twenty shots. In these unusually long takes, the Nepalese jungle slides beneath the cable car like a surreal carpet. The pilgrims – often villagers who have never been in an aircraft – travel through the air to their communion with higher powers. The film zooms in on their emotions and astonishment.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:47

Bright Future

The Pinkie Lisa Takeba

WORLD PREMIERE

Japan, 2014 | colour, video, 65 min, Japanese Prod: Lisa Takeba | Sc: Lisa Takeba | Cam: Kugimiya Shinji | Ed: Kageyama Shu | Prod Des: Katagiri Mariko | Sound Des: Hirama Fumito | Music: Fujinaga Kentaro | With: Ozawa Ryota, Wagatsuma Miwako, Suenaga Haruka, Tsuda Kanji | Print/Sales: Lisa Takeba Public SCREENINGS Sat 25-1 19:30 Cinerama 1 Sun 26-1 19:302 Cinerama 3 Tue 28-1 14:152 Cinerama 5 Wed 29-1 09:452 Pathé 4 Press & Industry SCREENING Fri 24-1 22:45 Cinerama 3

Since they were both five, Ryosuke has been stalked by Momoko – the ugliest girl in the village. Her love for Ryosuke is so boundless that she has her face surgically altered to suit his taste – but still he wants nothing to do with her. Ryosuke goes in for fleeting romance – for example, with the girlfriend of a gangster boss. But when he finds out about their affair, he has Ryosuke’s little finger hacked off. Magically, the finger falls into Momoko’s hands, and she uses it to clone Ryosuke, so she can finally have him (or almost him) for herself. And this is just the first five minutes of Lisa Takeba’s short-but-powerful feature debut. Just like in her previous short films, the director – who cut her teeth in the advertising world and as the writer of a video game – throws a lot of genres and techniques into the mix: from science fiction to gangster films, from hospital eroticism to animation. Hectic and absurd, but with its heart in the right place.

Mary Is Happy, Mary Is Happy Nawapol Thamrongrattanarit

Thailand, 2013 | colour, DCP, 127 min, Thai Prod: Aditya Assarat | Prod Comp: Pop Pictures Co. Ltd. | Sc: Nawapol Thamrongrattanarit | Cam: Pairach Khumwan | Ed: Chonlasit Upanigkit | Prod Des: Rasiguet Sookkarn | Sound Des: Akaritchalerm Kalayanamitr | Music: Somsiri Sangkaew | With: Patcha Poonpiriya, Chonnikan Netjui | Print/ Sales: Mosquito Films Distribution | www.facebook.com/pop.pictures.ltd Public SCREENINGS Sat 25-1 15:15 Pathé 5 Tue 28-1 09:30 Cinerama 1 Fri 31-1 22:00 Pathé 3 Sat 1-2 17:00 Cinerama 2 Press & Industry SCREENING Fri 24-1 20:00 LantarenVenster 4

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Take the Twitter feed of a random teenage girl – 410 tweets, to be exact, verbatim, without skipping any and without changing the sequence. For his second feature, Thai director Nawapol Thamrongrattanarit (whose feature debut was in the Tiger Awards Competition last year) decided to forge a new narrative from this stream of random, often meaningless fragments of a life into a new narrative. The story that emerges is that of Mary, who is grappling with the vicissitudes of life in her senior year of secondary school. She squabbles with her best friend Suri, with whom she is compiling the yearbook, and she falls in love with the mysterious M. The texts on screen – roughly two sentences a minute – determine the jumpy editing, so during the first half hour Mary gets involved in all kinds of capers, from buying a squid to an unplanned trip to Paris. Along the way, however, Thamrongrattanarit is able to cram a surprising amount of emotion into the story.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:47

Bright Future

Por las plumas All About the Feathers Neto Villalobos

Costa Rica, 2013 | colour, DCP, 85 min, Spanish Prod: Neto Villalobos | Prod Comp: Sucia Centroamericana Producciones | Sc: Neto Villalobos | Cam: Nicolás Wong | Ed: Neto Villalobos | Prod Des: Olga Madrigal | Sound Des: Carlos E. Aguilar | Music: Florian Droids | With: Marvin Acosta, Allan Cascante, Sylvia Sossa, Erlan Vásquez | Print/ Sales: Urban Distribution International Public SCREENINGS Fri 24-1 12:30 Pathé 7 Mon 27-1 13:45 Schouwburg GZ Tue 28-1 10:00 LantarenVenster 3 Fri 31-1 20:00 Doelen JZ

‘Maje!’ means something like ‘Dude, what the...?!’ A typical Costa Rican cry often heard in Ernesto Villalobos’ debut film. After buying a fighting cock called Rocky, bored security guard Chalo gets mixed up in absurd but also awkward situations. The cock’s crowing is not appreciated at home, but even at a deserted industrial terrain problems arise. Cock fighting is an illegal but extremely popular pastime amongst Costa Rica’s working class, and Chalo and his constant companion Rocky make new friends and allies all over. With deadpan humour, All About the Feathers moves at a cracking pace as Chalo’s monotonous life grows increasingly colourful. A graduate of the Rotterdam Lab, Villalobos was able to make his film thanks in part to crowdfunding. The cast consists of celebrated local musicians alongside professional and amateur actors. Comradeship and cock fighting, without a single drop of animal blood being spilt!

Fantail Curtis Vowell

EUROPEAN PREMIERE

New Zealand, 2013 | colour, DCP, 83 min, English Prod: Sarah Cook, Matt Noonan | Prod Comp: Yes Please Films, Curious Film | Sc: Sophie Henderson | Cam: Ian McCarroll | Ed: Richard Shaw | Prod Des: Brant Fraser | Sound Des: Dick Reade | Music: Mahuia Bridgman-Cooper | With: Sophie Henderson, Jahalis Ngamotu, Jarod Rawiri, Stephen Lovatt | Print/Sales: Curious Film | www.facebook.com/fantailmovie Public SCREENINGS Sun 26-1 15:15 Pathé 5 Mon 27-1 14:00 Cinerama 6 Thu 30-1 10:00 Pathé 1 Sat 1-2 11:45 Cinerama 5 Press & Industry SCREENING Wed 29-1 09:00 Pathé 5

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The nights that Tania spends behind the cash register of a petrol station are lonely. The only person she sees, except for the odd customer on the other side of the bulletproof screen, is her boss Rog, at the start and end of every shift. Despite the loneliness, she is not keen on the company of Dean, the regional manager. Until they get into a conversation about their backgrounds. Whereas blonde Tania likes to stress her Maori roots, Dean – a full-blood Maori – prefers to distance himself from his origins. Fantail started out as a short monologue for the theatre, written by lead actor Sophie Henderson, the wife of director Curtis Vowell. The film was financed by the New Zealand Film Commission’s Escalator initiative for up-and-coming talent. The modest narrative, which takes place largely in and around the petrol station, tackles big themes such as identity and the chances people have.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:47

Bright Future

Sitzfleisch Steadiness Lisa Weber

WORLD PREMIERE

Austria, 2014 | colour, DCP, 77 min, German Prod: Rudi Takacs | Prod Comp: Takacs Film | Cam: Lisa Weber | Ed: Roland Stöttinger | Sound Des: Dominik Schlager | Print/Sales: Takacs Film | www.facebook.com/sitzfleischfilm Public SCREENINGS Sat 25-1 19:15 Cinerama 6 Sun 26-1 17:15 Cinerama 2 Mon 27-1 10:00 LantarenVenster 3 Thu 30-1 14:30 Cinerama 5 Press & Industry SCREENING Fri 24-1 12:00 Cinerama 3

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Lisa and her brother Luka set off on an adventure with their grandparents, driving from Austria to the North Cape. Lisa records the whole trip, from squabbling over which brochures to take along, to the ferry crossing, and their arrival at the – somewhat disappointing – tourist attraction. This documentary is not only the record of a long journey, with the inevitable repetition and monotony; the trip is also a metaphor for the grandparents´ marriage, in which politeness has become irrelevant and habits deeply ingrained. The camera records – at times to the visible embarrassment and irritation of the protagonists – the dynamics between two people who have naturally become deeply attached to one another. The gulf between the generations is also apparent. The grandchildren simply can’t understand how they can stay together for so long like this, and have no concept of the invisible bond that has grown between their grandma and grandpa, forged by time.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:47

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Farsh wa ghata Rags and Tatters Ahmad Abdalla

Ahmad Abdalla’s Microphone (2010) portrayed a young generation of Egyptians clearly no longer willing to put up with the oppression of the Mubarak regime and bent on change. The film was released on 25 January 2011, the day Cairo’s Tahrir Square filled with demonstrators and the Egyptian revolution officially broke out. During the rebellion, Abdalla worked as a volunteer at the hastily created media camp. He collected images shot with mobile phones, edited them into reports and sent them on to international broadcasters. This is the direct style of amateur film art he uses in Rags and Tatters, a mosaic narration about what happened on the fringes of the revolution. The protagonist of Rags and Tatters manages to escape from jail in the chaos. He roams the city where nothing will be the way it was again, looking forlorn. He is not like the rebellious kids from Microphone, who have everything to gain. He is one of the losers of the revolution.

Chaotic Memories:

Selected Works 2010-2013 Paul Agusta

WORLD PREMIERE

Indonesia, 2014 | colour/ b&w, video, 72 min, Indonesian/English Prod: Paul Agusta, Kyo Hayanto | Prod Comp: Kinekuma Pictures | Cam: Paul Agusta, Kyo Hayanto, Fahmy J Saad | Ed: Paul Agusta | Prod Des: Paul Agusta, Kyo Hayanto | Sound Des: Paul Agusta | Music: Paul Agusta, Rayhan Sudrajat, The Wispy Hummers, Ababil Ashari | Print/Sales: Kinekuma Pictures Public SCREENINGS Tue 28-1 19:302 Cinerama 4 Wed 29-1 12:002 LantarenVenster 2 Fri 31-1 22:152 Cinerama 7 Press & Industry SCREENING Fri 24-1 14:30 LantarenVenster 4

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This selection was especially compiled for IFFR from the short experimental work of the Indonesian critic/curator/ director Paul Agusta, several of whose full-length films have been screened in Rotterdam in recent years. The selection includes more traditional narratives as well as radical compositions, but it is always intensely personal. The contorted and coloured forms in the eight clips that make up Controlled Chaos refer to Agusta’s own experiences, with which the maker strives for a catharsis while also wanting to let others share his feelings. It’s not for the first time. With The Very Bottom of Everything in 2010 he had already created a visual portrayal of a relative with manic depression. Memory Room, part of Chaotic Memories, goes a step further than Controlled Chaos. A man in a room looks for a way out but remains imprisoned amongst objects from the past. Memory Room not only shows negative emotions but also analyses how they prevent us from growing.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:47

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Ai Weiwei’s Appeal ¥15,220,910.50 Ai Weiwei

WORLD PREMIERE

China, 2014 | colour, video, 127 min, English Prod: Ai Weiwei | Prod Comp: Ai Weiwei Studio | Cam: Zhao Zhao, Li Dongxu, Guo Ke, Xia Xing, Xue Yutao, Li Jie | Ed: Yuan Ze, Wang Yuye | Print/Sales: Ai Weiwei Studio Public SCREENINGS Thu 23-1 16:30 LantarenVenster 6 Fri 24-1 13:00 Cinerama 6 Thu 30-1 09:00 Cinerama 6 Press & Industry SCREENING Wed 29-1 22:00 Cinerama 7

Ai Weiwei’s Appeal ¥15,220,910.50 starts with the opening of the Venice Biennial in the summer of 2013. The mother of the Chinese conceptual artist, political activist, philosopher, architect, photographer and filmmaker shuffles around in the middle of his enormous installation S.A.C.R.E.D., an overwhelming portrayal of his imprisonment. Then the film jumps back to March 2011: Chinese police raid the Ai Weiwei studio for suspected tax evasion. Ai Weiwei repeatedly debates with the authorities, albeit calmly and courteously. Cameras are rolling everywhere. What follows is an extremely precise, chronological reconstruction of all the events in between... from Ai’s arrest at Beijing Airport in April 2011, countless exhibition openings in the most prestigious art centres all over the world, which Ai cannot attend, and continual intimidation by the authorities. With news reports, newspaper clippings, interviews and excerpts from the court case.

Alamat ni China Doll Legend of China Doll Adolfo B. Alix Jr.

INTERNATIONAL PREMIERE

Philippines, 2013 | colour, DCP, 85 min, Filipino Prod: Ronald Arguelles | Prod Comp: ABS-CBN Creative Programs Inc. | Sc: Lav Diaz | Cam: Albert Banzon | Ed: Charliebebs Gohetia | Prod Des: Adolfo Alix Jr. | Sound Des: Mark Locsin, Dante Cuanico, Albert Michael Idioma, Alex Tomboc | Music: Lav Diaz | With: Angelica Panganiban, Cesar Montano, Phillip Salvador, Anita Linda, Alan Paule, Evelyn Vargas | Print/Sales: ABSCBN Creative Programs Inc. Public SCREENINGS Sun 26-1 22:15 Pathé 3 Mon 27-1 12:15 LantarenVenster 1 Wed 29-1 22:00 Cinerama 6 Thu 30-1 18:30 Cinerama 5

In the opening scene of Legend of China Doll, a journalist is rapped on the knuckles by a detective because he published information about a woman called China Doll. He has put her in danger, the detective says, and the story is all wrong. The journalist shrugs his shoulders. There are many truths, he answers, depending on who experiences it. The two quarrel briefly, then the journalist walks out of the bar into the night. When the detective takes another swig of his beer, we hear gunshots. What follows is an inimitable (nonchronological), grim, very violent political conspiracy thriller directed by the Filipino auteur-provocateur Adolfo B. Alix Jr., based on a script by his very respected fellow countryman Lav Diaz. Everything focuses on (journalistic) integrity and – above all – on China Doll, a mythical young woman with a constantly changing identity and a very violent past.

Press & Industry SCREENING Sat 25-1 10:45 Cinerama 7

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43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:48

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Letters from the South Aditya Assarat, Royston Tan, Midi Z, Tan Chui Mui, Tsai Ming-liang, Sun Koh

EUROPEAN PREMIERE

China/Malaysia/Thailand/ Singapore/Myanmar, 2013 | colour/b&w, DCP, 105 min, Mandarin/Thai/Taiwanese/ Burmese/Cantonese Prod: Tan Chui Mui | Prod Comp: Da Huang Pictures | Sc: Tan Chui Mui, Aditya Assarat, Royston Tan, Midi Z, Sun Koh, Tsai Ming-liang | Print/ Sales: Mosquito Films Distribution Public SCREENINGS Fri 24-1 19:45 LantarenVenster 6 Sat 25-1 21:45 LantarenVenster 6 Wed 29-1 15:45 Pathé 5 Thu 30-1 22:15 Cinerama 4 Press & Industry SCREENING Mon 27-1 09:00 Cinerama 4

You can find Chinese people all over the world. Hence also in other parts of Southeast Asia. In this omnibus film, six directors from the region each reflect on the Chinese diaspora. Thai filmmaker Aditya Assarat describes a meeting in Thailand between Paula and her friends, who have Chinese roots, with her cousin Mumu, who was born in China; Royston Tan from Singapore tells of the special meaning that making the traditional Popiah dish has for a Chinese family; Midi Zhao from Myanmar follows the death of a grandfather surrounded by Chinese customs in a village in Myanmar; Sun Koh from Singapore makes a small-scale comedy about the commercialisation of the local radio station, influenced by mainland China; Tan Chui Mui from Malaysia composes a poetic, visual reflection on being an outsider and wandering; and Tsai Ming-liang, also born in Malaysia, observes the seventh-storey apartment in which he grew up as a child.

Malmhaus Metalhead Ragnar Bragason

Iceland, 2013 | colour, DCP, 97 min, Icelandic Prod: David Oskar Olafsson, Arni Filippusson | Prod Comp: Mystery Production | Sc: Ragnar Bragason | Cam: August Jakobsson | Ed: Valdís Óskarsdóttir | Prod Des: Sveinn Vidar Hjartarson | Sound Des: Huldar Freyr Arnarson | Music: Pétur Ben | With: Thorbjörg Helga Thorgilsdóttir, Ingvar E. Sigurdsson, Halldóra Geirhardsdóttir | Print/ Sales: Picture Tree International Public SCREENINGS Fri 24-1 15:45 Pathé 1 Mon 27-1 22:00 Schouwburg GZ Tue 28-1 13:45 Schouwburg GZ Press & Industry SCREENING Thu 30-1 17:30 Cinerama 7

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Icelandic Hera was born in 1970, the year Black Sabbath heralded the birth of heavy metal with their debut album. The girl, her parents and elder brother Baldur live on a remote farm where she has an idyllic childhood until Baldur dies before her eyes in an accident. Hera deals with her immense loss and extreme guilt in a way that frightens her parents: she becomes a passionate metalhead just like her brother, wears his old clothes and turns into a rebellious teen. Now that Hera is almost an adult, her ambition is to be a rock star, family relations are worse than ever and the broken young woman keeps getting into trouble. Becoming an adult is never easy, but Bragason manages to compassionately incorporate his traumatised protagonist’s teen years into his drama, which is not only emotional but also humorous.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:48

Spectrum

Educação sentimental Sentimental Education Júlio Bressane

Brazil, 2013 | colour, 35mm, 1:1.85, 84 min, Portuguese Prod: Marcello Maia | Prod Comp: Republica Pureza Filmes | Sc: Júlio Bressane, Rosa Maria Dias | Cam: Walter Carvalho, Pablo Baião | Ed: Rodrigo Lima | Prod Des: Moa Batsow | Sound Des: Vampiro, Damião Lopes | Music: Guilherme Vaz | With: Josie Antello, Bernardo Marinho, Débora Olivieri | Print/ Sales: Republica Pureza Filmes Public SCREENINGS Fri 24-1 11:45 LantarenVenster 5 Tue 28-1 19:45 LantarenVenster 2 Wed 29-1 14:15 Cinerama 2 Fri 31-1 09:00 LantarenVenster 6

A chance encounter brings together Áurea, a middle-aged teacher, and and Áureo, a young man. Áurea immediately tells the Greek myth of Endymion, a handsome young shepherd for whom the Moon Goddess yearns. She decides to come to Earth to kiss him, after which Zeus puts him to sleep for ever as punishment. Áureo listens attentively to the stories the woman tells him. In her home, she tells him about her past as a writer, about her father and mother and about the loneliness in her life. Sentimental Education is in fact one long monologue in which Áurea talks and then wordlessly dances or moves around the house. Júlio Bressane, a veteran of Brazilian experimental cinema, uses a theatrical setting to tackle themes such as art, spirituality and love. Despite the static tone, there’s also a lighter side. In the final scenes, the surprising past of the silent young man is revealed and the long series of out-takes at the end of the film show the fun side of making it.

Yeshche odin god Another Year Oxana Bychkova

WORLD PREMIERE

Russia, 2014 | colour, DCP, 107 min, Russian Prod: Mikhail Rozentsveyg, Arnold Tatarintsev, Nikolay Borodachev, Vasiliy Shilnikov | Prod Comp: Multiland Ltd., Gosfilmofond of Russia | Sc: Natalia Meschaninova, Lubov Mulmenko | Cam: Kirill Bobrov | Ed: Ivan Lebedev | Prod Des: Olga Khlebnikova | Sound Des: Vladimir Golovnitsky | With: Nadya Lumpova, Alexey Filimonov | Print/ Sales: Gosfilmofond of Russia Public SCREENINGS Tue 28-1 18:45 Pathé 7 Wed 29-1 12:15 Pathé 2 Fri 31-1 15:30 Cinerama 1 Sat 1-2 10:00 LantarenVenster 3 Press & Industry SCREENING Mon 27-1 17:15 Doelen JZ

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A young married couple in today’s Moscow: He’s an unemployed guy who gets some money by giving rides to strangers at nights (the illegal taxi driving so common in Russia). She’s a young graphic designer who just got her first job. The film tracks their unstable relationship throughout a year. Both have different backgrounds and pursue different goals in life, and gradually the differences, no matter how insignificant, become fatally important for their relationship. Oxana Bychkova makes a poignant portrait of a young, immature love and subtly shows how feelings inevitably become routine, against the will of the lovers. This unsentimental and touching drama unfolds gradually but its pace is engaging and has genuine tension. Freely and elegantly shot in Moscow, not an easy city to capture in film. Written by Natalia Meschaninova and Lubov Mulmenko, authors of The Hope Factory (in Tiger competition this year). Nominated for The Big Screen Award.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:48

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Lev stærkt

On the Edge Christian E. Christiansen

WORLD PREMIERE

Denmark, 2014 | colour, DCP, 86 min, Danish Prod: Louise Vesth | Prod Comp: Zentropa Entertainments | Sc: Christian E. Christiansen, Morten Dragsted | Cam: Ian Hansen | Ed: Michael Bauer Nielsen | Sound Des: Allan Holmberg | Music: Allan Holmberg | With: Cyron Melville, Jakob Oftebro, Danica Curcic, Joakim Ingversen | Print/ Sales: TrustNordisk | https://www. facebook.com/LevStaerkt Public SCREENINGS Sun 26-1 20:00 Pathé 1 Mon 27-1 15:15 Pathé 5 Thu 30-1 22:00 Schouwburg GZ Sat 1-2 20:00 Cinerama 2 Press & Industry SCREENING Tue 28-1 11:00 Pathé 5

Weekdays, they change oil and adjust brakes at a garage. But on weekends Martin and Nikolaj break free: they try to get their hands on a new model Audi from the showroom for an extreme trial run; steal a car or drive their souped-up Ford Focus to the industrial terrain where illegal street races are held. A world of molten rubber, fights, tattooed girls in tight tops, growling bikes and pumping hip-hop. But one night it goes wrong. Martin knocks down a pedestrian with his car and is sentenced for manslaughter. Fraught with guilt, Nikolaj seeks solace with Martin’s girlfriend, which puts the friendship between the two of them at knife edge. Both the Hollywood experience and the Danish roots of director Christian E. Christiansen can be seen in this film, which has the polished pace of The Fast and the Furious, but the psychological subtlety we know from many Scandinavian productions. A successful cocktail of adrenaline, petrol and genuine drama.

Costa Dulce Enrique Collar

EUROPEAN PREMIERE

Paraguay/Netherlands, 2013 | colour, DCP, 75 min, Guarani Prod: Enrique Collar, Andre Schreuders | Prod Comp: AreachikaCine, AS Film | Sc: Enrique Collar, Juan Marin | Cam: Christian Núñez | Ed: Andre Schreuders | Prod Des: Nelson Silva | Sound Des: Magali Apodaca | With: Christian Riveros, Eladia Vázquez, Juan de Dios Collar | Print/Sales: Enrique Collar | www.costadulcefilm.com Public SCREENINGS Fri 24-1 22:30 LantarenVenster 3 Wed 29-1 18:302 Pathé 2 Thu 30-1 16:302 Cinerama 6 Fri 31-1 09:152 LantarenVenster 5 Press & Industry SCREENING Tue 28-1 11:00 Cinerama 3

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In a small village in Paraguay, odd-job man David is looking after the house of someone who has gone abroad. When a large, long package is delivered one day, David can’t suppress his curiosity. It turns out that it contains a metal detector. David, who is short of cash, immediately jumps in with both feet. Like many other Guaraní, David believes in the ‘myth of the hidden gold’. The bloody War of the Triple Alliance (1865-1870) cost the lives of more than half the population of Paraguay. Many are supposed to have buried their jewels and other valuables before they fled or died; fortune hunters are still digging to find them. But David’s quest only leads to insanity and doom. Rotterdam-based director Enrique Collar again returned to his homeland for his third feature. His background as a painter is obvious in the meticulous compositions; the beautiful camerawork sometimes looks documentary, occasionally lyrical and poetic.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

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D’où je viens Where I’m From Claude Demers

WORLD PREMIERE

Canada, 2014 | colour, DCP, 82 min, French Prod: Colette Loumède | Prod Comp: National Film Board of Canada | Sc: Claude Demers | Cam: Jean-Pierre St-Louis, Nicolas Canniccioni | Ed: Alexandre Leblanc | Sound Des: Sylvain Vary, Claude Beaugrand, François Senneville, Serge Boivin | Music: Alexandre Corbeil, Gabriel Dharmoo | Print/ Sales: National Film Board of Canada Public SCREENINGS Fri 24-1 19:45 Cinerama 3 Sat 25-1 10:002 LantarenVenster 3 Sun 26-1 11:452 LantarenVenster 5 Fri 31-1 19:152 Cinerama 6

Claude Demers returns to the workingclass district of Montréal where he grew up, and immediately wonders: Why? The rest of Where I’m From forms the answer. Demers tries to relive all the experiences he had for the first time as a child, or at least understand them: the first novel he read and the power of language. His first awareness of death. The question of what is normal and what isn’t. The idea of wanting to leave, of having to leave. Certainly if you’re not famous, with preferably a few skeletons in the closet, your autobiography can quickly turn into a navel-gazing ego document. Claude Demers manages neatly to skirt these pitfalls. Where I’m From is lyrical and intimate without becoming sentimental. Demers lifts his own story to a universal level by intercutting it with the adventures of two local kids who are on the brink of maturity, ready to discover the world. And all of that in a cinematographic language of the greatest beauty.

Norte, hangganan ng kasaysayan Norte, the End of History Lav Diaz

Philippines, 2013 | colour, DCP, 250 min, Tagalog Prod: Moira Lang (Raymond Lee) | Sc: Rody Vera, Lav Diaz | Cam: Larry Manda | Ed: Lav Diaz | Prod Des: Perry Dizon | Sound Des: Corinne de San Jose | With: Sid Lucero, Angeli Bayani, Archie Alemania, Angelina Kanapi, Soliman Cruz | Print/ Sales: Moira Lang (Raymond Lee) Public SCREENINGS Wed 29-1 14:00 Cinerama 6 Thu 30-1 09:00 Cinerama 4 Fri 31-1 16:45 LantarenVenster 1

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Norte, the End of History starts with a chat in a bar about ideology and the 21st century, the absolute freedom of the individual and responsibility, capitalism and Karl Marx. Frustrated because so many corrupt politicians and crooks get off scot-free in the Philippines, the down-and-out law student Fabian tries to make a point. As he sinks deeper and deeper into an immoral and violent universe, the innocent Joaquin is thrown in jail and his wife and children try to keep their heads above water on the fringes of the coastal town of Laoag. The film lasts for four hours and ten minutes and four years pass. The 12th feature by the Filipino long-duration filmmaker Lav Diaz, his first in colour, is again a monumental story, one that is certainly not only made up of lengthy static shots; a dizzying amount of things happen. By Diaz’ standards this work is not really very long anyway; his Melancholia (2009) lasted 480 minutes, Evolution of a Filipino Family (2004) even lasted 630 minutes. See also Prologue to the Great Desaparecido in the compilation programme Two Grand Pianos in Spectrum Shorts.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:48

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Saatvin sair The Seventh Walk Amit Dutta

Amit Dutta is an old friend of IFFR’s whose distinguished cinematic expression our audiences have enjoyed in several of his previous works. This one, like the earlier Nainsukh (IFFR 2011) shot in the same landscape (Kangra Valley), enters the world of a painter, only this time the painter is contemporary and creates abstract work. Mixing dreams, desires, imagination and reality, the filmmaker provides for his main hero an oneiric milieu where transposition from one world to the other is easy and inspirational. Provoked by inviting sounds and unidentified footprints, the painter wanders along mysterious paths in a forest, meeting characters from his own dream. Dutta’s associative narrative and innovative cinematic approach opens up an intriguing space for viewers to contemplate and find their own interpretations. Amit Dutta is a wellknown arthouse and experimental maker whose work has been shown at venues like the MoMA and festivals like Venice.

Club Sándwich Fernando Eimbcke

Mexico, 2013 | colour, DCP, 82 min, Spanish Prod: Christian Valdelièvre, Jaime B. Ramos | Prod Comp: Cine Pantera | Sc: Fernando Eimbcke | Cam: María Secco | Ed: Mariana Rodríguez | Prod Des: Eugenio Caballero | Sound Des: Lena Esquenazi | With: Lucio Giménez Cacho, María Renée Prudencio, Danae Reynaud | Sales: Funny Balloons | Distr NL: ABC – Cinemien Public SCREENINGS Fri 24-1 15:30 Cinerama 1 Mon 27-1 16:00 Schouwburg GZ Thu 30-1 18:30 Pathé 6 Sat 1-2 18:30 Pathé 2 Press & Industry SCREENING Tue 28-1 13:30 LantarenVenster 4

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Lethargic adolescents have been shown by Fernando Eimbcke in the past (Lake Tahoe). In his third film, it had to be different. During his research, Eimbcke came across plenty of adolescent anxiety. Their mothers, however, turned out to be a inexhaustible source of amazement, love and humour. Club Sandwich starts with the classic ingredients for a delightful vacation for mother Paloma and fifteen-year-old son Hector. A swimming pool in a Mexican resort, snacks and drinks served by the pool. In the course of the sweltering pool-side days, Paloma sees her best friend slowly grow out of childhood. Hector meets his contemporary Jazmin and the secluded corners of the resort are ideal for a surreptitious grope. Paloma’s peevish response to her son’s new behaviour and her determination not to lose the fight for attention are as tragic as they are comical. Eimbcke combines a sultry summer vacation with the contradictions familiar to all parents: let go or cling on?

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:48

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Heli Amat Escalante

Mexico/France/Germany, 2013 | colour, DCP, 105 min, Spanish Prod: Jaime Romandía, Amat Escalante, Fiorella Moretti, Carlos Reygadas | Prod Comp: Mantarraya Producciones, Tres Tunas, No Dream Cinema | Sc: Amat Escalante, Gabriel Reyes | Cam: Lorenzo Hagerman | Ed: Natalie Lopez | Prod Des: Daniela Schneider | Sound Des: Sergio Diaz | With: Armando Espitia, Andrea Vergara, Linda Gonzalez, Juan Eduardo Palacios | Print/Sales: Le Pacte Public SCREENINGS Sat 25-1 10:00 Pathé 1 Tue 28-1 18:45 Schouwburg GZ Fri 31-1 15:15 Pathé 2 Sat 1-2 19:00 Pathé 1

Heli, a former CineMart project, is a hard-as-nails, pitch-black drama about unavoidable violence in Amat Escalante’s totally corrupt home country of Mexico, where drug dealers wear police uniforms and female cops show their breasts when desperately begged for help. A good kid finds a stash of cocaine in the water tank on his house. He flushes it down the drain. Next day, the front door is smashed down by men in police uniforms. Father is immediately mown down, the boy and his 12-year-old sister bundled away. The girl disappears from view, the boy is delivered to a house where kids are gaming in front of the TV. The Wii-sticks are exchanged for pieces of wood with which they then beat up the poor boy. His penis is set alight. ‘What did this one actually do?’ one of the boys asks. ‘No idea,’ another answers. Escalante, who had previously made an impression with Sangre and Los bastardos, was given an award as best director at the Cannes festival.

Matar a un hombre To Kill a Man Alejandro Fernández Almendras

EUROPEAN PREMIERE

Chile/France, 2013 | colour, DCP, 82 min, Spanish Prod: Eduardo Villalobos Pino, Guillaume de Seille | Prod Comp: El Remanso Cine, Arizona Films | Sc: Alejandro Fernández Almendras | Cam: Inti Briones | Ed: Alejandro Fernández Almendras, Soledad Salfate | Sound Des: Pablo Pinochet | With: Daniel Candia, Daniel Antivilo, Alejandra Yañez, Ariel Mateluna | Print/ Sales: Film Factory Entertainment Public SCREENINGS Mon 27-1 21:45 Pathé 4 Tue 28-1 15:15 Pathé 5 Thu 30-1 18:30 Cinerama 1 Sat 1-2 12:30 LantarenVenster 3 Press & Industry SCREENING Sat 25-1 16:45 Doelen JZ

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Alejandro Fernández Almendras’ fascinating third film is based on a true story, making the unthinkable plausible. A subtle, yet impressive, psychological revenge thriller. When their rundown neighbourhood is terrorised by a tyrannical delinquent and his gang, home doesn’t feel safe anymore. Gentle forester Jorge stoically undergoes the mindless teasing, but his young adult son, frustrated by so much pacifism and passivity, argues back counter-productively. The family is driven crazy when threats are addressed to Jorge’s wife and beautiful teenage daughter. Tortured contemplation in his huge jungle workspace makes Jorge realise there is only one way out. Almendras has succeeded fabulously in conveying what feelings of powerlessness and the fear and anger that slowly drive you mad do to a person. Not about murder, but about what it is like To Kill a Man. Nominated for The Big Screen Award.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:48

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De la musique ou La jota de Rosset

On Music or the Dance of Joy Jean-Charles Fitoussi

INTERNATIONAL PREMIERE

France, 2013 | colour/b&w, DCP, 90 min, French/Spanish Prod: François Hatiès | Prod Comp: Aura été Production | Sc: Jean-Charles Fitoussi | Cam: JeanCharles Fitoussi | Ed: Jean-Charles Fitoussi | Prod Des: François Hatiès | Music: Mozart, Sinnhuber | With: Clément Rosset, David Brouzet,Santiago Espinosa, Frédéric Schiffter, Claire Mélanie Sinnhuber | Print/Sales: Aura été Production Public SCREENINGS Mon 27-1 14:30 Cinerama 7 Tue 28-1 22:15 Cinerama 2 Wed 29-1 09:00 LantarenVenster 6 Press & Industry SCREENING Sun 26-1 22:30 Cinerama 7

Jean-Charles Fitoussi is back with yet another delicious philosophical (re) treat. How about spending a laidback summer afternoon in the varied beauties of Majorca, bathed in golden southern light listening to Clément Rosset – a one-of-a-kind philosopher – and Nietzsche conversing about the mysterious pleasure that music gives to our body and mind? Much more than a recorded conversation, and easily more than philosophy in its academic sense, On Music or The Dance of Joy is a special work where music dances with images and, in lieu of ordinary descriptive progression, the narrative follows sensorial and spiritual demands to transcend the whole to find pure grace. Hence, the discourse and reasoning are freed from the limitations of cognitive signification and the dictatorship of logic. On Music or The Dance of Joy is a joyful manifesto about thought, music and cinema, and ultimately a hymn to life.

Hotori no sakuko Au revoir l’été Fukada Koji

Japan/USA, 2013 | colour, DCP, 125 min, Japanese Prod: Kiki Sugino | Prod Comp: WA Entertainment Inc | Cam: Negishi Kenichi | Ed: Fukada Koji | Sound Des: Jo Keita | Music: Jo Keita | With: Nikaido Fumi, Tsuruta Mayu, Taiga, Furutachi Kanji | Print/Sales: WA Entertainment Inc | www.sakukofilm.com Public SCREENINGS Sun 26-1 15:30 Cinerama 1 Tue 28-1 22:00 Schouwburg GZ Fri 31-1 21:45 Pathé 2 Sat 1-2 14:15 Cinerama 5 Press & Industry SCREENING Thu 30-1 15:00 Cinerama 7

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Secondary-school student Sakuko accompanies her aunt Mikie on a holiday to a resort town on the coast far from Tokyo. Besides cycling trips and strolls on the beach, Mikie hopes to use the two-week holiday to complete her research project. In the meantime, Sakuko meets Takashi, a refugee from Fukushima who works in the hotel belonging to Ukichi, a friend of Mikie’s sister. With Au revoir l’été, Fukada Koji wanted to make ‘a film in which a scene with only a boy and a girl walking along the coastline is enough to take your breath away. A film without exaggeration, violence and eccentricity’. With carefully observed scenes, Fukada not only succeeds in perfectly capturing the mood of a languid holiday, he also manages to subtly sketch the psychology of the different characters. In the meantime, he strikes a critical note on nuclear power and the phenomenon of the ‘love hotel’, where elderly businessmen take young girls.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:48

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Trudno byt’ Bogom Hard to Be a God Alexei German

Russia, 2013 | b&w, DCP, 177 min, Russian Prod: Viktor Izvekov, Rushan Nasibulin | Prod Comp: Sever Ltd. | Sc: Svetlana Karmalita, Alexey German, based on the novel by Boris and Arkadiy Strugatskiy | Cam: Jury Klimenko, Vladimir Iliyn | Ed: Irina Gorokhovskaya, Maria Amosova | Prod Des: Sergey Kokovkin, Georgy Kropachev, Elena Zhukova | Sound Des: Nikolay Astakhov | Music: Viktor Lebedev | With: Leonid Yarmolnik, Jury Tsurilo, Natalia Moteva, Alexander Chutko, Evgeny Gertchakov | Print/Sales: Sever Ltd. Public SCREENINGS Mon 27-1 16:15 Cinerama 6 Tue 28-1 11:45 LantarenVenster 5 Fri 31-1 18:45 Cinerama 4 Sat 1-2 09:00 Cinerama 2 Press & Industry SCREENING Sat 25-1 18:00 LantarenVenster 4

Alexei German, who died in 2013, was always a fierce critic of authority. In his last film, he looks into the ultimate hierarchy: that of God and man. On the planet Arkanar, which halted its development in the Middle Ages, there are 30 terrestrial scientists. Don Rumata and his colleagues observe Arkanar with the knowledge of everything that could happen, but they cannot intervene. They are helpless gods in a world in which intellectuals are hunted like game. Throughout his career, German wanted to film the novel by the Strugatski brothers, whose work also formed the basis for Tarkovski’s Stalker; the last 15 years of his life were entirely dedicated to the project. His wife Svetlana Karmalita and son Aleksei German Jr completed the film after his death. With a minimal amount of plot, German focuses on the unique world he has created. Mud, shit, spit, vomit, blood and entrails fill every corner of the screen: stunningly beautiful depravity.

Periscópio Periscope Kiko Goifman

EUROPEAN PREMIERE

Brazil, 2013 | colour, DCP, 85 min, Portuguese Prod: Jurandir Müller | Prod Comp: Paleoteve Produção Cultural | Sc: Jean-Claude Bernardet, Kiko Goifman | Cam: Julia Zakia | Ed: Vânia Debs, Olivia Brenga | Prod Des: Maíra Mesquita | Sound Des: DJ Dolores | Music: DJ Dolores | With: João Miguel, Jean-Claude Bernardet | Print/ Sales: Paleoteve Produção Cultural Public SCREENINGS Sun 26-1 17:30 Cinerama 4 Mon 27-1 12:30 LantarenVenster 3 Tue 28-1 09:15 Pathé 2 Thu 30-1 19:45 Cinerama 7 Press & Industry SCREENING Wed 29-1 14:00 Cinerama 7

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Two men in an apartment, shut off from the world. Or is this maybe the world? It’s not clear why 76-year-old Eric and 43-year-old Elvio are together. The young man tends the old one and does odd jobs. They are bored and quarrel, seemingly waiting for death. But in their loneliness, they are condemned to each other, because there is no other world than this. One day, a man-sized periscope sticks up from the floor. Who or what thinks it is necessary to keep an eye on their grey lives? God? The NSA? Or is it the downstairs neighbour? Kiko Goifman’s absurd and theatrical feature debut, which mixes documentary with fictional styles just like his non-fiction work, wonders what changes when you know you are being watched. Does the eye of a stranger suddenly give life any point? Does it illuminate loneliness? Or is this periscope maybe the mind’s eye, and are Eric and Elvio looking at themselves?

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:48

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A vida invisível The Invisible Life Vítor Gonçalves

Portugal/United Kingdom, 2013 | colour, DCP, 99 min, Portuguese Prod: Pedro Fernandes Duarte | Prod Comp: Rosa Filmes | Sc: Vítor Gonçalves, Mónica Santana Baptista, Jorge Braz Santos | Cam: Leonardo Simões | Ed: Rodrigo Pereira, Rui Alexandre Santos | Prod Des: Patrícia Maravilha | Sound Des: Ricardo Ganhão | Music: Sinan C. Savaskan | With: Filipe Duarte, João Perry, Maria João Pinho, Pedro Lamares, Susana Arrais | Print/Sales: Rosa Filmes | www.rosafilmes.pt Public SCREENINGS Sat 25-1 14:00 Cinerama 4 Mon 27-1 22:15 LantarenVenster 2 Wed 29-1 09:00 Cinerama 6 Fri 31-1 17:00 Cinerama 2

Hugo, a melancholy man in his forties, works as a civil servant in a stuffy office in Lisbon. It’s a murky building with badly lit corridors and solid furniture. Or is this only a reflection of his mental state? Invisible Life is about loss and vacillation. Hugo thinks back to the last days of António, his mentor and superior, with whom he had a close bond. After António’s death, he searches through the man’s old 8mm films for answers to his questions, even though they only show vague images of landscapes and travels. He also ponders his last encounter with Adriana, the woman he allowed to slip away. Invisible Life marks Vítor Gonçalves’ return as a director after a break of 25 years. In 1986, he made his debut with A Girl in Summer, regarded as one of the high points of Portuguese cinema. His latest film is a modest, precise story. Most likely, Gonçalves’ relationship with his own mentor, António Reis, is one source of inspiration.

O sangue è quente da Bahia Blood in Bahia’s Hot Aurelio Grimaldi

WORLD PREMIERE

Italy/Brazil, 2014 | colour, DCP, 75 min, Portuguese Prod: Isabella Cocuzza, Arturo Paglia, Alberto Iannuzzi | Prod Comp: Paco Cinematografica, Sereia Filmes | Sc: Aurelio Grimaldi | Cam: Alberto Iannuzzi | Ed: Giuseppe Pagano | Prod Des: Carol Tanajura | Sound Des: Ana Luiza Penna | Music: Marco Werba | With: Jessica Duarte, Paulo Sérgio, Lina Sastri, Luis Miranda, Lúcio Lima | Print/ Sales: Paco Cinematografica Public SCREENINGS Tue 28-1 18:30 Pathé 5 Wed 29-1 09:30 Cinerama 1 Fri 31-1 12:45 Pathé 4 Sat 1-2 17:00 LantarenVenster 4 Press & Industry SCREENING Mon 27-1 13:30 Pathé 5

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The love story of 16-year-olds Vandinha and João. They live in a favela of Salvador de Bahia, famous for its historic centre, exuberant carnival, largely black population but also high crime rates. Sometimes João sells his body or robs someone in the local gay circuit, but he tries to get money without behaving as a desperado. When Vandinha is pregnant with her second child, he suddenly disappears. Vandinha decides to go looking for João and sets off on a journey through the favela. Italian director Aurelio Grimaldi, who has acquired fame since the 1990s with hot-blooded and occasionally controversial films such as The Whores, Rosa Funzeca and La donna lupo, shot this film with young people without acting experience but in the same situation – coming from the favelas. Not the umpteenth terrible story full of social evils, but a quest for love, largely inspired by events that Grimaldi came across through a friend who ‘adopted’ a boy from the favela.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:48

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Die Frau des Polizisten Police Officer’s Wife Philip Gröning

Germany, 2013 | colour, DCP, 175 min, German Prod: Philip Gröning, Philipp Kreuzer, Werner Wirsing | Prod Comp: Philip Gröning Filmproduktion, Bavaria Film International, 3L Filmproduktion, Bayerischer Rundfunk | Sc: Philip Gröning, Carola Diekmann | Cam: Philip Gröning | Ed: Hannes Bruun, Philip Gröning | Prod Des: Petra Barchi, Petra Klimek, Adan Hernandez | Sound Des: Fabian Schmidt | With: Alexandra Finder, David Zimmerschied, Pia Kleemann, Chiara Kleemann, Horst Rehberg | Sales: The Match Factory | Distr NL: ABC – Cinemien Public SCREENINGS Tue 28-1 20:00 Pathé 1 Wed 29-1 18:30 Cinerama 5 Thu 30-1 09:00 Pathé 5 Fri 31-1 09:30 LV 1

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In this tightly stylised film, a policeman, probably frustrated by his unsatisfactory work in a small town, can no longer contain his aggression towards his wife, who spends her days at home with their four-year-old daughter. German director Philip Gröning, best known for his long monastery documentary Into Great Silence (2005), won the Special Prize in Venice with it. Framed with precision, the cop’s everyday life is observed calmly and without music. These realistic scenes are combined with an uncertain chronology and unexpected moments of fantasy and visual explosions. For instance, all of the family members sing a song straight into the camera and a bathtub suddenly turns out to be improbably large. The whole is captured in 59 chapters, of which the start and finish keep appearing on title cards. In some, the leading role is played by an elderly unidentified man, or animals like a fox, hare or squirrel.

Han da han

The Last Moose of Aoluguya Gu Tao

China, 2013 | colour/b&w, video, 99 min, Mandarin Prod: Gu Tao | Cam: Zhao Jiewei, Gu Tao | Ed: Zhao Jie-wei, Li Bo | Print/Sales: Gu Tao Public SCREENINGS Wed 29-1 19:45 LantarenVenster 2 Thu 30-1 22:30 Cinerama 5 Fri 31-1 09:30 LantarenVenster 2 Sat 1-2 12:00 Cinerama 3

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In the forests and mountains of north-eastern China live the Evenks, a nomadic people that migrated 300 years ago from Siberia and is now one of the 56 officially recognised ethnic groups in China. They live themselves by hunting and breeding reindeer. In 2003, the Evenks were forced to move from the forests to a new settlement built by the government. Weijia is one of them. For much of his life he was a hunter. His land has now gone, his hunting rifles have been impounded and his way of life is dying out. Now he can no longer hunt, Weijia spends his days drinking and musing on his past. The intimate The Last Moose of Aoluguya is the final part of Gu Tao’s anthropological trilogy in which he follows an Evenki family. The first two parts were Aoluguya… Aoluguya… (2007) and Yuguo and His Mother (2011). Gu Tao lived with the Evenki for years and was responsible for directing, camera, production, sound and editing. He has received several awards.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:48

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L’inconnu du lac Stranger by the Lake Alain Guiraudie

France, 2013 | colour, DCP, 97 min, French Prod: Sylvie Pialat | Prod Comp: Les Films du Worso | Sc: Alain Guiraudie | Cam: Claire Mathon | Ed: JeanChristophe Hym | Prod Des: Roy Genty, François-Renaud Labarthe, Laurent Lunetta | Sound Des: Philippe Grivel, Nathalie Vidal | With: Pierre Deladonchamps, Christophe Paou, Patrick d’Assumçao, Jérôme Chappatte, Mathieu Vervisch | Sales: Les Films du Losange | Distr NL: ABC – Cinemien Public SCREENINGS Fri 24-1 15:15 Pathé 2 Sat 25-1 20:00 Doelen JZ Tue 28-1 16:00 Pathé 1 Sat 1-2 14:00 Cinerama 6

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Stranger by the Lake was the sensation of the Un Certain Regard programme at Cannes in 2013. And rightly so. Alain Guiraudie linked Hitchcockian suspense to the steaminess of the gay SM thriller Cruising and the sensuality of Swimming Pool. The form is repetitive and hypnotic; each of the ten days of the story is introduced with the same shot of a car park. The rural sauce typical of Guiraudie and the ominous soundscape add the final touch. The location is a beach frequented by homosexuals looking for anonymous sex. The handsome Franck bumps into the elder Henri, but falls madly in love with Michel – a Tom Selleck lookalike, but then much more dangerous. Michel turns out to be a murderer. While Henri aims to unmask him, Franck protects him against the police. The combination of love, fairly directly portrayed lust and a death wish can only lead to a fatal ending.

Grigris Mahamat-Saleh Haroun

France/Chad, 2013 | colour, DCP, 101 min, French Prod: Florence Stern | Prod Comp: Pili Films | Sc: Mahamat Saleh-Haroun | Cam: Antoine Héberlé | Ed: MarieHélène Dozo | Prod Des: Ledoux Madeona | Sound Des: André Rigaut | Music: Wasis Diop | With: Souleymane Démé, Anaïs Monory, Cyril Guei, Marius Yelolo, Hadjé Fatimé N’Goua | Print/Sales: Les Films du Losange Public SCREENINGS Fri 24-1 16:15 Oude Luxor Sat 25-1 09:15 Pathé 5 Tue 28-1 20:00 LantarenVenster 3 Fri 31-1 15:45 Pathé 1

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Grigris, a crippled young man from Burkina Faso, earns his living with spectacular dance performances in nightclubs. But it isn’t enough to pay the doctor’s bills for his stepfather. Like a cornered cat, Grigris – a beautiful role by the debutant Souleymane Démé – makes increasingly strange leaps; he begs for illegal jobs with the local Mafia boss Moussa, whom he then manages to turn against him when he falls in love with the nightclub hostess Mimi – a debut by Anaïs Monory. Grigris is a smooth combination of an outsider melodrama and a smuggled crime thriller and is filled with African rituals. It’s the fifth feature film by the French Chadian Mahamat-Saleh Haroun. The film, with refined music by the Senegalese Wasis Diop and beautifully shot by Antoine Héberlé, was submitted on behalf of the Republic of Chad for the Oscar for Best Foreign-language Film.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:48

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Exhibition Joanna Hogg

The house where the artist couple D and H live is more than a backdrop here; it’s the third protagonist. The space is perfectly geometrically balanced and tautly functionalist, yet also cold and a little impersonal. The modernist showhouse reflects the characters of its inhabitants, whose identity is reduced to a single capital letter. Their communication is awkward and often via the intercom. Sex is an issue and feelings are only expressed in fits and starts. Until they decide to sell the house. Leaving the place where they have lived for almost 20 years brings all their fears, dreams and memories to the surface. Just as in her two previous films, Joanna Hogg puts the British middle classes under a magnifying glass in Exhibition. The intensity of this study is amplified by the aptly chosen cast. Performance artist D is played by Viv Albertine, guitarist of the 1980s punk band The Slits. The role of H is played by the conceptual artist Liam Gillick.

Uri Sunhi Our Sunhi Hong Sang-Soo

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Hong Sang-Soo used to be compared with Eric Rohmer, and these days with Woody Allen – and his productiveness matches. But he is above all Hong Sang-Soo. In Our Sunhi, no less than three troubled men turn their souls inside out. The centrifugal core of this collective self-analysis, soaked in a lot of beer and larded with very dry humour and culinary dialogues, is title heroine Sunhi. A year after graduating, Sunhi returns to her old film academy to ask her professor for a letter of recommendation. He is willing to go along, but only if he can be absolutely honest – which becomes increasingly difficult as he falls for the charms of his former student. Meanwhile, Sunhi meets two more friends from her past: an ex who has made a film about their failed relationship but still loves her and his good friend, who is also in love with Sunhi. This comedy of morals comes to an inevitable climax when the four agree to meet in Seoul’s central park.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:48

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Betoniyö

Concrete Night Pirjo Honkasalo

Finland/Sweden, 2013 | b&w, DCP, 96 min, Finnish Prod: Mark Lwoff | Prod Comp: Bufo Film Production Company | Sc: Pirjo Honkasalo, Pirkko Saisio, based on her novel Betoniyö | Cam: Peter Flinckenberg | Ed: Niels Pagh Andersen | Prod Des: Pentti Valkeasuo | Sound Des: Jan Alvermark | Music: Karl Frid, Pär Frid | With: Johannes Brotherus, Jari Virman, Juhan Ulfsak, Anneli Karppinen | Print: The Finnish Film Foundation | Sales: Film Republic Public SCREENINGS Wed 29-1 22:00 Pathé 7 Thu 30-1 09:30 Pathé 2 Fri 31-1 22:15 Pathé 1 Sat 1-2 12:15 Pathé 5

Before his elder brother goes to prison, 14-year-old Simo roams with him for one more ill-fated night through the remote corners of Helsinki. He is just as vulnerable as the Russian cadets and Czech children from the masterful documentary The 3 Rooms of Melancholia (2004) by the same director. In Concrete Night, based on the novel by Pirkko Saisio, Honkasalo (who’s been making films since 1967) takes us to the claustrophobic world of concrete tenements where Simo’s erratic mother is holed up in her apartment. The boy is still uninhibited enough to look up expectantly at the clouds, but he is just as easily impressed by his brother’s cynical lessons of life: you’re allowed to beat women and you’re better off without hope. Photographed in stylised black-andwhite with expressionist use of light and dark, this is an odyssey with symbolic undertones, embroidering on the nightmares from which Simo awakens. A requiem for the loss of childhood.

Fune wo amu The Great Passage Ishii Yuya

Japan, 2013 | colour, video, 133 min, Japanese Prod: Tomoo Tsuchii, Kimitaka Goka, Ikeda Fumitsugu, Iwanami Yasuyuki | Prod Comp: Shochiku Co. Ltd. | Sc: Kensaku Watanabe | Cam: Fujisawa Junichi | Ed: Fushima Shinichi | Prod Des: Harada Mitsuo | Sound Des: Kato Hirokazu | Music: Watanabe Takashi | With: Matsuda Ryuhei, Miyazaki Aoi, Joe Odagiri | Print/ Sales: Shochiku Co. Ltd. Public SCREENINGS Fri 24-1 18:30 Cinerama 1 Tue 28-1 09:45 Pathé 4 Thu 30-1 18:45 Schouwburg GZ Fri 31-1 21:45 Pathé 4

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When the editor Araki wants to leave the publishing house for which he works, he has to find a successor for the project he is working on: making a new dictionary which contains the living language. He finds the ideal successor in Mitsuya Majime, whose name in Japanese means ‘meticulous’. Majime starts on the huge task with a small group of colleagues. In the meantime, in the house where he has lived for 10 years with a landlady, he meets the girl of his dreams: aspiring chef Kaguya. Just as lovingly and dedicatedly as the editors do their work, the film shows how the romance between the two introverted beings blossoms, despite their halting verbal communication. At the same time it shows how they work word for word on The Great Passage – the name that has been thought up for the reference work that has to function as a ship in a sea of words. A modest ode to perseverance, tenacity and love in all its facets.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:48

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Only Lovers Left Alive Jim Jarmusch

USA, 2013 | colour, DCP, 123 min, English Prod: Reinhard Brunding, Jeremy Thomas | Prod Comp: Pandora Film Produktion GmbH, Recorded Picture Co Ltd | Sc: Jim Jarmusch | Cam: Yorick Le Saux | Ed: Affonso Gonçalves | Prod Des: Marco Bittner Rosser | Music: Jozef van Wissem | With: Tom Hiddleston, Tilda Swinton, Mia Wasikowska, John Hurt, Anton Yelchin, Jeffrey Wright | Sales: HanWay Films | Distr NL: Wild Bunch Benelux Public SCREENINGS Sun 26-1 22:00 Schouwburg GZ Wed 29-1 11:15 LantarenVenster 6 Fri 31-1 09:45 Pathé 4 Sat 1-2 21:45 Pathé 2 Press & Industry SCREENING Wed 29-1 14:00 LantarenVenster 4

Jim Jarmusch reveals his characteristic rock ’n roll cool in the vampire genre with this offbeat and murky, atmospheric duet for Tom Hiddleston and Tilda Swinton as eternal lovers. Adam lives in Detroit, Eve in Tangiers – in the ruins of an industrial and a preindustrial world. As a result, it looks as if the story is set beyond time. Adam shrouds himself in a poètemaudit style (à la Gus Van Sant’s Last Days) in an old mansion and fills his days playing old analogue instruments. Through the eternal night of the film, Eve comes looking for him. It’s obvious they belong together, even though they spend most of their time in their own territory. Jarmusch does not shirk the style emblems of vampire films, for instance the hunt for blood, but takes a playful turn with them. The film consciously surfs on the waves of genre clichés, and in this way takes the vampire film to new heights.

28 Prasanna Jayakody

WORLD PREMIERE

Sri Lanka, 2014 | colour, DCP, 98 min, Sinhalese (Sinhala) Prod: Rasitha Jinasena | Prod Comp: Sky Entertainers | Sc: Prasanna Jayakody | Cam: Chandana Jayasinghe | Ed: Rangana Singharage | Prod Des: Nishantha Padmakumara | Sound Des: Rangana Singharage | Music: Deshaka Bamunumulla | With: Mahendra Perera, Semini Iddamalgoda, Rukmal Nirosh | Print/Sales: Sky Entertainers Public SCREENINGS Fri 24-1 21:45 Pathé 2 Sat 25-1 12:30 Cinerama 1 Mon 27-1 09:00 Cinerama 6 Thu 30-1 09:15 LantarenVenster 5 Press & Industry SCREENING Sat 25-1 22:45 Cinerama 7

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After his memorable debut, Sankara (IFFR 2007), and second film, Karma (IFFR 2011), Sri Lankan director Prasanna Jayakody remains in the world of the metaphysical, exploring this time the exciting confrontation of two worlds – one essentially marked by emotional bonds and purity and the other by materialistic values and doubtful social norms. Abasiri’s wife Suddhi abandoned him and the village a long time ago. Now, Abasiri and his young friend Mani are summoned to identify a woman who got raped and murdered in the city. Hiding his personal distress after the shocking discovery that it’s his own wife, Abasiri embarks on a strange journey with a coffin heading through captivatingly beautiful hill stations towards the village where embarrassing rumours of Suddhi’s demise are already spreading. In the last part of this poetic travelogue, dead Suddhi confronts the villagers with their own hypocrisy and shortcomings.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:48

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Tian zhu ding A Touch of Sin Jia Zhang-ke

[d.s.] [d.s.] [d.s.]

Press & Industry SCREENING Sun 26-1 09:00 Cinerama 7 [e.s.]

Jia Zhang-ke’s standing as the most significant film chronicler of modern China has increased even more with the four-part A Touch of Sin. Again, he succeeds in making films that measure up changes in a changing China. In what is described as a layered ‘martial arts film for contemporary China’, Jia refers in the title – not in the style – in a playful yet significant way to King Hu’s wuxia classic A Touch of Zen (1969-71). Based on stories that caused a sensation on Weibo (the Chinese Twitter), the filmmaker compellingly dissects four gruesome eruptions of violence that seemed inconceivable not long ago: new for China and new in Jia Zhang-ke’s films. But just as important are the many constants in his oeuvre. His capacity to capture the historic fate of his characters (in this case, the cast includes his regular actors Zhao Tao and Wang Hongwei) in their geographic surroundings (often his home province of Shanxi) is unequalled.

Her Spike Jonze

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In the near future, certain things haven’t changed – the path to ‘true love’ is just as winding and filled with pitfalls – but technology has made major strides. Romantic soul Theodore (Joaquin Phoenix) finds that telephone sex 2.0 and bizarre blind dates are unsatisfying. All this time, his soulmate turns out to be within reach. Samantha is attentive, helpful, funny and intelligent. Well, artificially intelligent, because she is a revolutionary new operating system, blessed with the hoarse voice of Scarlett Johansson. After the flirting stage, elementary questions and reflections arise. What is the essence of love and identity? How much does the ideal lover change to match the partner? And above all: what next? Jonze, his own solo scriptwriter for the first time, shows his most mature and romantic side. At the same time, Her is a declaration of love to the future Los Angeles: no smog or gridlock, but strolling people, parks and a streetcar stop at the beach. Audience Opening Film of IFFR 2014.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:48

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Coming to Terms Jon Jost

EUROPEAN PREMIERE

USA, 2013 | colour, video, 89 min, English Prod: Jon Jost | Cam: Jon Jost | Ed: Jon Jost | Sound Des: Jon Jost | With: James Benning, Kate Sannella, Roxanne Rogers, Stephen Taylor, Ryan Harper Gray | Print/ Sales: Jon Jost | www.jon-jost.com Public SCREENINGS Tue 28-1 19:30 Cinerama 2 Wed 29-1 22:15 LantarenVenster 2 Fri 31-1 11:30 LantarenVenster 6 Press & Industry SCREENING Sun 26-1 21:30 Cinerama 5

In 2013, Jon Jost had been active for 50 years as a filmmaker. This led him to wonder whether there had been any point in it all, and Coming to Terms is the indirect answer to that question. An old man (filmmaker James Benning) calls his broken family back together: his two sons with whom he hasn’t spoken for years, as he was unable to accept their choices in life, and their two mothers. While the sons and mothers wonder why they have been called together, the father prepares for their arrival. Jost throws off traditional narrative conventions in order to penetrate to the emotional core of this meditation on death. The conversations between the family members, reproduced in unusual digital compositions, are juxtaposed with tranquil, deserted shots of houses and streets in an undefined American city. It gives the film a grand allure and ensures that the story is implicitly about the greater American family.

Big Bad Wolves Aharon Keshales, Navot Papushado

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Quentin Tarantino called Big Bad Wolves ‘the best film of 2013’. Quite understandably. This revenge thriller has the necessary Tarantino-esque elements: meandering dialogues alternating between macabre humour and absurdism, plenty of ultraviolence, a neat game with genre conventions, perfect styling and an opera-like soundtrack that ups the drama even more. Big Bad Wolves’ point of departure is a series of child murders culminating in the arrest of timid religious education teacher Dror, an unlikely suspect who is released due to police incompetence. However, the father of Gidi, the last victim, wants revenge. This brings him into conflict with detective Miki, who has opened his own no-holds-barred hunt for Dror. Big Bad Wolves is often reminiscent of Reservoir Dogs and Pulp Fiction, but is also an explicitly Israeli film. The paranoia of a people perpetually at war invades everything. A film inhabited solely by wolves.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:48

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EDSA XXX: Ganito kami noon, ganito pa rin kami ngayon EDSA XXX: Nothing Ever Changes in the Ever-Changing Republic of Ek-Ek-Ek

Khavn

WORLD PREMIERE

Philippines, 2014 | colour/b&w, DCP, 80 min, Filipino/English Prod: Achinette Villamor, Khavn | Prod Comp: Kamias Road Studios | Sc: Khavn | Cam: Albert Banzon | Ed: Jeremiah Domingo, Carlo Manatad | Prod Des: Icx Icay, Kristine Kintana | Sound Des: Dan Gil | Music: Khavn | With: Epy Quizon, Sheree, Bong Cabrera, Althea Vega | Print/Sales: Kamias Road Studios | www.khavn.xxx Public SCREENINGS Fri 24-1 16:30 Cinerama 4 Sat 25-1 11:45 Cinerama 5 Tue 28-1 09:15 Cinerama 5 Fri 31-1 22:15 LantarenVenster 3 Press & Industry SCREENING Thu 23-1 16:00 Doelen JZ

Two years ago, the Filipino poet, singer and experimental filmmaker Khavn was in Rotterdam with Mondomanila. Anyone who saw that kaleidoscopic spectacle will know that we’re in for another bumpy ride. In EDSA XXX, Khavn takes us forward to 2030, the year of the 30th EDSA revolution. Have you ever wondered why nothing changes despite countless presidents? Here the answer is given in the form of an absurdist cross between low-budget science-fiction musical and crazy political satire. See how, after the fall of Nigger Thunder, a simple tramp is elevated to three-eyed new leader by the Freedom Fighters disguised with shopping bags, the dauntless fighters against freedom. Discover with Three Eyes who is really pulling the strings and get to know a resistance movement of mermaids wearing blue leggings. Documentary shots of the EDSA protests which led to the fall of President Marcos in 1986 show that Khavn allows himself to be inspired by reality.

Real Kurosawa Kiyoshi

Japan, 2013 | colour, DCP, 127 min, Japanese Prod: Takashi Hirano, Shimoda Atsuyoki | Prod Comp: TBS Tokyo Broadcasting System, Inc., Twins Japan Inc. | Sc: Kurosawa Kiyoshi, Tanaka Sachiko, based on a novel by Inui Rokurou | Cam: Ashizawa Akiko | Ed: Sato Takashi | Prod Des: Shimizu Takeshi | Sound Des: Watanabe Shinji | Music: Haneoka Kei | With: Satô Takeru, Ayase Haruka, Miki Nakatani, Joe Odagiri, Shota Sometani | Print/Sales: TBS Tokyo Broadcasting System, Inc. | www.real-kubinagaryu.jp Public SCREENINGS Fri 24-1 13:00 Schouwburg GZ Wed 29-1 09:30 Pathé 7 Fri 31-1 19:00 Cinerama 5 Sat 1-2 19:30 Oude Luxor

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Plato’s cave is a favourite theme in film, the medium that allows a lifelike appearance of reality to flicker on the wall. Comparable to The Matrix and Inception, in Real parallel universes, dream and reality fuse into an inescapable tangle. In this psychological horror film, neurosurgeon Koichi uses an experimental telepathic technique to enter the brain of his beloved Atsumi, who is in a coma. It is soon no longer clear what is real and what is not. The reason for submerging in the unconscious is Atsumi’s attempted suicide. A children’s drawing turns out to be the key to a suppressed trauma. But in his quest for the missing piece of the puzzle, Koichi drifts steadily further into the sweltering marshes of the spirit. His everyday life is infiltrated by ‘philosophical zombies’, the city changes into a maze worthy of Escher. Psychonaut Koichi slowly bubbles towards a visually spectacular and comforting denouement. Kurosawa’s latest thriller, Seventh Code, is also being screened at IFFR.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:48

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Seventh Code Kurosawa Kiyoshi

Businessman Matsunaga didn’t turn up for the date he promised Akiko. So the girl (played by Maeda Atsuko, also a popular singer in Japan) followed him from Tokyo as a stalker into the most desolate corners of the Siberian port of Vladivostok. Dragging a huge suitcase on wheels, she reveals a perseverance you wouldn’t expect from a girl who looks so naive. Kurosawa has his roots in the horror and crime genre, but has already built up a broad oeuvre, including the Cannes award-winning Tokyo Sonata (2008) and the widely praised mini-series Penance (2012). With the satirically tinted Seventh Code (his first film shot outside Japan) he is taking a brief break from heavier work. A free thriller exercise full of surprises, with Russian mafia, a failed Japanese restaurant owner, a mysterious object and a passionate pop song filled with melancholy. Kurosawa’s psychological horror film Real is also being screened at IFFR. Semi-feature: new presentation format that foregrounds the so-called mid-length film.

L’amour est un crime parfait

Love Is the Perfect Crime Arnaud Larrieu, Jean-Marie Larrieu

France/Switzerland, 2013 | colour, DCP, 111 min, French Prod: Sébastien Delloye, Bruno Pésery | Prod Comp: ARENA Productions, Entre Chien et Loup | Sc: Arnaud Larrieu, Jean-Marie Larrieu, based on the novel Incidences by Phillippe Djian | Cam: Guillaume Deffontaines | Ed: Annette Dutertre | Prod Des: Stéphane Levy | Sound Des: Olivier Mauvezin | Music: Caravaggio | With: Mathieu Amalric, Karin Viard, Maïwenn , Sara Forestier, Denis Podalydes | Sales: Gaumont | Distr NL: Filmfreak Distribution Public SCREENINGS Fri 24-1 12:30 Pathé 3 Sat 25-1 09:00 LantarenVenster 1 Sun 26-1 16:15 Oude Luxor Thu 30-1 16:45 LantarenVenster 1 Press & Industry SCREENING Wed 29-1 09:30 LantarenVenster 4

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Womaniser Mark works as a professor of literature at the Swiss University of Lausanne. He divides his time between lecture halls filled with willing female students, the remote mountain hut he inhabits with his dominant, eccentric sister and seductive adventures. When one day an attractive student disappears without trace, Mark’s problems start. The girl’s stepmother visits the campus to investigate her disappearance and the net starts to close around the professor. Set against the blinding wintry Alps, this latest film by the Larrieu brothers (La brèche de Roland, 2000) sketches an exciting and comic portrait of a man with two faces whose life derails at high speed. A psychological thriller based on the book Incidences by Philippe Djian, filled with morbid humour and light-hearted references to the work of Hitchcock. With leading roles for Larrieu favourite Mathieu Amalric and actress and filmmaker Maïwenn.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:49

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Alan Partridge: Alpha Papa Declan Lowney

United Kingdom/France, 2013 | colour, DCP, 90 min, English Prod: Kevin Loader | Prod Comp: Baby Cow Productions | Sc: Neil Gibbons, Rob Gibbons, Steve Coogan, Armando Iannucci, Peter Baynham | Cam: Ben Smithard | Ed: Mark Everson | Prod Des: Dick Lunn | Sound Des: Jack Gillies | Music: Ilan Eshkeri | With: Steve Coogan, Colm Meaney, Felicity Montagu, Simon Greenall, Tim Key, Dustin DemriBurns | Print/Sales: StudioCanal Public SCREENINGS Wed 29-1 19:30 Oude Luxor Thu 30-1 12:45 Pathé 4 Fri 31-1 22:00 Cinerama 6 Sat 1-2 19:00 Schouwburg GZ

Alan Partridge is back… from never really being away. The local radio presenter, created by British comedian and actor Steve Coogan, including for the BBC series I’m Alan Partridge (1997/2002), might have been briefly off the radar, but he just keeps on going. On and on and on. He’s still working for local radio in Norwich, self-satisfied as ever. In his first feature film, the ‘raconteur’ gets an opportunity to finally act like a real hero. When a big media concern takes over the radio station, dismissals follow. Aging DJ Pat (Colm Meany) takes revenge by kidnapping his colleagues. But Partridge wouldn’t be Partridge if he didn’t grab the limelight by mixing grandiose words with rather less spectacular action in this bungling hostage drama. Alan Partridge: Alpha Papa – featuring the slowest car chase in action movie history – is a must-see for Steve Coogan fans, and the perfect introduction to the wondrous world of Alan Partridge.

Canibal

Cannibal Manuel Martín Cuenca

Spain/Romania/Russia/ France, 2013 | colour, DCP, 117 min, Spanish Prod: Manuel Martín Cuenca | Prod Comp: La Loma Blanca P.C. S.L. | Sc: Alejandro Hernández, Manuel Martín Cuenca | Cam: Pau Esteve Birba | Ed: Ángel Hernández Zoido | Sound Des: Eva Valiño, Pelayo Gutiérrez, Nacho Royo Villanova | With: Antonio de la Torre, Olimpia Melinte, María Alfonsa Rosso | Print/ Sales: Film Factory Entertainment Public SCREENINGS Thu 23-1 21:45 LantarenVenster 1 Fri 24-1 18:45 Schouwburg GZ Wed 29-1 16:15 Oude Luxor Fri 31-1 15:30 Pathé 7 Press & Industry SCREENING Thu 30-1 12:45 Cinerama 7

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How do you eat human meat? Preferably not too well done and definitely with a good glass of red wine. Tailor Carlos Marquez from Granada, an upstanding citizen, enjoys this every evening. His fridge is full of human flesh. The Spanish film Cannibal is based on Humberto Arenal’s book Caribal (1997) on cannibalism, a taboo that deeply fascinates director Cuenca. Nevertheless, this film, shot in beautiful Granada, never edges towards sensationalism. The Andalusian director tells the story of this unrepentant cannibalistic tailor soberly. But then the tailor meets his new Romanian neighbour and her shy sister Nina and his world is suddenly upended. In contrast to its title, there is remarkably little blood in Cannibal. Cuenca records the tailor’s deeds sparingly and exceedingly stylishly.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:49

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How to Disappear Completely Raya Martin

In the opening shot, the camera glides over the roofs of the village: a patchwork of corrugated iron, all jumbled up, oppressive. No wonder the protagonist of How to Disappear Completely wants to get out of here. Not because she suffers from her mother’s reciting of the Bible or from her drunken, layabout father, but simply because she can imagine another world. And hence she thinks of an escape. The experimental films of Raya Martin have occasionally been described as ‘visual LSD trips’. Here, he sticks to a more realistic style, yet nevertheless allows dream and reality to mingle effortlessly. He juxtaposes horror à la The Blair Witch Project with documentary-like scenes. The colourful totality is held together by a fantastic electro soundscape, both light and alarming at the same time. Who eventually disappears or whether anybody really does so is not the point. Martin is not a storyteller. He opens up emotional and cognitive registers.

R100 Matsumoto Hitoshi

EUROPEAN PREMIERE

Japan, 2013 | colour, DCP, 100 min, Japanese Prod: Okamoto Akihiko | Prod Comp: Yoshimoto Creative Agency Co. Ltd. | Sc: Matsumoto Hitoshi | Cam: Tanaka Kazushige | Ed: Honda Yoshitaka | Prod Des: Aikou Etsuko | Sound Des: Okamoto Tatsuhiro | Music: Sakamoto Hidekazu | With: Omori Nao, Daichi Mao, Terajima Shinobu, Katagiri Hairi, Tominaga Ai, Watanabe Naomi | Print/Sales: Free Stone Productions | www.r-100.com Public SCREENINGS Fri 24-1 22:15 Pathé 1 Sun 26-1 16:45 Schouwburg GZ Thu 30-1 22:30 Oude Luxor Sat 1-2 09:00 LantarenVenster 1 Press & Industry SCREENING Sat 25-1 22:15 Cinerama 4

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One thing is definitely true about the films of Japanese comedian Matsumoto Hitoshi: expect the unexpected. Like the exceptional flights of fancy in Symbol (2009) and Dainipponjin (2007), R100 is an alienating, madcap, fantasy-laden cinema experience. Upstanding, somewhat melancholy furniture salesman Takafumi needs some excitement and joins Club Bondage, an upmarket SM club. He signs up for a year of kinky appointments with strict dominatrixes in unexpected locations. However, after a number of painful but exciting ‘dates’, the mistresses start intruding in his private life. And, although the ladies look astounding, this is a step too far. Unfortunately for Takafumi, early contract termination is not an option. Matsumoto masterfully mixes his bizarre humour with action, eroticism, melodrama, bondage and spit. A combination which so totally confused the ratings committee that the film was only approved for people over 100, which explains the title: R100. Nominated for The Big Screen Award.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 09:49

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Perfect Garden Mara Mattuschka, Chris Haring

INTERNATIONAL PREMIERE

Austria, 2013 | colour, video, 80 min, English Prod: Mara Mattuschka, Chris Haring | Sc: Chris Haring, Mara Mattuschka | Cam: Josef Nermuth | Ed: Mara Mattuschka | Sound Des: Andreas Berger | Music: Andreas Berger | With: Luke Baio, Thales Weilinger, Ian Garside, Simone Truong, Alexander E. Fennon, Rachel Odena, Anna Maria Nowak, Stephanie Cumming | Print/Sales: sixpackfilm | http://www.sixpackfilm.com/ en/catalogue/show/2059 Public SCREENINGS Fri 24-1 19:30 Cinerama 5 Sat 25-1 11:45 LantarenVenster 5 Thu 30-1 19:00 Cinerama 3 Press & Industry SCREENING Tue 28-1 22:15 Cinerama 3

Within the walls of an establishment that would not look out of place in a David Lynch film, half-dressed men and women roam around. It is bursting with sensual tension and they carry out a mysterious courtship dance in all sorts of combinations. Strange conversations and philosophies of life also bind them. Sometimes these young dancers are symbiotic with each other and their surroundings, sometimes their existence is confusing and dizzying. Into this hedonistic sub-cosmos, a Russian mafia boss arrives with his guards. He tries to exert power as is his wont, but miraculously discovers the meaning of life in this womb-red parallel reality. Perfect Garden is a hypnotic art film in which dancer and choreographer Chris Haring joins forces with filmmaker and performance artist Mara Mattuschka. Their hedonistic and utopian world filled with beautiful idiots is portrayed with inventive stylisation: original camera angles, jerky or slomo images and distorted voices.

Siddharth Richie Mehta

Canada/India, 2013 | colour, DCP, 96 min, Hindi Prod: Richie Mehta, David Miller, Steven N. Bray | Prod Comp: Poor Man’s Productions | Sc: Richie Mehta | Cam: Bob Gundu | Ed: Richie Mehta, Stuart A. McIntyre | Prod Des: Aparna Kapur | Sound Des: Lalit Malik | Music: Andrew Lockington | With: Rajesh Tailang, Tannishtha Chatterjee, Anurag Arora, Geeta Agrawal Sharma, Naseeruddin Shah | Print/Sales: Fortissimo Films | www.siddharththefilm.com Public SCREENINGS Fri 24-1 20:00 Doelen JZ Sun 26-1 19:30 Schouwburg GZ Sat 1-2 15:15 Pathé 2

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A zipper repairman who offers his trade on the streets of an Indian provincial town can hardly make ends meet and decides to send his 12-yearold son Siddharth temporarily to a bigger city for work. Some months pass and the boy does not return home. The parents are worried sick and decide to undergo a clueless search for him throughout the whole country. Inspired by a true encounter with parents whose children went missing and ended up, as they believed, in a mysterious place, the Canadian-Indian director merges tragedy and optimism in a beautifully dramatic manner, with overwhelming despair on the one hand but traces of hope on the other. Not knowing his son’s age precisely and not even having a single photograph, the illiterate father encounters odd characters and is confronted with a scary side of Indian reality; an ocean of one billion people in which a single human life loses all significance.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 11:34

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Mogura no uta The Mole Song: Undercover Agent Reiji Miike Takashi

Japan, 2013 | colour, DCP, 130 min, Japanese Prod: Uehara Juichi, Saka Misako, Maeda Shigeji | Prod Comp: Pony Canyon Inc. | Sc: Kudo Kankuro | Cam: Kita Nobuyasu | Ed: Yamashita Kenji | Music: Endo Koji | With: Ikuta Toma, Naka Riisa, Yamada Takayuki, Kamiji Yusuke, Okamura Takashi | Print/Sales: Pony Canyon Inc. | www.mogura-movie.com Public SCREENINGS Thu 23-1 22:00 Schouwburg GZ Sat 25-1 12:30 Pathé 7 Wed 29-1 22:00 Oude Luxor Sat 1-2 21:45 Pathé 5 Press & Industry SCREENING Fri 24-1 09:15 Cinerama 7

An overcoat decorated with butterflies. False teeth made of diamonds. A leopard print suit combined with a ditto shirt. Miike Takashi is never reluctant to resort to visual hyperbole, but even by his standards, the characters in The Mole Song are very extravagantly dressed. Everything about the film breathes the style and mood of the manga series on which it is based: bright colours, narrative tempo in top gear, shameless overacting and over-the-top plot twists. Reiji Kikukawa is sacked as a policeman and – after several bizarre tests, including a motorway trip tied naked to the bonnet – he is dropped as an undercover cop in the most dangerous yakuza clan in the country. This veiled suicide mission is accompanied by cartoonesque violence and coarse humour. The Mole Song is like a shot of pure adrenaline. The film rages on for two hours without a break. The final cliffhanger makes one hope for a sequel. In view of Miike’s high production rate, we won’t have to wait long.

Stop the Pounding Heart Roberto Minervini

USA/Belgium/Italy, 2013 | colour, DCP, 100 min, English Prod: Roberto Minervini | Prod Comp: Pulpa Entertainment | Sc: Roberto Minervini | Cam: Diego Romero Suarez-Llanos | Ed: MarieHélène Dozo | Sound Des: Ingrid Simon, Thomas Gauder | With: Sara Carlson, Colby Trichell | Print/ Sales: Doc & Film International Public SCREENINGS Wed 29-1 18:30 Pathé 6 Thu 30-1 13:45 Schouwburg GZ Fri 31-1 12:30 Pathé 7 Sat 1-2 16:45 LantarenVenster 5

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Roberto Minervini works with a crew of no more than five. He films from the shoulder, without extra lighting; each shot must be done in one take. Thanks to this sober, documentary-like approach, Minervini gets extremely close to his characters, always amateurs who basically play themselves. In Stop the Pounding Heart, the final part of Minervini’s Texas trilogy, these are 14-year-old Sara and the slightly older Colby. She has been brought up in a deeply religious family of 14 goat herders. He comes from a less dogmatic family and wants to be a rodeo rider. Their cautiously blossoming puppy love is one of pure naivety, but launches Sara into a stormy identity crisis. The ideals she has grown up with are no longer as self-evident as her Biblequoting parents taught her. Moulded in a very realistic style, the film explores the religious fundamentalism, traditional gender relationships and conservative norms and values that shape life in rural America.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 11:34

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Reimon Rodrigo Moreno

WORLD PREMIERE

Argentina/Germany, 2014 | colour, DCP, 72 min, Spanish Prod: Rodrigo Moreno, Benny Drechsel | Prod Comp: Compañía Amateur, Rohfilm | Sc: Rodrigo Moreno | Cam: Gustavo Biazzi | Ed: Martin Mainoli, Anita Remon, Rodrigo Moreno | Prod Des: Felicitas Soldi | Sound Des: Catriel Vildosola | With: Marcela Dias, Esteban Bigliardi, Cecilia Rainero, Bruno Dubner, Juvelina Dias | Sales: Compañía Amateur | Distr NL: Hubert Bals Fund Public SCREENINGS Mon 27-1 18:45 Pathé 7 Tue 28-1 12:152 Pathé 2 Thu 30-1 15:152 Pathé 5 Sat 1-2 17:302 LantarenVenster 3 Press & Industry SCREENING Sun 26-1 11:00 Doelen JZ

Reimon is a young, lonely and taciturn woman who lives and works in Buenos Aires. Argentine director Rodrigo Moreno (El custodio) follows her everyday routine in long, often stationary shots. Reimon is sitting in a bar, walking down the street, eating, having a nap and cleaning for people who are a lot better off than she is. As she dusts and toils, the yuppies and their friends read endless passages out loud from Das Kapital – Kritik der politischen Ökonomie, Karl Marx’s treatise on work, money, working conditions, slavery, sleeping, eating and relaxing. While they philosophise, they barely notice Reimon; theory is more interesting and certainly less confrontational than practice. Committed, extremely minimalist drama by Moreno, who forms part of the Nuevo Cine Argentino, the new Argentine filmmakers who made a name for themselves in the mid-1990s with urgent films produced on a limited budget and shot on location with non-professional actors. Reimon was supported by the Hubert Bals Fund. Nominated for The Big Screen Award.

Mancanza-Inferno Lack-Hell Stefano Odoardi

WORLD PREMIERE

Italy/Netherlands, 2014 | colour, DCP, 71 min, Italian Prod: Stefano Odoardi, Gianluca Stuard | Prod Comp: O film, Strike fp | Sc: Stefano Odoardi | Cam: Stefano Odoardi | Ed: Gianluca Stuard | Prod Des: Stefano Odoardi, Gianluca Stuard | Sound Des: Jan Willem van den Brink | Music: Andrea Manzoli | With: Angelique Cavallari | Print/Sales: O film Public SCREENINGS Tue 28-1 19:30 Cinerama 5 Wed 29-1 14:45 Cinerama 3 Fri 31-1 14:30 Cinerama 5 Press & Industry SCREENING Mon 27-1 11:30 Pathé 3

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An enormous birdcage stands in a wooded area. A young woman (Angelique Cavallari) wearing a long, beige coat walks around endlessly while philosophising about the suffering of angels. Then she finds herself in the old centre of L’Aquila, the mediaeval town to the northeast of Rome, which was devastated in the night of 5 April 2009 by an earthquake. Life has still not returned to normal. That much is clear from the impressionist images of the devastation and the statements by twenty ‘doomed people’: ‘This isn’t civilised, it’s hellish’. Lack-Hell is a theatrical, stylised film by Italian-Dutch director Stefano Odoardi, loosely inspired by The Elegies of Duino by Rainer Maria Rilke: ‘For beauty is nothing but the beginning of terror, which we are still just able to endure and we are so awed because it serenely disdains to annihilate us.’ With beautifully serene music by Andrea Manzoli, sung by the soprano Valentina Coladonato.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

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Back to the Temple of the Sun Marco Pando

WORLD PREMIERE

Experimental road movie follows in the tracks of Tintin, who set off with Captain Haddock to Peru in the comic-strip album The Temple of the Sun (Le temple du soleil, 1949) to liberate Professor Calculus from the claws of the bloodthirsty Incas. In Back to the Temple of the Sun, the director Marco Pando’s brother Wilmer plays a modern version of Tintin. Instead of Snowy, Tintin has a Peruvian Hairless Dog as companion. Together they undertake a journey through Peru, where they sometimes stop to perform half-forgotten local rituals filled with mystic elements. In this way, Peru has to be re-conquered from the exotic European view of the country as was (for instance) seen in Hergé’s comicstrip. Images of Tintin’s journey are juxtaposed with fragments from the Belgian animation film Tintin et le temple du soleil (1969). Semi-feature: new presentation format that foregrounds the so-called mid-length film.

Nua dhamma chat Supernatural Thunska Pansittivorakul

WORLD PREMIERE

Thailand/Germany, 2014 | colour, DCP, 106 min, Thai Prod: Jürgen Brüning | Prod Comp: Jürgen Brüning Filmproduktion | Sc: Thunska Pansittivorakul, Panu Trivej | Cam: Anupong Posuwan, Thitipong Kerdtongtawee | Ed: Thunska Pansittivorakul | Prod Des: Thunska Pansittivorakul | Sound Des: Itdhi Phanmanee | Music: Mase Charuamonchit | With: Nophand Boonyai, Gandhi Anantagant, Baramee Jarinyatorn, Thana Sheanakul | Print/ Sales: Jürgen Brüning Filmproduktion Public SCREENINGS Fri 24-1 21:45 Pathé 6 Sat 25-1 14:15 Cinerama 2 Mon 27-1 09:30 Cinerama 7 Wed 29-1 09:00 Cinerama 4 Press & Industry SCREENING Fri 24-1 09:00 Cinerama 4

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In a futurist world, the Thai kingdom has been transformed by ‘The Leader’ into ‘the Realm of people who have done good deeds and earned merits’. It’s a nice place to be, even though the inhabitants are plagued by an indefinable nostalgia. In the old days, people could at least touch each other. Although the Realm has reached version 2.0, technical possibilities remain limited. This wondrous story of the future is interwoven with stories set in the present and past. According to Pansittivorakul, known for his independently-produced and taboo-breaking documentaries on homosexuality and politics, his first feature is science fiction, yet it is about today’s Thailand. For instance he criticises the need for religion and superstition. But in the end, this very idiosyncratic, homo-erotically charged essay is above all about time: ‘Time influences everything. The past has to do with the present, and the present is linked to the future.’

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

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Nebraska Alexander Payne

USA, 2013 | b&w, DCP, 115 min, English Prod: Albert Berger, Ron Yerxa | Prod Comp: Bona Fide Productions | Sc: Bob Nelson | Cam: Phedon Papamichael | Ed: Kevin Tent | Prod Des: J. Dennis Washington | Sound Des: Frank Gaeta | Music: Mark Orton | With: Bruce Dern, Will Forte, June Squibb, Bob Odenkirk, Stacy Keach | Sales: FilmNation Entertainment | Distr NL: Cinéart Netherlands Public SCREENINGS Sun 26-1 13:45 Schouwburg GZ Thu 30-1 15:15 Pathé 6 Fri 31-1 16:15 Oude Luxor Sat 1-2 19:15 Cinerama 6 Press & Industry SCREENING Sun 26-1 11:30 Cinerama 7

Alexander Payne (Sideways) met quite a lot of resistance when making Nebraska. His studio insisted he choose a famous actor like Robert Duvall or Gene Hackman for the leading role. His distributor was adamantly against blackand-white. Fortunately he ignored these demands. There’s no better performer conceivable to play Woody Grant, a born loser with ambitions that dissolved in alcohol, than Bruce Dern, the actor who started promisingly in the 1970s but never broke through. As Woody, a role that won him the prize for best actor at Cannes, he may well have given his best performance ever. Together with his son David, Woody travels from Montana to Nebraska, where he thinks he has won the lottery. On the way, the two meet a variety of acquaintances and relatives to whom Woody owes money. While Woody’s wafer-thin version of the American Dream implodes, David tries to get through to the father he never really knew. The black-and-white imbues this tragicomic road movie with apt nostalgia.

P3ND3JO5 Raul Perrone

Argentina, 2013 | b&w, DCP, 157 min, Spanish Prod: Raul Perrone, Pablo Ratto | Prod Comp: Trivial Media | Sc: Raul Perrone | Cam: Raul Perrone, Hernan Soma | Ed: Raul Perrone | Sound Des: Raul Perrone | Music: Nomenombres Wey | With: Adrian Quiroga Hernandez, Julieta Maria Borgna, Yenien Teves, Eugenia Juarez , Gonzalo Orquin, Mariano Blanco | Print/Sales: Trivial Media | www.perronependejos.tumblr.com Public SCREENINGS Fri 24-1 13:00 Cinerama 2 Tue 28-1 09:00 Cinerama 4 Wed 29-1 09:00 Pathé 2 Fri 31-1 19:00 Cinerama 7

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Argentinian director Raúl Perrone calls P3ND3JO5 (‘pendejos’: slang for teen, but also idiot or worse epithets) a ‘cumbia opera in three acts with coda’. Cumbia is rhythmic Columbian music that became immensely popular in Latin America during the 1940s. Music plays a huge role as it is anyway: P3ND3JO5 is a silent film in which dialogue has been replaced by title cards and atmosphere is provided by a hypnotic soundtrack with lots of Puccini, cumbia, punk and modern electronic music. The sometimes grainy, blackand-white images have been masterfully composed in the classic 4:3 format that was standard in the film industry until 1953. Replete with references to the silent film era, including Dreyer’s La passion de Jeanne d’Arc (1928). Just like that film, Perrone focuses on faces, (staring) glances and intense emotions. Perrone situated his film, which consists of two love stories and a mafia episode, among skateboarders in a Buenos Aires suburb.

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Ben o degilim I’m Not Him Tayfun Pirselimoglu

Nihat is a restaurant cleaner and leads the trivial life of a bachelor, in which regular outings with his friends and a prostitute are the sole, sad highlights. Until, that is, he starts an affair with his new colleague Ayse, an attractive young woman whose husband is serving ten years in prison. Nihat (Ercan Kesal, who played the lead in Once Upon a Time in Anatolia) discovers he looks uncannily like her husband, and in her new relationship Ayse grasps the opportunity to do everything she never used to be able to with him. However, a dramatic event changes the curious idyll in which Nihat gradually adopts the identity and appearance of his criminal double, with due consequence. The story, loosely based on Hitchcock’s Vertigo, is presented in a cool, slightly absurdist way using calm, carefully framed and styled shots, and minimal, yet spot-on dialogue.

See No Evil Jos de Putter

WORLD PREMIERE

Netherlands/Belgium, 2014 | colour/b&w, DCP, 75 min, English Prod: Wink de Putter | Prod Comp: Dieptescherpte BV | Sc: Jos de Putter | Cam: Stef Tijdink | Ed: Stefan Kamp | Sound Des: Alex Booy | Music: Vincent van Warmerdam | Print: Dieptescherpte BV | Sales: Films Transit International Inc. Public SCREENINGS Sat 25-1 15:15 Pathé 6 Sun 26-1 11:30 Cinerama 6 Wed 29-1 18:45 Pathé 7 Sat 1-2 22:30 LantarenVenster 3 Press & Industry SCREENING Fri 24-1 11:30 Cinerama 4

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In this cinematographic essay by renowned documentary maker Jos de Putter, three famous apes look back on their lives. With the help of archive footage, we can join them. First there is Cheetah, star of Tarzan films. He eats porridge with a spoon and augments his pension by making ape-stract art. On his 80th birthday, there’s a party and the guests watch as he blows out the candles. Kanzi is regarded as the cleverest monkey in the world. For 30 years, he was filmed in a famous study about acquiring language. He now tries to transmit his knowledge to his twoyear-old son Teco. Knuckles is the least fortunate of the three. He was subjected to tests that left their mark on his body and brain. Finally, the film commemorates the unknown Roger, a deceased mate of Knuckles. Roger holds a mirror up to us in the epilogue. In all the years we have tried to teach apes human things, didn’t we forget something very important? Nominated for The Big Screen Award.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

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Suzanne Katell Quillévéré

France, 2013 | colour, DCP, 94 min, French Prod: Bruno Levy, Julie Lescat, Renaud Barrat | Prod Comp: Move Movie | Sc: Katell Quilléveré, Mariette Désert | Cam: Tom Harari | Ed: Thomas Marchand | Prod Des: Anne Falguères | Sound Des: Florent Klockenbring | Music: Verity Susman | With: Sara Forestier, Adèle Haenel, François Damiens, Paul Hamy, Corinne Masiero | Sales: Films Distribution | Distr NL: Imagine Filmdistributie Nederland Public SCREENINGS Thu 23-1 16:00 Schouwburg GZ [d.s.] Thu 30-1 20:00 Pathé 1 [d.s.] Fri 31-1 14:00 Cinerama 4 [d.s.] Sat 1-2 09:30 Pathé 7 [d.s.] Press & Industry SCREENING Tue 28-1 11:30 LV 4 [e.s.]

It’s a miracle that Suzanne keeps it up for so long – living with her elder sister and father, a truck-driving widower in rural Languedoc. This passionate bouncy ball wants nothing more than to escape her stuffy bourgeois existence. Teenage pregnancy prevents her briefly, but when she bumps into the criminal Julien, that’s the start of a fully-fledged Bonnie & Clyde life. Even after an arrest and jail term, there’s no way back for her. With plenty of pace, Katell Quillévéré tells the story of an all-consuming lust for life that pushes the limits of freedom. Twenty-five years flash past in an hour and a half, often with abrupt leaps in time. This artificial structure is beautifully compensated by the unpolished, realistic style that makes the drama recognisable. The acting – above all that of Sara Forestier in the title role – guarantees emotional engagement without resorting to hamming it up.

Dast-neveshtehaa nemisoozand Manuscripts Don’t Burn Mohammad Rasoulof

Iran, 2013 | colour, DCP, 127 min, Farsi Prod: Mohammad Rasoulof | Sc: Mohammad Rasoulof | Sales: Elle Driver | Distr NL: Wild Bunch Benelux Public SCREENINGS Fri 24-1 12:00 Cinerama 7 [d.s.] Tue 28-1 09:15 Cinerama 2 [d.s.] Sat 1-2 19:45 Cinerama 3 [d.s.]

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Until just before its premiere in Cannes, hardly anything was known about Manuscripts Don’t Burn. Understandable if you know that in 2011 Mohammad Rasoulof was banned from working for 20 years by the Iranian authorities and shot this film in secret. It’s his most angry film so far. Rasoulof has jettisoned the circumspect allegorical approach. This political thriller is a harsh indictment of corruption, censorship and state violence. The title of the film refers to a passage from The Master and Margarita, a literary high point from the Soviet era. The story is based on facts reminiscent of Stalin’s reign of terror: the murder of 80 opponents of the Islamic Republic in the period 1988-1998. Two policemen are sent into the snowcovered mountains to arrest a writer. Their boss’s hidden agenda: to clean out witnesses to an earlier purge of dissidents. While one policeman faces moral dilemmas, the other appeals to the God-given rightness of sharia.

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Night Moves Kelly Reichardt

USA, 2013 | colour, DCP, 112 min, English Prod: Anish Savjani | Prod Comp: filmscience | Sc: Kelly Reichardt, Jonathan Raymond | Cam: Christopher Blauvelt | Ed: Kelly Reichardt | Prod Des: Elliott Hostetter | Sound Des: Julia Shirar | Music: Jeff Grace | With: Dakota Fanning, Peter Sarsgaard, Jesse Eisenberg, Alia Shawkat, James Le Gros | Sales: The Match Factory | Distr NL: Imagine Filmdistributie Nederland Public SCREENINGS Fri 24-1 16:00 Schouwburg GZ Sat 25-1 22:00 Cinerama 2 Fri 31-1 09:15 Pathé 2 Sat 1-2 16:15 Oude Luxor Press & Industry SCREENING Wed 29-1 11:45 LantarenVenster 4

In her previous film, Meek’s Cutoff, Kelly Reichardt made her first costume drama, but Night Moves is her first green thriller. Despite this exploration of genres, Night Moves also fits in with her general thematic interest, which she shares with her fixed scenario writer Jon Raymond: calm, minimalist road movies, situated in the landscape of the Pacific Northwest, the home background for both of them. The most important physical journey made by the protagonists this time is a nocturnal river trip towards a dam they want to blow up. But of course the film is mainly about the spiritual journey of the three eco-terrorists, of whom one (Jesse Eisenberg) is a frustrated activist, one (Peter Sarsgaard) is an ex-Marine and the third (Dakota Fanning) is the financier of the attack. Pressed by choices that have to be made and unforeseen developments, their attitudes to life and their mutual relationships shift and turn.

Pelo malo Bad Hair Mariana Rondón

Venezuela/Peru/Germany, 2013 | colour, DCP, 93 min, Spanish Prod: Marite Ugas | Prod Comp: Sudaca Films C.A. | Sc: Mariana Rondón | Cam: Micaela Cajahuaringa | Ed: Marité Ugás | Prod Des: Matias Tikas | Sound Des: Lena Esquenazi | With: Samuel Lange Zambrano, Samantha Castillo, Beto Benites | Print/Sales: FiGa Films | www.pelomalofilm.com Public SCREENINGS Fri 24-1 13:00 Oude Luxor Mon 27-1 18:45 Schouwburg GZ Tue 28-1 09:30 Pathé 6 Wed 29-1 13:00 Pathé 6 Press & Industry SCREENING Thu 30-1 12:30 Cinerama 3

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Nine-year-old Junior is a boy with a beautiful head of curls in a poor district of Caracas. He doesn’t join in playing football with the local kids, dislikes his curls and dreams of being photographed as a pop star with beautiful straight hair. When he fanatically starts straightening his hair again, his mother – a sacked security guard – gets angry. She’s afraid he’s gay, and that does not bode well in Caracas. While she feels guilty and veers between worried and indifferent, Junior’s grandma doesn’t seem to think it’s a problem. Mariana Rondón came to Rotterdam in 1999 with A la medianoche y media. Now she observes the fight without judging and in an almost documentary style, as she does Junior’s complicated friendship with a local girl and the mother’s attempts to get her job back. Complex and confusing feelings against the raw background of Venezuela. The film won prizes in Thessaloniki (FIPRESCI) and San Sebastián.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 11:34

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Piccola patria Small Homeland Alessandro Rossetto

INTERNATIONAL PREMIERE

Italy, 2013 | colour, DCP, 111 min, Italian Prod: Gianpaolo Smiraglia, Luigi Pepe | Prod Comp: Arsenali Medicei S.r.l., Jump Cut | Sc: Caterina Serra, Alessandro Rossetto, Maurizio Braucci | Cam: Daniel Mazza | Ed: Jacopo Quadri | Prod Des: Renza Mara Calabrese | Sound Des: Paolo Segat | Music: Paolo Segat, Alessandro Cellai, Maria Roveran | With: Maria Roveran, Roberta Da Soller, Vladimir Doda, Diego Ribon, Lucia Mascino | Print/Sales: Arsenali Medicei S.r.l. | www.arsenalimedicei.it Public SCREENINGS Sat 25-1 15:45 Pathé 1 Sun 26-1 09:30 Pathé 7 Tue 28-1 17:30 LantarenVenster 3 Fri 31-1 09:30 Cinerama 1 Press & Industry SCREENING Mon 27-1 11:15 Pathé 5

The story of Small Homeland could have been set in any small town in the world, according to Alessandro Rossetto. And yet this film could not have been made anywhere else but in this specific village in the hinterland of Venice. For one sweltering summer, Rossetto made grateful use of everything the surroundings offered. There was a screenplay, but that was ‘ready to be destroyed’, as he put it himself. In a whirlwind of observation and improvisation, he recreated the story afresh with often non-professional actors from the region. The story is about two young women: the lively, uninhibited Luisa and the dark and angry Renata. And about Luisa’s boyfriend Bilal, an immigrant from Albania, and the older man with whom Renata has a relationship. It’s a story about blackmail. About rudely sensual youth and conservative elders set in their ways. About becoming what you want and what you’re willing to sacrifice for that.

Lettera al presidente Letters to the President Marco Santarelli

INTERNATIONAL PREMIERE

Italy, 2013 | colour/b&w, DCP, 69 min, Italian Prod: Carlo Macchitella | Prod Comp: Madeleine Film | Sc: Marco Santarelli, Teresa Bertilotti | Cam: Alfredo Farina | Ed: Marco Santarelli | Music: Danilo Caposeno | Print/Sales: Istituto Luce – Cinecittà Srl | www.madeleinefilm.com Public SCREENINGS Tue 28-1 17:00 Cinerama 4 Wed 29-1 11:302 Cinerama 6 Fri 31-1 20:152 LantarenVenster 3 Press & Industry SCREENING Sun 26-1 11:15 Cinerama 5

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Rome, 2 June 2013, Festa della Repubblica, which honours the day of the referendum in 1946 that led to Italy’s being declared a republic. Three men wait in the long queue at the presidential residence Palazzo del Quirinale, which traditionally opens its gardens on this national holiday. In 1969, as young boys in a small village, they sent a letter to the president. In the euphoria surrounding the American moon landing, they asked him to help them reach Mars. The letter is still kept in the presidential archive, along with thousands of others sent over the decades by Italian citizens. Documentary maker Marco Santarelli highlights a selection of these letters sent between 1946 and 1969. A crosssection of individual and collective dreams, desperate pleas for help and hopeful plans that the Italian people expressed during the initial decades after the war.

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After the Tone Digna Sinke

WORLD PREMIERE

Netherlands, 2014 | colour, DCP, 85 min, Dutch/English/German Prod: Digna Sinke | Prod Comp: SNG Film BV | Sc: Henk Burger, Digna Sinke | Cam: Digna Sinke | Ed: Albert Elings | Sound Des: Marc Lizier | With: voice of Dragan Bakema, Olga Zuiderhoek, Josefien Hendriks, Rifka Lodeizen | Sales: SNG Film BV | Distr NL: Mokum Film | www. sngfilm.nl/UK_After_the_tone.htm Public SCREENINGS Sun 26-1 15:15 Pathé 2 Mon 27-1 11:302 Cinerama 6 Thu 30-1 16:452 LantarenVenster 5 Fri 31-1 09:302 Cinerama 3 Press & Industry SCREENING Sat 25-1 09:00 Cinerama 7

A daring project by seasoned (documentary) director Digna Sinke: we don’t see a single one of the protagonists. In fact, there is no interaction between the characters in the film at all. All the dialogue consists of messages left on the voicemail of Onno – the person everything is about and whose voice we never even hear. Onno is conspicuous by his absence: he suddenly disappeared, leaving people behind in confusion, fury and despair. Through the messages left for him, we slowly start building up a picture of Onno, of the relationships the different speakers have with him and what he means to them: his professional partner, his mother, his sister, his girlfriend, his phantom ex-lover.The footage accompanying the voice-overs is of the places that belong to the relevant voices: a container dock, suburban open space, water surrounded by waving reeds, an office building, motorway, the car park of a mega-store.

Thwara Zanj Zanj Revolution Tariq Teguia

Algeria, 2013 | colour, DCP, 136 min, Arabic Prod: Tariq Teguia | Prod Comp: Neffa Films | Sc: Tariq Teguia, Yacine Teguia | Cam: Nasser Medjkane, Hacène Aït Kaci | Ed: Rodolphe Molla | Sound Des: Abdelkader Affak, Kamel Ergani | With: Fethi Ghares, Diana Sabri, Ahmed Hafez, Wassim Mohamed Ajawi, John W. Peake | Sales: Neffa Films | Distr NL: Hubert Bals Fund Public SCREENINGS Fri 24-1 10:00 Cinerama 2 Sun 26-1 19:30 Cinerama 7 Fri 31-1 11:45 Cinerama 2 Sat 1-2 19:15 Cinerama 7 Press & Industry SCREENING Sat 25-1 21:30 LantarenVenster 4

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In the 9th century in what is now Iraq, black slaves known as Zanj rebelled against the Abbasid Caliphate. Algerian journalist Ibn Battuta hears of this old revolution when reporting clashes within communities in Algeria. His investigation takes him to Beirut, from whence he plans to map out this Arab history. There he meets Nahla, a Palestinian woman whose family fled during the Lebanese Civil War to Greece. She wants to donate money to the Palestinians who are still living in Lebanon. Then there’s Mr Prince, who has earned lots of money in Iraq. This capitalist Westerner also comes to the Lebanese capital.Tariq Teguia started collecting material in 2010 for his story about rebellion against oppression in the Arab region, with a powerful sense of the spirit of the times: the revolutions in Tunisia, Egypt and Yemen had yet to begin. His international production was made on a small budget, but you’d never guess from the beautiful camera work.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

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Ping Pong Summer Michael Tully

INTERNATIONAL PREMIERE

USA, 2013 | colour, DCP, 90 min, English Prod: Ryan Zacarias, Brooke Bernard, Holly Herrick, Billy Peterson, George Rush | Prod Comp: Nomadic Independence Pictures, Epic Match Media | Sc: Michael Tully | Cam: Wyatt Garfield | Ed: Marc Vives | Prod Des: Bart Mangrum | Sound Des: Angie Yesson | Music: Michael Montes | With: Marcello Conte, Myles Massey, John Hannah, Leo Thompson, Susan Sarandon, Helena May Seabrook | Print/Sales: Films Boutique Public SCREENINGS Sat 25-1 19:30 Oude Luxor Sun 26-1 14:45 Pathé 3 Mon 27-1 22:15 Cinerama 6 Sat 1-2 22:00 Cinerama 6

There’s plenty of table tennis in Ping Pong Summer, a nostalgic coming-of-age comedy in which time and place are at least as important as the story itself. In the summer of 1985, the shy teenager Radford has to accompany his parents on their summer vacation to Ocean City, a popular resort on the Atlantic coast. The insecure thirteenyear-old spends his days playing table tennis and break-dancing, while he falls in love with the local beauty. It is however the resort itself that attracts most attention in Ping Pong Summer. The real-life holiday resort is meticulously revealed by Michael Tully, whose previous films Cocaine Angel and Septien were also screened at IFFR. The cars, the holiday homes, the restaurants and the neon signs: Ping Pong Summer breathes the spirit of the 1980s in every respect. The cast largely comes from Ocean City itself and is assisted by a few big names from Hollywood, including Susan Sarandon.

Press & Industry SCREENING Mon 27-1 09:15 Cinerama 5

Feng ai

‘Til Madness Do Us Part Wang Bing

Hong Kong/France/Japan, 2013 | colour, DCP, 228 min, Mandarin Prod: Louise Prince, Wang Bing, Miyuki Takei | Prod Comp: Y Production, Moviola | Cam: Wang Bing, Liu Xianhui | Ed: Adam Kerby, Wang Bing | Sound Des: Zhang Mu | Print/Sales: Y Production Public SCREENINGS Tue 28-1 09:00 Cinerama 6 Wed 29-1 16:30 LantarenVenster 6 Fri 31-1 12:00 Cinerama 7

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Ever since his overwhelming, nine-hour Tie Xi Qu: West of the Tracks, Wang Bing has been regarded as one of today’s greatest documentary filmmakers, one who demands patience from his viewers but rewards it amply. For his latest film, he stayed for months in a half-open psychiatric institution in a provincial town in South China and edited about 280 hours of film into this four-hour documentary. In the (doubtless) stinking, badly (not) maintained spaces where the men stand, sleep, talk, quarrel, wash or urinate close together, Wang’s camera observes them with absolute respect and endless sympathy. Wang: ‘This film approaches them at a time when they are abandoned by their families and society. There is no freedom in this hospital. But when men are locked behind bars, they are capable of creating a new world, without restrictions of morality or behaviour. Under the night light, their bodies are like ghosts, craving love, physical or sentimental.’

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Shanghai tan ma yongzhen Once Upon a Time in Shanghai Wong Ching Po

INTERNATIONAL PREMIERE

Hong Kong, 2014 | colour, DCP, 96 min, Mandarin Prod: Wong Jing | Prod Comp: MegaVision Pictures Limited | Sc: Wong Jing | Cam: Jimmy Wong | Ed: Wenders Li, Wong Mo Hang | Prod Des: Andrew Cheuk | Sound Des: Phyllis Cheng, David Wong | Music: Anthony Cheng, Wil Ho, So Wung Ngai Hubert | With: Philip Ng, Sammo Hung, Andy On, Michelle Hu | Print/ Sales: Mega-Vision Pictures Limited Public SCREENINGS Sat 25-1 21:30 Schouwburg GZ Sun 26-1 12:15 Pathé 5 Thu 30-1 19:30 Oude Luxor Sat 1-2 22:45 Cinerama 1 Press & Industry SCREENING Mon 27-1 15:15 Doelen JZ

Shanghai, early 1900s. Fortune hunters flock to the big city from all over China. It’s the fittest who survive. Four gang lords hold Shanghai in an iron grip until hard-boiled newcomer Long Qi elbows his way in among them. Young, totally honest Ma Yongzhen (Philip Ng), blessed with great kung-fu talent and a cast-iron right hook, settles in Shanghai and soon attracts the attention of Long Qi. An unexpected friendship develops between them. When Long Qi gets into trouble through his courage and arrogance – both a Japanese spy and the Chinese gang lords are out to get him – Yongzhen can only help, even though he has promised the pretty, inaccessible girl next door (Michelle Hu) that he won’t fight any more. Once Upon a Time in Shanghai, filmed in glowing black-and-white with a trace of colour, is full of beautifully choreographed martial arts ballets and grandiose emotions. Director Wong is a master not only of the martial-arts genre, but also of melodrama.

Moratorium Tamako Tamako in Moratorium Yamashita Nobuhiro

EUROPEAN PREMIERE

Japan, 2013 | colour, DCP, 78 min, Japanese Prod: Yasumasa Saimi | Prod Comp: MON Entertainment | Sc: Mukai Kosuke | Cam: Ashizawa Akiko, Ikeuchi Yoshihiro | Ed: Sato Takashi | Prod Des: Ataka Norihumi | Sound Des: Ikenaga Shoji | Music: Hoshino Gen | With: Maeda Atsuko, Kan Suon | Print/Sales: Bitters End Inc. Public SCREENINGS Thu 23-1 19:15 Pathé 6 Fri 24-1 12:45 Pathé 1 Tue 28-1 12:30 Cinerama 1 Fri 31-1 22:00 Schouwburg GZ Press & Industry SCREENING Wed 29-1 11:30 Cinerama 7

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Tamako reads a comic strip. Tamako plays a computer game. Tamako watches the news and sighs that Japan is in a bad way. Tamako eats the meals that her father has prepared for her with great dedication, but she doesn’t thank him. Let alone doing anything to help in the sports shop which she lives above and he keeps running during the day. In other words, Tamako has the pause button pressed. Her father is not happy about this but he has long given up saying anything about it. After several grander films, Yamashita Nobuhiro returns with Tamako in Moratorium to the intimate scale of his earlier work. In the course of the four seasons covered by the film, Tamako occasionally has contact with clients such as the young Hitoshi, and acquaintances such as the teacher with whom her father had a date. Something does change, even though all of this is filmed and acted so subtly that it is almost imperceptible.

43rd INTERNATIONAL FILM FESTIVAL ROTTERDAM

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hen

Na pian hu shui Lake August Yang Heng

WORLD PREMIERE

China/Hong Kong, 2014 | colour, video, 113 min, Mandarin Prod: Kong Lihong, Yang Heng | Prod Comp: All Ways Pictures, Xiangxi Yangheng Image Workshop | Sc: Yang Heng | Cam: Wang Wei | Ed: Yang Heng, Marie Pierre Duhamel | Prod Des: Liu Jinhou, Wang Mazi | Sound Des: Yin Jie | Music: AC97 Band | With: Tian Li, Shang Xiaoling, Yao Maosheng | Sales: Kong Lihong | Distr NL: Hubert Bals Fund Public SCREENINGS Fri 24-1 19:00 Pathé 3 Sat 25-1 09:30 Cinerama 1 Mon 27-1 19:45 Cinerama 3 Sat 1-2 22:00 LantarenVenster 6 Press & Industry SCREENING Sun 26-1 09:30 Cinerama 3

After his father commits suicide by drunkenly jumping off a boat and his girlfriend announces she is marrying another man, Ah Li is left alone. Not much changes in his life. His primary activities are smoking and drinking beer; occasionally he watches some porn. Looking for diversion, he visits a boarding house on a lake. There he meets his old class-mate Monkey and the man’s mistress Ah Fang. The two quarrel a lot because Monkey won’t leave his wife. Monkey departs and Ah Li and Ah Fang are left to keep each other company. Yang Heng’s films are a kind of antidote to the high speed of modern, big-city Chinese life. Time still passes at a languid tempo in the expanse of the Chinese hinterland, as in the Hunan region where he was born and where he not only shot Lake August, but also his features Betelnut and Sun Spots (IFFR Tiger Awards Competition 2010). The beautiful landscape urges tranquillity. Ah Li finds his feet here gradually but also occasionally with surprising abruptness.

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Lâ&#x20AC;&#x2122;autre femme By Marie Ka

INSPIRING PEOPLE Hivos supports independent filmmakers across the world www.hivos.org

Main partner of IFFR

Part of the African Metropolis series Photographer: Erick C. Ahounou

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African Metropolis Over half Africa’s population live in a metropolis. Six filmmakers who live or work in an African (capital) city tell their urban stories: the city as a backdrop, initiator and protagonist combined. Followed by Critic’s Talk on Sunday 26 January 2014. Public SCREENINGS Sun 26-1 14:15 LantarenVenster 5 Tue 28-1 17:00 Cinerama 2 Sat 1-2 12:00 LantarenVenster 4

Homecoming Jim Chuchu

Max is obsessed with Alina, who lives opposite. He observes and manipulates her with his camera, but is too shy to speak to her. Finally, an alien invasion in Nairobi gives him the opportunity to express his feelings. The only problem is the mysterious stranger who refuses to leave Alina’s side. EUROPEAN PREMIERE

The Cave Ahmed Ghoneimy

Bass player Adham wants a career in music and travels to Cairo to audition. The city is full of old friends like Amr, who has settled down. Others appear not to have changed one bit. The day flies by accompanied by sweet bass notes. EUROPEAN PREMIERE

The Line-Up Folasakin Iwajomo

Ten men from Lagos participate in a mysterious ritual: they are lined up, blindfolded and inspected by a woman. Seven prove to be ‘chosen’ and are given a large reward. Bala, who desperately needs money for his sick sister, hopes to be next. Poverty makes him take enormous risks. EUROPEAN PREMIERE

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L'autre femme The Other Woman Marie KA

In Western eyes, polygamy promises little good, but in the daring The Other Woman love is tender and pure. Middleaged Madeleine has to get used to her husband’s new wife and takes Amayelle through Dakar’s streets: colourful, crowded and musical. A unique, controversial relationship develops. EUROPEAN PREMIERE

To Repel Ghosts Philippe Lacôte

Based on artist Jean-Michel Basquiat’s journey to Abidjan in the 1980s. Ivorian painter Watt and his friends show him around. Exhausted by visions and depression Basquiat seeks salvation in traditional art and local healing rituals. EUROPEAN PREMIERE

Berea Vincent Moloi

Long after friends and family have moved away from a notorious Johannesburg suburb, Jewish retiree Aaron Zukerman lives there in his ever smaller, darkening world. An unexpected visit on Friday breaks Aaron’s routine and sets off cautious assimilation. EUROPEAN PREMIERE

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Artist Present Four idiosyncratic, cinematic odes to an exceptional artist and his work. Extremely passionate. Public SCREENINGS Sat 25-1 20:15 LantarenVenster 3 Mon 27-1 17:00 LantarenVenster 2

Rode molen Red Mill

Esther Urlus

Piet Mondrian’s series of paintings of windmills, and Red Mill in particular, inspired this colourful study into printing techniques. The spectacular colours were created using double exposures with both additive (red, green, blue) and subtractive colour mixing (cyan, magenta, yellow). See also the compilation programmes Vertical Cinema and Silver. Netherlands, 2013 | colour, 35mm, 1:2.35, 6 min, no dialogue Prod: Esther Urlus | Sc: Esther Urlus | Cam: Esther Urlus | Ed: Esther Urlus | Pd: Esther Urlus | Sound: Matt Kemp | Print: EYE Film Institute Netherlands | Sales: Esther Urlus | estherurlus.hotglue.me

Seven Stones Frank Scheffer

As usual, Frank Scheffer uses every cinematic means at his disposal to get to the core of his subject - in this case, Robert Zandvliet and the latter’s search for the essence of painting in all its phases: from courage and doubt to determination and craftsmanship. WORLD PREMIERE

Ronse Robbrecht Desmet

Desmet’s keen eye, precise editing and framing capture the motion in Bart Lodewijk’s chalk drawings as they trace and re-imagine their way along roofs, gables and masonry, embedding themselves in the fabric of the East Flanders city of Ronse. It’s an inspired partnership and a beautifully descriptive film. INTERNATIONAL PREMIERE

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Transit of the Megaliths Nicholas Brooks

A literal stop-motion animation, a road movie, a kinetic sculpture brought into collision with an interbellum English countryside surrealised by Paul Nash. Nicholas Brooks summons enigmatic beauty and science fiction from the most mundane of remnants, something so opaquely new it’s almost without origin. INTERNATIONAL PREMIERE

Avant-premières Several of the preludes that have their world or international premieres this year in Rotterdam, brought together in a unique compilation programme. Public SCREENING Thu 23-1 17:00 LantarenVenster 2

El valle interior The Inner Valley

Alejandro Telemaco Tarraf

Deep in the jungle lives a man. He has his boat, the river, the reeds and the sunrise. This beautiful, calm document reveals a man musing, at one with his environment. The precise camera work creates an entrancing atmosphere. Screens before Costa Dulce. WORLD PREMIERE

Le jour nous écoute The Day Is Listening Félix Dufour-Laperrière

Gorgeous animation about how the love between two people continues after the woman’s death, thanks to the literature they shared. Drawings, collages and the poetry of Quebec author Hélène Dorion alternate, creating various atmospheres. Screens before Where I’m From. INTERNATIONAL PREMIERE

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Le bout du fil

The End of the Line François Raffenaud

In her Paris apartment, an elderly actress waits for a call from her agent about her last big role. Subtle film respectfully portrays an older actress, with all her ailments. Screens before The Quiet Roar. INTERNATIONAL PREMIERE

The Red Door Tashi Gyeltshen

The Red Door follows the methaphorical journey of a Bhutanese man during the various phases of his life. Tashi Gyeltshen comes to terms with his cousin’s suicide in this minimal, but meaningful tale. If reincarnation exists, death is a new start. Screens before The Seventh Walk. WORLD PREMIERE

If We Were Together Rowena Crowe

A young mother and her son make an audio letter to her husband at the front. She poses a desperate question. The recording, made in 1967, and the rough, colourful animation evoke the sense of longing of a family separated by war. Made at the St. Joost Academie Breda. Screens before After the Tone. WORLD PREMIERE

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Habitable Gustavo Bastidas

An elderly Venezuelan man lives alone, surrounded by memories in a tumbledown house. His comatose wife is in a care home. The man decides to change the course of his life. A modest, quiet portrait of the loss of contact with the outside world and the inability to let go of deeply rooted love. Screens before Little Crushes. WORLD PREMIERE

Kurdrjavka Pikku kippura

Kudryavka - Little Ball of Fur Risto-Pekka Blom

Playful, funny found-footage film about the launch of Laika the dog into space by the Soviet Union on 3 November 1957. In an expanding universe, in the cosmic noise of celebratory speeches, with an eye always blackened by a punch. Screens before Letters to the President. WORLD PREMIERE

De leeuw The Lion

Klaas Arie Westland

After three years in detention for a violent offence, Abdel’s interview with his parole officer, who has little faith left in ‘this type of guy’, determines to what extent he is a danger to society. A realistic film with convincing acting inter-cut with the making-of. Screens before Helium. WORLD PREMIERE

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Before We Forget Great writers like Samuel Beckett and James Joyce continue to inspire and enlighten. A universal cultural phenomenon. Public SCREENINGS Sun 26-1 14:15 LantarenVenster 6 Mon 27-1 12:30 LantarenVenster 2

Let Us Persevere in What We Have Resolved Before We Forget Ben Russell

Based on mysterious messiah John Frum’s prophecy, priests on the island of Tanna in the Pacific conduct rituals to keep their history alive. The camera observes the cult surrounding Frum, while Russell plays with the conventions of anthropological films. See also A Spell to Ward Off the Darkness in Bright Future. USA/France, 2013 | colour, video, 20 min, Whitesands Prod: Ben Russell, Nadia Turincev | Prod Comp: Ben Russell + Ben Rivers, Rouge International | Cam: Ben Russell, Ben Rivers | Ed: Ben Russell | Sound: Ben Russell | Print: Light Cone Distribution | Sales: Rouge International | www.dimeshow.com

The Joycean Society Dora García

A group of people have been reading a book together for thirty years, and they have read it again and again. The text appears inexhaustible, its interpretation endless, the inconclusive nature of the reading exciting. The world seems to cease existing outside this reading room or, perhaps, it exists because of it. Belgium, 2013 | colour, video, 53 min, English Prod: Marie Logie | Prod Comp: Auguste Orts | Cam: Arturo Solis | Ed: Dora Garcia, Inneke Van Waeyenberghe | Sound: Laszlo Umbreit | Music: Jan Mech | Print/ Sales: Auguste Orts | www.augusteorts.be/projects/73/The-Joycean-Society

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Dreams and Myths A surreal collection of stories. Not simply told but untangled like a parallel universe or hallucinatory experience. Public SCREENINGS Thu 23-1 22:15 LantarenVenster 2 Fri 24-1 14:45 LantarenVenster 2

Helen of T Lewis Klahr

Helen of T’s contemplation ‘of aging and the pastness of the present’ is just one exemplary mytho-poetic blossom from 66, Klahr’s brand new series that’s jammed full of daylight noir reverie, and where texture and eternal time are the favoured intoxicants. USA, 2013 | colour, video, 7 min, no dialogue Prod: Lewis Klahr | Prod Comp: California Institute of the Arts | Cam: Lewis Klahr | Ed: Lewis Klahr | Print/Sales: Lewis Klahr

Culebra Jr. Daniela Delgado Viteri

Eight young people in a house somewhere in a metropolis. Time seems to stand still and a slightly depressed atmosphere has taken hold. Seduction, boredom, mysterious activities and, here and there, a dance provide subtle tension and raise curiosity about the group. EUROPEAN PREMIERE

Corrections Keren Cytter

Two men plan their parents’ murder under the watchful eye of witnesses. The rhythmic repetition of images and text is typical for Keren Cytter’s work, who here makes exceptional use of camera work and editing. The unending deconstruction makes you contemplate narrative structure. WORLD PREMIERE

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The Undiscovered Drawer Shana Moulton

Moulton conjures up the spirit of Joseph Cornell, meeting us on the astral plane with a hallucinatory tableau of clocks, domestic plastics and luridly soothing colour. Alchemised with a pop potion of sweetness and wonder, we’re ushered to wide-eyed transcendence revelling in the whispering pines. WORLD PREMIERE

Medea Ursula Mayer

A journey from the ancient to the modern with pop-cultural icon JD Samson where according to the film, ‘knowing means emptiness and the unthinkable opens out the world.’ Medea is a lush mesh of sources, symbols and sensuality where film language is deconstructed and the beholder is embroiled in fizzing ‘rhizomatic’ newness. INTERNATIONAL PREMIERE

United Kingdom, 2013 | colour, video, 12 min, English Prod: Ursula Mayer | Print/Sales: LUX

Wantee Laure Prouvost

Prouvost offers us ‘that’s real, that’s not’ lessons in representation, reflections on the art-heritage industry and freewheeling storytelling, all washed down with an obligatory cup of tea. This is Grandad’s breathless story and a melancholic counterpart to Grandma’s Dream, which you can see in the Tiger Award competition for Short Films. United Kingdom, 2013 | colour, video, 15 min, no dialogue Prod: Laure Prouvost | Sc: Laure Prouvost | Cam: Laure Prouvost | Ed: Laure Prouvost | Pd: Laure Prouvost | Print/Sales: LUX | www.laureprouvost.com

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Drive with Care How the leads elevate their activities into an art and achieve great heights. Public SCREENINGS Fri 24-1 16:30 LantarenVenster 6 Sat 25-1 14:15 LantarenVenster 6

Sun Song Joel Wanek

This beautiful, silent film records a bus trip in Durham, North Carolina, gradually transporting you from the dark before dawn into the day. The passengers and surroundings are introduced individually. The filmmaker spent six months filming the same bus ride, collaborating with the passengers. USA, 2013 | colour, dcp, 15 min, silent Prod: Joel Wanek | Sc: Joel Wanek | Cam: Joel Wanek | Ed: Joel Wanek | Print/Sales: Joel Wanek | www.joelwanek.com

Drive with Care Pilvi Takala

At a U.S. boarding school, teaching is just a small part of the job. The teachers live on campus with the students in a closed society. To retain some semblance of a private life, a teacher has to carefully navigate the unwritten rules. A deadpan lesson in social psychology. WORLD PREMIERE

Andoe Nina Yuen

Late in his career, US painter Joe Andoe realised all his works were based on the same childhood memories. Nina Yuen gives him a female voice and intercuts his story with the words of a Nike ad, which raises the artist’s ambition to unparalleled heights. INTERNATIONAL PREMIERE

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Fe26 Kevin Jerome Everson

Two smart, but reluctant gangsters survive in a poverty-stricken neighbourhood in Cleveland, Ohio. They are forced to circumvent the rules. Fe26 is remarkable for its loose style in which image and sound each have their own edit. See also Sugarcoated Arsenic in the compilation programme Ghostly Matters. INTERNATIONAL PREMIERE

The Inner and Outer Vanishing Point Cameron Gibson

The early warning siren goes off in a sparsely populated area of the U.S. We are under threat, but by what exactly? Poetic observation by young experimental filmmaker about generalised paranoia and the obsession with security in an otherwise so genial countryside. WORLD PREMIERE

Still Life (betamale) Jon Rafman

Disturbing film about excessive lust and desire in online subcultures. Director Rafman drops us in at the deep end with internet fetishists; simultaneously fascinating and repellent. An undefined sense of this world in decline ruthlessly overcomes us. Canada, 2013 | colour, dcp, 5 min, English Prod: Jon Rafman | Prod Comp: Jon Rafman Studios | Sc: Jon Rafman | Cam: Jon Rafman | Ed: Jon Rafman | Music: Oneogtrix Point Never | Print/ Sales: Jon Rafman Studios | www.jonrafman.com/betamale

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Extended Visions Photographic images are no more than illusions, but are passionately worshipped. Including Sun Xun’s new stereoscopic animation. Public SCREENINGS Thu 23-1 16:45 LantarenVenster 3 Fri 24-1 14:30 LantarenVenster 3

#47 José Miguel Biscaya

A walk through a sublime landscape. Fixed camera angles and pans alternate. #47 is part of a series researching the relationship between landscape representation, perception and the unconscious. During postproduction, crucial data is removed from the mpeg-stream, forcing software to re-interpret visual information. WORLD PREMIERE

Exterior Extended Siegfried A. Fruhauf

An artistic strategy achieves the maximum effect by combining the minimum of individual elements. Thirty-six photos serve as a starting point for a stringent study of spatial observation in film. The result:a dazzling display of spatial perception. What’s inside, and what’s outside? Austria, 2013 | b&w, 35mm, 1:1.85, 9 min, no dialogue Prod: Siegfried A. Fruhauf | Print/Sales: sixpackfilm

La lampe au beurre de yak The Butter Lamp Hu Wei

A young photographer creates staged portraits in a Tibetan mountain village. The backdrops, which include national monuments, Disney figures and tropical islands, are lowered using a squeaky pulley. Prayer wheels or shiny sunglasses show a cultural tradition subject to modern influences. China/France, 2013 | colour, dcp, 15 min, Tibetan Prod: Julien Féret, Hu Wei | Prod Comp: AMA Productions | Sc: Hu Wei | Cam: Jean Legrand | Ed: Hu Wei | Pd: Hu Wei | Sound: Liu Cheng | With: Genden Punstok | Print/Sales: Hu Wei

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Axis John Kneller

Analogue film exercise made using a 16mm Bolex robot developed by John Kneller that smoothly rotates around its x-y-z axes. The tipping urban images were processed on an optical printer, becoming a setting and pulsing mandala. EUROPEAN PREMIERE

Green | Red Peter Burr

Our eyes flicker to life and we’re thrown into a shape-shifting world where the sidewalks are endless, the radio is playing electric and the night-sky’s broken open by a cataclysm of jolting, shuddering stars. Peter Burr channels the Zone in this startling exploration of primordial colour, space and decay. WORLD PREMIERE

Mo shu shi dang yu si wu ya

Magician Party and Dead Crow Sun Xun

Allow yourself to be transported to the 3D paper world of the Magician Party, the last idealistic political party on the planet, where paper landscapes are filled with new monuments and animals. Includes short acts and a visit to maker Sun Xun’s studio. A great film about creating a story. China, 2013 | colour, dcp, 9 min, English Prod: Sun Xun | Prod Comp: Pi Animation Studio | Cam: Xu Chong | Ed: Xu Chong | Pd: Sun Xun, Zhang Fei | Sound: Sun Xun | Print/Sales: Pi Animation Studio

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Extraterrestrial There is more between heaven and earth than our senses can perceive. At least, that is what the makers of the films in this programme would like us to believe. Public SCREENINGS Sun 26-1 16:30 LantarenVenster 3 Mon 27-1 16:30 LantarenVenster 3

A Way in Untilled Pierre Huyghe

An empty lot with a sculpture of a woman with a swarm of bees for a head in the middle. A dog with a pink front leg wanders around. Life and death meet in the compost. Beautiful images filmed at sunset create an abstract world in which nothing is certain. France, 2013 | colour, dcp, 14 min, no dialogue Prod: Anna Lena Vaney | Prod Comp: Anna Lena Films | Cam: Marie Spencer, Berto | Ed: Edouard Mailaender | Sound: Raphael Sohier | Print/Sales: Anna Lena Films

Vishaparvam Venomous Folds Vipin Vijay

Video essay on poison, medicine men, possession and death. Four exceptional Indians share their knowledge of reading the signs. For instance, a toxicologist feels that a patient is on their way days in advance and a snake charmer reveals how he works. India, 2013 | colour, video, 30 min, Malayalam Prod: Rajiv Mehrotra | Prod Comp: PSBT | Sc: Vipin Vijay | Cam: Vipin Vijay | Ed: Vipin Vijay | Sound: Vipin Vijay | Print/Sales: PSBT

Medium Earth The Otolith Group

Part prequel and part premonition, Medium Earth attunes itself to the seismic psyche of California. The film listens to its deserts, translates the writing of its stones, and deciphers the calligraphy of its expansion cracks, animating the stresses and strains of physical geography undergoing continental pressure. EUROPEAN PREMIERE

United Kingdom, 2013 | colour, video, 41 min, no dialogue Prod: The Otolith Group | Print/Sales: LUX | www.otolithgroup.org

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Floating Stories Warm, joyful, yet slightly melancholy modern Asian stories. About coffee shops in Taipei, rebellious maids in Bangkok and ghosts in Kuala Lumpur. Public SCREENINGS Fri 24-1 14:15 LantarenVenster 6 Sun 26-1 16:45 LantarenVenster 6

The Day She Commits Suicide Yuichi Suita

A moment from what might possibly be a young woman’s last day alive. All attention focused on daily activities. Brushing teeth, washing clothes, taping the windows, popping out for ice cream. Small and meticulous. Very meticulous. WORLD PREMIERE

Boonrerm Sorayos Prapapan

Maid Boonrerm is at her mistress’s beck and call 24/7. The former sometimes demands the strangest things. The first being to lie in a pen like a dog. Boonrerm is a subtly formulated indictment of the treatment of maids in Thailand. Thailand, 2013 | colour, dcp, 17 min, Thai Prod: Maenum Chagasik | Prod Comp: Minimal Animal | Sc: Sorayos Prapapan | Cam: Weeranuch Laometakone | Ed: Sorayos Prapapan | Pd: Withit Chantamarit,Chulayarnnon Siriphol | Sound: Sorayos Prapapan | With: Jirawan Saikongkham | Print/Sales: Minimal Animal | http://sorayos.blogspot.com/

Hsiao ching hsin da bao cha

The Great Escape from Café City John Hsu

A fantastical coffee commercial comedy. A young man visits the same café and orders the same coffee, from the same waitress (the aptly named Belle) every day. Enthusiastically, with game-like effects, their fantasy worlds become increasingly intertwined. INTERNATIONAL PREMIERE

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The Transplants Jingliang Tan

The young woman (Min) and man (Kang-Woo) were born in Singapore, but raised in mainland China. Adapting to Singapore - which is so different - is no easy task nor entirely willingly undertaken. Refined film focuses on the details of their often silent togetherness. WORLD PREMIERE

Huan ri

Floating Sun Edmund Yeo

A young writer investigates the mysterious death of a classmate years ago. In line with the horror genre, the dead girl appears. Director’s cut of a short film that was part of a horror trilogy inspired by a short story by Japanese author Kanai Mieko. EUROPEAN PREMIERE

Ghostly Matters Three filmmakers’ convincing odes to people who fought for what they believed in. Public SCREENINGS Sat 25-1 19:45 LantarenVenster 6 Sun 26-1 12:00 LantarenVenster 6

Sugarcoated Arsenic Kevin Jerome Everson, Claudrena Harold

A celebration and lamentation, featuring the Herculean voice of Vivian Gordon summoned from archival tape and powerfully embodied by actress Erin Stewart. We’re brought close to radical black protest and reminded of a community that found the music in their heads and the warmth to listen to it together. See also Fe26 in the compilation programme Drive with Care. WORLD PREMIERE

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To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation Pauline Boudry, Renate Lorenz

One continuous give-and-take as six performers push towards a paradigm shift in the future. Following a 1970 score written by Pauline Oliveros in response to SCUM Manifesto by Valerie Solanas, they ask ‘Can sounds, rhythms and light produce queer relations? Can they become revolutionary?’ (PB & RL) INTERNATIONAL PREMIERE

The Buried Alive Videos Roee Rosen

Truth or daring under the fictive gaze of Maxim Komar-Myshkin with unexpected allusions to Morphy Richards and the household iron, comes a black magical omnibus of posturing and illusion from a dysfunctional band of Soviet émigrés. Their hatred is democratic, their hatred is universal. Israel, 2013 | colour, DCP, 36 min, Hebrew/English/Russian Prod: Roee Rosen | Sc: Roee Rosen | Cam: Avner Shahaf | Ed: Gal Katzir, Max Lomberg | Prod Des: Roee Rosen | Sound Des: Danny Shitrit | Music: Igor Krutogolov | With: Lucy Dubinchik, Igor Krutogolov, Andrey Lev, Scandar Copti, Max Lomberg | Print/Sales: Roee Rosen | www.roeerosen.com

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Hide Out Family and friends are important, but if you lose them there is always Art. Public SCREENINGS Thu 23-1 19:45 LantarenVenster 6 Sat 25-1 14:30 LantarenVenster 3

A que deve a honra da ilustre visita este simples marquês?

To What Do I Owe the Honor of This Illustrious Visit? Rafael Urban, Terence Keller

Humour enlivens Brazilian collector Max Conradt Jr.’s large collection of paintings and books as well as the history of Paraná, the country of Brazil and his family. On-screen symmetry creates space for the collection and the brilliant accompanying stories. INTERNATIONAL PREMIERE

Life’s a Hide Out Jan Willem van Dam

Self-deprecation and Weltschmerz go hand in hand in this road movie about an wannabe artist with a mid-life crisis searching for his adoptive father in Latin America. His quest follows the bloody trail of his eccentric family. Does the key to salvation lie in the desiccated pampas? In the end even art doesn’t provide solace. WORLD PREMIERE

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I’m Part of the Problem The colourful leads in these very different films are incapable or unwilling to be ‘good’. Public SCREENINGS Fri 24-1 22:00 LantarenVenster 6 Sun 26-1 22:00 LantarenVenster 6

The Illmannered Milkman Willehad Eilers

Teddy ‘The Milkman’ Milks is a motorbike racer with little to no talent. His claim to fame is that he literally sweats milk. He tries his utmost to ignore this and keep the myth of being a champion alive. He sets up camp in the Dutch dunes with his personal trainer, Kent. Netherlands, 2013 | b&w, DCP, 14 min, English Prod: Francesca Miazzo | Sc: Willehad Eilers | Cam: Rocco Pezzella, Andrea Staiano | Ed: Willehad Eilers | Prod Des: Willehad Eilers | Sound Des: Cats Studio, Willehad Eilers | Music: Hanno Klaenhardt, Nils Meissner | With: Abner Preis, Kent Hensley, Adrian Falk | Print/Sales: Willehad Eilers | www.waynehorse.com

Me Seal, Baby Joanna Rytel

A woman obsessively tries to get pregnant by her infertile boyfriend. Her brutal statements about age, sex and pregnancy challenge politically correct moralism. Sensitive issues are met head on in her funny, confrontational rant. Sweden, 2013 | colour, DCP, 15 min, Swedish Prod: Kira Carpelan, Joanna Rytel | Prod Comp: MinMamma Produktion AB, Men at home | Cam: Joanna Rytel, Björn Kjelltoft | Ed: Joanna Rytel | Sound Des: Joanna Rytel | Music: Boston Boys, Sara Lundén | Print: Filmform | Sales: Joanna Rytel | www.joannarytel.com

La benedizione degli animali

The Animals Blessing Cosimo Terlizzi

A motley crew of animals live in harmony at an untidy farm. A stranger’s arrival threatens the peace. He collects rabbits’ feet, skulls and cow horns. Death seems nigh, but instead a type of blessing ritual takes place to celebrate life’s beauty. INTERNATIONAL PREMIERE

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Spectrum Shorts

L'eternel retour The Eternal Return Pascal Lièvre

Enchanting trip mixes images by Marcel Duchamp (Anemic Cinema, 1926), an opera by Henry Purcell (The Cold Song, 1691, performed by Florent Mateo) and text from Alain Badiou (Philosophy for militants, 2010). Superior glamour. France, 2012 | b&w, video, 3 min, French Prod: Pascal Lièvre | Sc: Pascal Lièvre | Cam: Pascal Lièvre | Ed: Pascal Lièvre | Prod Des: Matthieu Delahausse | Sound Des: Florent Mateo | Music: Florent Mateo | With: Florent Mateo | Print/Sales: Pascal Lièvre | www.lievre.fr

Io sono una parte del problema

I Am a Part of the Problem canecapovolto

Legendary Italian film collective canecapovolto immerses itself in gender diversity to unravel the mystery of the ‘inner enemy’. Theatrical scenes alternate with daily transgender rituals in this study of sex, religion, homophobia and self-hatred. Italy, 2013 | colour/b&w, video, 36 min, Italian Prod: canecapovolto | Sc: canecapovolto | Cam: canecapovolto | Ed: canecapovolto | Prod Des: canecapovolto | Sound Des: canecapovolto | Music: canecapovolto | With: Salvatore Zerbo, Lucia Cinà, Davide Di Martino, Massimiliano Tumino | Print/Sales: canecapovolto | www.canecapovolto.it

Of Kids and Goats Upbeat stories and less jolly ones from the continent with the most magic. Much is lacking in Africa, but not great storytelling. Public SCREENINGS Sun 26-1 22:15 LantarenVenster 2 Mon 27-1 14:15 LantarenVenster 6

Godka ciirka A Hole in the Sky

Antonio Tibaldi, Alex Lora

Masterful, modest document providing insight into the mind of a rural Somali girl. She accepts that tradition demands that she has to make a great sacrifice. The boundary between fact and fiction dissolves thanks to the poetic voice-over. Somalia/France, 2013 | colour, DCP, 10 min, Somali Prod: Martine Vidalenc | Prod Comp: MarmitaFilms | Sc: Amina Souleiman, Antonio Tibaldi, Alex Lora | Cam: Antonio Tibaldi | Ed: Alex Lora, Antonio Tibaldi | Sound Des: Alex Lora | With: Sahra Cige Diiriye, Khadija Haji, Faadumo Isma’il | Print: No Permits Produktions | Sales: MarmitaFilms | www.aholeinthesky.org

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Adamt Zelalem Woldemariam

Ethiopian composer and drummer suffers from childhood trauma. Miraculously, a young deaf woman manages to put him on a new course using his own music. Adamt was made as part of the Focus Features Africa First Programme and was technically supported by Swedish professionals. Ethiopia, 2013 | colour, video, 18 min, Amharic Prod: Zelalem Woldemariam | Prod Comp: Zeleman Production | Sc: Zelalem Woldemariam | Cam: Owen Levelle | Ed: Adam Sawitz | Sound Des: Mathias Eklund | Music: Jorga Mesfin, Jean-Paul Wall | With: Mulugeta Geresu, Sayat Demissie | Print/Sales: Zeleman Production

A Tropical Sunday Fabian Ribezzo

A light film that relates a small, childish story, clearly directed by someone very decisive and experienced. Exactingly made, fluid and very detailed, but almost unnoticeably so. Street kids try their luck at the Sunday fair in Maputo. Mozambique, 2013 | colour, DCP, 15 min, Portuguese Prod: Silvia Bottone | Prod Comp: Azabache Films | Sc: Fabian Ribezzo | Cam: Pipas Forjaz | Ed: Fabian Ribezzo, Dario Zanasi | Prod Des: Berry Bickle | Sound Des: Renato Quaresma | Music: Positivo Moçambique | With: Odette Chissano, Fabiao Machava, Zé Zimila, Batista Goca | Print/Sales: Azabache Films

Shoeshine Amil Shivji

Shoeshine is colourful and light like a comedy, but the maker also provides social commentary on Dar-es-Salaam’s society and his country, Tanzania. The story is set in a street where a shoeshine man and a bar owner symbolise the rest of the world. EUROPEAN PREMIERE

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Order of Things ‘Nature doesn’t tell stories’ the bee film Apicula Enigma explains. People do however, creating cohesion with order, interpretation and imagination. Public SCREENINGS Sun 26-1 20:00 LantarenVenster 3 Mon 27-1 14:30 LantarenVenster 3

When I Stop Looking Todd Herman

Going beyond external appearances, When I Stop Looking invokes the intensely private worlds of those portrayed, each of whom lives with significant facial and cranial abnormalities. A vivid affirmation of existence comes forward before anything else. Todd Herman’s works often look to the rare beauty and disregarded mystery of everyday life. INTERNATIONAL PREMIERE

Uit de lucht gegrepen Out of Darkness

Jasper Coppes, Stijn Verhoeff

A man in a dimly lit shed with ferns all over; snatches of radio and a camera that scans the room. The mysterious space seems trapped in a loop, or maybe it isn’t? Intelligent, simple concept in which image and text reinforce each other. WORLD PREMIERE

Dust Poetry Nan Wang

Engrossing combination of 16mm frames with house dust collected by Nan Wang and film clips of insects and plants. The beauty of tiny, surplus materials digitally processed and edited into a hallucinogenic trip. Pulsating soundtrack based on insect and wind sounds. WORLD PREMIERE

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Immortal, Suspended Deborah Stratman

This video essay on levitation, UFOs and ancient Asian dreams consists of one long shot recorded at a Smithsonian Museum of Art warehouse in Washington. You float with the camera through the space in which the Freer/Sackler collection of historic Asian art is stored. See also Hacked Circuit in the Tiger Award competition for Short Films. INTERNATIONAL PREMIERE

Apicula Enigma Marine Hugonnier

Breathtaking nature documentary about bees, but in contrast to what we are accustomed to, without explanatory narration. A voice whispers: ‘Nature doesn’t tell stories’. The bee colony and the film crew are both filmed meticulously; the filming process is revealed, but the insect world doesn’t give up its secrets. United Kingdom/Spain/Brazil/Belgium, 2013 | colour, 35mm, 1:1.37, 26 min, no dialogue Prod: Elena Cooke | Sc: Marine Hugonnier | Cam: Attila Boa | Ed: Martina Moor | Sound Des: Henning Knoepfel | Print/Sales: Marine Hugonnier | www.marinehugonnier.com

Travel David Claerbout

Travel is based on a piece of relaxation music. One camera movement takes us through a park, a European forest, an Amazonian jungle. ‘I considered that making a piece that could make people fall asleep was not a bad thing at all. I wanted to prove to myself that I could work with anything, even with the shallowest of meanings.’ (DC) Belgium, 2013 | colour, DCP, 12 min, no dialogue Prod: David Claerbout | Prod Comp: Claerbout studio | Sc: David Claerbout | Cam: David Claerbout | Ed: David Claerbout | Prod Des: David Claerbout | Sound Des: David Claerbout | Music: Eric Breton | Print/Sales: Claerbout studio | www.yvon-lambert.com/2012/?page_id=69

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Out on the Streets After a restless period of revolution and major political change it is time to take stock. Public SCREENINGS Sat 25-1 16:45 LantarenVenster 3 Sun 26-1 19:30 LantarenVenster 6

Lettre à Mohamed A Letter to Mohamed Christine Moderbacher

Personal report from Tunisia two years after the revolution. Many people are disappointed, but they still hope that they will gain freedom and justice and that the tourists will return. What is freedom actually like? Traces of revolutionary zeal about to ignite against this background. Austria/Belgium/Tunisia, 2013 | colour, video, 35 min, French/Arabic Prod: Christine Moderbacher | Prod Comp: Centre Vidéo de Bruxelles | Sc: Christine Moderbacher | Cam: Christine Moderbacher, Hamadi Bousselmi | Ed: Marie Cordenier | Sound Des: Maxime Coton | Print/Sales: sixpackfilm | www.sixpackfilm.com/en/catalogue/show/2083

Rua de mão única One Way Street

Cinthia Marcelle, Tiago Mata Machado

Clear the rubble for a single-shot, Walter Benjamin-channelling bolt of street energy, choreography and raw explosive power: ‘The destructive character... sees ways… Because he sees ways everywhere, he always stands at a crossroads. No moment can know what the next will bring.’ WB WORLD PREMIERE

Building Stories #001 | That Distant Piece of Mine Els Opsomer

Els Opsomer’s new interpretation of globalised reality from an African perspective. Stoically, people make their way through an urban environment, but it isn’t always clear whether this is characterised by progress or a lack thereof. The complexity and beauty of a postcolonial crisis zone. INTERNATIONAL PREMIERE

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Plastic People Glamour, games, war, love and sex. Almost the real thing. Public SCREENINGS Sat 25-1 19:45 LantarenVenster 2 Sun 26-1 14:30 LantarenVenster 3

Is It Real Love? Of Course Not! Florian Krepcik

A film like a video game or vice versa? Innovative film of artificial, flickering black-and-white images of cars, almost gracefully flying all over the place. Krepcik adds unsuspected emotion to the generally cold world of games. The soundtrack provides an alienating contrast. WORLD PREMIERE

Bbrraattss Ian Cheng

A video that turns on itself. A rabbit fight dissected and re-choreographed into a bizarre, abstract study of movement. A motion capture variation on the Bugs Bunny cartoons with each character chained to an annoying, spasming doppelganger. EUROPEAN PREMIERE

Metamorfoza Martha Colburn

Colourful butterflies in a small room. On the wooden floor, an innocent little girl engrossed in her marbles. What she sees and experiences turns her into a butterfly. She can fly! Chaos and fear of war turned into strength and beauty. Colourful puppet animation in expressive Colburn style. WORLD PREMIERE

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Démontable Démontable

Douwe Dijkstra

War is waged on the kitchen table while a man drinks coffee. The world’s on fire. Helicopters shred his newspaper, a drone fires at a plate of broccoli. Funny, playful film on the absurd relationship between daily life and global news. WORLD PREMIERE

All the World’s a StageWays of Seeing 2013 Donna Verheijden

This film visually explores the meaning of the image in a world of constant retinal input. It questions and propagates the creation of today’s apparent or staged realities within mass media and politics. It reveals mythical truths and unveils true illusions by deconstructing and reconstructing realities that we often take as given. WORLD PREMIERE

The Painters Nicolas Provost

In Long Live The New Flesh Provost adapted a number of horror films. Now he tackles this other genre film. We see drip painters at work, blobs flying around. Form and content spatter from the screen. A film that appears to be modelled out of digital clay, on the borderline between beauty and taboo. See also in Spectrum Shorts The Dark Galleries in compilation programme Epilogues and Butterfly of Love in compilation programme Survival Strategies. WORLD PREMIERE

Belgium, 2014 | colour, video, 5 min, no dialogue Prod: Nicolas Provost | Ed: Nicolas Provost | Sales: LIMA | Distr. NL: LIMA

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Resolution Intelligent discourse on image, language and meanings. What do you reveal, what would you like to keep a secret? Public SCREENINGS Sat 25-1 16:30 LantarenVenster 6 Mon 27-1 19:45 LantarenVenster 2

Sitna ptica Tiny Bird

Dane Komljen

A military professor once lectured Komljen about friendship, which encouraged the latter to give new meaning to the worn-out terms friendship, brotherhood and manliness. What do you keep to yourself; what do you share? About bidding farewell to old friends and being open to making new ones. Croatia/Serbia, 2013 | colour/b&w, DCP, 30 min, Serbian/Croatian Prod: Oliver Sertic | Prod Comp: Restart | Cam: Dane Komljen | Ed: Jelena Maksimovic | Sound Des: Dane Komljen | Music: Eliane Radigue | Print/ Sales: Oliver Sertic | www.restarted.hr/filmovi.php?recordID=127

Limited Speech Holds Endless Misunderstandings Orr Menirom

Rather bizarre interview with linguist Noam Chomsky on Israeli TV, due to the deep ideological differences. The individual words have been re-edited into a new monologue. The painstaking deconstruction creates an ironic commentary in the vein of Chomsky. USA/Israel, 2012 | colour, DCP, 10 min, English Prod: Orr Menirom | Cam: Orr Menirom | Ed: Orr Menirom | Prod Des: Orr Menirom | Sound Des: Orr Menirom | Print/Sales: Orr Menirom | orrmenirom.com

HOW NOT TO BE SEEN. A Fucking Didactic Educational .Mov File Hito Steyerl

Invisibility is no option in this digital era in which we are increasingly watched. In this guerrilla manual for modern asylum seekers wishing to escape the surveillance society, Steyerl uses humour to promote media technology itself as protection against snoopers. Germany/USA, 2013 | colour, DCP, 16 min, English Prod: Hito Steyerl | Sc: Hito Steyerl | Cam: Hito Steyerl, Christoph Manz, Kevan Jenson | Ed: Hito Steyerl | Prod Des: Lea Søvsø, Arthur Stäldi | Sound Des: Hito Steyerl | With: Hito Steyerl, Leon Kahane, Lea Søvsø, Arthur Stäldi, Alwin Franke | Print/Sales: Hito Steyerl

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Noise Reduction II: Chinatown Rahee Punyashloka

Cunning image manipulation elicits questions about digital film’s immateriality. Noise Reduction II: Chinatown consists of a single error message: media offline. The sound design, text and voice-over contribute to the film experience, but simultaneously criticise it. WORLD PREMIERE

India, 2014 | colour, DCP, 16 min, English Prod: Rahee Punyashloka | Ed: Rahee Punyashloka | Sound Des: Rahee Punyashloka | Print/Sales: Rahee Punyashloka

Resonating Spaces Past and present linked. Still, contemplative cinema with an important role for analog film. Public SCREENINGS Sat 25-1 14:45 LantarenVenster 2 Sun 26-1 19:45 LantarenVenster 2

Trissákia 3 Nick Collins

Through Nick Collins’ lens, the ruins of the Byzantine church in Trissákia, Greece looks like a cave, a protection from malign influences. Trissákia 3 shows more than the tangible remains of a culture by eliciting the perspective and feeling of this bygone era. EUROPEAN PREMIERE

UK, 2013 | colour, 16mm, 1:1.37, 9 min, silent Prod: Nick Collins | Cam: Nick Collins | Ed: Nick Collins | Print/Sales: Nick Collins

Flow Lichun Tseng

Taiwanese-Dutch filmmaker Lichun Tseng pulls viewers into an interior process of change and awareness using slow, flowing, abstract images. A universe that can only be truly appreciated in a cinema in its original 16mm format so that the darkest and most subtle elements become visible. EUROPEAN PREMIERE

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Sea Series #9, 11, 12, 13, 14 John Price

Five timeless seascapes filmed on five eroded rolls of film that colour the landscape: in John Price’s hands they turn into gold. On these rolls, part of the new Sea Series, two important subjects in Price’s work – landscape and home movies – battle for precedence. Canada, 2013 | colour/b&w, 35mm, 1:1.37, 14 min, silent Prod: Lea Carlson | Cam: John Price | Ed: John Price | Print/Sales: John Price | www.filmdiary.org

Verses James Sansing

Animation made from damp and mould-damaged juvenile hall ledgers for the years 1940-1960. The Rorschach-like patterns that have formed over the years overrun the notes like dark shadows, representing the psychological impact of detention on the young inmates. INTERNATIONAL PREMIERE

Listening to the Space in My Room Robert Beavers

Adhering to a solitary intimacy while simultaneously acting as an ode to human endeavour and shared impulses toward fulfillment through art, Listening to the Space in my Room is a moving testament to existence and our endless search for meaning and authenticity. The film’s precise yet enigmatic sound-image construction carries a rare emotional weight. Switzerland/Germany/USA, 2013 | colour, 16mm, 1:1.37, 19 min, English/German Prod: Robert Beavers | Cam: Robert Beavers | Ed: Robert Beavers | Prod Des: Robert Beavers | Sound Des: Robert Beavers, Christian Beusch | Print/Sales: Robert Beavers

We Had the Experience But Missed the Meaning Laida Lertxundi

‘We had the experience but missed the meaning’ is a line from a T.S. Eliot poem. Film as poetry. Images analogous to words. This film expresses a personal experience and seeks to make something actually significant into cinema. WORLD PREMIERE

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Short Stories 1: New Beginnings In spite of their burdened past, they ultimately manage to bootstrap themselves. Public SCREENINGS Sun 26-1 22:15 LantarenVenster 3 Mon 27-1 19:30 LantarenVenster 6

La playa de Mexico The Beach of Mexico

Martin Morgenfeld, Gastón Margolin

When they are sure their father is away, two sisters visit the family holiday home for the first time in years. Gradually the frustrations about ruffled family relations make way for childhood memories, dreams and the desire for a calm, warm beach. INTERNATIONAL PREMIERE

Petit matin Break of Day

Christophe Loizillon

Beautiful, sad story told from multiple perspectives. A man picks a dahlia before entering his home. His dog senses something is wrong. The housekeeper makes tea before seeing the tragedy. Slowly the elements slot into place. With Mathieu Amalric. WORLD PREMIERE

Solecito Oscar Ruiz Navia

Whilst casting his latest film The Mushrooms at various schools in Cali (Colombia) the director met two exceptional youngsters. Camila and Maikol, both 16, each explained to him why they thought their relationship had failed. What if fiction were to bring them together again? Colombia/Denmark/France, 2013 | colour, DCP, 20 min, Spanish Prod: Oscar Ruiz Navia, Tine Fisher, Diana Bustamante | Prod Comp: Contravía Films, Fisher Film, Burning Blue | Sc: Oscar Ruiz Navia | Cam: Oscar Ruiz Navia | Ed: Rodrigo Ramos E. | Prod Des: Maria Alexandra Marin, Ingrid Pérez | Sound Des: Frédéric Thery, Camilo Martinez | With: Maria Camila Llanos, Maicol Stiven Quiñonez | Print/Sales: Velvet Jellyfish

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Serori Celery

Pedro Collantes

There’s a first time for everything, even celery. What happens to someone whose heart has been broken forever? And someone who has never experienced this? Minor revelations lead to an unexpected denouement. A bittersweet, sensual story. WORLD PREMIERE

Short Stories 2: Adaptation Assimilate or find your own path? A devilish dilemma. Public SCREENINGS Fri 24-1 12:15 LantarenVenster 3 Sat 25-1 22:30 LantarenVenster 3

Braconnière Martin Tronquart

Susanna is a liberated young woman who lives alone on the edge of the village. Everyone knows her. She pays little heed to the bourgeois morals the villagers consider sacred. Her energy and vital urge elicit strong responses, but she doesn’t let this sway her. INTERNATIONAL PREMIERE

Soles de primavera Springtime Suns Stefan Ivancic

Four cousins/friends spend a carefree holiday in Belgrade. Lazy summer days on which they hang out and talk about life with a subtle mix of respect and sarcasm tingeing their nostalgia for the communist past. Soon they will be spreading out across Europe. Serbia, 2013 | colour, DCP, 24 min, Serbian Prod: Stefan Ivancic, Dragana Jovovic, Anastasija Zamahajev | Prod Comp: Fakultet dramskih umetnosti | Sc: Andrej Ivancic, Stefan Ivancic, Mateja Vidakovic | Cam: Igor Djordjevic | Ed: Jelena Maksimovic, Natasa Pantic | Sound Des: Mladjan Matavulj | With: Dimitrije Ivancic, Andrej Ivancic, Stefan Ivancic, Marko Grabez | Print/Sales: Stefan Ivancic

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O umbra de nor Shadow of a Cloud Radu Jude

Bucharest is enveloped in stifling heat. Priest Forin Florescu has just been called to the deathbed of a woman to perform last rites. The entire family proves to have gathered in the home. Not everyone is happy with the priest and his Christian ritual. Romania, 2013 | colour, DCP, 30 min, Romanian Prod: Ada Solomon | Prod Comp: Hi Film Productions | Sc: Florin Lazarescu, Radu Jude | Cam: Marius Panduru | Ed: Catalin F. Cristutiu | Sound Des: Mihnea Bogos, Tudor D. Popescu | With: Alexandru Dabija, Olga Taisia Podaru, Mihaela Sirbu, Serban Pavlu | Print/Sales: Hi Film Productions

Short Stories 3: Support Or in other words, the lack of support which causes the unexpected loss of certainty in life. Public SCREENINGS Thu 23-1 22:15 LantarenVenster 3 Sat 25-1 12:00 LantarenVenster 6

King Kong Nikolaos Kyritsis

Silverback gorilla Ivo was rejected by his mother. Because he has never sired progeny he has to move to another zoo. King Kong tells the story of his introverted keeper who loses his job and only has his bedridden mother at home. One day, he loses his cool. INTERNATIONAL PREMIERE

Tlo pod nogama On Shaky Ground Sonja Tarokic

When a father’s long-secret financial mistakes come to light, he becomes depressed. The family slides into crisis and their stability disappears overnight. Against the background of the problematic property market in Split. WORLD PREMIERE

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La strada di Raffael Raffael’s Way

Alessandro Falco

Social drama about 13-year-old Raffael who lives with his granny in a Naples suburb. Scuffles break out between squatters and the police after the mayor orders the former to be evicted. He encounters the police through his friend Adama, a fellow seller of cigarettes on the street. Italy/Spain, 2013 | colour, DCP, 24 min, Italian Prod: Giusi Castaldo | Prod Comp: Unisono Produzioni | Sc: Alessandro Falco | Cam: Juan Meseguer | Ed: Alessandro Falco | Prod Des: Giusi Castaldo | Sound Des: Giovanni Pallotto | Music: Arvo Part | With: Raffael Essobti, Adama Doumbia, Anna Capasso | Print/Sales: Unisono Produzioni

Terno Suit

Gabriela Amaral Almeida, Luana Demange

It’s the day before Marcello’s wedding. He has an appointment with his father at the latter’s tailor. After years of silence, it’s suddenly time for Marcello and his father to recognise the quarrel that has caused lifelong alienation between them. Subdued acting in this family drama. INTERNATIONAL PREMIERE

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Short Stories 4: Building a Character Fiction and metafiction. Three less unequivocal forms of narrative in which the leads all experience a certain level of confusion. Public SCREENINGS Fri 24-1 20:15 LantarenVenster 3 Sun 26-1 12:15 LantarenVenster 3

Le 5 avril je me tue

On the 5th April I’ll Kill Myself Sergio Canneto

Based on Cesar Pavese’s last sentence on the impossibility of partaking in reality and its rules, and on Albert Camus’ poetry that describes reality’s absurdity. Thoughtful man picks a date for his death like you would for a dinner, a date or life itself. WORLD PREMIERE

A Blank Slate Sara Eliassen

A woman spends her time in an unnamed coastal resort during the off-season. She is the prototypical lonely traveller: observant, expectant. In this undefinable mood, harsh memories resurface in the shape of scenes featuring female protagonists from cinema’s history. INTERNATIONAL PREMIERE

Verona Marcelo Caetano

Ten years after dance duo Verona split, the two men meet to prepare the marriage of one of them. At a beautiful country estate, they celebrate the end of youth and the start of a new future. The moods have been captured superbly. INTERNATIONAL PREMIERE

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Shorts Special: Hannes Schüpbach Profile of Swiss visual artist and writer Hannes Schüpbach. His silent films explore form, space and time and emphasise the corporeal process of vision and of revision. They become the pivotal point of a dream-like situation where images reach into the audience’s memory by means of repetition and rhythmical shifts. Public SCREENING Fri 24-1 17:00 LantarenVenster 2

L'atelier Hannes Schüpbach

The subject is the space the artist isolates himself in and particularly its windows through which light floods in. The camera primarily looks out. Through the glazing the world is subjected to the filmmaker’s coloured perspective. Switzerland, 2007 | colour, 16mm, 1:1.37, 16 min, silent Prod: Hannes Schüpbach | Print/Sales: Hannes Schüpbach

Instants Hannes Schüpbach

Trees rustle in the woods, a river churns. In the silent cinema hall this dynamic is contrasted to solidified photographs. A jump, the same woods, the same river. French author Joël-Claude Meffre’s hand keeps writing. Instants visualises how ideas come about. Switzerland, 2012 | colour, 16mm, 1:1.37, 16 min, silent Prod: Hannes Schüpbach | Cam: Hannes Schüpbach | Ed: Hannes Schüpbach | With: Joël-Claude Meffre, Héba-Raphaëlle Meffre | Print/Sales: Hannes Schüpbach

Falten Hannes Schüpbach

Falten is very lush, as if three films have become entangled. A shiny cloth’s corners are folded together creating new planes, while others are hidden. Hands turn, open and determine the space. A concentrated work focusing on the human perception of beauty. Switzerland, 2005 | colour, 16mm, 1:1.37, 28 min, silent Prod: Hannes Schüpbach | Cam: Hannes Schüpbach | Ed: Hannes Schüpbach | Print/Sales: Hannes Schüpbach

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Shorts Special: It for Others Duncan Campbell’s mesmerisingly lyrical yet precise reflection on the life, death and value of objects. Today’s special screening offers a rare opportunity to enjoy it together with the at worst censored, but often just misunderstood Chris Marker and Alain Resnais essay film that inspired it. Public SCREENING Sat 25-1 17:00 LantarenVenster 2

Les statues meurent aussi Statues Also Die

Chris Marker, Alain Resnais

This notorious art documentary, for years banned in France, by Marker and Alain Resnais was based on an exhibition with the title ‘Why is black art in the Ethnological Museum and Greek or Egyptian art in the Louvre or The Metropolitan?’ The filmmakers reject the lack of interest in this art in the context of colonial relations. France, 1953 | b&w, 35mm, 30 min, French | Prod Comp: Presence Africaine, Tadie Cinema | Sc: Chris Marker | Cam: Ghislain Cloquet | Sound Des: René Louge | Music: Guy Bernard | Print/Sales: Institut Francais

It for Others Duncan Campbell

It for Others presents a seamless merging of archive material, and what purports to be archive material alongside the shapes and dots created by the Michael Clark Company. We’re gifted a web of ideas and associations that bristle with ambition and dry humour to reflect on banality, the measuring of silence and our own implication in the life, death and value of objects. United Kingdom, 2013 | colour/b&w, video, 54 min, English Prod: Duncan Campbell | Print/Sales: LUX | www.lux.org.uk/collection/works/it-others

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Shorts Special: Jodie Mack Welcome to Jodie Mack’s wonderful world. Her refreshing films explore the formal principles of abstract cinema and combine animation, found footage and storytelling. The ode to her mother’s poster shop is a live rock opera and the encore is a psychedelic, 3D beauty. Public SCREENING Sun 26-1 17:00 LantarenVenster 2

New Fancy Foils Jodie Mack

Paper sample books discarded and dumpstered by long-gone businesses undergo a series of sequential experiments in pattern, rhythm, colour and text(ure). A call and response of flickering and lingering, this catalogue of catalogues remembers a tactile economy. USA, 2013 | colour, 16mm, 1:1.37, 12 min, silent Prod: Jodie Mack | Sc: Jodie Mack | Cam: Jodie Mack | Ed: Jodie Mack | Prod Des: Jodie Mack | Sound Des: Jodie Mack | Print/Sales: Jodie Mack | www.jodiemack.com

Undertone Overture Jodie Mack

‘Tie-dye’ film study. Psychedelic patterns and colours mix on the various materials then explode onto the retina. The 16mm material perfectly captures the details of the materials. USA, 2013 | colour, 16mm, 1:1.37, 11 min, no dialogue Prod: Jodie Mack | Sc: Jodie Mack | Cam: Jodie Mack | Ed: Jodie Mack | Prod Des: Jodie Mack | Sound Des: Jodie Mack | Print/Sales: Jodie Mack | www.jodiemack.com

Dusty Stacks of Mom: The Poster Project Jodie Mack

Interweaving the forms of personal filmmaking, abstract animation and rock opera, this animated musical documentary examines the rise and fall of a nearly-defunct poster and postcard wholesale business. Using alternate lyrics as voiceover narration, the piece adopts the form of a popular rock album reinterpreted as a cine-performance. USA, 2013 | colour, 16mm, 1:1.37, 41 min, English Prod: Jodie Mack | Sc: Jodie Mack | Cam: Jodie Mack | Ed: Jodie Mack | Prod Des: Jodie Mack | Sound Des: Jodie Mack | Print/Sales: Jodie Mack | www.jodiemack.com

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Glistening Thrills Jodie Mack

A shiny otherworld of holographic reverie pairs dollar store gift bags and haunting resound, unfolding an effervescent melancholy in three parts. Mesmerising RGB bling-bling for the cinema, featuring compositions for bowed vibraphone by Elliot Cole. USA, 2013 | colour, 16mm, 1:1.37, 8 min, no dialogue Prod: Jodie Mack | Sc: Jodie Mack | Cam: Jodie Mack | Ed: Jodie Mack | Prod Des: Jodie Mack | Sound Des: Elliot Cole | Print/Sales: Jodie Mack | www.jodiemack.com

Let Your Light Shine Jodie Mack

Eye candy as a special treat. Let Your Light Shine is the ultimate Spectrum Short film, a photokinetic stroboscopic spectacle for spectacles. A work in the tradition of the absolute animation film of the 1930s, which requires prismatic glasses to achieve the maximum result. USA, 2013 | colour, 16mm, 1:1.37, 3 min, no dialogue Prod: Jodie Mack | Sc: Jodie Mack | Cam: Jodie Mack | Ed: Jodie Mack | Prod Des: Jodie Mack | Sound Des: Jodie Mack | Print/Sales: Jodie Mack | www.jodiemack.com

Shorts Special: The Girl Who Never Was A film as well as a live performance by multitalented Erik Bünger starting with the first ever voice recording. Preceded by Katarina Zdjelar introducing the wondrous world of a voice coach. Public SCREENING Mon 27-1 20:00 LantarenVenster 3

Stimme Katarina Zdjelar

‘Stimme focuses on the training between a voice coach and her client, a young lady who fails to speak with her own voice.’ The film ‘considers when voice becomes our personal property, where does the voice begin and where does it end? Who is speaking when we speak and who is entitled to speak?’ (Katarina Zdjelar) WORLD PREMIERE

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The Girl Who Never Was Erik Bünger

In 2008 a researcher discovered traces of the first-ever recorded voice, a girl singing a lullaby. The voice is the same as computer HAL’s. Ingenious, funny use of found footage shows how manipulation undermines terms such as identity, freedom, life and death. Live performance. Netherlands/Germany, 2013 | 59 min Cam: Joost Melink, Jeroen Andriessen, Helen Flanagan | Ed: Erik Bünger

Shorts Special: Vertical Cinema Vertical Cinema is a programme of ten 35mm films, made by thirteen renowned experimental artists and filmmakers in a monumental vertical CinemaScope format. Public SCREENING Fri 24-1 19:45 Arminius

Chrome Esther Urlus

It is a strange illusion: the images are filmed on black-and-white emulsion but we see colour. This is Autochrome, an early experiment with film colouring by the Lumières that combines particles of coloured potato starch, glass plates and black-and-white emulsion. The result? Colours that go beyond nature. See also the compilation programmes Silver and Artist Present. INTERNATIONAL PREMIERE

Netherlands, 2013 | colour, 35mm, 8 min, no dialogue Prod Comp: Sonic Acts | Ed: Esther Urlus | Print/Sales: Sonic Acts | estherurlus.hotglue.me

#43 Joost Rekveld

#43 works on a sub-atomic level – in the realm of systems of pixels that burst into motion because of their difference from their ‘neighbours’. It is a very specific class of complexity we observe in Rekveld’s film, and a beautiful metaphor for life. INTERNATIONAL PREMIERE

Netherlands, 2013 | colour, 35mm, 11 min, no dialogue Prod Comp: Sonic Acts | Ed: Joost Rekveld | Print/Sales: Sonic Acts | www.joostrekveld.net/wp/?p=1117

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Louver Björn Kämmerer

The hypnotic rhythm of Kämmerer’s Louver is alluring: the light dances and sways before us and gently disappears into an abyss, an empty space. A glittering screen of light-grids appears as a one-dimensional, dark universe of the unknown. INTERNATIONAL PREMIERE

V~ Manuel Knapp

V~ is about the forces of numerical matter. Shapes, figures and lines form a three-dimensional object moving through an infinite space, an old life form that has been creeping and eating its way steadily through dark space since time began. An organic geometry thriller. INTERNATIONAL PREMIERE

Austria, 2013 | b&w, 35mm, 10 min, no dialogue Prod Comp: Sonic Acts | Ed: Manuel Knapp | Print/Sales: Sonic Acts | knapp.klingt.org

Bring Me the Head of Henri Chrétien! Billy Roisz, Dieter Kovacic

Roisz and Kovacic explore the world of cinematic formats based on the genre that exploited the width of the screen to display spectacular landscapes: Westerns. Bring us the head of… the inventor of the anamorphic widescreen! INTERNATIONAL PREMIERE

Austria, 2013 | colour, 35mm, 9 min, no dialogue Prod Comp: Sonic Acts | Ed: Billy Roisz, Dieter Kovacic | Print/ Sales: Sonic Acts | billyroisz.klingt.org

Lunar Storm Rosa Menkman

In a 4-minute explosion of cosmic lines and shapes, Rosa Menkman shows us the other side of the Moon: teeming with micro-particles of volcanic dust. The mysterious glow on the lunar horizon is invisible from the Earth, but it is very much evident in Lunar Storm. INTERNATIONAL PREMIERE

Netherlands, 2013 | colour, 35mm, 5 min, no dialogue Prod Comp: Sonic Acts | Ed: Rosa Menkman | Print/Sales: Sonic Acts | www.rosa-menkman.blogspot.nl

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Deorbit Telcosystems, Makino Takashi

Deorbit is an observation mission with a mind of its own: a journey that starts in the vast darkness at the edge of space, passes the Earth, and smashes, exploding, into the atoms of the celluloid grain itself. INTERNATIONAL PREMIERE

Netherlands, 2013 | colour, 35mm, 18 min, no dialogue Prod Comp: Sonic Acts | Ed: Telcosystems, Makino Takashi | Print/ Sales: Sonic Acts | www.telcosystems.net/www.makinotakashi.net

Pyramid Flare Johann Lurf

A pyramid is a strange artefact: mysterious and grand in its ambition, yet inefficient and artificial with its mirrored facade. Pyramid Flare shows us what modern pyramids and vertical screens are all about. An exploration of basic cinematic mysteries: time, form and structure. INTERNATIONAL PREMIERE

Colterrain Tina Frank

Like Rothko’s ‘Colour Field’ paintings, Tina Frank’s vertical experiment is an intense experience between viewers and image, but this time it’s all about a line. Played through the Synchronator – a device that translates audio into images – the film is a visual manifestation of sound. INTERNATIONAL PREMIERE

Austria, 2013 | colour, 35mm, 11 min, no dialogue Prod Comp: Sonic Acts | Ed: Tina Frank | Print/Sales: Sonic Acts | www.tinafrank.net

Walzkörpersperre Martijn van Boven, Gert-Jan Prins

A film about rudimentary aspects – the purity of light and electronic signals made by ‘laser-scribing’ on the fourmetre tall, German anti-tank wall in the dunes outside Amsterdam. Verticality is an obstruction, a deterrent causing delay. You simply have to accept it. INTERNATIONAL PREMIERE

Netherlands, 2013 | colour, 35mm, 12 min, no dialogue Prod Comp: Sonic Acts | Ed: Martijn van Boven, Gert-Jan Prins | Print/Sales: Sonic Acts | www.474746.org

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Silver Statements from handmade film culture. Filmmakers who lovingly re-invent, expand or exploit photographic techniques. Public SCREENINGS Thu 23-1 19:45 LantarenVenster 2 Sat 25-1 12:30 LantarenVenster 2

45 7 Broadway Tomonari Nishikawa

Three almost simultaneous moments at Times Square shot hand-held by the filmmaker on three rolls of black-andwhite 16mm film. The shifts created by overlapping the images into a red-green-blue colour print create a vibrating light show. An old film technique applied in today’s space. USA, 2013 | colour, 16mm, 1:1.37, 5 min, no dialogue Prod: Tomonari Nishikawa | Cam: Tomonari Nishikawa | Ed: Tomonari Nishikawa | Prod Des: Tomonari Nishikawa | Sound Des: Tomonari Nishikawa | Print/ Sales: Tomonari Nishikawa | www.tomonarinishikawa.com

Creme 21 Eve Heller

What is now and what is time? Creme 21 consists of cut-ups of dated educational and scientific films sped up, thereby clouding the information and increasing density. The questions dealt with by the original films become the subject of a study into our perception of time. INTERNATIONAL PREMIERE

Photooxidation Pablo Mazzolo

Associative film about light, catching its impression in images and processing it into an image on the retina. Or as the filmmaker puts it: ‘De-electronation of a molecular entity as a result of photoexcitation. Light increases its oxidation state, at the same time it releases free radical electrons.’ EUROPEAN PREMIERE

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A Study in Natural Magic Charlotte Pryce

The book The Mirror of Alchemy from 1597 states: ‘The gold obtained through this art surpasses natural gold in all its attributes both medically and in every other way.’ Charlotte Pryce spins gossamer golden threads in the silent darkness of the cinema with this alchemical 16mm miniature. USA, 2013 | colour, 16mm, 1:1.37, 3 min, no dialogue Prod/Cam/Ed/Print/Sales: Charlotte Pryce | www.charlottepryce.net

Konrad & Kurfurst Esther Urlus

The home-brewed emulsion is a fragile metaphor for the heroism of Konrad and his horse Kurfurst during the Olympic Games in Berlin, 1936. Falling from his horse, he became a national hero, only to become an anti-hero when overtaken by history. Made by consulting technical publications from early cinema and photographic experiments. See also the compilation programmes Vertical Cinema and Artist Present. WORLD PREMIERE

Netherlands, 2014 | colour, 16mm, 1:1.37, 7 min, no dialogue Prod/Sc/Cam/Ed/Prod Des/Sound Des/Print/Sales: Esther Urlus | estherurlus.hotglue.me

Blue Shiloh Cinquemani

Every medium has its colour. Blue was filmed on the recently discontinued Kodak Ektachrome film material. A clear blue California sky created from whirling clouds of film grain, in a unique colour that is now a thing of the past. INTERNATIONAL PREMIERE

USA, 2013 | colour, 16mm, 1:1.37, 3 min, no dialogue Prod/Cam/Ed/Print/Sales: Shiloh Cinquemani

Dot Matrix Richard Tuohy

In 2012, Richard Tuohy made Screen Tone using patterns of dots printed straight to 16mm film. By doubling this princple in Dot Matrix, a third, dizzying moire pattern and a deafening noise develops in the flicker (alternating black and white frames) because the dots also pass by the sound head. EUROPEAN PREMIERE

Australia, 2013 | b&w, 16mm, 1:1.37, 22 min, no dialogue Prod: Dianna Barrie | Prod Comp: Nanolab | Ed/Print/Sales: Richard Tuohy | www.nanolab.com.au/richard_tuohy.htm

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Survival Strategies IFFR invited fifteen independent distributors of video art and experimental film from the network DINAMO to each submit a film title. The result is the Survival Strategies film compilation. Public SCREENING Sun 26-1 14:45 LantarenVenster 2

Deadline Max Almy

Through sophisticated digital effects, used with an ironic twist, we meet an exhausted, running man who is continuously instigated to run far beyond his strengths. The film is a metaphor for the power and social hierarchy in a consumerist society. USA, 1981 | colour, video, 4 min, English Prod/Sc/Cam: Max Almy | Ed: Norm Levy, Bob Johns | Prod Des/Sound Des/With: Max Almy | Print/Sales: Electronic Arts Intermix (EAI) | www.eai.org/title.htm?id=939

Tea Party Outi Sunila

The camera follows the breathing of the guests as they move across the room. They all walk slowly and in silence through their own darkness. They seem to want to reach the tea table but in the darkness, this target and the other moving guests are easily mistaken for potential threats. WORLD PREMIERE

Contemporary Artist Ximena Cuevas

Far from the solitude of her studio, the artist struggles to make an impression in the art world, the place where she’s expected to cause an impression and to grab the curator’s attention with her first lines. Mexico, 1999 | b&w, video, 5 min, English/Spanish Prod: Ximena Cuevas | Print/Sales: Video Data Bank (VDB) | www.vdb.org

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that now Sarah Forrest

Combination of domestic interiors with Orkney projected onto its walls and the artist’s voice narrating events. The film was produced as part of a Margaret Tait Residency and in the words of J. Brownrigg, it ‘reminds Tait’s ability to quietly capture surrealism and magic from the everyday and commonplace’. INTERNATIONAL PREMIERE

UK, 2013 | colour, DCP, 10 min Prod: Sarah Forrest | Print/Sales: LUX

Tunnel Vision Jeff Scher

Considered a ‘valentine to the civil engineering of earlier centuries’ by its director, the film celebrates the views one can experience in a NY subway ride. Almost entirely shot with an iPhone, it was edited with a little poetic mischief and interwoven with an original score by Shay Lynch. INTERNATIONAL PREMIERE

Buck Fever Neozoon

Made by a collective of German and French artists involved in the defence of animals, Buck Fever uses a collage of YouTube videos with hunting footage to document the tension felt before and after the hunt. The film was awarded at the Paris Festival of Different and Experimental Cinemas. Germany/France, 2012 | colour, video, 6 min, English Prod: Neozoon | Prod Comp: Neozoon | Sc: Neozoon | Cam: Neozoon | Ed: Neozoon | Prod Des: Neozoon | Sound Des: Neozoon | Music: Neozoon | Print/Sales: Collectif Jeune Cinéma (CJC) | www.neozoon.org

Separation des soeurs siamoises Eugène Doyen

A great enthusiast of cinema as a means to record his work for educational and advertising purposes, Dr. Doyen employed Clèment Maurice to film and photograph his surgeries. In 1902, he filmed the successful Separation des soeurs siamoises (although both sisters died one year after the surgery). France, 1902 | colour/b&w, 16mm, 1:1.37, 5 min, silent Prod: Eugène Doyen | Cam: Clément Maurice | Print/Sales: Light Cone Distribution

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Ein Gleiches Another One

Riki Kalbe, Barbara Kasper

The film was shot in 1977 on Kickelhahn, the exact same mountain where Goethe wrote the poem Another One (Ein Gleiches) on the wall of a hunting lodge in 1780. Goethe’s poems have been set to music by many composers over the years. For this film, Blixa Bargeld (Einstürzende Neubauten) was the composer. Germany, 1998 | , 35mm, 3 min, German Music: Blixa Bargeld | Sales: Arsenal – Institut für Film und Videokunst e.V.

The Blue Train Vera Frenkel

A combination of stills, drawings and video traces the journey of passengers escaping from World War II by train. The narrative is interwoven with images taken by photojournalist Werner Worlf in 1945 on his return to Germany. The Blue Train was commissioned by Ryerson Image Centre in Toronto. EUROPEAN PREMIERE

2011 12 30 Leontine Arvidsson

The filmmaker, Leontine Arvidsson, is the naked woman drawing her outline on an apartment door. She started this film in 2007 as part of her ongoing project focused on her body as a body of work. Meanwhile, she became a mother and had to have her breast removed due to cancer. Sweden, 2013 | colour, DCP, 3 min, no dialogue Prod: Kira Carpelan | Prod Comp: MinMamma Produktion AB | Cam: Leontine Arvidsson | Ed: Leontine Arvidsson | With: Leontine Arvidsson | Print/Sales: Filmform

When the Smog-Filled Wind Began to Howl Christina Battle

An adaptation of Orson Welles’ adaptation of HG Wells’ The War of the Worlds, When the Smog-Filled Wind Began to Howl tells us what happens when otherworldly creatures decide to visit Earth. An historical testimony created with the help of Super-8 footage of The War of the Worlds found on eBay. USA, 2012 | , video, 5 min, English Prod: Christina Battle | Sc: Christina Battle | Cam: Christina Battle | Ed: Christina Battle | Prod Des: Christina Battle | Sound Des: Christina Battle | Music: Christina Battle | Print/Sales: Canadian Filmmakers Distribution Centre (CFMDC)

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L'infirmière cannibale Cannibal Nurse Lucile Desamory

Minimal horror and slapstick humour are the main ingredients of this ‘filmmeal’. A nurse steals and eats up the brains of corpses. Eventually, the hospital’s staff catch her and the cannibal nurse is brutally killed and buried in the garden. Belgium, 1999 | colour, video, 9 min, no dialogue Prod: Lucile Desamory | Sc: Lucile Desamory | Cam: Lucile Desamory | Ed: Lucile Desamory | Prod Des: Lucile Desamory | Sound Des: Lucile Desamory | Music: Lucile Desamory | Print/Sales: Argos Centre for Art and Media

Papillon d’amour Butterfly of Love Nicolas Provost

Duplicating fragments from the renowned Kurosawa’s film Rashomon by using a mirror in the longitudinal axis, Provost created a sequence of new, associative images. A metaphor for existence and love, where the main character is transformed into new life forms with miraculous capabilities that defy the laws of gravity. See also in Spectrum Shorts The Dark Galleries in compilation programme Epilogues and The Painters in compilation programme Plastic People. Belgium, 2003 | b&w, video, 4 min, no dialogue Prod: Nicolas Provost | Cam: Nicolas Provost | Ed: Nicolas Provost | Sound Des: Nicolas Provost | Print/Sales: LIMA

Division Johan Rijpma

The division and assembling of shredded pieces of paper, by hand, are the basis for this stop-motion animation film. Each time the pieces are reassembled, a photo of the composition is printed and once again divided. As the number of images increases, the visual effects become surprisingly more complex. See also Primary Expansion in the compilation programme DINAMO P&I Screenings 2. Netherlands, 2012 | colour, video, 1 min, no dialogue Prod: Johan Rijpma | Sales: EYE Film Institute Netherlands | Distr. NL: EYE Film Institute Netherlands | www.filmbank.nl/film/4208/

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Mariage blanc Gustav Deutsch

In the last few years, authorities have taken special measures to prevent sham ‘white marriages’, including inspections of the joint household and separate questioning about intimate details concerning one’s partner. Therefore, a lot of preparation is required to forge such a sham. Austria/Morocco, 1996 | colour, 16mm, 1:1.37, 5 min, Various Prod: Gustav Deutsch | Sc: Gustav Deutsch, Mostafa Tabbou | Cam: Gustav Deutsch | Ed: Gustav Deutsch | With: Mostafa Tabbou | Print/Sales: sixpackfilm | www.sixpackfilm.com

Two Grand Pianos Kobayashi the idiosyncratic major filmmaker is isolated in idiosyncratic Japan. Like Lav Diaz in the Philippines. Every other comparison is invalid. Public SCREENINGS Thu 23-1 14:15 LantarenVenster 6 Sat 25-1 22:00 LantarenVenster 2

Prologo sa ang dakilang desaparecido Prologue to the Great Desaparecido Lav Diaz

Productive filmmaker Lav Diaz shoots lots of long films, but there are some he hasn’t made yet, such as the historical film The Great Desaparecido. This prologue gives us an idea what the next masterpiece will be like: black-and-white, wet jungles and real people in authentic costumes. See also Norte, the End of History in Spectrum. Philippines/France, 2013 | b&w, DCP, 30 min, Filipino Prod: Bianca Balbuena, Bich-Quân Tran | Prod Comp: Epicmedia, Inc, Dissidenz Films | Sc: Lav Diaz | Cam: Lav Diaz | Ed: Lav Diaz | Prod Des: Syrel Lopez | Sound Des: Lav Diaz | With: Hazel Orencio, Archie Alemania, Noel Sto. Domingo, Czarina Alcantara | Print/Sales: Dissidenz Films | http://lavdiaz.com

Strangers When We Meet Kobayashi Masahiro

The minimalistically staged Strangers When We Meet displays similarities with Kobayashi’s The Rebirth (2007) and provides a sensitive observation of a couple who, tormented by loss, blame and guilt, adhere rigidly to their daily routine. Will they ever find each other again? South Korea/Japan, 2013 | colour, DCP, 45 min, Japanese Prod: Kobayashi Masahiro | Sc: Kobayashi Masahiro | Cam: Furuya Koichi | Ed: Ohta Yoshinori | Prod Des: Kobayashi Naoko | Sound Des: Yamaguchi Mitsuhiro | Music: Sakuma Junpei | With: Nakamura Yuko, Honda Kikuo, Kobayashi Masahiro | Print/Sales: Jeonju International Film Festival

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Preludes Short films screened before feature-length films in the festival.

Castello Cavalcanti Wes Anderson

Steering wheel failure causes a Prada team racing driver to crash on a square in Castello Cavalcanti. The Italian village’s inhabitants rush out of the bar to help him. The accident has an unexpectedly positive effect. A smaller work by the great Wes Anderson. Screens before Obvious Child. USA/Italy, 2013 | colour, DCP, 8 min, English/Italian Prod: Roman Coppola, Max Brun | Prod Comp: The Directors Bureau, Hi! Production | Sc: Wes Anderson | Cam: Darius Khondji | Ed: Stephen Perkins | Prod Des: Stefano Ortolani | Music: Alessandro Casella, Randall Poster | With: Jason Schwartzman, Giada Colagrande | Print: Artech Digital Cinema | Sales: Prada Public SCREENINGS Sat 25-1 22:152 Pathé 1 Thu 30-1 15:302 Pathé 7 Sat 1-2 22:302 LantarenVenster 1

Genre Sub Genre Yosep Anggi Noen

Experimental video from film and photo project for the Museum Nusa Tenggara Timur, on the western part of divided Timor. The atmospheric blackand-white film is mainly realistic, even if an animated, beautifully folded paper boat glides by at one point. Screens before Chaotic Memories: Selected Works 2010-2013. WORLD PREMIERE

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Nona kedi yang tak pernah melihat keajaiban A Lady Caddy Who Never Saw a Hole in One Yosep Anggi Noen

Beautifully detailed metaphor on the distribution of power in Indonesia. A man plays ‘air golf’. On the ‘course’, which may have been his land, he has an attractive female caddy as though he were an important businessman. Also features soldiers, of course. Screens before Chaotic Memories. EUROPEAN PREMIERE

Habitable Gustavo Bastidas

An elderly Venezuelan man lives alone, surrounded by memories in a tumbledown house. His comatose wife is in a care home. The man decides to change the course of his life. Screens before Little Crushes. WORLD PREMIERE

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Kurdrjavka – Pikku kippura

Kudryavka – Little Ball of Fur Risto-Pekka Blom

Finland, 2014 | colour/b&w, DCP, 5 min, Finnish Prod/Sc/Cam/Ed/Prod Des: Risto-Pekka Blom | Sound Des: Petri Koskimäki | Print/Sales: AV-arkki | www.av-arkki.fi/en/works/kudryavka-little-ball-of-hair Public SCREENINGS Thu 23-1 17:002 LantarenVenster 2 Wed 29-1 11:302 Cinerama 6 Fri 31-1 20:152 LantarenVenster 3

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If We Were Together Rowena Crowe

Netherlands, 2014 | colour/b&w, DCP, 5 min, English Prod/Sc/Cam/Ed/Prod Des/Sound Des/: Rowena Crowe | Music: Niek Lucassen | Print/Sales: Rowena Crowe | www.rowenacrowe.com Public SCREENINGS Thu 23-1 17:002 Mon 27-1 11:302 Thu 30-1 16:452 Fri 31-1 09:302

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Le jour nous écoute The Day Is Listening Félix Dufour-Laperrière

Canada, 2013 | colour, DCP, 8 min, English Prod: Julie Roy | Prod Comp: National Film Board of Canada | Sc: Bernard Émond | Ed: Mathieu Bouchard-Malo | Sound Des/Music: Gabriel DufourLaperrière | Print/Sales: National Film Board of Canada Public SCREENINGS Thu 23-1 17:002 Sat 25-1 10:002 Sun 26-1 11:452 Fri 31-1 19:152

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Hortus Edwin

Part of a large installation resulting from a major study into explicitness, repetition, voyeurism and exploitation in colonialism and pornography, for which Edwin received his master’s degree in Amsterdam. Based on archival material from the EYE collection; 16mm footage processed at Filmwerkplaats Rotterdam. Screens before Chaotic Memories: Selected Works 2010-2013. See also semi-feature Someone’s Wife in the Boat of Someone’s Husband. WORLD PREMIERE

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Padre Father

Santiago ‘Bou’ Grasso

Argentina 1983. The dictatorship has just been driven off, but not from the life of a high-ranking officer’s daughter. While the liberated citizens scream for justice she obsessively cares for her father. A claustrophobic stop-motion animation about fear and death. Screens before Reimon. Argentina/France, 2013 | colour, DCP, 11 min, Spanish Prod: Santiago ‘Bou’ Grasso | Prod Comp: opusBou | Sc: Santiago Bou Grasso, Patricio Plaza | Cam: Sergio Piñeyro | Ed/Prod Des: Santiago ‘Bou’ Grasso | Sound Des: Patricio Plaza | Music: Patricio Plaza, Lucas Nikotian | Print/Sales: Patricio Plaza | www.opusbou.com.ar Public SCREENINGS Tue 28-1 12:152 Pathé 2 Thu 30-1 15:152 Pathé 5 Sat 1-2 17:302 LantarenVenster 3

The Red Door Tashi Gyeltshen

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Mizuumi wa Hito wo Nomikomu The Lake

Miyakawa Shin’ichi

Two filmmakers sent video letters to each other. A common practice among experimental filmmakers. These generally feel real and honest, like journals, and are very serious, but that is not the case here. Here the genre is lampooned. Film about film, but then as satire. Screens before The Pinkie. INTERNATIONAL PREMIERE

Japan, 2013 | colour, video, 44 min, Japanese Prod/Sc/Cam/Ed/Prod Des/Sound Des: Shin’ichi Miyakawa | With: Motoshi Fujinami, Yoshiko Miyakawa | Print/Sales: Shin’ichi Miyakawa Public SCREENINGS Sun 26-1 19:302 Cinerama 3 Tue 28-1 14:152 Cinerama 5 Wed 29-1 09:452 Pathé 4

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L’optimisme Optimism

Jean-Gabriel Périot

A woman walks down the street telling people she loves them, in different ways. Misunderstood, she is constantly rejected. The brilliantly acted L’optimisme with its documentary style makes viewers contemplate their own response to such directness. Screens before Bella Vista. France, 2013 | colour, DCP, 13 min, French Prod: Nicolas Brevière | Prod Comp: Local Films | Sc: Jean-Gabriel Périot | Cam: Denis Gravouil | Ed: Mona Lanfant | Sound Des: Xavier Thibault | Music: Xavier Thibault | With: Aurélia Buquet, Stéphanie Brault, Sege Nail, Pascal Dickans, Angélique Colaisseau | Print/Sales: Local Films | www.jgperiot.net Public SCREENINGS Thu 30-1 12:302 Pathé 3 Fri 31-1 17:452 LantarenVenster 2

Le bout du fil

The End of the Line François Raffenaud

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El valle interior The Inner Valley

Alejandro Telemaco Tarraf

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Spectrum Shorts

Malaria and Mosquitoes Pimpaka Towira

Simple, authentic film about the simple, authentic Karen people who live along the borders of Myanmar and Thailand. A young Karen widow needs money to gain Thai citizenship. She decides to sell the boat that belonged to her husband who was shot whereupon she is rejected by her motherin-law. Screens before The Songs of Rice. INTERNATIONAL PREMIERE

De leeuw The Lion

Klaas Arie Westland

LantarenVenster 2 Cinerama 6 Pathé 2 Pathé 6

Alles was irgendwie nützt

All What Is Somehow Useful Pim Zwier

Fabulously animated 1930s plate negatives of an extensive range of farm animals from the Martin-Luther Universiteit Halle-Wittenberg. Gradually it becomes apparent that these aren’t innocent shots, but the results of years of research. Screens before Meat and Milk. Netherlands/Germany, 2014 | b&w, video, 8 min, no dialogue Prod/Sc/Ed/Sound/Print/Sales: Pim Zwier | preview.instantcinema.org/pimzwier Public SCREENINGS Thu 23-1 15:45* Fri 24-1 16:45* Sat 25-1 14:15* Fri 31-1 19:15*

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Karpopotnik Karpotrotter Matjaž Ivanišin

INterNAtIoNAL premIere

It was about 1970, at the peak of the Yugoslavian ‘Black Wave’ when the young filmmaker Karpo Godina decided to travel with his camera through the flat hinterland of Vojvodina. As village was linked to village, an unusual road movie emerged. The multi-ethnic character of the region was translated into a wide variety of faces, languages and customs. The title: Imam jednu kucu (I Have a House). Unfortunately, as time passed, only a few fragments of this original film were preserved. Forty years later, another filmmaker embarks on the same journey with his camera through this flat landscape in the footsteps of the young Karpo Godina. With fragments of the original material, using Super-8 and suitable folk music, a film in dreams emerges. This makes Karpotrotter into a more than successful homage to an idiosyncratic director. A film about Karpo Godina, without Karpo Godina. Semi-feature: new presentation format that foregrounds the so-called mid-length film.

Someone’s Wife in the Boat of Someone’s husband Edwin

South Korea/Indonesia, 2013 | colour, DCP, 55 min, Bahasa Prod: Meiske Taurisia | Prod Comp: Jeonju International Film Festival | Sc: Edwin, Seno Gumira Ajidarma | Cam: Amalia Trisna Sari | Ed: Edwin | Prod Des: Meiske Taurisia | Sound Des: Wahyu Tri Purnomo | With: Mariana Renata, Nicholas Saputra | Print/Sales: Jeonju International Film Festival Public SCREENINGS Tue 28-1 16:45 Cinerama 5 Thu 30-1 22:00 LantarenVenster 5 Sat 1-2 18:00 Cinerama 5

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Legends abound on the Indonesian island of Sawai, but when a young woman arrives to find out more about a story her grandmother told her, no one knows a thing about Halimah who ran away from her husband to have an affair with the sailor Sukab. She does meet a young traveller called Sukab though. In this modest romance, almost documentary shots of village life are combined with the captivating beauty of jungle and sea. With a small walk-on for a squid. Edwin was invited to shoot this modern fairy tale by the film festival in the Korean city of Jeonju as part of the Jeonju Digital Project which in 2013 had the theme Strangers (also refer to Strangers When We Meet). Edwin was in Rotterdam twice before with, among other things, his feature film debut Blind Pig Who Wants to Fly (2008) that was awarded the FIPRESCI prize. In 2014, IFFR will also be screening his short film Hortus. Semi-feature: new presentation format that foregrounds the so-called mid-length film.

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Karpopotnik

Mind The Gap Karpotrotter Nights

Matjaž Ivanišin

IFFR and Gonzo (circus) magazine have once again joined forces in mutual dedication to innovative, experimental and It wasThis about 1970, at the peak adventurous audio-visual culture. has resulted in the of the Yugoslavian ‘Black Wave’ second edition of Mind The Gap Nights, a four-day, latewhen the young filmmaker Karpo night programme at WORM from 23-26 January 2014 which Godina decided to travel with his camera flat hinterland will combine images and sound fromthrough variousthe disciplines and of Vojvodina. As village was linked INterNAtIoNAL premIere genres in a wide variety of ways.

to village, an unusual road movie emerged. The multi-ethnic character of the region was translated into a wide variety of faces, languages and Prod: orde Legen | Prod Comp: Studio customs. The title: Imam jednu kucu (I Legen | Sc: Matjaž Ivanišin, Neboj MTGN Thursday 23 Have a House). a Pop-Tasic | Cam: Marko Brdar | Unfortunately, as time passed, only Ed: Uja Irgolic | Sound Des: Julij a few fragments of this original film Norwegian Moods: Zornik | Print/Sales: Studio Legen were preserved. Forty years later, A broad impression of the Public SCREENINGS another filmmaker embarks on the Norwegian scene. Sat 25-1 22:00 LV5 same journey with his camera through Wed 29-1 16:45 CI5 this flat landscape in the footsteps Keith Rowe & Kjell Bjørgeengen of the young Karpo Godina. With Ground-breaking British improv fragments of the original material, guitarist Keith Rowe and Norwegian Flickr video pioneerfolk Kjell using Super-8 and suitable Bjørgeengen use a feedback system which links Bjørgeengen’s music, a film in dreams emerges. This oscillator-generated video signal to Rowe’s soundinto system. Rowe’s makes Karpotrotter a more than sound signal is subsequently fedsuccessful back to Bjørgeengen’s video, homage to an idiosyncratic director. A film about Karpo Godina, creating a feedback loop. Karpo Godina. Greg Popes and John Hegreswithout Greg Pope returns to Rotterdam with sound artist John Hegre (Jazkamer, Noxagt) and ‘Transparent Stavanger’ which is based on 160 slides of the eponymous city. As a whole, this is reminiscent of early, proto-cinematic experiments Someone’s Wife in the Boat using magic lanterns. of Someone’s husband Mugetuft This Norwegian audio-visual collective experiments with the relationship between imagesEdwin and sound. Both the music and visuals are created live, largely through improvisation: rhythms, noise and silence meet in the tight, cohesive integration of both abound oninthe Indonesian media. It will also be their first Legends time performing the Netherlands. Thur 23, 21.30 till late, WORM island of Sawai, but when a young woman arrives to find out more about a story her grandmother told her, no one knows a thing about Halimah who MTGN Friday 24 South Korea/Indonesia, 2013 | ran away from her husband to have an colour, DCP, 55 min, Bahasa affair with the sailor Sukab. She does Vertically Integrated: Prod: Meiske Taurisia | Prod meet a young traveller called Sukab Comp: Jeonju International Film daring images & sound though. Festival | Sc: Edwin, Seno Gumira from all over Europe. In this modest romance, almost Ajidarma | Cam: Amalia Trisna Sari | documentary shots of village life are Ed: Edwin | Prod Des: Meiske Kaboom Karavan A concert bycombined with the captivating beauty Taurisia | Sound Des: Wahyu Tri Purnomo | With: Mariana of jungle and sea. With a small walk-on Kaboom Karavan –Renata, Bram Bosteels’ Nicholas Saputra | Print/Sales: Jeonju for aasquid. project is a graceful sight featuring wrestling match between a International Film Festival wasguitar, inviteda to shootback this from a mass of ‘equipment’: bricks, an Edwin acoustic string modern fairy tale by the film festival in piano, and Flemish artist Liesbeth Marit. Public SCREENINGS Korean citybyofRussian Jeonju asmusician part of the Tue 28-1 16:45 Frank CI5 COH + Tina Colterrain –the with music Jeonju Digital Project which in 2013 Thu (Ivan 30-1 22:00 LV5 – is colourfield COH Pavlov) cinema with vertical lines of pure had the theme Strangers (also refer to Sat 1-2 18:00 CI5 colour. Tina Frank’s visuals (generated live) are a perfect match Strangers When We Meet). Edwin wasfor in COH’s microscopically perfect clicks, digital glitches and Giorgo Rotterdam twice before with, among Moroder arpeggios. other things, his feature film debut The Durian Brothers Polyrhythms rubber bands. Armedthat Blindwith Pig Who Wants to Fly (2008) the FIPRESCI prize. In with turntables and no records,was butawarded elastic, spirals and erasers, The 2014, IFFR will also be screening Durian Brothers create an irresistible hypnotic, exotic groove. his Their short film Hortus. performance at MTGN14 will be their first in the Netherlands. Fri 24, 21.30 till late, WORM Slovenia, 2013 | colour/b&w, DCP, 49 min, Slovene/ Serbian/Slovak/Hungarian/ Roma/Romanian

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MTGN Saturday 25 Re-assembled pieces: tones & textures. Stephan Mathieu Unique German

electro-acoustic musician who turns historic sources into enthralling compositions using processing and reinterpretation. For MTGN14 and in his first solo show, he will play a piece for Phonoharp, shortwave radio and live processing. Derek Holzer No boring laptop performances for Derek Holzer. The American sound artist and instrument builder swapped his MacBook for analogue instruments which he, naturally, builds himself. His favourite? TONEWHEELS, an installation which reveals music’s creation process and converts light and images into sound. Old school as well as innovative. Vladislav Delay live feat. AGF (visuals) Finnish producer Sasu Ripatti, e.g. famous as Vladislav Delay and Luomo, is the musical equivalent of The Very Hungry Caterpillar. No genre is safe in his hands. His most recent project Ripattii (featuring visuals by AGF) is dance floor oriented and based on tempo changes and a barrage of samples. Danceable madness squared. Sat 25, 21.30 till late, WORM

MTGN Sunday 26 The Future: failure/no failure. A not so quiet Sunday evening dedicated to the work of flamboyant Finnish futurist, inventor, experimental filmmaker and electronic music pioneer Erkki Kurenniemi. Jonathan Reus (iMac Music) Performing on the exposed circuitry

of obsolete waste computers, Jonathan Reus provides a brute alternative to computer music. Reus’ torrents of glitched visuals, hard digital rhythms, and body-interfacing performances make a modern dystopian counterpart to Kurenniemi’s optimistic vision of the human-machine condition. Erkki Kurenniemi’s films Kurenniemi was also a filmmaker and composer of (often unfinished) soundtracks. In his films ‘Electronics in the World of Tomorrow’ and ‘The Punched Tape of Life’, he visualized and created sounds for the abstract beauty of circuit boards and punch cards. Mika Taanila has reconstructed the dizzying computer animation ‘Spindrift’ (1966). Project QRZ In the 1960s, multi-talented Kurenniemi collated a huge collection of taped sounds for the University of Helsinki. Finnish musicologist/musician Mikko Ojanen (Project QRZ) and renowned Finnish composer and sound designer Petri Kuljuntausta used this treasure trove of raw material for a new, brutal, surprising composition. Fasten your seatbelts! Circle & Mika Taanila – SSEENNSSEESS Finnish supergroup Circle and filmmaker/artist Mika Taanila’s new ‘SSEENNSSEESS’ promises a spectacular conclusion to MTGN14. Akin to an over-the-top rock opera, a theatrical audio-visual performance with dashes of glam rock, improv, metal, French chanson and The Shangri-Las, as well as Mika Taanila’s perfectly timed 16mm projections. A feast for the senses. Sun 26, 21.30 till late, WORM

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DINAMO P&I Screenings DINAMO (Distribution Network of Artists’ Moving image Organizations) is a network of independent distributors of video art and experimental film from the USA, Canada and Europe. IFFR presents four Press & Industry programme slots in which 11 of the DINAMO distributors will show recently acquired work. These titles can also be seen in the festival video library. The film descriptions can be found on the IFFR website.

DINAMO P&I Screenings 1 Fri 24, 10:00, LV 2

DINAMO P&I Screenings 2 Sat 25, 10:00, LV 2

Video Data Bank (VDB)

Canadian Filmmakers Distribution Centre (CFMDC)

Deep Weather Ursula Biemann

Switzerland, 2013 | colour, video, 9 min, English Prod: Ursula Biemann Print/Sales: VDB

Lay Bare Paul Bush

UK, 2012 | colour, video, 6 min, English Prod: Paul Bush Print/Sales: VDB

The Freestone Drone George Barber

UK, 2013 | colour, video, 13 min, English Prod: George Barber Print/Sales: VDB

Brimstone Line Chris Kennedy

Canada, 2013 | colour, 16mm, 10 min, n.d. Prod: Chris Kennedy Print/Sales: CFMDC

This Town of Toronto… Izabella Pruska-Oldenhof

Canada, 2012 | colour and b&w, 16mm, 4 min, n.d. Prod: Aimée Mitchell Print/Sales: CFMDC

Modern Island Eva Kolcze

LIMA

Canada, 2012 | b&w, video, 5 min, n.d. Prod: Eva Kolcze Print/Sales: CFMDC

Garagedoor December 2nd

Second Phase

Astrid van Nimwegen

Netherlands, 2014 | colour, video, 2 min, n.d. Prod: Astrid van Nimwegen Print/Sales: LIMA

Colin Is My Real Name Benny Nemerofsky Ramsay

Canada, 2013 | colour, video, 6 min, English Prod: BennyNemerofsky Ramsay Print/Sales: LIMA

A Vertical Slice of Landscape Astrid van Nimwegen

Netherlands, 2014 | colour and b&w, video, 3 min, n.d. Prod: Astrid van Nimwegen Print/Sales: LIMA

Une petite histoire des plateaux abandonnés Ra di Martino

Charlie Egleston

Canada, 2012 | b&w, 16mm, 13 min, English Prod: Charlie Egleston Print/Sales: CFMDC

EYE Film Institute Netherlands Primary Expansion Johan Rijpma

Netherlands, 2012 | colour, video, 1 min, n.d. Prod: Johan Rijpma Print/Sales: EYE

Play Within a Play Yasmijn Karhof

Netherlands, 2014 | colour, video, 12 min, n.d. Prod: Yasmijn Karhof Print/Sales: EYE

Morocco, Italy, 2012 | colour, video, 8 min, Arabic Prod: Ra di Martino Print/Sales: LIMA

AV-arkki

Birdhide Ooltgensplaat

Finland, 2014 | colour, video, 6 min, n.d. Prod: Sami Sänpäkkilä Print/Sales: AV-arkki

Astrid van Nimwegen

Netherlands, 2014 | colour, video, 2 min, n.d. Prod: Astrid van Nimwegen Print/Sales: LIMA

Amassed

Seoungho Cho

USA, 2014 | colour, video, 9 min, n.d. Prod: Seoungho Cho Print/Sales: LIMA

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Psychedelic Alphabet for the Newborn Sami Sänpäkkilä

A Replacement Sini Pelkki

Finland, 2014 | colour, video, 7 min, n.d. Prod: Sini Pelkki Print/Sales: AV-arkki

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The Case

Cecilia Stenbom

UK, 2013 | colour, video, 9 min, English Prod: Matthew Fleming Print/Sales: AV-arkki

Sleeping

Pasi Myllymäki

Finland, 1979 | colour, video, 2 min, n.d. Prod: Pasi Myllymäki Print/Sales: AV-arkki

Grind

Jenni Hiltunen

Finland, 2012 | colour, video, 4 min, n.d. Prod: Jenni Hiltunen Print/Sales: AV-arkki

Therefore It Is (Has Been) Here Marika Orenius

Finland, 2014 | colour, video, 6 min, Finnish Prod: Marika Orenius Print/Sales: AV-arkki

DINAMO P&I Screenings 3 Sun 26, 10:00, LV 6

Passing

Andrew James Paterson

Canada, 2013 | colour, DCP, 6 min, English Prod: Andrew James Paterson Print/Sales: Vtape

Dinosaurs

Terra Jean Long

Canada, 2013 | colour, DCP, 12 min, English Prod: Terra Jean Long Print/Sales: Vtape

I’m Yours

Chase Joynt

Canada, 2012 | colour, DCP, 5 min, English Prod: Chase Joynt Print/Sales: Vtape

DINAMO P&I Screenings 4 Mon 27, 10:00, LV 2 Light Cone Encre de Chine Mahine Rouhi

sixpackfilm Trespass

Paul Wenninger

Austria, 2012 | colour, DCP, 11 min, n.d. Prod: Paul Wenninger Print/Sales: sixpackfilm

I Can’t Cry Much Louder Than This Robert Cambrinus

Austria, 2012 | colour and b&w, video, 11 min, English Prod: Robert Cambrinus Print/Sales: sixpackfilm

Zounk!

Billy Roisz

Austria, 2012 | colour, video, 6 min, English Prod: Billy Roisz Print/Sales: Billy Roisz/sixpackfilm

Electronic Arts Intermix (EAI) Night Moves

France, 2013 | b&w, 16mm, 3 min, n.d. Prod: Mahine Rouhi Print/Sales: Light Cone

Entr’acte

Larry Jordan

USA, 2013 | colour, 16mm, 3 min, n.d. Prod: Larry Jordan Print/Sales: Light Cone

Crux Film

Alexander Stewart & Lilli Carré

USA, 2013 | colour, video, 5 min, n.d. Prod: Alexander Stewart Print/Sales: Light Cone

Film for Music #11 – Musique: Ben Miller Raphaël Maze

France, 2013 | colour and b&w, video, 8 min, n.d. Prod: Raphaël Maze Print/Sales: Light Cone

Un instant de vérité

Takeshi Murata

USA, 2012 | colour, DCP, 6 min, English Prod: Takeshi Murata Print/Sales: EAI

Collapse of the Expanded Field I-III Alex Hubbard

USA, 2007 | colour, DCP, 5 min, English Prod: Alex Hubbard Print/Sales: EAI

Excerpts from ‘Three Evenings on a Revolving Stage’ Jean Dupuy

USA, 1976 | b&w, DCP, 12 min, English Prod: Jean Dupuy Print/Sales: EAI

Gisèle Rapp-Meichler

France, 2013 | colour, video, 7 min, French Prod: Gisèle Rapp-Meichler Print/Sales: Light Cone

Arsenal - Institut für Film und Videokunst e.V. Serious Ladies Susanne Sachsse

Germany, 2013 | colour and b&w, video, 21 min, German, English Prod: Susanne Sachsse Print/Sales: Arsenal

Argos Centre for Art and Media Cherry Blossoms An van Dienderen

Vtape Totem

Travis Shilling

Canada, 2013 | colour, DCP, 4 min, English Prod: Travis Shilling Print/Sales: Vtape

Repercussions Terril Calder

Canada, 2013 | colour, DCP, 4 min, Ojibwe

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Belgium, 2012 | colour, video, 12 min, Japanese Prod: An van Dienderen Print/Sales: Argos

The Wave

Sarah Vanagt & Katrien Vermeire

Belgium, 2012 | colour, DCP, 20 min, Spanish Prod: Sarah Vanagt Print/Sales: Argos

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The State of Europe

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The State of Europe Rutger Wolfson 2014 will bring new elections for the European Parliament. The newspapers are full of news about Europe – for instance the financial and economic crisis and immigration and integration issues. Seen from this perspective, the theme of Europe is undoubtedly highly current. Among Europe’s citizens, however, support for the European ideal seems to be crumbling. People are angry and disappointed – or even worse, just no longer interested. Politicians and bureaucrats seem unable to draw up a shared vision of the future. And all this while a shared perspective would certainly be helpful in combatting the crisis and lack of interest and involvement.

But if politics can’t offer a way out of Europe’s existential crisis, maybe our shared culture could? Or, to be more concrete, thinking from our film festival: can film make a contribution? And can International Film Festival Rotterdam provide a platform? We may be better-placed to do so than you might think. Film is the medium in which the European identity and ideas have been and are being made visible and recognisable, including to the general public at large. Call to mind the highlights of post-war cinema, and this hardly needs explanation. European filmmakers and European films have always managed to hit the right note in cinemas all over the world with reflections on the rapid changes taking place in society. From Bergman’s perceptive masterworks to the social engagement of Ken Loach’s British kitchen-sink films. From the popularity of the Italian neo-realist cinema in the period of post-war reconstruction to Fassbinder’s genius treatment of post-war Germany. And in our own era, European cinema still has the ability to constantly find new forms to show us how things are in 2014. The films of Ulrich Seidl and Lars von Trier are just two examples. Film offers endless opportunities to talk about Europe again; to explore again what European culture is. What it means and what it can mean. To go in search once more of what unites Europe, and what divides it. For this reason, in this edition of the festival we are seeking, through a wide-ranging Europe programme, to create space and a place for a renewed debate on Europe. A place far from Brussels, where ideas can be exchanged, freely and by everyone. Free too from political pointsscoring or a political agenda imposed from above. In this programme, we will also discuss the works we have selected with their directors, also from a European perspective. These discussions will be of a very open, exploratory nature. The public will be explicitly invited not just to watch and listen, but also to join in. All of this requires courage and commitment. The commitment to adopt a position on Europe in the first place; the courage to stray out of our comfort zone. After all, it is easier to focus on the failure of Europe and the endless complexity of the crisis than to look for solutions from a more constructive perspective. Partly by asking new questions, this Europe programme aims to be a first step in this direction. This is an amended version of the announcement of the Europe programme by festival director Rutger Wolfson on 11 November 2013 in Het Huis van Europa in The Hague.

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Signals: The State of Europe

Domo de Euˇ ropa Historio en Ekzilo House of European History in Exile

Thomas Bellinck House of European History in Exile takes you more than half a century back in time to the early 21st century. Although little-studied, this period nevertheless provided the breeding-ground for the sweeping changes that were to take place during our century. It was a remarkable era, characterised by Integration and Harmonisation. Blessed by the Long Peace. Overshadowed by the Great Recession. Back when national borders were blurred and people everywhere used a single currency called the ‘euro’. Back when Brussels, not Warsaw, lay at the beating heart of the old continent. The first international exhibition on life in the former European Union. Theatre maker Thomas Bellick created House of European History in Exile as part of a city project for the Koninklijke Vlaamse Schouwburg [Royal Flemish Theatre] in Brussels. The objective was to bring art into the neighbourhoods. The house was located in the European neighbourhood of Brussels, surrounded by the EU buildings. For IFFR, the House will open its doors near Rotterdam Central Station. The reviews were very positive. Former Belgian Prime Minister and member of the European Parliament, Guy Verhofstadt: ‘This is much better than politicians can explain it.’ The Volkskrant [Dutch daily newspaper] called it: ‘A disturbing exhibition that gets deep under the visitor’s skin. An intelligent argument against rising nationalism and EU sceptics without reverting to EU propaganda. On the contrary, Bellinck delivers harsh criticism of the European Union.’ 23 Jan-2 Feb, 09:00-17:00 (last visit starts at 15:30), Delftseplein 37, €11, €8 with a discount, not accessible to people with limited mobility. concept & realisation: Thomas Bellinck, dramaturgy: Sébastien Hendrickx, design coach: Stef Stessel, technical director: Anne Straetmans, production director: Catherine Vervaecke, director construction technique: Menno Vandevelde www.kvs.be/nl/producties/domo-de-europa-historio-en-ekzilo

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Signals: The State of Europe

Diane Goes for You Diane Rabreau

The exhibition is the outcome of the online project ‘Destination Europe’ that the French artist undertook on behalf of the festival. Triggered by coordinates from Google Maps sent to her by visitors to the festival website, she travelled across Europe to what often seemed like meaningless locations. The resulting travelogues are a combination of video, photographs, diary fragments, interviews and drawings. Every episode contains factual information, but through the treatment of that information it also becomes a poetic reflexion on nature and culture, on objective and subjective experience. Both a social experiment and an existential trip, the project is all about testing personal limits, natural boundaries and political frontiers. The combined episodes do not pretend any official view or truth, but offer some unique vantage points from which to explore the idea of Europe. For the installation version Rabreau creates a new constellation with her animations and video-reportages. She also presents a more subjective photographic impression of her travel experiences in what she conceives as a research lab for alternative travel. Project produced by IFFR, with the kind support of wpZimmer and the Media Arts Atelier - KASK Gent. Daily, 09:00-01:00, Juriaanse Hal de Doelen, free admission 2014, camera: Diane Rabreau, editor: Diane Rabreau www.destinationeurope.info

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Grand Tour

Travelling Through Europe Gerwin Tamsma

The term ‘Grand Tour’ originally referred to the journey made by many young men of the upper classes in the 17th to 19th centuries to complete their education. There was no fixed route, but for the British aristocracy, a trip around Europe – which on some occasions could last for years – consisted of crossing to Flanders, from whence one went Paris to learn French, good manners and fencing, then travelled onward through the Swiss cradle of the Reformation to arrive at the main course: the Italian Renaissance with cities like Turin, Florence, Rome and of course Venice, the attractive and decadent high point. The return journey through the intellectual centres of Germany and the merchant prowess of Holland was supposed to bring the young men back down to earth. In any case, the affluent young men who changed and conquered the world in those centuries were coloured for the rest of their lives, inculcated with European culture (and occasionally with unpleasant diseases). A Travel Itinerary

Obviously, the film programme The State of Europe – the title already indicates that it aims to reflect precisely that – cannot do without a comparable cinematographic round-trip. The journey itself is not complete and does not aim to be. It ignores entire regions and makes no major distinction as to interests, subjects or cinematographic traditions. The films in this programme can be regarded as a travel itinerary. That also means that outside of the Grand Tour selection it is possible to find plenty of films which would fit into the programme very well, such as Alessandro Rossetto’s disturbing view of northern Italy, Small Homeland, or the intimate road movie Cherry Pie by Lorenz Merz. It also means that every cinema-goer could also put together their own route outside the context of the festival. Maybe you have already completed a Grand Tour in the last cinematographic year, because films like The Great Beauty by Paulo Sorrentino or Home from Home: Chronicle of a Vision are of course within these criteria. They pose questions and give answers about Europe and European cinema. The link between European culture and travelling existed before the advent of the Grand Tour – just look at the lives of the great humanists. It is no coincidence that a successful European university exchange programme is named after Erasmus of Rotterdam. And in the meantime, travelling is no longer limited to the elite and backpackers. In a small poll, IFFR staff members were asked to list key words that they associated with the concept of Europe. Terms related to travel (Raststätte, TGV) were mentioned just as often as political-economic concepts (wealth, Euro crisis). This is one reason why Christoffer Boe’s Sex, Drugs & Taxation fits so well in the programme, with its narrative linking the advent of mass tourism to the rise of populist parties in Europe. European Cinema

All films in the Grand Tour are primarily themselves, of course. Inclusion in a broad thematic programme such as The State of Europe does not change that, but it does give the viewer an opportunity to look at the work in that framework. Firstly, the

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films have in common the fact that they are part of a European cinematographic tradition – however unique and idiosyncratic each separate work may be. In addition, they show that the tradition is alive and kicking, despite all the pessimism. That does not detract from the fact that one wonders whether one can talk about such a thing as ‘European cinema’. Is there an authentic and sensible alternative to ‘Euro pudding’, the proverbial tasteless result of financing that takes advantage of all kinds of European co-production opportunities? What characteristics could we attribute to European cinema? How would this cinema relate to recognised genres such as Neorealism, the Nouvelle Vague, the Neue Deutsche Welle, Dogme 95? This selection of 16 films does not aim to provide an exhaustive answer – but it can help focus the question. The same also applies to the question of the state of affairs in Europe. Some of the films in this programme examine aspects of the ‘new’ Europe, with its disappearing internal boundaries, migration and the resulting fear of foreigners. Others relate to the notion of the financial-economic crisis and the pain of the lower classes. However, film is a slow and patient art form, which to a certain extent protects it from being swayed by the issues of the day and can also give it a visionary character. Historical or psychological approaches to Europe continue to be more important in film than topicality, while philosophy transcends politics; this selection reflects that. So, what the films in the Grand Tour have in common is that they could not have been made anywhere else than in Europe – except (to put the project in perspective) for the two films which are set outside Europe: a short anarchic and comic film about a small Ethiopian Hitler and a contemplative essay about Aryan brothers in the jungle of Paraguay. Just for those who cherish their feeling of European superiority.

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The Selfish Giant Clio Barnard

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The time-honoured British tradition of committed social-realist cinema still exists. With this widely crowned debut, loosely inspired by the story by Oscar Wilde, the genre even has new life blown into it. The two 13-year-old friends Swifty and Arbor are kicked out of school. In the harsh, almost 19th-century setting of a working-class district near the industrial town of Bradford, the street urchins regard this as a ticket to freedom. They want to earn money by ‘collecting’ metal, and that leads them to scrap metal merchant Kitten, who mainly earns his money on illegal horse races. When he finds out that Swifty is mad about horses, he doesn’t dally but takes him on as a jockey for his races. Barnard already made a name for herself as the maker of the experimental documentary The Arbor, but here she shows that she also has complete control over all aspects of fiction directing. The two young actors make a stunning acting debut.

Eastern Boys Robin Campillo

France, 2013 | colour, DCP, 128 min, French/English Prod: Hughes Charbonneau, MarieAnge Luciani | Prod Comp: Les Films de Pierre | Sc: Robin Campillo | Cam: Jeanne Lapoirie | Ed: Robin Campillo | Prod Des: Dorian Maloine | Sound Des: Valérie Deloof | Music: Arnaud Rebotini | With: Olivier Rabourdin, Kirill Emelyanov, Danil Vorobyev, Edea Darcque, Camila Chanirova, Beka Markozashvili, Bislan Yakhiaev | Sales: Films Distribution | Distr NL: Cinéart Netherlands | www.filmsdistribution. com/Film.aspx?ID=2044 Public SCREENINGS Sun 26-1 13:00 Pathé 1 Mon 27-1 12:15 Pathé 2 Thu 30-1 22:00 Pathé 7 Fri 31-1 13:45 LV 1

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Robin Campillo’s second feature has the same unavoidable precision and conviction that characterised his work as a scriptwriter and editor for, among other films, L’emploi du temps by Laurent Cantet. Eastern Boys, which effortlessly switches genre a number of times, is not out to educate or entertain, but also doesn’t allow viewers to comfort themselves with progressive-liberal morals. It elicits too many uncomfortable questions about good and evil, perpetrator and victim, rich and poor, Eastern and Western Europe for that. Daniel, a middle aged man, discretely comes into contact with Marek, one of the many Eastern European boys hustling around the Gare du Nord in Paris. Later on, when he thinks he is opening the door of his luxury apartment for Marek, the whole gang, led by the charismatic Boss, come to visit.

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La jalousie Jealousy Philippe Garrel

France, 2013 | b&w, DCP, 77 min, French Prod: Saïd Ben Saïd | Prod Comp: SBS Productions | Sc: Philippe Garrel, Caroline Deruas, Arlette Langmann, Marc Cholodenko | Cam: Willy Kurant | Ed: Yann Dedet | Prod Des: Manu de Chauvigny | Sound Des: Guillaume Sciama, Thierry Delors | Music: Jean-Louis Aubert | With: Louis Garrel, Anna Mouglalis, Rebecca Convenant, Olga Milshtein, Esther Garrel | Print/Sales: Wild Bunch Public SCREENINGS Sat 25-1 22:45 Oude Luxor Sun 26-1 11:30 Schouwburg GZ Tue 28-1 11:30 LantarenVenster 6 Fri 31-1 12:15 Pathé 6

In 1965, at the age of 17, Philippe Garrel made the short film Droite de visite, in which his father, stage actor Maurice Garrel, plays himself as an adulterous father whose son visits him when he’s with his mistress in the weekend. Shortly after his father’s death, the most romantic but also the most pessimistic of French directors started on an update. In Jealousy, his son Louis, now a wellknown actor (in e.g. Dreamers), more or less crawls inside his grandfather Maurice at the moment when he leaves his wife and cute little daughter for a beautiful actress with a hoarse voice who is without work (Anna Mouglalis). But she is unfaithful too. Influenced from an early age by Godard and Truffaut, Garrel shows more than ever with this timeless and moving black-and-white film that nouvelle vague still inspires and that Paris is still the romantic capital of the world.

El futuro

The Future Luis López Carrasco

Spain, 2013 | colour, DCP, 68 min, Spanish Prod: Luis Manuel Ferron Ferri, Manuel Calvo Margallo, Roberto Butragueño | Prod Comp: Encanta Films SL, Elamedia | Sc: Luis López Carrasco, Luis E. Parés, Brays Efe | Cam: Ion de Sosa | Ed: Sergio Jiménez | Prod Des: Víctor Colmenero | Sound Des: Jorge Alarcón, Jaime Lardíés | With: Lucía Alonso, Queta Herrero, Rafael Ayuso, Sergio Jiménez, Marta Bassols, Alberto López, Marina Blanco | Print/Sales: Elamedia | www.elfuturo1982.com Public SCREENINGS Sat 25-1 21:45 Pathé 6 Sun 26-1 09:30 LantarenVenster 1 Mon 27-1 09:15 Cinerama 2 Sat 1-2 19:45 LantarenVenster 4

This feature debut by López Carrasco is set at a party in 1982 on the eve of the election that was to give Socialist leader Felipe González an absolute majority. We hear a radio report in which he announces his plans for the future: defence of the (still young) democracy, conquering the economic crisis and strengthening the unity of Spain. At the party that, as El Pais put it, ‘lasted so long that 30 years passed before daylight came back,’ twentysomethings and thirty-somethings talk animatedly about relationships, drugs, horoscopes, the ETA, etc. Meanwhile, very cool Spanish new-wave music is playing. López Carrasco (32) started on The Future when the crisis and budget cuts in Spain had put all plans, initiatives and ideas on hold. The film was also shot without much budget – but shooting it on 16mm helped give this utopian, revolutionary and nostalgic re-enactment much of its power and authenticity.

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Història de la meva mort Story of My Death Albert Serra

Spain/France, 2013 | colour, DCP, 148 min, Catalan Prod: Montse Triola | Prod Comp: Andergraun Films | Sc: Albert Serra | Cam: Jimmy Gimferrer | Ed: Albert Serra | Prod Des: Mihnea Mihailescu, Sebastian Vogler | Sound Des: Joan Pons, Jordi Ribas | Music: Ferran Font, Marc Verdaguer, Joe Robinson, Enric Juncà | With: Vicenç Altaió, Lluís Serrat, Noelia Rodenas, Clara Visa, Montse Triola, Eliseu Huertas, Mike Landscape | Print/Sales: Capricci Films | www.capricci.fr/story-of-mydeath-international-sales-112.html Public SCREENINGS Mon 27-1 14:15 LantarenVenster 5 Tue 28-1 15:15 Pathé 2 Wed 29-1 09:00 LantarenVenster 1

The encounter between two legendary European cultural icons – Casanova and Count Dracula – is a confrontation between 18th-century Rationalism and 19th-century Romanticism, between unbridled intellectual hedonism and the dark attractiveness of bloodthirstiness; it is a clash between control and surrender, between profanity and holiness. In Albert Serra’s eccentric costume drama with a cast of non-professional actors, we see Casanova take on a new servant in Switzerland and leave for a primitive idyllic village ‘south of the Carpathians’. In his typical, idiosyncratic manner, Serra introduced the concept of ‘unfuckable’: not only as a critical illustration of his creative process, but also to describe the final product. You can embrace the film or reject it, but the painterly film itself remains what it is; as if it were the result of the same process of alchemy seen in the film: creating gold from excrement. Winner of the Golden Leopard in Locarno.

Oktober November October November Götz Spielmann

Austria, 2013 | colour, DCP, 116 min, German Prod: Bruno Wagner, Martin Gschlacht, Antonin Svoboda, Götz Spielmann | Prod Comp: Coop99 Filmproduktion, SpielmannFilm | Sc: Götz Spielmann | Cam: Martin Gschlacht | Ed: Karina Ressler | Prod Des: Katharina Wöppermann, Susanne Hopf | Sound Des: Bernhard Bamberger | With: Nora von Waldstätten, Ursula Strauss, Peter Simonischek, Sebastian Koch, Johannes Zeiler | Print/Sales: The Match Factory GmbH | www.oktober-november.at Public SCREENINGS Thu 23-1 18:45 Schouwburg GZ Fri 24-1 12:15 Pathé 5 Tue 28-1 20:00 Doelen JZ Thu 30-1 16:00 Pathé 1

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In the shadow of Austrian masters like Michael Haneke and Ulrich Seidl, several of their compatriots turned into mature, secure and important auteurs with themes and styles all their own. One of them is Götz Spielmann. In October November, he shows his abilities as writer and director in a psychological Bergman-like family drama. It’s about the sisters Verena and Sonja Berger, beautifully played by Ursula Straus and Nora von Waldstätter. Verena has stayed in their native village where she runs the family guesthouse with her husband and child and her elderly father. Meanwhile she has an affair with the village doctor. Sonja is a successful actress in Berlin, which does not prevent her from being unhappy with her superficial roles and promiscuous lifestyle. When she comes home because of her father’s illness and the sisters are together again under one roof, a painful past filled with secrets comes to the surface.

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Sacro GRA

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Gianfranco Rosi

Italy/France, 2013 | colour, DCP, 93 min, Italian Prod: Marco Visalberghi, Carole Solive | Prod Comp: Doc Lab, La femme endormie | Sc: Nicolò Bassetti, Gianfranco Rosi | Cam: Gianfranco Rosi | Ed: Jacopo Quadri | Sales: Doc & Film International | Distr NL: Cinéart Netherlands | www.sacrogra.it Public SCREENINGS Mon 27-1 19:30 Oude Luxor Tue 28-1 13:45 LantarenVenster 1 Thu 30-1 12:30 Cinerama 1 Press & Industry SCREENING Thu 23-1 14:30 LantarenVenster 4

The GRA (Grande Raccordo Anulare) is the ring road around Rome. With this portrait of the périphérique of the eternal city, Gianfranco Rosi (at IFFR in 2011 with the frightening El Sicario Room 164) shows a world that is very distant from la dolce vita. The observations, meticulously prepared by Rosi, show lives that have come to a halt on the fringes of a society that races on. They seem touching, miraculous and alienating. A river of cars flows continuously past grazing sheep. The last eel fisherman of the Tiber River works on stoically. An ambulance man braves night-time traffic on his way to heart attacks and accidents. A poverty-stricken nobleman smokes a cigar in the bath. In a car park, old Roman whores wait for customers. And while the inhabitants of a tenement block are amazed by their view, a tree surgeon battles voracious beetles. Sacro GRA was the first documentary ever to win the Golden Lion for Best Film at Venice.

Când se lasaˇ seara peste BucuresŞti sau metabolism

When Evening Falls on Bucharest or Metabolism

Corneliu Porumboiu

Romania/France, 2013 | colour, DCP, 85 min, Romanian Prod: Marcela Ursu, Sylvie Pialat | Prod Comp: 42 km Film, Les Films du Worso | Sc: Corneliu Porumboiu | Cam: Tudor Mircea | Ed: Dana Bunescu | Prod Des: Mihaela Poenaru | Sound Des: Alexandru Dragomir, Sebastian Zsemlye, Thierry Delor | Music: Maria Raducanu | With: Diana Avramut, Bogdan Dumitrache, Mihaela Sirbu, Alexandru Papadopol | Print/ Sales: Wild Bunch | www.wildbunch. biz/films/porumboiu_untitled Public SCREENINGS Fri 24-1 21:45 Cinerama 1 Sat 25-1 11:45 LantarenVenster 1 Tue 28-1 11:45 Cinerama 5 Sat 1-2 22:15 LantarenVenster 4

Each story has to fit like a well-fitting shoe – and maybe the best (and cleverest and funniest) shoemaker in European cinema is Corneliu Porumboiu. His third film focuses on a filmmaker (grumpy and despairingly played by a wonderful Bogdan Dumitrache) who wrestles with the end of his film and is having an affair with a supporting actress. In 17 long shots, we see them in cars, restaurants or bedrooms going through life and cinema in general and their own film in particular. In an ironic but loving way, the creative process is made explicit within the film. As a result, When Evening Falls on Bucharest or Metabolism (when you see the film, you’ll understand the title) is not only an ideal film lesson about the nature of reality and the need to film and watch films, but also something bigger. If that is possible.

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Ida Pawel Pawlikowski

Poland, 2013 | b&w, DCP, 80 min, Polish Prod: Ewa Puszczynska, Eric Abrahams, Piotr Dzieciol | Prod Comp: Opus Film, Phoenix Film | Sc: Pawel Pawlikowski, Rebecca Lenkiewicz | Cam: Lukasz Zal, Ryszard Lenczewski | Ed: Jaroslaw Kaminski | Prod Des: Katarzyna Sobanska, Marcel Slawinski | Sound Des: Andreas Kongsgaard, Martin Langenbach, Claus Lynge | Music: Kristian Selin Eidnes Andersen | With: Agata Kulesza, Agata Trzebuchowska, Dawid Ogrodnik, Jerzy Trela, Adam Szyszkowski, Halina Skoczynska, Joanna Kulig | Sales: Fandango Portobello Sales | Distr NL: Cinéart Netherlands Public SCREENINGS Thu 23-1 16:45 LV 5 Fri 24-1 22:45 Doelen JZ Thu 30-1 18:30 Pathé 5

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Pawlikowski built up his reputation as a filmmaker in the UK, but with Ida he returns to his homeland in terms of subject, style and mentality. The film, situated in a black-and-white Poland in 1963, exudes the spirit of an almostfaded Eastern European film culture in its mood, irony, humanism and cynicism. The naive novice Anna is about to enter a convent, but first has to contact her last surviving relative, a chain-smoking aunt who works as a judge. This conceited Wanda reveals that Anna’s real name is Ida and that she is Jewish. They set off together through desolate Poland in search of the truth about Anna’s family, and therefore also the past: World War II is not far behind them. In the meantime, the prospect of freedom appears in the person of a hitchhiking jazz musician who takes a fancy to Anna. Poland also had something like its own Prague Spring at that time.

Press & Industry SCREENING Sat 25-1 14:00 LV 4 [e.s.]

Ein proletarisches Wintermärchen A Proletarian Winter’s Tale

Julian Radlmaier

WORLD PREMIERE

Germany, 2014 | colour, DCP, 63 min, German/Georgian Prod: Kirill Krasovskiy | Prod Comp: Deutsche Film- und Fernsehakademie Berlin | Sc: Julian Radlmaier | Cam: Markus Koob | Ed: Julian Radlmaier | Prod Des: Paola Cordero Yannarella | Sound Des: Stephan Franz | With: Natia Bakhtadze, Sandro Koberidze, Ilia Korkashvili, Lars Rudolph | Print/Sales: Deutsche Film- und Fernsehakademie Berlin Public SCREENINGS Sat 25-1 19:00 Pathé 3 Sun 26-1 19:302 Cinerama 2 Mon 27-1 12:302 Cinerama 1 Press & Industry SCREENING Wed 29-1 09:30 Cinerama 7

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Three young Georgians have to clean a castle in Berlin, where a German arms manufacturer’s art collection is being set up for an exhibition. Of course, the proletariat isn’t welcome at the opening party and they are banished to a servants’ room in the attic. Downstairs, however, a splendid buffet attracts them – so why not just ignore the unfair prohibition and cross the line of class society? Didn’t the French Revolution start over a piece of cake? Telling each other unlikely tales ranging from an adventure of Saint Francis to a spiritualistic séance in the USSR, the three try to figure out whether class relations can be overcome, when all existing stories say they can’t. They also have to deal with obstinate folk, neo-liberal working conditions, apocalyptic petty bourgeois and agents of a late-capitalist conspiracy, which they defeat with a laziness one must call messianic. A proletarian winter’s tale, in short. Screens twice together with Redemption.

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Finsterworld Frauke Finsterwalder

Germany, 2013 | colour, DCP, 91 min, German Prod: Tobias Walker, Philipp Worm | Prod Comp: Walker+Worm Film Gbr | Sc: Frauke Finsterwalder, Christian Kracht | Cam: Markus Förderer | Ed: Andreas Menn | Prod Des: Katharina Wöppermann | Sound Des: André Bendocchi-Alves, Claudia Enzmann | Music: Michaela Melián | With: Michael Maertens, Ronald Zehrfeld, Sandra Hüller, Corinna Harfouch, Georg Schütz, Johannes Krisch, Christoph Bach | Print/Sales: Global Screen GmbH | www.finsterworld.de Public SCREENINGS Thu 23-1 19:30 LantarenVenster 5 Sat 25-1 13:00 Oude Luxor Mon 27-1 09:30 Pathé 7

Despite the radiant summer weather that bathes the landscape of Finsterworld all the time, this is a dark fairytale about the German identity and past. This fluent ironic comedy written by Frauke Finsterwalder with her husband, Swiss writer Christian Kracht, is about loneliness, marginalisation and everyday fascism. Yet positive reviews in the homeland speak of a feast of recognition. In a suburban idyll that, as always, is too good to be true, Finsterworld introduces several average German citizens of different ages. A pedicurist on his way to his favourite client is stopped by an all-too-pleasant policeman, a married couple sets off in their luxury car for Paris while their snobbish son goes on a school excursion to a concentration camp. Meanwhile, the policeman’s girlfriend, whom he considers an ambitious pseudo-artist, is busy making a documentary, obviously without seeing what is right in front of her eyes.

Spies & Glistrup Sex, Drugs & Taxation Christoffer Boe

Denmark, 2013 | colour, DCP, 110 min, Danish Prod: Tine Grew Pfeiffer, Caroline Schlüter Bingestam | Prod Comp: Alphaville Pictures Copenhagen, Nordisk Film A/S | Sc: Christoffer Boe, Simon Pasternak | Cam: Manuel Alberto Claro | Ed: Peter Brandt | Prod Des: Thomas Greve | Sound Des: Morten Green | Music: Jonas Struck | With: Pilou Asbæk, Nicolas Bro, Jesper Christensen, Jacob Højlev Jørgensen, Kasper Leisner, Trine Pallesen | Sales: LevelK | Distr NL: Filmfreak Distribution Public SCREENINGS Tue 28-1 19:30 Lux Wed 29-1 16:00 SGZ Fri 31-1 09:30 Cinerama 7 Sat 1-2 22:15 Pathé 1

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For some of the most amazing characters you come across in history, just how they fit into the picture only becomes clear after a long time. ‘Their biographical narratives go far beyond themselves,’ Christoffer Boe rightly commented about the protagonists of this black tragicomedy: tour operator Simon Spies (played by R and Borgen star Pilou Asbaek) and tax lawyer Mogens Glistrup (the equally wellknown Nicolas Bro). In the film, we see how both men set up Spies’ travel agency and become stinking rich in a new growth market: Danish mass tourism. Everyone wants to go to Majorca, and they make it possible. Spies is an extravagant, hedonistic playboy who doesn’t shirk from using his sexual escapades for marketing purposes. In the 1970s, he spent millions on the then-usual psychedelic quest for himself, while the unattractive bourgeois Glistrup stubbornly developed his conservative anti-tax position into a surprising political career.

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Feel My Love Griet Teck

WORLD PREMIERE

Belgium, 2014 | colour, video, 75 min, Dutch Prod: Anna Van der Wee | Prod Comp: Wild Heart Productions | Sc: Griet Teck | Cam: Griet Teck | Ed: Griet Teck | Sound Des: Senjan Jansen | Music: Tuur Florizoone | Print/Sales: Wild Heart Productions | www.grietteck.be/feel_my_love.html Public SCREENINGS Sat 25-1 19:30 Cinerama 5 Sun 26-1 09:15 LantarenVenster 5 Fri 31-1 21:45 Cinerama 1 Sat 1-2 14:30 Cinerama 3 Press & Industry SCREENING Fri 24-1 09:30 Cinerama 3

An estimated six million people in the EU suffer from forms of dementia such as Alzheimer’s disease. Disappearing memories of the pre-World War II generation soberly and lovingly captured by young Flemish filmmaker and camerawoman Griet Teck. She filmed the daily activities of Louise, Bes, Denise, Louisa, Betty, Rosa and Jean for four seasons as they were supervised and helped by nurses, family and others. The film exudes an unusually clear intimacy in its focus on the faces of elderly people struggling with their loss of identity; people for whom music is the final means of expression. This has resulted in an almost anthropological film about a very serious subject: bidding farewell to life and to who you are. The fragile force of life visualised in a sincere, non-pushy, unbiased manner.

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Der Wille zur Macht The Will to Power Pablo Sigg

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What’s a Grand Tour without an excursion outside Europe? Some pregnant aspects of European culture and identity are better preserved in distant exceptions. Mexican Artist Pablo Sigg worked for four years on this ‘European’ project filmed in Paraguay. In 1886, inspired by Wagner, Elisabeth Nietzsche (sister of Friedrich) left for Paraguay to realise her ideal there together with her anti-Semitic husband Bernhard Förster and 14 purely Aryan families: the foundation of Nueva Germania, a racially pure German colony in the Paraguayan jungle. More than a century later, the last living descendants of this racial experiment are the Schweikhart brothers, who since childhood have lived very isolated lives on the remote piece of land Förster sold to their forefathers. As a relic of the Aryan dream, the men lead an almost biblical existence in an area where topography seems to acquire form in the theoretical and the utopian. See also What an Excellent Day for an Exorcism in POST SCRIPT in Signals: Regained.

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Supporting Films Grand Tour Chigger Ale

Here Come the Problems Fanta Ananas

People are dancing at the neighbourhood bar Fendika in Addis Ababa, but it goes quiet when Hitler walks in. Only briefly, mind you, as it’s soon time to play a practical joke, like pulling the fake moustache off the little guy in uniform. He’s not amused. Screens before The Will to Power. Ethiopia/Spain, 2013 | colour, DCP, 11 min, no dialogue Prod: Miguel Llansó, Israel Seoane | Prod Comp: Lanzadera Films | Sc: Fanta Ananas | Cam: Israel Seoane | Ed: Miguel Llansó, Israel Seoane | Prod Des: Mariam Kebede | Sound Des: Quino Piñero | Music: Club Moral | With: Daniel Tadesse | Print/Sales: Lanzadera Films | www.lanzaderafilms.com/Chigger-Ale Public SCREENINGS Sun 26-1 16:452 Cinerama 3 Mon 27-1 17:302 LantarenVenster 5 Sat 1-2 14:152 LantarenVenster 6

Redemption Miguel Gomes

Who are those letter writers whose thoughts we hear in the guilty voiceovers in Portuguese, Italian, French and German? Embodied in a beautiful montage of archive material, above all from private Super-8 films but also with fragments from film history, this collage allows us to share moments of sudden doubt by people of whom we would not really expect it. Screened together with A Proletarian Winter’s Tale. Portugal/Germany/Italy/France, 2013 | colour/b&w, DCP, 27 min, Portuguese/French/German/Italian Prod: Luís Urbano, Sandro Aguilar, Jonas Dornbach, Janine Jackowski, Maren Ade, Paolo Benzi | Prod Comp: O Som e a Fúria, Komplizen Film Gmbh, Faber Film S.R.L. | Sc: Miguel Gomes, Mariana Ricardo | Ed: João Nicolau, Miguel Gomes, Mariana Ricardo | Sound Des: Miguel Martins | Print/Sales: The Match Factory GmbH | www.osomeafuria.com/films/3/55/ Public SCREENINGS Sun 26-1 19:302 Cinerama 2 Mon 27-1 12:302 Cinerama 1

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EU-29

Migration as a Cinematographic Story Gertjan Zuilhof

There are people in this country who study family trees as a hobby; it’s a favourite pastime especially after retirement. Sometimes after a lot of nosing around, people find out that an ancestor in the 16th century lived only a 10-minute walk from the house of his or her genealogically-inclined descendent. And that is not seen as oppressive, but as evidence of the bond to the native soil. Others find out that their forefathers came from France or Portugal because of religious disputes or wars. So migration is not a new phenomenon, even though it is now on a different scale. In general all inhabitants of Europe belong to the first or second group, unless they come from beyond the borders of our continent. Europe has 28 member states, but the uprooted, the refugees and migrants – be they legal or not – are not always welcome in one of those 28. And even if they are welcome, they may not feel entirely at home, because home often remains the country they came from. To mark this programme, a virtual 29th state has been founded for the uprooted. A state filled with stories and situations that are reflected in a sensitive collection of films. This 29th state is not a political or geographical union (God forbid!), but a metaphor for the narrative emotions and the drama of uprooting resulting from migration in all its diversity. Migration, with all its problems and sensitivities, is a topical social and political phenomenon and it may be obvious to think that a film programme about this will mainly be made up of documentaries. That is not the case. There are as many features as

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Gare du Nord

documentaries in the programme and a number of features have also been included outside the programme for a variety of reasons (such as The Sparkling Shadows by Alain-Pascal Housiaux & Patrick Dechesne – a little more about that below). Fiction and Essay

The documentaries in the programme are not the social reportages one might expect but they are – and that is a choice – more essayist films that investigate a broader context or new angle. Prime examples of both the fictional and the essayist approach can be found in the work of the experienced French filmmaker Claire Simon. She has made two films about the life and movements in and around the Gare du Nord station in Paris. In this station, all the worlds of which Europe is built come together in an unceasing flow; especially the worlds that only barely belong. In Gare du Nord, she tells the fictional story of a young sociologist with Algerian roots who is studying the life stories of the residents of the station. One day, he meets an ageing French woman, a historian with whom he starts investigating multi-cultural life at the station. Using almost the same model, Simon then made a documentary about Gare du Nord entitled Human Geography. Here, too, she followed a sociologist of Algerian origins, this time a wise and pleasant professor. The project by Simon is very unusual. A fiction film and a documentary about the same subject, made by one and the same filmmaker, is unique in itself and the duology tackles a very topical question in an original way. The two films could have been the motivation for this EU-29 programme, because they comprise virtually every angle that can be found in the rest of the programme. During the festival, Simon will talk about her filmic experiences at Gare du Nord with Jean-Michel Frodon (ex-Cahiers du Cinéma, Le Monde).

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Salvation Army

Two Worlds

In many of the EU-29 films, the protagonists (fictional or not) move in two worlds. In fact they may move from one world to the other, but in an emotional sense they are in both worlds at once. Two films that reveal this very well are Salvation Army by Abdellah Taïa and the afore-mentioned The Sparkling Shadows. The two worlds can be seen most clearly in the latter film; we see images edited in parallel of a boy growing up in a toilsome Ethiopia and images of the same person 40 years later, now a taxi driver in a Northern European port city. The continual switching between the light and yet poor and dusty Africa and the dark, melancholy Europe effectively sketch the emotional conflict in the protagonist. Something comparable happens in Salvation Army, even though in this case the film is divided into a first and a second half. Here, too, the poor yet light and colourful past continues to play on effectively in the cold and grey European part, in which the protagonist has grown up with a great deal of difficulty. Maybe one can’t describe Migration Cinema as a genre, but the films gathered here tell stories about dramatic lives and events that are specific for the uprooted and half-rooted. Ordinary European citizens – with old family trees and who have grown up in one place – lead a much too well-tended and organised life to risk drowning by setting sail in an old African fishing boat, to travel uninsured and without a passport or try to enter the UK through the Channel Tunnel, hanging under a train. It sounds cynical, but illegal aliens lead adventurous lives that provide filmic stories. An unusually mild variant of such a migrant story is told in the Western-like Hassan’s Way by Fran Araújo and Ernesto de Nova. A Moroccan farm labourer who is made redundant in Spain buys the old tractor scrapped by his boss and drives it back hundreds of kilometres in a road movie to his house in a village in his homeland. He becomes a farmer and tractor importer. A lighthearted exception. For now, the mainstream is heading in the other direction and most migration films are becoming grimmer and less hopeful.

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El Rayo

Hassan’s Way Fran Araújo, Ernesto de Nova

Spain/Portugal, 2013 | colour, DCP, 86 min, Spanish/Arabic Prod: Oihana Olea | Prod Comp: Altube Filmeak | Sc: Fran Araújo, Ernesto de Nova | Cam: Diego Dussuel | Ed: Pablo Gil Rituerto | Prod Des: María Zapico | Sound Des: Nacho R. Arenas | Music: Ana Villa, Juanjo Valmorisco | With: Hassan Benoudra | Print/Sales: Cinema Republic | www.elrayolapelicula.com Public SCREENINGS Tue 28-1 16:45 LantarenVenster 1 Wed 29-1 16:45 Doelen JZ Thu 30-1 21:45 LantarenVenster 1 Sat 1-2 09:30 Cinerama 1 Press & Industry SCREENING Thu 30-1 09:00 Cinerama 7

The USA has Alvin Straight, Spain has Hassan Ben Oudra. But where the hero in The Straight Story by David Lynch is a stubborn old grumbler, the protagonist in Hassan’s Way is a modest optimist, a fighter and a survivor. At the age of 28, Hassan crosses illegally from Morocco to Spain with the ambition of getting on in life. After toiling for 13 years as a woodcutter, grape-picker and welder, he has saved just enough money to buy a second-hand tractor that is as old as he is. The crisis is at its height, work is scarce and Hassan decides to return to his homeland – by tractor. El Rayo is a road movie about the Spanish provincial road network. Hassan suffers a mechanical breakdown and conflicts with traffic cops and the immigration service. In an intimate documentary style, El Rayo shows that’s it’s just as difficult to leave Fortress Europe unscathed as it is to get in.

L’escale Stop-Over Kaveh Bakhtiari

Kaveh Bakhtiari descends into the hell of the illegal refugee from Iran. In an apartment in Athens, he films the everyday life of a group of men and one woman. One of them is Bakhtiari’s cousin, who makes it possible to record this invisible Europe. For thousands of euros each, they were brought to Greece by smugglers and left to their fate. What follows is poverty, hopelessness and a continual fear of being arrested. And they have to wait for a stolen passport from someone they look like so that they can move on into Europe. That can takes weeks or months. And maybe it will never come. Bakhtiari records how the tensions grow within the group and the lethal risks the inhabitants take for a chance to have a humane life. The cruel paradox is that they seem to have to lose all their humanity first, occasionally with fatal consequences. Stop-Over will leave few people unmoved.

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Até ver a luz After the Night Basil da Cunha

Switzerland/Portugal, 2013 | colour, DCP, 95 min, Portuguese Prod: Elena Tatti | Prod Comp: Box Productions | Sc: Basil da Cunha | Cam: Patrick Tresch | Ed: Renata Sancho, Basil da Cunha, Emilie Morier | Prod Des: Carlos Baessa de Brito | Sound Des: Philippe Ciompi, Adrien Kessler | With: Pedro Ferreira, João Veiga, Nelson da Cruz Duarte Rodrigues, Paulo Ribeiro, Francisco Mota, Ruben Dias | Print/Sales: Urban Distribution International | www.ateveraluz.pt Public SCREENINGS Fri 24-1 21:45 Pathé 5 Sun 26-1 10:00 Pathé 1 Fri 31-1 14:45 Cinerama 2 Sat 1-2 19:30 Cinerama 4

Reboleira, the poor suburb of Lisbon that once formed the backdrop to Basil da Cunha’s two short films Nuvem (Sunfish) and Os vivos também choram (The Living Also Cry), is again the set for this powerful feature debut. Unlike colleague director Pedro Costa, who also situated his stories in a suburb of Lisbon, Da Cunha tells his story more in the style of the classic film noir – with a bare crime story and narrow corridors and small rooms where it always seems to be night. Just after he is released from jail, Sombra returns to his old neighbourhood. In a couple of days, he ends up back in a completely impossible situation when he can’t pay back a loan from a local drug dealer. All he can do is flee. But where to? After all, his enemies are everywhere. Da Cunha focuses on the couleur locale, as is apparent from the minor and informal asides about religion and tradition. But it can primarily be heard in the dialogues, which he let the nonprofessional actors write themselves.

Les Apaches Thierry de Peretti

France, 2013 | colour, DCP, 82 min, French Prod: Igor Alexis Wojtowicz | Prod Comp: Ferris & Brockman | Sc: Thierry de Peretti, Benjamin Baroche | Cam: Hélène Louvart | Ed: Pauline Dairou | Prod Des: David Bersanetti | Sound Des: Matthieu Perrot | Music: Cheveu | With: Aziz El Haddachi, Hamza Meziani, Joseph Ebrard, François-Joseph Cullioli, Maryne Cayon | Print/ Sales: Pyramide International Public SCREENINGS Fri 24-1 13:45 LantarenVenster 1 Sat 25-1 22:15 Pathé 4 Wed 29-1 13:00 Pathé 1 Sat 1-2 15:30 Pathé 7

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While tourists inhabit the beaches and campsites of Corsica, this fateful drama unfolds on the poor side of the island and is told by the French director Thierry de Peretti, who is best known as an actor. After an evening out, a group of young second-generation North-African immigrants breaks into a villa where one of their fathers works as a gardener. Their first aim is to party but boasting and macho behaviour lead them to take some valuables with them. What follows is a story filled with misunderstandings and insinuations that consciously does not choose a direction but escalates slowly and tangibly. Les Apaches, French slang for ‘hooligans’, looks beyond the sun-drenched façade of the island. It’s a story about crime, but it isn’t a crime story; De Peretti keeps the tempo too low for that. Without too much overemphasis, the film shows the gap between the affluent French with their second homes and the immigrants and original island inhabitants who have been relegated to second-class citizens. This holiday island will never be a paradise for them.

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EU 013, l’ultima frontiera EU 013, The Last Frontier Alessio Genovese

INTERNATIONAL PREMIERE

Guinea, 2013 | colour, DCP, 62 min, Italian Prod: Alessio Genovese, Raffaella Cosentino | Prod Comp: ZABBARA | Sc: Raffaella Cosentino, Alessio Genovese | Cam: Bruno Fundarò | Ed: Dario Indelicato | Sound Des: Gianuca Stazi | Music: Alessandro Librio | Print/ Sales: ZABBARA | www.zabbara. org/en/eu-013-lultima-frontiera Public SCREENINGS Sun 26-1 19:002 Cinerama 5 Mon 27-1 09:152 Pathé 6 Fri 31-1 16:302 Cinerama 4 Press & Industry SCREENING Fri 24-1 11:45 Cinerama 5

Aliens in Italy can be held up to 18 months in a CIE, a Centro di Identificazione ed Espulsione (Identification and Deportation Centre), before they are admitted or deported. The Italian photographer/documentary maker Alessio Genovese was the first person to get permission to take a look inside the walls. He interviews both the guards and the men and women who have to spend long months behind locked doors. None of them has committed a crime or has been sentenced. They are known as ‘guests’ in CIE jargon. Most of them grew up in Italy. After forced deportation, they roamed Europe but have to return to Italy as soon as they are arrested, after which the process starts all over again. Even viewers are brought to their knees by the stories and the administrative hell in which these people find themselves, so you can guess how the guests and guards feel. And that’s how the international refugee merry-goround keeps turning. It has turned into an industry.

The Filmballad of Mamadada Cassandra Guan, Lily Benson

USA, 2013 | colour/b&w, video, 80 min, English/German Prod: Cassandra Guan, Lily Benson | Sc: Lily Benson, Cecilia Corrigan, Cassandra Guan | Ed: Cassandra Guan | Prod Des: Lily Benson | Sound Des: Josh Allen | Music: Easter, Doron Sadja, Cross | With: Leslie Allison, Raoul Anchondo, Mauricio Arango, Doug Ashford, Harold Batista, Gregory Benson, Lily Benson | Print/Sales: Cassandra Guan | www.mamadada.info Public SCREENINGS Tue 28-1 19:45 Cinerama 3 Wed 29-1 21:30 LantarenVenster 6 Thu 30-1 14:30 Cinerama 3

Homage to the life and work of Baroness Elsa von Freytag-Loringhoven (1874-1927), who was part of the New York Dada movement in the 1920s, but unlike many male Dadaists was forgotten with time. More than 50 young artists bring together her versatility as a sculptor, poet, painter, model and performance artist in this collage that ricochets back and forth between classic narration and experimental form fragments in the style of the ‘exquisite-corpse’ technique invented by the Surrealists. One adds an interview with Jane Fonda, which acquires new significance in this context, while another makes an animation about the consequences of syphilis and the third provides a reconstruction of a lost 16mm film by Duchamp and Man Ray. No-one will be surprised that the fragments contradict each other because, as a reaction to the chaos of the First World War, Dada denies the existence of an orderly and harmonious reality. The Baroness can be satisfied.

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Late at Night – Voices of Ordinary Madness Xiaolu Guo

INTERNATIONAL PREMIERE

A playful, original and biting study of the underbelly of British society concentrated in the frenetic East End of London, an area of the city that has changed completely as a result of uneven economic developments; a few are profiting while most are not. Even though it has remained a multicultural and multi-ethnic neighbourhood, a completely new business centre has emerged, forcing many people to leave the East End. The film has the form of an experimental television programme introducing people who are very different, from street-gang members to bankers. Xiaolu Guo, who once settled in this part of London as an immigrant, focuses on this small part of England so she can say something about the entire capitalist world – a world that is controlled by economic inequality. It’s with reason that people in England regard Late at Night – Voices of Ordinary Madness as a real protest film.

Sexy Money Karin Junger

WORLD PREMIERE

Netherlands, 2014 | colour, DCP, 80 min, English Prod: René Goossens, Annemiek van Gorp | Prod Comp: De Productie | Sc: Karin Junger | Cam: Karin Junger | Ed: Dorith Vinken, Maurice Bedaux | Sound Des: Ranko Paukovitsch | Music: Nneka | With: Janet Ogheneovo, Laura Akuoyibo, Nneka | Print/Sales: De Productie | www. deproductie.nl/en/sexy-money/ Public SCREENINGS Sun 26-1 16:30 Cinerama 6 Tue 28-1 21:30 Pathé 2 Thu 30-1 21:45 LantarenVenster 6 Press & Industry SCREENING Fri 24-1 14:15 Cinerama 5

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In an attempt to flee poverty in their own country, more and more Nigerian women came to Europe in recent years and ended up in prostitution. The dream of paradise turned into a bitter disappointment for most women. A small number of them decided to return. In the musical documentary Sexy Money Karin Junger follows two women who try to build up their lives in Nigeria again. The women talk about their European adventure, yet despite the difficult time there, they don’t seem to have lost their lust for life. However in Nigeria, no one is really eager to see them. They are cheated on a special course for poor women and in the meantime they have to bring up their children. Here too, prostitution beckons. Yet they stay on their feet and music, just as in Junger’s documentary, plays a major role. Sexy Money pays homage to the resilience of women who have to fight for every millimetre of progress.

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Papusza Joanna Kos-Krauze, Krzysztof Krauze

Poland, 2013 | b&w, DCP, 131 min, Roma/Polish Prod: Lambros Ziot | Prod Comp: Argomedia | Sc: Joanna Kos-Krauze, Krzysztof Krauze | Cam: Krzysztof Ptak, Wojciech Staron | Ed: Krzysztof Szpetmanski | Prod Des: Anna Wunderlich | Sound Des: Mateusz Adamczyk, Jaroslaw Bajdowski, Sebastian Witkowski | Music: Jan Kanty Pawluskiewicz | With: Jowita Budnik, Antoni Pawlicki, Zbigniew Walerys, Artur Steranko, Andrzej Walden | Print/Sales: New Europe Film Sales | www.papusza-film.pl Public SCREENINGS Fri 24-1 16:45 LantarenVenster 1 Sat 25-1 18:45 Schouwburg GZ Sun 26-1 09:30 Cinerama 1 Fri 31-1 13:30 Doelen JZ

‘There is something wrong with her. She will either bring us great happiness or great shame.’ The statement by the midwife who brings Bronislawa Wajs into the world at the beginning of Papusza succinctly summarises the film. Papusza, as Wajs is better known, grew up to become the most famous Roma poet ever. But she died in 1987 in poverty after slowly going crazy with loneliness, rejected by the community that regarded her as a traitor. Papusza follows the tragic life of the autodidact who was discovered in 1949 by Jerzy Ficowski. The nomadic life of the Roma had already been cruelly interrupted by two world wars and came to a climax as the communists forced them to settle. In stern blackand-white, the film describes a people that gets mangled between the wheels of world history. And it’s about a resilient individual who tries to escape fate but is mercilessly punished for that.

Profezia. L’Africa di Pasolini

Prophecy. Pasolini’s Africa Gianni Borgna, Enrico Menduni

INTERNATIONAL PREMIERE

Italy/Morocco | colour/b&w, DCP, 77 min, Italian Prod: Angelo Libertini | Prod Comp: Istituto Luce – Cinecittà Srl | Sc: Gianni Borgna, Angelo Libertini | Cam: Sergio Salvati | Ed: Carlo Balestrieri | Music: Marco Valerio Antonini | Print/Sales: Istituto Luce – Cinecittà Srl Public SCREENINGS Wed 29-1 16:30 Cinerama 2 Thu 30-1 11:30 LantarenVenster 6 Fri 31-1 09:00 Cinerama 4 Press & Industry SCREENING Tue 28-1 09:15 Pathé 5

An essayistic documentary about famous Italian director Pier Paolo Pasolini’s love for Africa, and how his vision of that continent relates to today, 38 years after his death. In Pasolini’s view, Africa extended into the poor neighbourhoods of the European cities, meaning that this film also throws light on his vision of Europe and the place of foreigners in Europe. The suburbs around Rome, where Pasolini shot his first film Accattone, were in Pasolini’s eyes then already part of Africa, owing to the countless immigrants living there. He had an idealised impression of Africa, believing that there was still an authenticity to be found, as well as a revolutionary potential that, in his view, had been lost in Europe. The documentary follows Pasolini’s development through his films, but also through his life and encounters (for example, with Jean-Paul Sartre), resulting in an intriguing look at his ‘prophecies’ about life in Africa and Europe.

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Signals: The State of Europe

Evaporating Borders Iva Radivojevic

WORLD PREMIERE

USA/Cyprus, 2014 | colour, video, 75 min, Greek/ Arabic/English Prod: Landon Van Soest, Leandros Savvides | Prod Comp: Transient Pictures, Lea Est Mundi | Sc: Iva Radivojevic | Cam: Iva Radivojevic, Giorgos Ioannou | Ed: Iva Radivojevic | Sound Des: John Moros | Music: Alexander Berne, Stian Westerhus, Sandy Bour, Monsieur Doumani | Print/Sales: Ivaasks | www.evaporatingborders.com Public SCREENINGS Thu 23-1 19:00 Pathé 3 Fri 24-1 14:30 Cinerama 3 Sat 1-2 09:15 Cinerama 5 Press & Industry SCREENING Sun 26-1 12:00 Cinerama 3

It took a capsized refugee boat (115 dead, 200 missing) to get through to the international community and demonstrate just how severe the immigration problem is on Cyprus. The Mediterranean island that forms the easiest access to Europe is a favourite destination for people smugglers. The tensions caused by a massive flood of immigrants can also be felt most strongly here. Iva Radivojevic, herself originally from Yugoslavia and hence also a newcomer on Cyprus, tries to fathom the loss of identity, the memories and collective history linked to large-scale immigration and which often form the breeding ground for discrimination and xenophobia. In five stories, she shows the bleak prospects of the old Iraqi Palestinian who has been waiting for a residence permit for six years and the Kurdish couple who are not allowed to work but do have to nurse a sick son. In the meantime, far-right thugs roam the migrant districts intimidatingly.

Mama Europa Mother Europe Petra Seliškar

Slovenia/Macedonia/Croatia, 2013 | colour/b&w, DCP, 90 min, Slovene/Macedonian/English Prod: Brand Ferro, Oliver Sertic | Prod Comp: Petra Pan Film Production | Sc: Petra Seliškar, Terra Ferro Seliškar | Cam: Brand Ferro | Ed: Katrin Eberson | Sound Des: Vladimir Rakic | Music: Vladimir Rakic | Print/ Sales: Petra Pan Film Production | www.mamaeuropa.info Public SCREENINGS Fri 24-1 12:00 LantarenVenster 2 Sat 25-1 16:45 LantarenVenster 5 Mon 27-1 11:45 Cinerama 2 Sat 1-2 12:15 Pathé 6

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When Terra (age 6) draws a map of Europe, the result is a brightly coloured patchwork quilt and she knows from experience: when she was two months old, she already had 14 stamps in her passport. She’s also the daughter of a Cuban Macedonian father and a Slovenian mother, both filmmakers and citizens of the world. For Mother Europe, she travelled with her parents from Italy via Slovenia, Croatia, Serbia and Macedonia to Greece and back. In Mother Europe, we see contemporary Europe through the eyes of a child – a Europe of fences, barriers and border controls. The people Terra meets on the way tell their story about that Europe: a 98-year-old writer who remembers a time with fascists and communists, a misanthropic nature lover and members of an anarcho-punk band. Together they provide a portrait of a continent, which is clear in a fresh and childlike way, unsentimental and devoid of political woolliness.

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Gare du Nord Claire Simon

France, 2013 | colour, DCP, 119 min, French Prod: Richard Copans | Prod Comp: Les Films d’Ici | Sc: Claire Simon, Shirel Amitay, Olivier Lorelle | Cam: Laurent Bourgeat, Richard Copans | Ed: Julien Lacheray | Sound Des: Thierry Morlaas | Music: Marc Ribot | With: Nicole Garcia, Reda Kateb, François Damiens, Monia Chokri | Print/Sales: Sophie Dulac Distribution | www.lesfilmsdici.fr/ en/films-projets/4970-gare-du-nord.html Public SCREENINGS Sat 25-1 12:45 Pathé 1 Sun 26-1 09:15 Pathé 5 Wed 29-1 19:00 Cinerama 6 Fri 31-1 09:30 Pathé 7 Press & Industry SCREENING Fri 24-1 13:30 Cinerama 4

Claire Simon is an experienced French filmmaker who has made both documentaries and feature films. She must have realised that her subject, Gare du Nord as a metaphor for the rest of Europe, would be too big and multifaceted for a single film and a single approach, as she shot the feature film (this film) and the documentary Human Geography in the same building. Together the films constitute a single, dramatic essay about the plight or the luck of the immigrant. Gare du Nord follows the young Algerian scientist Ismaël who hopes to receive his PhD for his vision of the station as a multicultural breeding ground. He meets French history professor Mathilde there, and slowly something beautiful blossoms between them while we see the chaotic laboratory Gare du Nord through their eyes. A rich film full of realistic characters. About people who haven’t given up looking for something better.

Géographie humaine Human Geography Claire Simon

Human Geography, which forms a duology with Gare du Nord, was shot entirely in the huge and confusing railway station of that name in Paris. The filmmaker was obviously not primarily interested in the building or in the trains that arrive and depart, but in the people who hang around there. These people don’t usually leave and nor do they arrive, but they stay there almost permanently, as if it were one large village square. The guide in this film is Simon Mérabet, a sociologist of Algerian descent, just as in the fictional part of the duology, Gare du Nord, where the main character is a sociologist of Algerian descent. The conversations that Mérabet has with the inhabitants of the station are very informal, often humorous and regularly moving. The interviewees reveal the great dramas in their lives to the genial professor fairly quickly.

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I’m the Same, I’m an Other

Caroline Strubbe

INTERNATIONAL PREMIERE

Belgium/Netherlands/Hungary, 2013 | colour, DCP, 103 min, English/Dutch/Hungarian Prod: Tomas Leyers | Prod Comp: Minds Meet | Sc: Caroline Strubbe | Cam: David Williamson | Ed: David Verdurme | Sound Des: Senjan Jansen | Music: Albert Markos | With: Kimke Desart, Zoltan Miklos Hajdu | Print/Sales: Minds Meet Public SCREENINGS Sun 26-1 18:30 Pathé 5 Mon 27-1 16:30 Cinerama 4 Wed 29-1 10:00 LantarenVenster 3 Fri 31-1 22:15 Doelen JZ Press & Industry SCREENING Tue 28-1 09:00 Cinerama 7

As befits a good road movie, the journey is not only concrete, but above all also psychological. And this is a good road movie. The Hungarian thirty-something Szabolcs is travelling through Western Europe on his way to England with the little girl Tess, who could be his daughter. They are travelling as refugees. The man and the girl share a secret and tragic past, but it’s only on a freighter bound for England that we find out more. In their hiding place on the English coast, they grow closer. The atmospheric blue-grey images effectively tell their part of the emotional life of the traumatised characters. The film is the second part of a planned trilogy about loneliness and the quest for happiness, where the behaviour of the parents shapes the future of the children. The first part, Lost Persons’ Area, was successfully premiered in 2009 in the Semaine de la Critique at Cannes. It was Strubbe’s feature debut.

L’armée du salut Salvation Army Abdellah Taïa

France/Morocco, 2013 | colour, DCP, 84 min, Arabic Prod: Hughes Charbonneau, MarieAnge Luciani | Prod Comp: Les Films de Pierre | Sc: Abdellah Taïa | Cam: Agnès Godard | Ed: Françoise Tourmen | Sound Des: Fanny Martin | With: Said Mrini, Karim Ait M’hand, Amine Ennaji | Print/ Sales: RAMONDAParis Public SCREENINGS Tue 28-1 19:00 Pathé 3 Wed 29-1 21:45 Pathé 2 Thu 30-1 12:45 Pathé 5 Fri 31-1 21:45 LantarenVenster 1

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The filmmaker is also a writer, or maybe primarily a writer. He based the story on his semi-autobiographical novel of the same name. The film comprises two parts. In the first part, the protagonist is about 15 years old. He lives with his parents in Casablanca, Morocco, and discovers his homosexual feelings and also his desire to go to Europe. The first part is colourful and sunny and very North African. Part two is set 10 years later in a grey and cold and very European Geneva. The protagonist is now a student but poverty-stricken and looking for shelter with the Salvation Army (hence the title). The film does not feel like a film version of a book, but is beautifully shot – the camerawork is by the famous Agnès Godard – and tells the stories soberly and effectively. The division into two parts (younger and older, lighter and darker) contributes to making the experiences more profound.

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Prelude EU-29 Gli immacolati

The Immaculates Ronny Trocker

The maker rebuilt a detailed scale model of the place where a gypsy camp was torched. A voice-over tells the story of a girl who falsely accused two Roma men of rape. Animation for adults, but it remains real. A murky story told in all its horrifying detail. Screens before EU 013, The Last Frontier. France, 2013 | colour, DCP, 13 min, Italian Prod: Eric Prigent | Prod Comp: Le Fresnoy | Sc: Ronny Trocker | Cam: Sébastien Pincin | Ed: Ronny Trocker | Sound Des: Anouschka Trocker | Music: The Necks | With: Adriana Tudor, Sarah Perahim, Seby Ciurcina | Print/Sales: Le Fresnoy Public SCREENINGS Sun 26-1 19:002 Cinerama 5 Mon 27-1 09:152 Pathé 6 Fri 31-1 16:302 Cinerama 4

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Signals: My Own Private Europe

My Own Private Europe

Remote Places, Singular Visions Evgeny Gusyatinskiy

The insidious threat to Europe for the past ten or fifteen years... comes from a lack of any clear sense of what European culture and identity is. What does it mean now to be Dutch? Or British?... It is the rapid transformation that is going on within their own societies that matters... This has triggered all sorts of self-doubt and worries... Tony Judt Against Generalisation

‘Europe’ as a concept is old, ‘grand’ and pretty worn-out. It is full of big meanings, clichés and corrupted meanings that have turned into clichés. At the same time, it is constantly under attack and exposed to dangers, real or imagined – from the risks of globalization to ideas about an impending ‘End of Europe’ or at least ‘collapse of the EU’. All these challenges demand a response: to be proved, denied, doubted, debated. But could it be that our personal direct experience as Europeans contradicts some of these clichés? Is it possible to strip our consciousness of these preconceptions and take an unbiased look at what is happening to us? Is it still possible to look at Europe with absolute clarity and openness, as if for the first time (if of course such a ‘first time’ ever existed in the first place, and is not simply another cliché we need to get rid of). The My Own Private Europe programme is an attempt if not to answer these questions in full, then at least to pose them and address the issues. We tend to make sweeping statements about Europe, but should avoid falling into this mental trap. Our aim with this programme is to highlight and bring to the fore the subtle and minute details and nuances which in fact constitute the image of today’s Europe. Our intention is to put the general dogmas to the test by exposing them to private, individual experiences and private statements. Like the concept of a ‘private Europe’ itself, the programme is diverse and includes both fiction and non-fiction films, documentaries, mockumentaries and essays. A body of work that implicitly and immanently presents images of a living Europe. Private States

The interpretation of the word ‘private’ in this programme may be somewhat different from usual. We mean private as in autobiographical. Private as in individual. Private as in intimate. There are places that are private and that reduce the whole Europe (if not the whole world) to a single space – for example, a village (Another Hungary, The Mother and the Sea) or a hometown (Remembrance); a building (A House in Berlin); family house (Father’s Garden – The Love of My Parents) or even anonymous petrol stations and radio stations (Egress and Silence radio respectively). But in turn, these private places contain their own histories of Europe and the experiences of people who have lived and worked there, or are simply related to them. These private states of Europe form private states of being and vice versa. Together, they give us insight into a contemporary cultural landscape which, as it turns out, remains largely a terra incognita.

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Signals: My Own Private Europe

The Reunion

Europe in the First Person

Personal visions of Europe presented in the programme are mainly based on the life experiences of filmmakers who become protagonists – real and fictional – within their own films. These visions can be compared to voyages in which the traveller himself does not know his final destination; or to scientific research whereby the scientist does not know what discovery he will arrive at. Filming their own existence, artists such as Boris Lehman (My Seven Places) or Joaquim Pinto (What Now? Remind Me) rediscover not only themselves, but also the world they live in, transcending its routine, material nature and decay. They are not afraid of the ultimate intimacy and expose themselves to meticulous self-exploration, which in turn makes reality around them exposed and ‘naked’ too. Another artist, Anna Odell (The Reunion), relates to the intimate trauma of her childhood that had an impact on all of her life and tries to deconstruct this today, taking herself out of the reality she has been reliving with terror for many years. These filmmakers question the way an identity, including a European identity, is constructed today. Does the notion of ‘Europe’ – with its mythology, values, political, historical and social background – still define the way we see and treat ourselves and others? Or is it now up to a private individual to define himself as well as the reality around him, creating his own private world, which is not bound by any cultural, ideological or social stereotypes? As Vlad Petri discovers in his personal chronicle of the failed Romanian revolution (Where Are You, Bucharest?), European solidarity as well as society is no longer based on leftist (or any other) political ideas, and in fact is disintegrating. Naturally, people dissatisfied with the system still protest, but now more than ever they find themselves suspended between a failed collective utopia and ambiguous individual ideals that are yet to be determined.

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Egress Knut Åsdam

EUROPEAN PREMIERE

Norway, 2013 | colour, DCP, 41 min, Norwegian Prod: Knut Åsdam, Helga Fjordholm, Sarah Schipschack, Leif Magne Tangen | Prod Comp: Knut Åsdam Studio, Studio Fjordholm AS, Vitakuben film AS | Sc: Knut Åsdam | Cam: Martin Testar | Ed: Mathias Theissen | Sound Des: Preben Grieg-Halvorsen | With: Birgitte Larsen, Marie Blokhus, Madalena Sousa Helly-Hansen, Nader Khademi, Jade Haj | Print/ Sales: Knut Åsdam Studio | www. knutasdam.net/index.php/film/egress Public SCREENINGS Tue 28-1 22:00 LantarenVenster 5 Fri 31-1 16:45 Cinerama 5 Sat 1-2 14:30 LantarenVenster 4

A petrol station on the outskirts of Oslo. A young woman working there becomes a silent witness to various casual incidents. Her daily routine is a reflection of state of contemporary European life with its latent economic crisis, fragmented multicultural society, alienation, security issues and spontaneous violence. The woman’s inner monologue is highly dramatic and makes a striking contrast with the reality, which on the surface seems calm and well-organised. Prominent Norwegian visual artist Knut Åsdam focuses on one anonymous place which only seems to be ordinary but in fact harbours many unresolved tensions and conflicts. In this sense an ordinary petrol station, where risk of fire is always greater than in other public places, becomes a genuine symbol of contemporary Europe which is in danger of an imminent ‘explosion’, despite its proclamations of stability and order. Full of suspense, this visually gripping thriller is based on documentary material. Semi-feature: new presentation format that foregrounds the so-called mid-length film.

A House in Berlin Cynthia Beatt

WORLD PREMIERE

Germany/UK, 2014 | colour, DCP, 96 min, English Prod: Cynthia Beatt | Prod Comp: Heartbeatt Pictures | Sc: Charlie Gormley | Cam: Ute Freund, Cornelius Plache, Armin Dierolf, Cynthia Beatt | Ed: Cynthia Beatt | Prod Des: Cynthia Beatt | Sound Des: Jochen Jezussek | Music: Marlon Beatt, Magnolia Beacon | With: Susan Vidler, Isi Metzstein, Clemens Schick, Peter Knaack, Maria Heiden, Achim Buch, Doris EgbringKahn | Print/Sales: Heartbeatt Pictures Public SCREENINGS Mon 27-1 19:00 Pathé 3 Tue 28-1 15:00 LantarenVenster 3 Wed 29-1 11:30 Cinerama 4 Fri 31-1 13:45 Cinerama 6 Press & Industry SCREENING Sun 26-1 12:45 Cinerama 4

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Stella unexpectedly inherits an old house in Berlin from her Jewish great uncle. Due to the dramatic history of this building, which has gone through various changes throughout the 20th century, she will have to fight for the right to claim ownership of her inheritance. Willing to do this, she embarks on a personal journey into the past that turns out to be more complex and ambiguous than she ever could have expected. A conceptual quest full of suspense, depicting a person who gets a chance to find her ‘secret homeland’ as well as rediscover herself. Narrated and brilliantly filmed in a restrained, almost Brechtian manner, this film by Cynthia Beatt mixes fiction and non-fiction and challenges our ‘common knowledge’ about the genealogy of contemporary Europe. Partly shot in Rotterdam, a city which also plays an important role in Stella’s journey.

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My Own Private Europe

Mes sept lieux My Seven Places Boris Lehman

WORLD PREMIERE

Boris Lehman is a unique filmmaker who apparently never leaves his camera. His own life is a continuous film that he never stops making. My Seven Places is another essential chapter in this poetic, imaginative, ironic, melancholy and philosophical chronicle of Lehman’s existence. A film that is autobiographical and universal at once, in which Lehman looks at himself both directly and indirectly. As Lehman says, ‘My Seven Places starts at the moment I was evicted from several places which are dear to me. They served me well as homes, both as places for living and working. This was the start of my urban wandering, which would take me ten years – a journey of 300,000 kilometres – before returning just about to my starting point. The adventure was both physical and metaphysical… My Seven Places is an essay about passing time, embellished by a jumble of reflections both light and serious; finally, it is an attempt to simply exist.’

Vaters Garten – Die Liebe meiner Eltern

Father’s Garden – The Love of My Parents

Peter Liechti

One day, Peter Liechti bumps into his elderly father on the street. They both act as if they are complete strangers. This embarrassingly awkward situation, so bizarre and yet so familiar, is the starting point of his film, in which Liechti decides to get to know his aging parents as if for the first time, and to make them rediscover each other. He interviews each separately, asking the same questions and raising difficult family issues that usually remain unspoken. His mother and father turn out to be very different from one another in character and personality, and both can only wonder how they have managed to stay together for sixty-two years. A highly personal film raising issues of basic European values and rituals – marriage, family, home, discipline, labour... and the way these shape our lives, sometimes against our will. A loving and daring film that only a son could make about his parents.

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Másik Magyarország Another Hungary Dénes Nagy

INTERNATIONAL PREMIERE

The famous Hungarian artist Imre Bukta, whose work is exhibited in contemporary art galleries throughout Europe, lives in a Hungarian village that is on the verge of total decline. Living in this village is not only a personal choice but also an artistic and civil responsibility for this person who takes inspiration from – and in fact carves his art from – the reality and habitat around him. In the style of a free cinematographic essay, and without imposing his views on the spectator, Dénes Nagy brings to light unknown territories of Europe and the lives of people who inhabit these areas. Delicately interweaving landscapes and portraits, silence and sounds, this poetic documentary captures the inner spirit of another Hungary. Semi-feature: new presentation format that foregrounds the so-called mid-length film.

Återträffen The Reunion Anna Odell

Sweden, 2013 | colour, DCP, 89 min, Swedish Prod: Mathilde Dedye | Prod Comp: French Quarter Film | Sc: Anna Odell | Cam: Ragna Jorming | Ed: Kristin Grundström | Sound Des: Jan Alvermark | With: Anna Odell, Anders Berg, Robert Fransson, Sandra Andreis, Rikard Svensson, Niklas Engdahl | Print: The Swedish Film Institute | Sales: French Quarter Film | www.frenchquarter.se Public SCREENINGS Sun 26-1 12:45 Pathé 4 Mon 27-1 16:15 Oude Luxor Thu 30-1 22:45 Cinerama 7 Fri 31-1 19:30 LantarenVenster 5 Press & Industry SCREENING Fri 24-1 09:00 Cinerama 6

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Artist Anna Odell was bullied and treated as an outsider at school. This situation recurs twenty years after the graduation, when she finds out she has not been invited to the reunion party. Trying to come to terms with this issue that has haunted her for years, she makes a film reconstructing this party, as if she attended it and told her former classmates everything she has wanted to tell them all these years. What happens next is even more paradoxical. Anna tries to meet her classmates to show them the film she made about them and get their feedback. This conceptual art project is complex and highly original. Mixing facts, fiction and reconstructed non-fiction, Odell tests the limits of reality and identity and paints a controversial portrait of a society that does not want to know itself.

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BucuresŞti, unde esŞti? Where Are You Bucharest? Vlad Petri

WORLD PREMIERE

Romania, 2014 | colour, DCP, 76 min, Romanian Prod: Vlad Petri | Cam: Vlad Petri | Ed: Gabi Basalici | Sound Des: Vlad Voinescu | Print/Sales: Vlad Petri | www.bucurestithemovie.ro Public SCREENINGS Fri 24-1 19:30 Cinerama 2 Sat 25-1 22:00 Cinerama 5 Sat 1-2 09:15 LantarenVenster 5 Press & Industry SCREENING Tue 28-1 11:30 Pathé 3

Twenty-three years after the Romanian Revolution, Bucharest is rebelling again. The elderly, the unemployed, youngsters, students, police officers, town crackpots, political activists and philistines all gather in the streets of the city, overwhelmed by a common desire for a better life, though none of them have a clear, practical understanding of what kind of life that should be. Vlad Petri followed their stories for one year, from the first days of the antigovernment protests to the time of the referendum against the president. His personal attitude and understanding of the events go much deeper than the political dimension of the protests: he presents this contemporary revolution as a theatre of the absurd, an improvised spectacle made by people who are lost but still hold on to their hopes and illusions. All of them are desperately looking for something they probably will never find, or even for something that just does not exist anymore.

E agora? Lembra-me What Now? Remind Me Joaquim Pinto

Portugal, 2013 | colour, DCP, 164 min, Portuguese Prod: Isabel Machado, Joana Ferreira | Prod Comp: C.R.I.M. | Sc: Joaquim Pinto | Cam: Joaquim Pinto, Nuno Leonel | Ed: Joaquim Pinto, Nuno Leonel | Sound Des: Joaquim Pinto, Nuno Leonel | Music: WhoMadeWho, Jacques Ibert, Carl Maria von Weber, Ludwig van Beethoven | Print/Sales: C.R.I.M. | www. presente.pt/WhatNow.html Public SCREENINGS Thu 23-1 18:00 LantarenVenster 1 Fri 24-1 12:00 Pathé 4 Tue 28-1 12:00 Pathé 1 Fri 31-1 18:15 Pathé 5 Press & Industry SCREENING Tue 28-1 15:10 LantarenVenster 4

Joaquim Pinto has been HIV positive for almost twenty years and recently participated in experimental testing on new antiviral drugs that are not yet approved. What Now? Remind Me focuses on this heavy experience but presents it only as a part of Pinto’s life, which by no means can be defined by conditions of his body. There is something else there: true love between Joaquim and his husband (and co-author) Nuno, absolute devotion displayed by their friends and – especially – dogs, Joaquim’s memories about the past that are indestructible despite the fact that it is difficult for him to remember things that just happened. Actually, this film is another experiment that Pinto courageously undertook with himself. An experiment to prove that any life is indefinable and indefinite, even if depicted in all its physiological details and impartially filmed under the microscope.

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Silence radio Valéry Rosier

France/Belgium, 2013 | colour, DCP, 52 min, French Prod: Delphine Schmit, Isabelle Mathy, Denis Delcampe | Prod Comp: Perspective Films, Need Productions | Sc: Valéry Rosier | Cam: Olivier Boonjing, Mathieu Cauville | Ed: Nicolas Rumpl, Didier Vandewattyne | Sound Des: Arnaud Calvar, Guilhem Donzel, Aurélie Valentin, Olivier Wils | Print: Perspective Films | Sales: Doc & Film International Public SCREENINGS Wed 29-1 22:00 LantarenVenster 5 Thu 30-1 16:45 Cinerama 5 Sat 1-2 22:15 Cinerama 2

A village in the French countryside inhabited mainly by the elderly people. Their life is slow and still, as if time stopped many years ago. Indeed, time always stops when something crucial happens in life; the end of love or a loss of a loved one. Every villager has his or hers own intimate sorrows, griefs, moments of joy. All of them share the same ‘pain relief’, which happens in this case to be a local radio station broadcasting in an old-fashioned style and that is at the heart of their community. Valéry Rosier makes a subtle yet spectacular portrait of these people, captured in the intimate moments of loneliness, nostalgia, longing. They are silently portrayed at their homes, in the local Luna Park, in the old interiors and derelict surroundings of provincial Europe, filmed as contemporary installations of passing and recurring time. These expressive visuals seem both compassionate and ironic at the same time. Semi-feature: new presentation format that foregrounds the so-called mid-length film.

A mãe e o mar

The Mother and the Sea Gonçalo Tocha

Portugal, 2013 | colour, DCP, 91 min, Portuguese Prod: Dario Oliveira | Prod Comp: Curtas Metragens CRL | Sc: Gonçalo Tocha | Cam: André Guiomar, Gonçalo Tocha | Ed: Gonçalo Tocha, André Guiomar, Rui Ribeiro | Sound Des: João Cruz, Pedro Ferraz | Print: Agencia – Portuguese Short Film Agency | Sales: Curtas Metragens CRL | www.curtas.pt/agencia/filmes/326 Public SCREENINGS Sat 25-1 19:30 Cinerama 4 Thu 30-1 09:15 Cinerama 2 Sat 1-2 11:45 LantarenVenster 5

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Portuguese fishing village Vila Cha is supposed to be the last place on earth where a small traditional community of fisherwomen still exists, though their traditions are gradually fading away. There used to be more than a hundred boats in the village, but less than ten remain today. Goncalo Tocha makes a purely cinematographic exploration of this unique culture that is under threat of disappearance. Representing this place as a genius loci, a deserted place with an ancient mythology and an epic past, the traces of which can be recognised on the faces of local villagers. Tocha’s view is sensitive, austere and profound. Long contemplative takes convey the grandeur of this small silent place, while the murmuring of the sea sounds like an echo of an irretrievable world.

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Muisteja – Pieni elokuva 1950-luvun Oulusta

Remembrance – A Small Movie About Oulu in the 1950s

Peter von Bagh

A master of archival filmmaking, Peter Von Bagh spent his childhood and early teens in the small Finnish town of Oulu. There, he went to the cinema for the first time and fell in love with it. There, as a child, he experienced war, when the town was bombed during World War II. In Remembrance, he revisits Oulu and reconstructs its turbulent history, from the 1940s to the present day, as well as his own past. Found footage, historical reels, paintings, poetry and other artefacts related to Oulu are masterfully composed to form a poignant portrait of both time and place, concrete and universal at once. Von Bagh’s personal journey becomes an archaeological adventure and works as a magical ‘time machine’, proving that cinema is the best keeper of time and memories.

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Signals: Mysterious Objects – 25 Years of Hubert Bals Fund

Unexpected Impressions Bianca Taal 2014 marks the 25th anniversary of the Hubert Bals Fund (HBF) – a quarter of a century throughout which the Fund has supported more than a thousand film projects from all over the world. A good reason to celebrate!

The range of films supported cannot possibly be grouped into any one category, varying as they do from absolute classics to daring experiments; from international co-productions to ultra-lowbudget films; from socially committed to controversial; from modest to exuberant; from shocking to feel-good. Which films stick in the memory after 25 years of the Hubert Bals Fund? Possibly the ones that won the most awards, such as Uncle Boonmee Who Can Recall His Past Lives or 4 Months, 3 Weeks and 2 Days, both of which won Golden Palms in Cannes. Or the films that were released all over the world, such as Grbavica; Batalla en el cielo; Who the Hell Is Juliette? and, earlier this year, Wadjda. Or then again, maybe those that have gone on to become ‘world cinema classics’, such as Heremakono, Frozen, Buud Yam and Opera Jawa. Mysterious Objects

In Mysterious Objects – 25 Years of Hubert Bals Fund however, we are choosing to celebrate the Fund’s 25th anniversary with films that may not spring to mind so quickly. Mysterious Objects that illustrate another, yet not less exciting, part of the fund’s history. A programme dedicated to the unexpected, the unique, the sometimes underrated or unjustly forgotten films. This name we have given to our anniversary celebrations refers to the debut film by Thai director Apichatpong Weerasethakul – a filmmaker who is now seen as among the very top international film auteurs. His later works, which include Tropical Malady, Syndromes and a Century and the above-mentioned Uncle Boonmee Who Can Recall His Past Lives, have screened in cinemas around

The Forsaken Land

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the world. We have decided to show one of his films that is a little less well-known: Mysterious Object at Noon. A unique and completely original film that cannot easily be defined through words and labels, it is part-documentary, part-fiction: human, creative, engaged, wondrous, fantastical and intelligent. An ode to the art of filmmaking. How It All Started

It has become a famous anecdote within the walls of the IFFR Offices: In the late 1980s, Huub Bals, the founder of IFFR, met Chinese filmmaker Chen Kaige in Cannes. Chen was at the time screening his film The King of Children there, but couldn’t find the finance to complete his latest work. Huub decided to help in the search for financing, and came up with the idea of a Fund for independent film auteurs. The Fund became a reality after Bals’ sudden death, and was named after it’s originator. Chen Kaige’s Life on a String was among the first films to receive support from the HBF. A good reason to make this philosophical and stunningly beautiful parable a must-see in the programme. Pioneers

In the course of its 25-year existence, the Hubert Bals Fund has undergone many changes. What has remained unchanged is the Fund’s eye for talent. Because ultimately, the Fund is all about pure, unadulterated cinema; about films by pioneers in the field of the modern, artistic film; about filmmakers with a distinctive voice. One such film auteur who has proved an inspiration to many others is Mexican director Carlos Reygadas (Battle in Heaven; Silent Light; Post tenebras lux). When Reygadas approached the Fund with footage for his first feature Japón, it was immediately clear that an exceptional talent had arrived. an exceptional talent had arrived. The world premiere of Japón created a buzz throughout the Film Festival Rotterdam in 2002. Afterwards Reygadas returned to the editing booth and cut a new version that premiered at the Cannes film festival that same year. Reinterpreting Realities

Subjects and realities in the countries where the HBF is active, are naturally reflected in the films supported by the fund. Issues concerning immigration, displacement and a sense of belonging are a recurring subject. One of the most striking films on these themes in the Fund’s history is Elia Suleiman’s Chronicle of a Disappearance, which depicts the loss of national identity for the Arab minorities in Israel. War, trauma and the effects of atrocities are portrayed in a completely original and almost impressionist way by Vimukthi Jayasundara in The Forsaken Land. At the time Jayasundara’s project was submitted to the Fund, there had been few applications from Sri Lanka. Like no other, the resulting film brings home the atmosphere of constant threat and the indescribable traumas brought about by war and civil war. In her film Les silences du palais, Moufida Tlatli discusses the oppression of women, without adopting a preaching tone; in fact, she has created a film that is timeless, layered and poetic. Garin Nugroho’s A Poet is an exceptional reinterpretation of an extremely violent period in the history of Indonesia, interspersed with music and poetry. Waves

We often see a sudden incredible rise in creativity and productivity in film in a particular country or region. There may have been a particularly successful class at a film school, pooling together

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exceptional talents; or one successful director may have inspired others. An example of this is the HBF’s support in its early years for significantly more projects from Africa than in later periods. It has been a long time since a film from Guinea-Bissau has reached screens internationally. In Mysterious Objects, we are therefore screening a unique African film from the early 1990s: The Blue Eyes of Yonta. A cheerful love story that at the same time does not shy away from political analysis. Martín Rejtman was a precursor of an entirely different kind with his feature debut Rapado in 1992. At that time, Argentinian cinema was usually political, dialogue-driven and did not travel well internationally. Rejtman broke through all of the stereotypes with his debut. Then, in the late 1990s and early 2000s, a whole stream of talent emerged from Argentina – a wave of filmmakers with distinctive voices, who really put Argentine cinema back on the map. People such as Pablo Trapero, Lucrecia Martel, Adrian Caetano and a little later Rodrigo Moreno, Celina Murga and Santiago Loza unfolded their talent in unique films, supported by the Hubert Bals Fund. This has made Argentina the country that has most often received support from the HBF. Alive and Kicking

Of course, the festival is not just looking back at everything the Hubert Bals Fund has done in the past. The Fund is very much alive and kicking today, allowing an unceasing flow of ‘mysterious objects’ to find their way onto cinema screens. Once again this year, new films supported by the Fund are included in many of the festival sections. For example, the Thai film Concrete Clouds by Lee Chatametikool (Weerasethakul’s editor, by the way) is competing in the Hivos Tiger Awards Competition and Zanj Revolution, the latest film from Algerian auteur Tariq Teguia, about resistance to oppression in the Arab world, screens in Spectrum. In addition, this year Rodrigo Moreno’s Reimon will compete for The Big Screen Award. The programme we are presenting this year is only possible thanks to the efforts of everyone who has contributed to the Hubert Bals Fund over the past 25 years. We would like to thank all subsidy providers and Funds that have made and continue to make the Hubert Bals Fund possible, and above all the people who have made the Fund what it is today: Huub Bals, Marianne Bhalotra, Iwana Chronis, Ludmila Cvikova, Emile Fallaux, Simon Field, Sandra den Hamer, Ilse Hughan, Janneke Langelaan, Marco Müller, Dicky Parlevliet, Gerwin Tamsma, Rutger Wolfson, Gertjan Zuilhof.

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Bian zou bian chang Life on a String Chen Kaige

China, 1991 | colour, 35mm, 1:1.66, 120 min, Mandarin Prod: Don Ranvaud, Karl Baumgartner | Prod Comp: Beijing Film Studio, Serene Productions, Pandora Film Produktion GmbH | Sc: Chen Kaige, based on a short story by Shi Tiesheng | Cam: Gu Changwei | Ed: Pei Xianan | Prod Des: Shao Ruigang | Sound Des: Tao Jing | Music: Qu Xiaosong | With: Liu Zhong-yuan, Huang Lei, Xu Qing, Zhang Zhenyuan, Ma Ling, Yao Jin-gou | Print/Sales: Kino Lorber Public SCREENINGS Fri 24-1 22:00 Cinerama 2 Wed 29-1 12:45 Pathé 4

Two blind musicians are travelling to a remote village in Mongolia: an old master who hopes one day to see the world again, and his young pupil Shitou. As a boy, the master was given a secret recipe that could heal him, but only after the thousandth string on his qin (a traditional instrument) has broken. In the meantime, the pupil rebels against the ascetic life of his master, dedicated completely to music. He falls in love with a peasant girl, provoking the anger of the village community. Life on a String is about the power and magic of faith. Real dreams and feelings are buried deep, hidden from the outside world – this is how Kaige saw the conformist, fearful silence in China. Life on a String, by now legendary director Chen Kaige (Farewell My Concubine, Together and The Emperor and the Assassin, among others) was the first film to be supported by the Hubert Bals Fund.

Rapado Martín Rejtman

Argentina, 1992 | colour, 35mm, 1:1.66, 75 min, Spanish Prod: Martín Rejtman | Sc: Martín Rejtman | Cam: José Luis García | Ed: Garry Lane | Prod Des: Alejandro de Ilzarbe, Erika Skoka | Sound Des: Gabriel Coll Barberis, Javier Salinas | Music: Grupo Suárez, Paul M. van Brugge | With: Ezequiel Cavia, Damián Dreizik, Mirta Busnelli, Horacio Peña, Lucas Marty, Cecilia Biagini, José Glusman | Print/ Sales: EYE Film Institute Netherlands Public SCREENINGS Wed 29-1 22:30 Cinerama 2 Sat 1-2 16:30 LantarenVenster 6

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Having been robbed of his moped and his sneakers, Lucio wanders aimlessly around Buenos Aires at night, barefoot. He is not having much luck: the shoes a friend gives him are too small and the 100-peso note he wants to pay the bus fare with turns out to be a forgery. Banal conversations follow, at home with his parents, with his friend on the street; playing games in the arcade. And who had Lucio’s digital watch again? He hides his parents’ hacksaw under his bed. In vain, he tries sawing through the lock on another moped. In 1992, Rapado unleashed a real sensation within Argentine and Latin American cinema; finally a film about the present, instead of a political historical film. In Rapado, Martin Rejtman created a style completely his own, followed by a wave of innovative cinema in the late 1990s and early 2000s. Rejtman himself went on to make e.g. Silvia Prieto and The Magic Gloves.

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La nuit

The Night Mohamad Malas

Syria, 1992 | colour, video, 125 min, Arabic Prod: Omar Amiralay | Sc: Mohamed Malas, Usama Muhammed | Cam: Youssef Ben Youssef | Ed: Kais Al Zubaidi | Sound Des: Thierry Sabatier | With: Sabah Jazairi, Omar Malas, Riad Chahrour, Maher Sleibi, Fares Kelou | Print/Sales: Mohamad Malas Public SCREENINGS Sat 25-1 09:30 Cinerama 3 Thu 30-1 21:45 LantarenVenster 2

The Night tells a personal story about the history of Syria, up to the moment the neighbouring country of Israel was founded. The grave of a man – a member of the Palestinian resistance – lies in El Quneitra, a Syrian town on the Golan Heights – a town that was destroyed by the Israelis in 1967. The man’s son Mohamad Malas tries to piece together his father’s past, helped by the scattered memories of his mother. The images in the film that illustrate the father’s story are stylised and deliberately overly beautiful. For Malas, this is a way to banish the shame and humiliation that adhere to the image of his father and the town, occupied by the Israelis. An exceptional look back at another period of struggle and bloody resistance in Syria. The director Malas is seen as the first film auteur in his country, and is still active as a filmmaker in Syria, in spite of the current civil war.

Udju azul di Yonta The Blue Eyes of Yonta Flora Gomes

Guinea-Bissau, 1992 | colour, video, 95 min, Portuguese Prod: Paulo de Sousa | Prod Comp: Vermedia | Sc: Flora Gomes, Ina Césaire, David Lang, Manuel Rambout Barcelos | Cam: Dominique Gentil | Ed: Dominique Paris | Sound Des: Pierre Donnadieu, Anita Fernandez | Music: Adriano G. Ferreira-Atchutchi | With: Maysa Marta, Jorge Quintino Biague, Marcelo Cabral, Jacquelina Camara, Rui Manuel da Costa, Gervasio Anibal da Mata, Pedro Dias | Print/Sales: Marfilmes Public SCREENINGS Mon 27-1 22:15 LantarenVenster 3 Thu 30-1 09:30 Cinerama 1 Sat 1-2 13:30 Pathé 3

The Blue Eyes of Yonta tells a tragicomic love story in a colourful, poignant and loving way. Young Yonta is growing up in Bissau, the capital of Guinea-Bissau in West Africa, a country that won independence less than 20 years ago. All day long, she thinks of no one else but Vicente, a friend of her parents and a former freedom fighter. Vicente, however, has no interest in Yonta whatsoever. And she, in turn, pays no attention whatsoever to Zé, a young man who worships her. Besides a story of love and desire, The Blue Eyes of Yonta also offers us an intimate look at society in GuineaBissau in the early 1990s. Vicente fought for independence but, like so many others, is disappointed and disillusioned by the lack of realisation of the promised social reforms for which so many fought so hard. In his first feature Mortu Negra, Gomes looked back at the struggle – The Blue Eyes of Yonta continues his analysis of post-colonial Guinea-Bissau.

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Samt el Koussour Les silences du palais Moufida Tlatli

Tunisia, 1994 | colour, 35mm, 1:1.66, 127 min, Arabic Prod: Richard Magnien, Ahmed Baha Eddine Attia | Prod Comp: Mat Films | Sc: Moufida Tlatli | Cam: Youssef Ben Youssef | Ed: Moufida Tlatli | Prod Des: Claude Bennys | Sound Des: Faouzi Thabet | Music: Anouar Brahem | With: Amel Hedhili, Hend Sabri, Najia Ouerghi, Ghalia Lacroix, Sami Bouajila, Kamel Fazaa, Hichem Rostom | Print/Sales: Fortissimo Films Public SCREENINGS Sun 26-1 14:15 Cinerama 2 Fri 31-1 12:00 LantarenVenster 2

25-year-old Alia is working as a singer at a dull wedding when she hears that Prince Sid’Ali has died. The news confronts Alia, who grew up in his palace, with her past again. She visits the palace where she spent her childhood and adolescence and where her mother was a servant. While she wanders through the deserted corridors, we experience through the eyes of the younger Alia the world of the women who were kept as luxury slaves in the palace while the struggle against colonial oppression raged outside. In her memories, we meet her brave mother, who protected Alia against the furtive desires of the prince and we experience Alia´s painful and silent quest for the identity of her father. This layered, emotional story is an indictment that reflects the situation of women of the later generation. In 1994, Tlatli picked up the best debut award in Cannes. More recently, following the Tunisian revolution, she was briefly Minister of Culture.

Minjing gushi

On the Beat Ning Ying

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Beijing in the 1990s is a city where the urge for modernity and innovation is bringing about great and rapid changes. Lost among impressive skyscrapers and desolate blocks of flats, there is a police station manned by officers who have trouble keeping up with the pace of progress. Community policeman Yang Guoli works long hours, which causes a lot of stress for his family. When a drunk is bitten by a rabid dog, the authorities decide to instigate a big clean-up campaign. So the cops’ workload gets even bigger. This comic ensemble film is the second part of Ning’s Beijing Trilogy, which analyses developments in the Chinese capital. All the actors are non-professionals – in fact, the cops are real Chinese community police officers. in terms of his themes, director Ning can be seen as one of the Sixth Generation of filmmakers, which includes Jia Zhangke. With On the Beat, she expands her horizon by portraying a traditional community that is being threatened on all sides by modernity.

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Few of Us Sharunas Bartas

Lithuania/France, 1996 | colour, 35mm, 1:1.37, 105 min, no dialogue Prod: Paulo Branco | Prod Comp: Mad Filmes, Gemini Films | Sc: Sharunas Bartas | Cam: Sharunas Bartas | Ed: Mingaile Murmulaitiene | Sound Des: Vladimir Golovnitsky | Music: Victor Copytsko | With: Katerina Golubeva, Sergei Tulayev, Piotr Kishteev, Yulia Inozemtseva, Konstantin Yeremeev, Minoru Hideshima, Monoru Hieshima | Print/Sales: EYE Film Institute Netherlands Public SCREENINGS Tue 28-1 14:30 Cinerama 2 Fri 31-1 14:15 Cinerama 3

A young woman, played by Katerina Golubeva, arrives by helicopter in the snow-covered and God-forsaken part of Siberia where the Tofalars live. They are an Asian people that was still nomadic at the turn of the century. The people were forced to settle down, but they still live in their houses as if they were nomads. In this almost documentary film, director Sharunas Bartas captures the lives of the Tofalars in intuitive series of images – faces, everyday activities but also the awe-inspiring beauty and incredible emptiness of the landscape. Atmospheric, sad and mysterious. The marvellous Golubeva, who died much too young in 2011, was pregnant by her husband Bartas at the time of filming. Few of Us contains no dialogue but has a beautiful soundtrack, to which Bartas has added a few lines of poetry by A. Ribnikov: ‘We are but few, damn it, so few, but worst is that we are separated from one another.’

Segell ikhtifa

Chronicle of a Disappearance Elia Suleiman

Israel, 1996 | colour, 35mm, 1:1.85, 88 min, Arabic/ Hebrew/French/English Prod: Amir Assaf, Elia Suleiman | Prod Comp: Dhat Productions | Sc: Elia Suleiman | Cam: MarcAndré Batigne | Ed: Anna Ruiz | Prod Des: Samir Srouji, Hans Ter Elst | Sound Des: Stéphane Brunclair | With: Elia Suleiman, Ola Tabari, Nazira Suleiman, Fuad Suleiman, Ali Suliman, Juliet Mazzawi, Fawaz Eilemi | Print/ Sales: Pyramide International Public SCREENINGS Mon 27-1 16:30 Cinerama 2 Tue 28-1 14:30 LantarenVenster 2

After living in New York for many years, Palestinian filmmaker Elia Suleiman returned to Israel in the early 1990s. He used his position as halfinsider, half-outsider to analyse the extent to which the Arab population of Israel is losing its national identity. In a witty, ironic mix of narrative, documentary and autobiography, we meet the urban Arab middle class: a retired man who plays computer games while smoking a shisha, two bored men filling bottles of ‘holy water’ from the tap, and a young woman looking for an apartment. All this while grotesque Israeli police cars zoom around looking for terrorists. Elia Suleiman is at the same time director and protagonist, and also plays roles as a character and a viewer, a mediator and narrator – like the film itself, he moves between documentary, fiction, past memories and the present. The film competed in the Tiger Awards Competition in 1997.

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Puisi tak terkuburkan A Poet Garin Nugroho

It started with the murder of seven generals in Jakarta, on 12 October 1965. Suharto’s government blamed the Communist rebels and ordered a gulf of arrests and executions. Estimates of the number of victims vary from half a million to two million. The poet Ibrahim Kadir, from rebellious Aceh province, was accused of being a Communist activist and jailed for 28 days. In A Poet, Kadir plays himself and filmmaker Nugroho reinterprets the mass murder and ‘the wounds of history’. Largely innocent prisoners, brought together by hellish conditions and the threat of execution, determine the rhythm of the film by singing traditional ‘didong’ poetry with Kadir. Many of the actors had personal experience of the tragedy. Almost immediately after Suharto’s resignation, Indonesian films began addressing the purges of the 1960s. A Poet appeared just two years after the resignation.

Dogfar nai mae marn Mysterious Object at Noon Apichatpong Weerasethakul

Thailand, 2000 | b&w, 35mm, 1:1.85, 85 min, Thai Prod: Gridthiya Gaweewong, Mingmongkol Sonakul | Prod Comp: 9/6 Cinema Factory, Firecracker Film Co., Ltd. | Sc: Apichatpong Weerasethakul | Cam: Prasong Klinborrom | Ed: Apichatpong Weerasethakul | Sound Des: Paisat Phanpruksachat, Adhinan Adulayasis | With: Duangjai Hiransri, Kongkeirt Komsiri, Saisiri Xoomsai | Print/ Sales: Österreichisches Filmmuseum Public SCREENINGS Sat 25-1 12:30 Pathé 3 Mon 27-1 09:15 LantarenVenster 5 Thu 30-1 19:15 Pathé 4

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Armed with a tape-recorder, Apichatpong Weerasethakul and his crew travel through Thailand. He gets the various people he encounters to tell an episodic story together, each one picking up where the previous one left off. The social positions and jobs of these people vary greatly. Quarrelling food sellers, a TV addict-cum-boxer, a devout female cop and a loveless rubber-tree peeler all make their own contribution to this ‘chain story’ about a young disabled boy and his teacher. The more people the director portrays, the more complex and bizarre the story becomes. What starts off as a drama is transformed into fantasy, horror and romance. At the same time, this Thai hidden treasure shows that the lives of ordinary people are just as mysterious and wondrous as the stories that Weerasethakul has them tell. An exceptional introduction to the Thai master who won a Golden Palm in Cannes in 2010 for Uncle Boonmee Who Can Recall His Past Lives. Restored in 2013 by the World Cinema Foundation and the Austrian Film Museum in close collaboration with Apichatpong Weerasethakul.

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25 Years of Hubert Bals Fund

Japón Carlos Reygadas

Mexico/Spain, 2001 | colour, video, 143 min, Spanish Prod: Carlos Reygadas | Prod Comp: NoDream Cinema | Sc: Carlos Reygadas | Cam: Diego Martínez Vignatti, Thierry Tronchet | Ed: Daniel Melguizo, Carlos Serrano Azcona, David Torres | Prod Des: Alejandro Reygadas, Elsa Díaz | Sound Des: Ramón Moreira, Gilles Laurent | Music: D. Shostakovich, Arvo Pärt, J.S. Bach | With: Alejandro Ferretis, Magdalena Flores, Carlo Reygadas Barquín, Martín Serrano, Rolando Hernández, Yolanda Villa, Bernabe Pérez | Print/Sales: NDM Public SCREENINGS Sat 25-1 19:00 Cinerama 3 Fri 31-1 14:45 LantarenVenster 2

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With Japón, Carlos Reygadas set the tone for his later work – a compelling, existential drama about death, sex, love and religion, located in a stunning landscape. A man from the city goes to a village in a remote, majestic ravine to prepare for his suicide there. He finds shelter with an old widow. After a couple of days and entirely against his intention, a couple of things bring him back to the land of the living. Firstly, a cousin of the widow who has just come out of jail wants to rob the old woman and secondly, the man’s sexual instincts are suddenly awoken. Having screened in Rotterdam, this fascinating debut attracted attention everywhere, was re-edited by Reygadas and had a second world première at the Cannes film festival, where his next three films also screened.

Ana y los otros Ana and the Others Celina Murga

Argentina, 2003 | colour, 35mm, 1:1.85, 80 min, Spanish Prod: Carolina Konstantinovsky, Celina Murga | Sc: Celina Murga | Cam: Marcelo Lavintman, José María Gómez | Ed: Martín Mainoli | Prod Des: Sebastián Corujo | Sound Des: Federico Billordo | With: Camila Toker, Ignacio Uslenghi, Juan Cruz Díaz la Barba, Natacha Massera | Print/Sales: Centro Galego de Artes da Imaxe Public SCREENINGS Sun 26-1 22:30 Cinerama 2 Tue 28-1 09:00 LantarenVenster 6 Sat 1-2 09:45 Pathé 4

After many years away, 25-year-old Ana returns from Buenos Aires to the town where she was born. She is looking for her past but when she arrives it turns out there’s not much left. She walks the streets and along the riverbank on a hot summer’s day; places she used to know very well. She feels at home here, but also a stranger. She sees a photo her ex-boyfriend Mariano took in the local newspaper. She asks all her old acquaintances about him. Apart from that, she has nothing much to say to these people. Celina Murga’s multi-award-winning debut film Ana and the Others is an intimate portrait of a woman looking for her memories, for people and places from her youth. Ana’s Rohmerian search brings up both questions and answers from the past, and these cause her to think about her future. The film rests on the capable shoulders of Camila Toker in the role of Ana.

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4 Ilya Khrzhanovsky

Russia, 2004 | colour, 35mm, 1:1.66, 126 min, Russian Prod: Yelena Yatsura | Prod Comp: Filmocom | Sc: Vladimir Sorokin | Cam: Alisher Khamidkhodjaev, Aleksandr Ilkhovsky, Shandor Berkeshi | Ed: Igor Malakhov | Prod Des: Shavkat Abdusalamov | Sound Des: Kirill Vasilenko | With: Marina Vovchenko, Irina Vovchenko, Svetlana Vovchenko, Sergey Shnurov, Yuri Laguta, Konstantin Murzenko, Aleksei Khvostenko | Print/Sales: Coproduction Office Public SCREENINGS Mon 27-1 12:45 Pathé 4 Tue 28-1 17:00 LantarenVenster 2

An unlikely trio meet in an anonymous bar: a businessman in the meat-processing business, a piano tuner and a prostitute. In absurd, intriguing monologues, each of them presents themselves as someone else. They talk about cloning and government conspiracies; there are huge grey areas between truth and fabrication. All of these truths and untruths resonate loudly throughout the rest of the film. We are plunged into inimitable impressions of country life, with scenes of wild eruptions and unpredictable, bacchanalian excess. 4 is an experience – one which can be seen as a window on contemporary Russia. But at the same time is also much more universal: what is human in a world that is anything but human? In short, an impressive debut, recognised with a Tiger Award in 2005. Khrzhanovsky’s next film is in the process of being edited. Dau is a project that already has taken on mythical proportions and has been described as one of the wildest experiments in film history.

Sulanga enu pinisa The Forsaken Land Vimukthi Jayasundara

France/Sri Lanka, 2005 | colour, video, 108 min, Sinhalees Prod: Philippe Avril | Prod Comp: Unlimited, Les Films de l’Etranger | Sc: Vimukthi Jayasundara | Cam: Channa Deshapriya | Ed: Gisèle Rapp-Meichler | Prod Des: Rohan Samaradivakara... | Sound Des: Alberto CrespoOcampo, Franck Desmoulins, Nicolas Naegelen | Music: Nadeeka Guruge | With: Mahendra Perera, Kaushalya Fernando, Nilupili Jayawardena, Hemasiri Liyanage, Saumya Liyanage, Pumudika Sapurni Peiris | Print/ Sales: Memento Films International Public SCREENINGS Sun 26-1 10:00 LantarenVenster 3 Tue 28-1 22:15 Pathé 4

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Sunrise. A lone tank drives into a suspiciously quiet war zone: a tiny rural hamlet, inhabited by just one family. For more than 30 years, Sri Lanka was ravaged by a civil war between government troops and the ‘Liberation Tigers of Tamil Eelam’. There is no peace in The Forsaken Land. A fragile ceasefire seems to be in effect, but fresh fighting could break out at any moment. Loosely structured scenes from the everyday life of the family pass by in this void, constant tension and stalemate. Far from civilisation, surrounded by lush palm trees and pools of blood, the members of the family are caught in a suffocating atmosphere characterised by cruelty, desperation and absurdity. This unusual feature debut by Jayasundara won the Camera d’Or at Cannes. He then continued to examine the wounds left by this struggle in his subsequent films.

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The Whole World in a Drop of Rain Olaf Möller Nils Malmros (1944, Denmark) is one of those cases: a world-class master, yet on the margins of film culture. Which is not to say that he’s a marginal figure, or even marginalized – just that he belongs to the precious few whose work never seems to ‘fit in’ with any current fad or trend – there’s always someone hipper, more daring, more provocative, more outré, or to put it bluntly, more obvious, who therefore gets featured and pushed instead.

Starting with his second feature-length work, Lars Ole 5.C (1973), and then reinforced by the follow-up, Boys (1977), Malmros developed a presence and standing both within Denmark and abroad; most of his films have screened, even premiered, at A-list festivals (if not necessarily in competition); quite a few have been distributed internationally (Lars Ole 5.C and Boys in the Netherlands by Film International, the earlier incarnation of IFFR). Over the decades, he has won a multitude of awards, most of them at home; he even has a devoted following. And yet, most people outside of Denmark will say, ‘Nils who?’. That he’s an autodidact for whom filmmaking is essentially a passion might also have something to do with this: the self-taught have a tendency to follow only the beat of their own drum. Also, that he keeps his distance from the Danish capital: Malmros lives in his birthplace, and favourite real-life set, Århus. His ‘hobby’ (from which he earns his living) is medicine: he’s a physician, who for two years worked as a neurosurgeon, like his father. The Core

Auteurs like Malmros, whose virtues are humility, discretion, simplicity and an almost brutal desire for honesty, are always timely. In the global image marketplace, this means: easy to put (push) aside for the time being. Maybe also, because a cinema like his – which unflinchingly goes for the essence of life without ever making a big thing of it, a cinema at once poetically and cruelly realistic and spiritual (maybe above all else) – demands a lot from its viewers, but will invariably give back more than it asks. Film for film, from his début manqué A Strange Love (1968) via established classics like Tree of Knowledge (1981) and widely ignored masterpieces in need of serious reappraisal like Barbara (1997), right up to his latest, Sorrow and Joy (2013), Nils Malmros asks just the following from his audience: that they be open, take themselves and their lives seriously, and be willing to see their own joys, doubts and pains reflected in the images up there on the screen. Life, as Such

Sorrow and Joy seems to mark the coming of the right moment to pay homage to Nils Malmros, as the film plays like an all-

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Facing the Truth

encompassing summary of his life and work so far – not to mention that it might be the greatest film he ever made. Malmros previously made such a ‘provisional summing-up’ work once before, in 1989; Århus By Night. Then as now, he tells the story of a filmmaker’s travails, modelled closely on his own life, but without being autobiographical. Malmros is very strict about this: neither Frederik nor Johannes is meant to be a representation of him – they’re creations born from certain episodes in his life. The same goes for many other characters: Kirsten in Pain of Love (1992) and Signe in Sorrow and Joy are not Malmros’s wife; Helge of Tree of Knowledge and Toke of Aching Hearts are not Niels Holm-Nielsen, who in a documentary about Malmros said he’s the source for both; Richard Malmros of Facing the Truth (2002) is not Malmros’s father, even if he carries his name, and Mette in Beauty and the Beast is not Line Arlien-Søborg – even if she’s played by her and was, at the time of Sorrow and Joy, that particular film’s raison d’être. That said: for Sorrow and Joy, to give but one example, Malmros recreated whole scenes from (the shooting of) Tree of Knowledge and Beauty and the Beast, and is also precise about their festival screenings (Cannes and Berlin, respectively). Malmros walks a very thin line, which at least once (in Facing the Truth) resulted in a heated public debate. Then again: the titles alone should make it very clear that Malmros is after something other than recreating history. He tries to extract something of value from the experiences he or people close to him have had. Put simply: Malmros considers himself just as extra/ordinary as any other human being. If he looks hard and unflinching enough at what he has seen and heard and done, and what has been done to him and with him, and if he tries to be as objective as possible about it, then he can create a tale from it which will be meaningful to others. However, he needs to retain this contact with his own history, and wishes to make it very clear in his films that his very particular life is the source from which he has arrived at his conclusions. The Raw

This need to stay as close as possible to the source was also the reason for Malmros’s long-time preference for amateurs as his

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Aching Hearts

film’s lead actors – and the best of those are, of course, children. It is tempting to say, therefore, that during the 1970s and 80s his cinema dealt mainly with growing up. Even as the productions grew bigger (and involved more work on their set designs and costumes, considering that all of his films are set somewhere in the more or less recent post-war past, except for Barbara and Facing the Truth which are set even further back in time), he preferred to make his films in a spirit free of the constraints and demands commonly associated with professional filmmaking; in some of the more extreme cases, chiefly Tree of Knowledge and Aching Hearts, he took several years to shoot the films, so the actors could age with their parts – taking realism to a rare extreme. It seems that, just like his protagonists, Malmros himself needed to grow up – to gather some experience so as to be able to deal with the ‘artifice’ that so strongly characterizes adult life and professional film production. The Soul, Its Bones

Some might mourn the loss of spontaneity in Malmros’s works from the mid-1990s on, with his sole literary adaptation, Barbara, as a caesura (but then, everybody should have one Barbara in his or her life). From there on, Malmros’s cinema developed a serenity and a severity; a spiritual strength and depth found in few films of more recent vintage. Malmros has arrived at that stage where he needs do less and less to get to each scene’s core: the point where less needs to be said or done by the actors (now he’s apt at working with professionals, and does wonders with them as well); where less needs to be shown and heard; where the images become ever emptier and the soundscape ever sparser. There’s something at once so relaxed and so focused, so clear, about life and how to express what needs to be expressed, that the simplest gesture seems to go straight to the heart of the matter. Barbara; Aching Hearts; Facing the Truth and Sorrow and Joy are at once devastating and elevating – films that themselves can become fundamental experiences in our lives, if we are open enough; willing enough to believe in man’s goodness.

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Sorg og glæde Sorrow and Joy Nils Malmros

Denmark, 2013 | colour, DCP, 107 min, Danish Prod: Thomas Heinesen | Prod Comp: Nordisk Film A/S | Sc: Nils Malmros, John Mogensen | Cam: Jan Weincke | Ed: Birger Møller Jensen | Prod Des: Marianne Junge | Sound Des: Jan Juhler | Music: Jan Juhler | With: Jakob Cedergren, Helle Fagralid, Ida Dwinger, Kristian Halken, Nicolas Bro, Helle Hertz, Niels Weyde | Print/Sales: TrustNordisk Public SCREENINGS Tue 28-1 16:00 LantarenVenster 5 Wed 29-1 16:30 Pathé 1 Sat 1-2 15:15 Pathé 5 Press & Industry SCREENING Mon 27-1 11:15 Cinerama 5

When filmmaker Johannes returns from a lecture one evening, he finds a house in mourning and terror. That same afternoon, his wife, a teacher, has killed their baby – not out of spite or hate, but a sense of despair and loneliness and psychosis. Johannes doesn’t judge her, but tries to get to grips with all the ways he has failed her without ever meaning any harm. The pupils and their parents want her back. Only the State and its representatives need to be convinced that society needs this woman. Sorrow and Joy is a meditation on the limits of human laws and the infinite possibilities of kindness and understanding; a deeply protestant melodrama on grace; a sum total of Malmros’s life as well as his filmmaking; a perfect starting point for a voyage of discovery through a strikingly intimate cosmos in which every human being should be able to recognize at least some of himself or herself. One of the greatest films of contemporary cinema.

Kærestesorger Aching Hearts Nils Malmros

Denmark, 2009 | colour, video, 121 min, Danish Prod: Thomas Heinesen | Prod Comp: Nordisk Film A/S | Sc: Nils Malmros, John Mogensen | Cam: Jan Weincke | Ed: Birger Møller Jensen | Prod Des: Søren Krag Sørensen | Sound Des: Jan Juhler, Michael Dela | Music: Gunner Møller Pedersen | With: Jesper Svane, Simone Tang, Thomas Ernst, Peter Schrøder, Peter Flyvholm, Thomas V. Solnæs, Sofie Linde Lauridsen | Print: Danish Film Institute | Sales: Nordisk Film International Sales Public SCREENINGS Fri 31-1 19:15 Cinerama 3 Sat 1-2 16:45 Cinerama 3

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Jonas and Agnete commit to one another while still at school. As others shyly experiment with first love and desire, make tacit attempts at more serious forms of togetherness, they try to make their relationship work, hard as it is. A semi-official, 1960s Viborg-set sequel to Tree of Knowledge, in that some of the characters are based on the same friends and acquaintances of Malmros (to give one example: Tree of Knowledge’s Helge and Aching Hearts’s Toke are both inspired by a certain Niels HolmNielsen). Like its predecessor, Aching Hearts was shot over the course of three years, so the protagonists could age in front of the camera. The main difference between the films is Malmros’s own maturing as a director: while Tree of Knowledge is carried by a certain spontaneity and eager curiosity, Aching Hearts has a laid-back quality with urgency and decisiveness – an unhurried precision; a feel for the essential that comes with experience.

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At kende sandheden Facing the Truth Nils Malmros

Denmark, 2002 | b&w, video, 98 min, Danish/German Prod: Thomas Heinesen | Prod Comp: Nordisk Film A/S | Sc: Nils Malmros, John Mogensen | Cam: Jan Weincke | Ed: Birger Møller Jensen, Else Højsgaard | Prod Des: Søren Krag Sørensen | Sound Des: Jan Juhler | Music: Gunner Møller Pedersen | With: Jens Albinus, Lise Stegger, William Rosenberg, Søren Østergaard, Preben Harris, Lasse Broust Andersen, Peter Schrøder | Print: Danish Film Institute | Sales: Nordisk Film International Sales Public SCREENINGS Fri 31-1 16:45 Cinerama 3 Sat 1-2 09:00 LantarenVenster 6

Malmros’s father Richard was a famous Danish neurosurgeon who got dragged into a scandal when it became public that, during the German occupation he had, for want of alternatives, used Thorotrast as a radiocontrast agent in his operations, putting hundreds of people at risk of an early demise through liver cancer. To properly look at Facing the Truth we need to know that Malmros himself also worked for some time as a neurosurgeon – it’s Malmros himself who’s performing the operations in the film. Which is to say that Facing the Truth is not a biopic about Richard Malmros and his times. The film takes the basic situation, the core dilemma and the general circumstances of Malmros’s life as a starting point for a work on considerations that are more complex, wider, more general: choice, guilt and the nature of desperate measures.

Barbara Nils Malmros

Denmark, 1997 | colour, video, 143 min, Danish/Faroese Prod: Per Holst | Prod Comp: Per Holst Film | Sc: Jørgen-Frantz Jacobsen | Cam: Jan Weincke | Ed: Birger Møller Jensen | Prod Des: Søren Krag Sørensen, Lasse Westfelt | Sound Des: Tiziano Crotti, Jan Juhler | Music: Gunner Møller Pedersen | With: Anneke von der Lippe, Lars Simonsen, Trond Høvik, Jesper Christensen, Jens Okking, Helene Egelund, Jytte Kvinesdal | Print: Danish Film Institute | Sales: Nordisk Film International Sales Public SCREENINGS Thu 30-1 21:30 Cinerama 3 Sat 1-2 19:00 LantarenVenster 6

Tórshavn in the 18th century: Poul, the new pastor for Várga parish, arrives by ship in the Faroe archipelago’s capital. Among the people waiting there for him is Barbara, the widow of his two(!) predecessors, their comparatively early demises blamed on her demanding nature. Barbara is indeed a free spirit who chooses to love or pleasure whom she fancies. Despite all the locals’ spiteful, envious warnings, Poul falls in love with her. Barbara is a visually splendid, wryly ironic melodrama about marriage, desire, rumour-mongering, hypocrisy, promiscuity, faith and fidelity based on Jørgen-Frantz Jacobsen’s eponymous classic; and Malmros’s only film rooted essentially in his passion for cinema: Barbara looks and feels like his version of a Truffaut costume drama, i.e. a work in the vein of La Sirène du Mississippi (1969) or L’histoire d’Adèle H. (1975). An overlooked masterpiece ripe for serious re-appraisal.

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Pain of Love Nils Malmros

Denmark, 1992 | colour, video, 120 min, Danish Prod: Per Holst | Prod Comp: Per Holst Film, Mekano Pictures | Sc: Nils Malmros, John Mogensen | Cam: Jan Weincke | Ed: Birger Møller Jensen | Prod Des: Søren Krag Sørensen | Sound Des: Niels Arild | Music: Gunner Møller Pedersen | With: Tanja Skov, Martin Berg, Marianne Pedersen, Majken Jensen, Laura Katborg, Niels Ørnen Norup, Søren Overgaard | Print: Danish Film Institute | Sales: Nordisk Film International Sales Public SCREENINGS Thu 30-1 14:00 LantarenVenster 6 Fri 31-1 11:30 Cinerama 3

Scenes from the life of Kirsten, covering her childhood and teenage years to early adulthood. How she discovers sex and men; how one guy after the other turns out to be a disappointment; how her life slowly becomes a lukewarm hell of depression and despair. Kirsten’s life is closely – but not too closely – modelled on that of Malmros’s wife, making Pain of Love a pendant to Sorrow and Joy. Here, many of the experiences and dilemmas the later work only alludes to are examined in detail. And while Sorrow and Joy finds it in itself to end on a note of unquiet grace, Pain of Love is a down into the abyss – Kirsten’s sense of loneliness, inadequacy, smallness in a world that seems so demanding and vast is simply crushing. Pain of Love is one of the most devastating, excruciating, troublesome, exhilarating, enlightening experiences within Malmros’s oeuvre.

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Århus by Night is something of a turning point in Malmros’s work. Above all, it’s his first work not only inspired by his own experiences and observations but a reflection of his life in, with, through and for cinema. It has a highly ambiguous relationship with what we might call factual truth. Frederik, the auteur of Århus by Night, is not Malmros, even if the films he did so far bear a striking resemblance to Malmros’s (the same goes for Johannes in Sorrow and Joy which ‘takes off’, give or take, where Århus by Night stops). In its moods and tones, it’s a step away from the intimate poetics of his earlier work, moving towards a slightly folksier idiom befitting a period torn between a glibly superficial sense of the permissive and a deep-seated suspicion against any real kind of bourgeois liberty. Århus by Night is a broad comedy and a melodrama and a realist exposé. And his first film carried more by professional than amateur actors.

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Beauty and the Beast Nils Malmros

Denmark, 1983 | colour, 35mm, 90 min, Danish Prod: Per Holst | Prod Comp: Per Holst Film | Sc: Nils Malmros | Cam: Søren Berthelin, Jan Weincke | Ed: Birger Møller Jensen | Prod Des: Peter Høimark | Sound Des: Niels Arild, Leif Jensen | Music: Gunner Møller Pedersen | With: Line Arlien-Søborg, Jesper Klein, Merete Voldstedlund, Carsten Jørgensen, Eva Gram Schjoldager, Brian Theibel, Jan Johansen | Print: Danish Film Institute | Sales: Nordisk Film International Sales Public SCREENINGS Wed 29-1 22:15 Cinerama 3 Fri 31-1 09:15 Cinerama 2

Mette is sixteen and driving her dad mad, partly with jealousy. Although he’d never put it like that, and maybe he doesn’t think that that’s what he feels when he finds pictures of a semi-naked Mette taken by a young man whose desires are kind of met by his daughter. Everybody here is in-between, feeling opaque; no one is innocent, even though pure and devoid of guile. Beauty and the Beast is a headfirst dive into the realm of hebephilia as a study of intertwined confusions – of a daughter discovering her sexuality and of a father having to deal with the feeling of being at once too old and not old at all. The part of Mette was written especially for Line ArlienSøborg, while the father, as Sorrow and Joy will show, is based on Malmros and his own confused feelings for Tree of Knowledge’s grand acting revelation.

Kundskabens træ Tree of Knowledge Nils Malmros

Denmark, 1981 | colour, DCP, 110 min, Danish Prod: Per Holst | Prod Comp: Per Holst Film | Sc: Nils Malmros, Frederick Cryer | Cam: Jan Weincke | Ed: Janus Billeskov Jansen, Merete Brusendorf | Sound Des: Niels Arild, Per Assentoft, Merete Brusendorf | Music: Per Hillers Danseorkester, Saratoga Jazzband | With: Eva Gram Schjoldager, Jan Johansen, Line Arlien-Søborg, Marian Wendelbo, Gitte Iben Andersen, Brian Theibel, Erno Müller | Print: Danish Film Institute | Sales: Nordisk Film International Sales Public SCREENINGS Tue 28-1 19:15 LantarenVenster 6 Wed 29-1 19:30 Cinerama 2 Fri 31-1 15:45 Pathé 3

Århus in the late 1950s: Elin already knows more about love than the other boys and girls of her class – this puzzles/attracts the former while making the latter anxious, jealous and angry. Niels-Ole, all the while, has his eyes set on a girl from a form below. Tree of Knowledge is something like an experiment in real time, as Malmros shot his film over the course of two years so his young actors could mature at exactly the same pace as their characters. Befitting of study in mores and time, Tree of Knowledge is composed of anecdotes and episodes, telling details, fleeting glances and gestures – the stories of Elin, Niels-Ole and the other youngsters who, for a moment, are given centre stage only to melt back into the group are but fine arcs holding the various movements and impressions gently together. A prime example for Malmros’s poetics of humility.

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Drenge Boys Nils Malmros

Denmark, 1977 | colour, video, 86 min, Danish Prod: Steen Herdel, Nils Malmros | Prod Comp: Steen Herdel Film, EBC Film | Sc: Nils Malmros, Frederick Cryer | Cam: Morten Arnfred, Morten Bruus, Dirk Brüel | Ed: Janus Billeskov Jansen | Music: Gunner Møller Pedersen | With: Mads Ole Erhardsen, Jesper Hede, Mette Marie Hede, Lone Rode, Poul Clemmensen, Lotte Hermann, Mikkel Hede | Print: Danish Film Institute | Sales: Nordisk Film International Sales Public SCREENINGS Wed 29-1 14:30 LantarenVenster 2 Thu 30-1 16:45 Cinerama 3

A film in three movements about boys growing (not necessarily maturing) into men. From getting a basic notion of it via first personal experience to finally finding a certain sense of sexual freedom – with all the responsibilities and pain that brings. If Lars Ole 5.C was an attempt to find the whole world in one youngster’s striving, fun, desire and befuddlement, then Boys looks for the essence of male development – the typical: how little tykes turn into men. As to be expected from Malmros, things turn out to be rather complex. All fun and carefree frolicking is tinged with some bitterness while even crazy carousing and boozing might sow the seeds of sweet memories; allegorically speaking, Boys finds less playful images for this. In the end, Boys is probably kinder to mankind than it deserves – a show of grace for which we all should be grateful.

Lars Ole 5.C Nils Malmros

Denmark, 1973 | b&w, video, 87 min, Danish Prod: Nils Malmros | Prod Comp: EBC Film, Dansk Lydteknik | Sc: Nils Malmros | Cam: Nils Malmros, Erik Nygaard | Ed: Nils Malmros | Music: Gunner Møller Pedersen | With: Søren Rasmussen, Lars Randrup Mikkelsen, Judith Nysom, Svend Schmidt-Nielsen, Rikke Malmros, Nils Malmros, Finn Stein Larsen | Print: Danish Film Institute | Sales: Nordisk Film International Sales Public SCREENINGS Tue 28-1 21:452 LantarenVenster 6 Wed 29-1 12:002 Cinerama 3

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Scenes from the schoolyard. Lars Ole is in love with Inger who’s going steady with his friend Hanse. When the latter does something stupid, Lars Ole does something mean. Both pay, in very different way. Lars Ole 5.C, Malmros’s national as well as international breakthrough, turned out to be something like the master mould for his oeuvre to come – the importance of youngsters and school life and working with amateurs. Compared with Tree of Knowledge and Aching Hearts, his later films on teenagers struggling with love, sex and the whole damn thing, Lars Ole 5.C is a rather raw piece of work, unruly, even a bit wild – as becomes its protagonists, who like to play pranks, tell each other dirty jokes and have fun with farts. For these kinds of pleasures, Lars Ole and his friends withdraw into a secret space all of their own which they have discovered in a dilapidated factory – could it be a cinema? Screens together with Christmas by Your Friends.

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En mærkelig kærlighed A Strange Love Nils Malmros

Denmark, 1968 | b&w, video, 69 min, Danish Prod: Nils Malmros | Sc: Nils Malmros | Cam: Nils Malmros, Peter Stokholm | Ed: Nils Malmros | Music: Gunner Møller Pedersen | With: Mogens Johansen, Susanne Posborg, Finn Richardt, Niels Christian Jensen, Mogens Helmer Petersen, Elisabeth Schmidt-Nielsen, Jacob Sonne | Sales: Nordisk Film International Sales Due to the amateur nature of the film, there will be no public screenings.

Three moderately bewildered young Århusians trying to make sense of love, life, God and the rest. Malmros’s very short – and rarely screened – first feature, made with almost no money and starring family and friends, owes a lot to the example of François Truffaut while already showing the future master’s unique genius and virtues in the raw. Malmros has mixed feelings about A Strange Love, probably because it was brutally rejected by the critical establishment back then as a purely imitative exercise. Looking today at it, the pretty obvious Nouvelle Vagueisms have a certain innocent charm – like 1960s hairstyles, skirts, chairs or cars. More important are all the ways in which A Strange Love markedly differs from Truffaut et al., especially in its work with amateur actors, as well as in a sense of directorial determination, clarity of intent that lends some weight and force even to the most light-hearted throwaway moments. Malmros is often a free spirit, but never frivolous.

Supporting Film Nils Malmros Kammesjukjul

Christmas by Your Friends Nils Malmros Young Mads wants to throw a Christmas party – which, he will find out, might include doing things that run counter to the benign spirit of the little tyke in the manger. A brief fable for all seasons on compromises and illusions. Screens together with Lars Ole 5.C. Denmark, 1978 | colour, video, 40 min, Danish Prod Comp: DR International Sales | Sc: Nils Malmros | Cam: Morten Bruus, Dirk Brüel | Ed: Janus Billeskov Jansen | Sound Des: Per Assentoft, Nils Malmros | Music: Gunner Møller Pedersen | With: Morten Reinholdt-Møller, Harald Micklander, Johnny Nissen, Søren Pilmark, Svend Schmidt-Nielsen | Print/Sales: DR International Sales Public SCREENINGS Tue 28-1 21:452 LantarenVenster 6 Wed 29-1 12:002 Cinerama 3

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Signals: Regained

Random Access Memories Edwin Carels

POST SCRIPT

Every year, there are so many filmmakers and artists who choose to deal directly with images, sounds, themes or texts from cinema’s rich legacy. These works are all new, but they are not just ‘contemporary’. They create a particular sense of cinematic experience, as they merge the present with the past.

A typical example is the documentary Trespassing Bergman, that leads us to the remote house of the late Ingmar Bergman, with its surprising viewing room full of curious VHS tapes. The living testimonies of many important filmmakers create not only an indirect, ‘invisible’ portrait, but also offer a reflection on what the impact can be of one director on several consecutive generations of filmmakers. Regained not only deals with the tradition of the narrative feature film. There is the much-delayed European premiere of a just restored experimental portrait film, Tiger Morse, shot by Andy Warhol himself. And there are two major projects that revive home movies in a unique way. Yaël André presents the world premiere of a Super-8 film compilation, Quand je serai dictateur. Through a very inspired voice-over, the anonymous footage is transformed into a deeply personal, subjective story. Rick Prelinger on the contrary asks the audience in the room to deliver their own voice over, through impromptu live comments during the screening, just like one comments on amateur movies at home. Nowadays, the language of cinema is used in many contexts outside of the conventional cinema. The exhibition POST SCRIPT unites seven artists who’ve created important new work by revisiting, re-editing or otherwise recycling older, classic films. The media they use vary from film posters to photoshop animation and from vinyl records to light boxes. The rereading of cinema’s past goes on in the exhibition in PrintRoom, where a video work, some artist’s flipbooks and newly published study on filmed paintings in Hollywood cinema form the starting point. If anything, this year’s harvest of Regained works demonstrates that also in cinematic terms, ecological thinking can be one of the most adventurous contemporary attitudes.

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POST SCRIPT This exhibition unites new works and installations that are ‘haunted’ by art house classics. Each work references films that are etched in every cinephile’s memory. Every day from Thu 23 Jan to Sat 1 Feb, 12:00-18:00, De Gouvernestraat, Gouvernestraat 133, free admission.

What an Excellent Day for an Exorcism Pablo Sigg

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Besides this evocation, Sigg presents Anemic Cinema (2008), a projection of the same scene, now manipulated into an animation film. The artist is interested in the gaps or hollow territories that the cinematographic space can generate, the crease formed by the physical and immaterial space of cinema. See also The Will to Power in Grand Tour. Mexico, 2010 | colour, video, 3 min Cam: Pablo Sigg | Ed: Pablo Sigg, Carlos Chávez

Photomontage/ Mon beau souci Mark Rappaport

Rappaport combines movie images into an alternative film history, based on the cinephile canon. Both well-informed and highly irreverent, his subversive meta-fictions trigger our desire for impossible encounters on the screen. But the same images also haunt our daily lives and our private dreams. WORLD PREMIERE

France, 2013 | colour/b&w

Joan the Woman – With Voice

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Satz is interested in the impact of women on technology, particularly in relation to early cinema. Handtinting was typically a woman’s job. The images of Joan’s death are also a memento of the fleeting existence of traditional film. The soundtrack by Maja Ratke adds a more personal dimension to the motif. See also Doorway for Natalie Kalmus in compilation programme Epilogues in Regained.

United Kingdom, 2013 | colour Music: Maja Ratkje | www.iamanagram.com/joan_the_woman.php

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Wide.Love.Resist. Beautiful.Seduction. Violence.Your.game. Jelena Vanoverbeek

By sampling and remixing fragments of images and texts from movie posters into new and mysterious configurations, Vanoverbeek directs attention to a phenomenon that is seldom questioned, although it has been around since the earliest public exhibitions of film. She reinvents the format through her poetic approach. WORLD PREMIERE

Belgium, 2014 | colour www.wedontentertainmuch.be

Temps mort Jasper Rigole

The title refers to the last images people shoot after they’ve returned from their holidays, in order to fill the reel and send it to the lab. The term also refers to the empty moments, typical for Antonioni’s films. Rigole’s work is both a meditation on cinema, memory and the elusiveness of intimacy. Belgium, 2010 | colour, 20 min Sc: Jasper Rigole | Ed: Jasper Rigole | www.jasperrigole.com

Black and White Movies Mika Taanila

Making an appeal to what our collective memory associates with a film, Taanila destroyed his tape of Out of the Past with gunshots, Kiss Me Deadly and White Heat through explosion and burning, and The Incredible Shrinking Man was put in the microwave. The series totals sixteen variations. Finland, 2013 | b&w

The gillian Hills Trilogy Keith Sanborn

Besides new versions of her notorious ‘threesome’ scenes from Blow Up and Clockwork Orange (one now in ‘real’ time, the other in a random re-edit), the installation prominently features the ‘intercourse’ between the British and American edits of Edmond T. Gréville’s Beat Girl, a lurid genre picture with Gillian Hill in the lead. WORLD PREMIERE

USA/UK, 2013 | colour/b&w, video, 118 min, English Ed: Keith Sanborn | Sound Des: Keith Sanborn | Music: Keith Sanborn | With: Gillian Hills, Jane Birkin, Sir Christopher Lee, Malcolm MacDowell, Barbara Scott

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Regained Installations

55505 Pareidolia

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Lloyd Dunn

Stripping away any referential basis from the images and sounds, Dunn attempts his own form of ‘pure cinema,’ without any narrative or documentary concerns. If anything, this sequence of abstracted configurations evokes the evolving states in the life-spans of organisms and machines. USA Ed: Lloyd Dunn | Sound Des: Lloyd Dunn | www.nula.cc

The Dark Pages

The Dark Galleries by Lisa Colpaert and Steven Jacobs is a fictitious museum guide on portrait paintings. The flip book Dark Pages by Maaike Gouwenberg and Joris Lindhout is based on the writer, journalist and playwright Nelson Rodrigues. A second video compilation focuses on museums in contemporary films. Netherlands/Belgium, 2014 www.printroom.org

//MY_HanD_DRaWn_ SCREEnSaVER// Eno Swinnen

Swinnen combines his animated interpretations of Kurosawa, Kubrick and other high-calibre names with much more prozaic images of anime girls and computer-game heroes. Formally, he contrasts traditionally drawn, figurative images in black-and-white with aggressive, purely artificial colour gradients. Belgium, 2014 | colour/b&w Sc: Eno Swinnen | Ed: Eno Swinnen | www.mynameiseno.tumblr.com

What Do You Want from Me? (I asked You a Thousand Times) Savage

Resonating through 60 years of cinematic history, from the earliest version in the 1942 classic Keeper of the Flame to the 2011 Source Code, the question ‘What do you want from me?’ appears born out of frustration, anger or fear. The obsessive repetition promptly invites a comparative study in acting.

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United Kingdom, 2013 | colour, 23 min, English Ed: Savage

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Epilogues From the poetic to the political, and from the aesthetic to the theoretical this compilation revisits the impact of cinema. Not without humor. Public SCREENINGS Sat 25-1 14:15 LantarenVenster 5 Sun 26-1 16:45 LantarenVenster 5

g Is the Dial Andrew Lampert

Once a familiar instrument to project moving images, the amateur household 16mm projector and its reel of film now appear nearly impossible to decode. Archivist, filmmaker and performance artist Lampert playfully brings all his concerns together in this short situation comedy with a happy ending. See also El adios largos in this compilation programme. WORLD PREMIERE

Experiments in Buoyancy Calum Walter

At a technical level, Calum creates a hybrid combination of digital and analog. He lets pixels and toner fight abrasion and decay, moving in and out of legibility, presenting the moving image as inherently unstable. Thematically, he explores the tendency of both the living and the inanimate to submit to gravity. InTERnaTIOnaL PREMIERE

Handful of Dust Hope Tucker

Rates of cancer in the filmâ&#x20AC;&#x2122;s cast and crew reflect it being shot downwind during the period of above-ground nuclear testing. This remake is composed of hundreds of cyanotypes, exposed with the original negatives from 1954. The Prussian blue of the images is understood to counteract radiation poisoning. USA, 2013 | colour, video, 9 min, English Prod: Hope Tucker | Sc: Hope Tucker | Cam: Hope Tucker | Ed: Hope Tucker | Print/Sales: Hope Tucker | www.theobituaryproject.org

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Abigail Child

This short film was conceived as a sexy chapter in the collectively made feminist biodrama The Filmballad of Mamadada. Child not only built her reputation by experimenting with narrative tropes and innovative montage, but equally by her free-spirited address of love and sexual mores.

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The Dark galleries Nicolas Provost

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This perfect blend of cinema and painting was commissioned to supplement a book study. Provost elegantly exploits the rules of editing to create an imaginary museum visit. He guides us through living rooms and picture galleries of 1940s and 1950s noir crime thrillers, gothic melodramas and ghost stories. See also in Spectrum Shorts The Painters in compilation programme Plastic People and Butterfly of Love in compilation programme Survival Strategies.

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a Third Version of the Imaginary Benjamin Tiven

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In a visual and narrative echo chamber, Tiven addresses videoâ&#x20AC;&#x2122;s addressing of film. Interested in the increasing interchangeability between objects and data, he constructs his works so that they enact the questions they tackle. Material facts in one medium become aesthetic facts in another work.

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Kenya/USA, 2012 | colour, video, 12 min, Swahili

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The Emblazoned apparitions Philip Solomon

This film was a commission from filmmaker Chuck Workman for his feature film What Is Cinema? Solomon used outtakes from his own three-channel video American Falls (2010). A master of both experimental film and digital recycling, Solomon applies his alchemy to footage of Chaplin and Keaton. EUROPEan PREMIERE

Doorway for natalie Kalmus Aura Satz

Natalie Kalmus was the ex-wife of technicolour inventor Herbert Kalmus, and was the colour consultant on hundreds of colour films, including The Wizard of Oz, Gone with the Wind and The Red Shoes. Satz’s tribute to this theorist of ‘colour consciousness’ also brings to mind Paul Sharits and Dario Argento. See also Joan the Woman – With Voice in compilation programme POST SCRIPT in Regained. United Kingdom, 2013 | colour, video, 7 min, no dialogue Prod: Aura Satz | Cam: Aura Satz, Tim Sidell | Ed: Aura Satz | Sound Des: Gernot Fuhrmann | Music: Aura Satz, Steven Severin | Print/Sales: Aura Satz | www.iamanagram.com

El adios largos Andrew Lampert

In 1973, Altman’s The Long Goodbye was a total flop. Film archivist Lampert serendipitously purchased a Spanish version online and, with a strong sense of professional self-irony, returned this 16mm, black-andwhite, cropped, dubbed print back to its original 35mm, colour, widescreen, English-language splendor. See also G Is the Dial in this compilation programme. EUROPEan PREMIERE

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Kurenniemi’s Cinematic Collaborations

Once described as a Finnish hybrid of Karl-Heinz Stockhausen, Buckminster Fuller and Steve Jobs, Erkki Kurenniemi also had a talent for filmmaking. Selected by Mika Taanila.

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Electronics in the World of Tomorrow

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Cut-out images from American magazine Electronics rotating on a turntable create a vertiginous effect and form the steady basis of this hypnotic film. The soundtrack features Kurenniemi’s own first recording, the blasting noise piece On/Off. Remastered and edited by Erkki Kurenniemi and Mika Taanila in 2002.

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The Jump Eino Ruutsalo

An odd combination of black humour and melodramatic anxiety blends scantily clad ladies and concentration camps, hand-painted waste footage and studio shots of a man (actor Kaarlo Juurela) in felt boots. The avalanche of electronic music by Kurenniemi is an early prototype of minimalist techno. See also Kinescope in this compilation programme. Finland, 1965 | colour, 35mm, 5 min, no dialogue Prod: Eino Ruutsalo | Cam: Eino Ruutsalo | Ed: Eino Ruutsalo | Music: Erkki Kurenniemi | With: Kaarlo Juurela | Print: Finnish National Audiovisual Archive KAVA | Sales: Liisa Ruutsalo-Vaahtio

Flora & Fauna Erkki Kurenniemi

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An incorrigible techno buff, Kurenniemi would occasionally also get ‘good vibes’ from nature mysticism. In the fantastically colourful Flora & Fauna, close-ups of inchworms and spiders merge in double and triple exposures with shimmering water and darkness of a dense conifer forest. Finland, 1965 | colour, video, 6 min, no dialogue Prod: Erkki Kurenniemi | Cam: Erkki Kurenniemi | Ed: Erkki Kurenniemi | Sound Des: Erkki Kurenniemi, Mika Taanila | Music: Erkki Kurenniemi | Print/Sales: Kiasma

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EMS nr 1 Ralph Lundsten

The collaboration between Kurenniemi and Swedish electronic music composer Ralph Lundsten worked both ways: Kurenniemi built instruments for Lundsten and Lundsten’s psychedelic short films influenced Erkki’s filmmaking. This visionary film features sounds recorded by Lundsten on machines built by Kurenniemi. Finland, 1966 | colour/b&w, 16mm, 14 min, Swedish Prod: Ralph Lundsten | Cam: Ralph Lundsten | Ed: Ralph Lundsten | Music: Ralph Lundsten | Print/Sales: Filmform

Spindrift Erkki Kurenniemi, Jan Bark

In 1965, Swedish composer/musician Jan Bark proposed an experiment for a new kind of ‘music for black-and-white TV’. Bark’s friend Erkki Kurenniemi programmed the animations. The original version was lost: this reconstruction was made with the help of Bark’s diaries, laboratory notes and reminiscences from people involved. Finland, 1966 | b&w, video, 15 min, no dialogue Prod: Jan Bark | Sc: Jan Bark | Cam: Jan Bark, Wulf Meseke | Ed: Thomas Öhrström | Sound Des: Jan Bark, Beng Nyqvist | Music: Bengt Berger, Jan Bark, Bengt Ernryd | Print/Sales: Kiasma

The Punched Tape of Life

Elämän reikänauha Erkki Kurenniemi

In this satirical film, Kurenniemi explores the possibilities of a symbiosis between man and machine with contemporaneous knowledge. The computer is a ‘giant brain’ – a future-building companion we can hate and mock at the same time. The soundtrack consists of the collaborative tape piece Bells (1969). Finland, 1967 | colour, video, 8 min, no dialogue Prod: Erkki Kurenniemi | Cam: Erkki Kurenniemi | Ed: Erkki Kurenniemi | Music: Otto Donner, Antero Honkanen, Osmo Lindeman, Markku Mäkelä, Hasse Walli | With: Anja Salmenhaara, Raimo Tuomela | Print/Sales: Kiasma

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Tietokoneet palvelevat Computers Serve Risto Jarva

The futuristic aesthetics of Computers Serve offers an illustrative account of the history of computers, their prospects and the risks within, as seen in 1968. The voice-over accentuates the highly topical promulgation set against the dangers of monotonous office work and computer totalitarianism. Finland, 1968 | colour, 35mm, 14 min, Finnish | Sc: Risto Jarva, Pertti Jotuni, Lasse Naukkarinen | Cam: Lasse Naukkarinen, Antti Peippo | Ed: Lasse Naukkarinen | Sound Des: Jaakko Pakkasvirta | Music: Erkki Kurenniemi | With: voice of Kalle Holmberg | Print: Finnish National Audiovisual Archive KAVA | Sales: Filminor

Kinescope Eino Ruutsalo

Eino Ruutsaloâ&#x20AC;&#x2122;s cinematic testament. Includes discarded footage from his films and kinetic experiments, as well as unexposed stock. These clips were treated by throwing them on the floor and walking on them. On the electronic soundtrack, we hear a collective stream of consciousness by Donner, Kurenniemi and Ruutsalo from 1967. See also The Jump in this compilation programme. Finland, 1960 | colour, 35mm, 11 min, no dialogue Prod: Eino Ruutsalo | Cam: Eino Ruutsalo | Ed: Eino Ruutsalo | Music: Eino Ruutsalo, Erkki Kurenniemi, Otto Donner | Print: Finnish National Audiovisual Archive KAVA | Sales: Liisa Ruutsalo-Vaahtio

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Quand je serai dictateur

I Will Be Dictator Heinz EmigholzWhen – Short Films I Yaël André

Two cinematographic movements and a series of unpredictable thoughts: the world premiere of Emigholz’s latest work Two Museums andThere the third instalment of his in this are only two protagonists Miscellanea series, followed by a discussion withinvisible. Heinz There film, and both remain Emigholz. is the narrator, who addresses us in a

confidential tone. And there is ‘George’, his imaginary friend. But there are many more personae: the imagined Belgium, 2014 | colour/b&w, lives of a an adventurer, a psychopath, DCP, 90 min, French a perfect mother, an accountant and an Prod: Yaël André | Prod Zwei Museen invisible man... Comp: Morituri | Sc: Yaël André | Although the film appears divided Two Museums Cam: Didier Guillain | Ed: Luc Plantier, into short thematic chapters, its real Yaël André | Sound Des: Sabrina Heinz Emigholz strength lies in the associative flow that Calmels | Music: Hughes guides us along a surrealist chain of Maréchal | With: voice of Laurence thoughts, hypotheses and dreams. In Vielle | Print/Sales: Morituri One museum is the Mishkan LeOmanut the images, the decades from the 1940s in kibbutz Ein Harod, founded in the thepresent day appear all mixed up. Public SCREENINGS to 1930s and built in2 1948 by Samuel Sat 25-1 15:15 Pathé Yaël André’s storyline and editing Sun 26-1 19:15 Cinerama Bickels. The other is 6The Menil technique Collectionmake in Houston, Texas, built us see these Thu 30-1 14:15 LantarenVenster in 1986 by Renzo Piano. 5What combines two places the use anonymousthese and quite genericishome of light in their architecture, themovies latterwith inspired byeye, theasformer. Part a fresh if they were Press & Industry SCREENING the firstthat of their kind. 22 Emigholz’s architectural studies form the The filmcombination collection Fri of 24-1 22:15 Cinerama 4 of text and images results in a bizarre Photography and Beyond. meditation Germany, 2014 | colour, DCP, 20 min, no dialogue on truth and fiction, life and death, grief451 and| Cam: joy. Heinz Emigholz | Prod: Frieder Schlaich, Irene von Alberti | Prod Comp: Filmgalerie Public SCREENING Fri 24-1 14:15 LantarenVenster 5 WORLD PREMIERE

Ed: Heinz Emigholz, Till Beckmann | Sound Des: Jochen Jezussek, Christian Obermaier | Print: Filmgalerie 451 | Sales: Patra Spanou Film Marketing & Consulting | www.pym.de

Miscellanea III Heinz Emigholz

Mille soleils

A Thousand Suns Mati Diop A meditation on ruins and remains linked strongly to the US chapters of Portrait of Magaye Niang, who played Photography and Beyond. A rumination theAlead in the African classic Touki on a nation and dream in tatters. Bouki by Djibil Diop Mambéty in 1973. cautious reminder of ever-lurking horrors: a glimpse of the warship In A Thousand Suns,the Niang attends a Puglia, not far from the sarcophagus containing mortal remains special screeningarchitectural of this film about a of Gabriele d’Annunzio. Part 10 of Emigholz’s studies France, 2013 | colour, couple who want nothing more than that form the film collection Photography and Beyond. DCP, 45 min, Wolof to emigrate from Senegal to France. Prod: Corinne Castel | Prod35mm, 22 min, German/English Germany, 2005 | colour, Ultimately, the man stays behind in his Sanders| Prod Comp: Anna Films |Comp: Sc: Mati Prod: Heinz Emigholz Pym Films | Cam: Heinz Emigholz | Ed: Heinz homeland, just as Niang did. Forty years Diop | Cam: Héléne Louvart, MatiObermaier Diop | Emigholz | Sound Des: Christian | Print: Filmgalerie 451 | Sales: Patra Spanou later, he is still a livestock farmer and Ed: Nicolas Milteau | Prod Des: Corinne Film Marketing & Consulting | www.pym.de/en/alle-filme/77/738-miscellanea-iii we see him walk the streets of Dakar, Castel | Sound Des: Alioune Mbow, Bruno Ehlinger | With: Magaye Niang | grumpy and drunk. Some boys at the Print/Sales: Anna Sanders Films Touki Bouki screening don’t believe him when he says he was the lead. Public SCREENINGS A Thousand Suns was made by Mati Fri 24-1 22:00 LantarenVenster 5 Diop, filmmaker Djibil Diop Mambéty’s Sat 1-2 16:45 Cinerama 5 niece. Just like Touki Bouki, Diop’s film mixes fact and fiction creating a suitable homage to the classic her uncle directed, but above all a sensitive portrait of a man who, in his own words, ‘lost himself’. Semi-feature: new presentation format that foregrounds the so-called mid-length film.

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Signals: Regained

Natan Paul Duane, David Cairns

The case of innovative entrepreneur Bernard Natan demonstrates how intolerance can turn the greatest success into a nightmare. Although his energy and creativity dominated the French film industry of the 1920s and 30s, his name remains erased from the collective memory, or worse: misremembered in the most unflattering way. The man who brought sound cinema to France and Cinemascope to the screen before the word even existed was blacklisted as a Jew, a sexual pervert and a foreigner. The Nazi camps did the rest. And French film historians never restored his reputation. Tellingly, it was a British duo that took the initiative for this fascinating documentary. In France, the name Natan remains largely forgotten, even to generations of film students who receive their education in the very buildings that Natan erected as the heart of the future film industry. A story that needs to be told. Screened together with Mr leos caraX.

Interior. Leather Bar. James Franco, Travis Mathews

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Actor James Franco and director Travis Mathews star as themselves in a docufiction that is a reminder of a notorious case of censorship. In 1980, William Friedkin had to accept a cut of forty minutes to his film Cruising. In later video and DVD releases, these scenes of explicit homosexual action remained missing. The purpose of Interior. Leather Bar. is not a perfect reconstruction, but rather to raise the issue of Hollywood’s homophobia and American attitudes towards sexual politics in general. This attempt at re-imagination questions the concept of normalcy and alerts us to unspoken taboos. The undercover actions of Al Pacino, who in Cruising is hunting a serial killer in New York’s gay scene, become an appeal for selfinvestigation. On another level, the film is also a finetuned documentary about the process of making a film and the dynamics of finding a comfortable position in another person’s story. Screened together with Tiger Morse.

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Double Play Gabe Klinger

USA/France/Portugal, 2013 | colour, DCP, 70 min, English Prod: Nicholas Rogister de LaMothe, Sonia Buchman, Berndt Mader | Prod Comp: Gladys Glover Films, The Bear Media, Bando à Parte | Cam: Eduard Grau | Ed: Gabe Klinger | Sound Des: Vasco Carvalho, Justin Hennard, Pedro Marinho, Pedro Ribeiro | Print/Sales: Cinetic Media Public SCREENINGS Fri 24-1 22:15 Pathé 3 Sun 26-1 14:30 Cinerama 7 Fri 31-1 16:45 LantarenVenster 5

Trespassing Bergman

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Double Play compares the work of two ostensibly very different American directors: experimental filmmaker James Benning, known for his observational films such as Ten Skies and Small Roads, and Richard Linklater, the man behind the independent Slacker and the trilogy Before Sunrise, Before Sunset and Before Midnight. Linklater was also responsible for Hollywood productions like The School of Rock and Bad News Bears. Before becoming a filmmaker, Linklater founded the Austin Film Society where he met Benning when the latter came to show a number of his films. In Double Play Benning returns to Texas, where Linklater once again screens his work. They spend a couple of days together discussing their oeuvres. They have a lot in common: a dislike of narrative manipulation, an interest in new ways of telling stories and both seek means to expand cinema’s rules. Illustrated by excerpts from their films.

Jane Magnusson, Hynek Pallas

Sweden, 2013 | colour, DCP, 107 min, English/ Swedish/Japanese/ German/Chinese/Danish Prod: James Velaise | Prod Comp: Pretty Pictures | Sc: Jane Magnusson, Hynek Pallas | Ed: Orvar Anklew, Steve Ericsson, Mikael Jönsson | Music: Jonas Beckman, Lars Kumlin | Print/Sales: First Hand Films Public SCREENINGS Thu 23-1 14:00 LantarenVenster 3 Fri 24-1 16:30 Cinerama 2 Wed 29-1 14:15 Cinerama 5

The home that belonged to Ingmar Bergman (1918-2007) on the Swedish island of Fårö was turned into a museum after his death. Bergman, who watched three films a day, owned 1,711 video tapes: from Die Hard and Emmanuelle to Haneke’s La pianiste. A number of filmmakers whose films he owned, speak about the impact the director had on them. Some travel to Fårö, to see for themselves how isolated Bergman’s house was. ‘If cinema is religion, then this is Mecca or the Vatican,’ says Alejandro Gonzáles Iñárittu respectfully as he arrives on Fårö in the middle of the night. The films discussed run from Summer with Monika (1953) to Fanny and Alexander (1982). The directors interviewed include Woody Allen, who thinks Bergman is the best filmmaker ever, Michael Haneke, Claire Denis, Ang Lee and Lars von Trier, who has a love-hate relationship with the maestro, all of whose films he has watched.

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No More Road Trips? Rick Prelinger

EUROPEAN PREMIERE

UK, 2013 | colour/b&w, video, 80 min, no dialogue Prod: Rick Prelinger | Prod Comp: Prelinger Archives | Ed: Rick Prelinger | Print/Sales: Prelinger Archives | www.nomoreroadtrips.com Public SCREENINGS Sun 26-1 14:15 Cinerama 5 Mon 27-1 19:30 LantarenVenster 5 Press & Industry SCREENING Wed 29-1 22:30 Cinerama 5

Founder of one of the most respected motion picture archives in the world, over the last decade Rick Prelinger has concentrated on home movies. From this historical collection of more than 9,000, he has compiled a road trip from New York to California. This is also an opportunity for time-travel, with history embedded in the roadside views; traces of the Great Depression, World War II and Vietnam, the transition from two-lane roads to freeways, etc. A contemporary audience may automatically wonder about oil prices, freedom of movement and the fading romanticism of conquering virgin territory. Most home movies were silent but never quiet, filled with all the noise of family members. And they offered storytelling without stories. For Prelinger, viewing films should be like watching sport together: the live response of the audience is essential to make the film performance complete.

Kamera obskura Raymond Red

EUROPEAN PREMIERE

Philippines, 2012 | colour/b&w, DCP, 76 min, Tagalog Prod: Raymond Red | Prod Comp: PelikulaRed | Sc: Raymond Red, Crispin Medina | Cam: Raymond Red | Ed: Raymond Red, Pablo BiglangAwa | Prod Des: Daniel Red, Cesar Hernando | Sound Des: Diwa de Leon | Music: Diwa de Leon | With: Crispin Medina, Joel Torre, Nanding Josef, Abe Pagtama, Suzette Ranillo, Irene Gabriel | Print/Sales: PelikulaRed | www.raymondred.com Public SCREENINGS Mon 27-1 12:00 Cinerama 7 Tue 28-1 09:15 LantarenVenster 1 Wed 29-1 22:15 Cinerama 4 Thu 30-1 19:30 Cinerama 2 Press & Industry SCREENING Thu 30-1 09:00 Cinerama 3

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The film opens with three real-life Filipino film archivists, who call a press conference to announce that an old film has been discovered in a warehouse. Only the credits and the finale are missing, which makes the discovery extra mysterious. With its stylisation in the vein of German expressionism and Russian formalism, the black-and-white feature film is dated from the late 1920s, although no comparable films were made in the Philippines in this era. For Raymond Red this project was an ambitious exercise both on a stylistic and conceptual level. The main character steps out of his cell as if it were Plato’s Cave, and the rest of the script is also heavy on metaphors about power and corruption. The background is full of references to local and colonial history. The choice of electronic music instead of a more traditional piano partition, is the most deliberate anachronism in the film.

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Head and Hands: My Black Angel Aïda Ruilova

WORLD PREMIERE

Initially, this filmed conversation between writer Alissa Bennett and Abel Ferrara sounds like a very long pitch. Since the early 1990s, Ferrara has nurtured a project to film Pasolini’s last days. He is intrigued by the paradoxes of a man who lived with his mother, yet went out hunting for young boys every night. In his eyes, Pasolini was both a poet and a prophet – predicting Berlusconi, and scripting his own death scene. Ferrara’s imagination becomes a prism through which we explore the complexity of Pasolini’s persona and the equally creative and self-destructive Zoë Lund, the actress who starred in Ms. 45, and was the co-author of Bad Lieutenant. The conversation with writer Alissa Bennett is captured using two cameras, and Ruilova beautifully emulates Ferrara’s compulsive body language through her elliptic and repetitive editing. Semi-feature: new presentation format that foregrounds the so-called mid-length film.

Mr X

Mr leos caraX Tessa Louise Salomé

EUROPEAN PREMIERE

France, 2014 | colour, video, 70 min, French/ English/Japanese Prod: Tessa Louise Salomé, Chantal Perrin | Prod Comp: Petite Maison Production | Sc: Tessa Louise Salomé | Cam: Kaname Onoyama | Ed: Laureline Attali, Gabriel Humeau, Tessa Louise Salomé | Music: Gael Rakotondrabe | With: Denis Lavant, Kylie Minogue, Caroline Champetier, Gilles Jacob, Richard Brody | Print/Sales: Films Distribution Public SCREENINGS Wed 29-1 21:30 Pathé 3 Thu 30-1 11:302 LantarenVenster 2 Fri 31-1 14:002 LantarenVenster 6 Press & Industry SCREENING Sun 26-1 14:00 Cinerama 3

It is particularly in his homeland that Carax enjoys the dubious reputation of a cinéaste maudit; a lasting consequence of the disastrously long and expensive shooting of Les amants du Pont-Neuf (1991). This did not temper his ambition however, and though he was only able to finish five feature films in a thirty year career, Carax has won a place in the pantheon of cinema. The director Tessa Louise-Salomé, who has previously filmed the makingof Drive in Holy Motors, expresses her passion for Carax’s universe by stylizing her documentary with a lot of visual extras. She also borrows lavishly from Carax’ lesser known short films. The absence of a direct interview with Carax is made up for by a host of guest appearances by, among many others, Harmony Korine, Kylie Minogue, Juliette Binoche, and of course his favorite actor, Denis Lavant. Screened twice together with Natan.

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Rough Cut Jamie Shovlin

Earlier in his career, visual artist Shovlin revived a fictitious glamrock band, Lustfaust. For his first feature film, he goes to even greater lengths to fake a reconstruction of a 1970s slasher film, Hiker Meat: complete with hitchhiking heroine, charismatic commune leader and a group of teens who disappear one by one. The constant switching between a pastiche and its own deconstruction results in what can be called a ‘metamentary’ – a mystification of both a feature film and its making-of documentary. Those who liked the vintage look of Berberian Sound Studio will enjoy the many stylistic references. But they will need to activate their memories a lot more, as many key scenes are shot in the vein of older movies, although the references are only made explicit in the intertitles. Above all, Rough Cut is a vivid celebration of filmmaking as a group effort.

Tiger Morse Andy Warhol

CHECK INTERNATIONAL PREMIERE

USA, 1967 | colour, 16mm, 33 min, English Prod: Andy Warhol | Cam: Andy Warhol | Ed: Andy Warhol | With: Joan ‘Tiger’ Morse | Print/ Sales: Museum of Modern Art (MOMA) dept. of Film and Video Public SCREENINGS Tue 28-1 22:152 LantarenVenster 2 Fri 31-1 22:152 LantarenVenster 2

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Not screened since 1972, this film demonstrates Warhol’s fascination for the inventor of vinyl light-up mini-dresses and her celebration of all things silver. Filmed in early 1967 at the Teeny Weeny, her plastic space-age boutique, Warhol’s camera work is striking, with many interruptive pans, rapid strobe cuts and focus pulls. The film was shot on jewel-like Ektachrome reversal stock. During the To Save and Protect festival at New York’s MoMA, the full title used was Andy Warhol’s Tiger Morse (Reel 14 of ****), as this same footage was later inserted in the equally rarely screened 25-hour Warhol epic ****(Four Stars). The newly preserved print is part of a larger mission: The Films of Andy Warhol Catalogue Raisonné Volume II, an undertaking of The Andy Warhol Museum in Pittsburgh and the Whitney Museum of American Art, New York. Screened together with Interior. Leather Bar.

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Istintobrass Massimiliano Zanin

Italy, 2013 | colour, DCP, 103 min, Italian/English Prod: Massimiliano Zanin, Federico Lami | Prod Comp: Wave, Think’o Film | Sc: Massimiliano Zanin | Cam: Timoty Aliprandi, Luca Giberti | Ed: Alessandro Calevro | Prod Des: Francesca Cenzi | Sound Des: Giacomo Rende | Music: Antonello Aprea | Print/Sales: Think’o Film Public SCREENINGS Mon 27-1 22:30 Cinerama 7 Tue 28-1 09:30 LantarenVenster 2 Press & Industry SCREENING Sat 25-1 14:45 Cinerama 6

Documentary about provocateur Tinto Brass (1933), the Italian director known for the soft porn films he shot in the 1970s and 1980s, and his later odes to the human derrière. The most famous being Salon Kitty (1976) situated in a brothel in Nazi Germany, The Key (1983) with Stefania Sandrelli and the notorious Caligula (1979) which film producer Bob Guccione, founder of Penthouse, took away from Brass and edited himself, inserting hardcore porn scenes. In Istintobrass Brass speaks candidly about his long career, focusing on the anarchic, subversive films he made before Salon Kitty such as his debut Who Works Is Lost (1963), the popart western Yankee (1966), The Howl (1968), a reflection on zeitgeist with Franco Nero and Vanessa Redgrave and Vacation (1971), which allowed him to indulge his interest in mental illness. Istintobrass also features Helen Mirren, Franco Nero and Franco Branciaroli.

De Nacht van de Wansmaak Has Risen from the Grave!

180 min

Public SCREENING Sat 1-2 22:45 Oude Luxor

Seven years ago, the subtitle for this curiosity show was ‘The Final Chapter’, but that proved a little premature. The Nacht van de Wansmaak is back with a vengeance! Hosts/curators Jan ‘Max Rockatansky’ Verheyen and Jan ‘Mr Horror’ Doense once again scoured global cinema’s gutters. They present excerpts and original trailers of their bizarre harvest so the audience doesn’t have to waste their time watching these ‘masterpieces’ in full. One of these is the unparalleled Zaat, a horror film that has justifiably been forgotten since its premiere in 1971, in which a Nazi scientist self-administers an experimental serum and subsequently searches Florida’s lagoons for a bride. As always at the Oude Luxor Theater.

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Regained Special:

Heinz Emigholz – The Cathedral He Builds Olaf Möller

Remember the last time you strolled through a cathedral and instead of getting lost in the building’s vastness looked closely at its construction, the way these impossibly steep-seeming arches are supported by several small, sometimes tiny elements made with the same amount of care and craftsman’s skill as those impressive spires, etc. And how, maybe, hopefully, this glorious creation of stone and concrete suddenly reminded you of the human body, and how so much of your well-being depends on tiny bones and ever-so-thin pieces of skin, which look almost ridiculous when you see a picture of them but can actually make your life feel like hell once they get broken, ripped or crushed, and how frighteningly close glory and hurt, life, death and eternity are? It’s easy and obvious to get these kinds of thoughts when introducing the work of Heinz Emigholz whose cinema has been developing, for so long now, around the exploration of architectural spaces: films long and short that often resemble a catalogue raisonnée of the respective oeuvre (or a period of it) of the artist-in-focus, for instance Bruce Goff, Robert Maillart or Louis H. Sullivan. But there’s decidedly more to Emigholz than beauty and sense contemplated with care; his cinema is both ironic and spiritual, angry and tender, political as well as metaphysical. Look at some of the works that also belong to this monumental endeavour called Photography and Beyond and go beyond the monographic, like Parabeton – Pier Luigi Nervi and Roman Concrete; Sense of Architecture or D’Annunzio’s Cave, not to mention his two films that demand to be called magnum opus: A Series of Thoughts and The Holy Bunch (the membrane between his work in the 1970s and 80s and Photography and Beyond). All of these consider human existence per se – how life flows, works, vanities and follies included. This programme, substantial as it is, is only an introduction to the Emigholz whole – an artistic process that goes beyond filmmaking – and as a result, perhaps represents one of the very few true incarnations, encapsulations of what cinema really means.

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Heinz Emigholz

The Formative Years I-II Heinz Emigholz

Seven early 16mm films by Heinz Emigholz reconceived as an installation work on BluRay. The Formative Years (I) contains five rigorously formalist exercises, SchenecTady I-III (1973/75/76), Arrowplane (1974) and Tide (1975), while (II) features two tacit approaches to a more narrative cinema: Hotel (1976) and Demon (1977). What unites them is Emigholz’s attempt to systematically explore, explain, experience and redefine (for himself and others) the basics of cinema’s possibilities. Schenec-Tady I is the starting point for all things Emigholz: a single cinematic motion (a 360° pan) created through single-frame photography, in-camera edited, silent, black-and-white. By Demon, Emigholz uses black-andwhite and colour as well as sound. Here, three people in different rooms with different sound qualities recite Mallarmé’s poem in three different languages, edited into each other wordby-word.

Der Zynische Körper The Holy Bunch Heinz Emigholz

Roy, an editor, is dead. His friends – a writer, a translator, a photographer, a draughtsman and an architect – are reading their way through his notebooks trying to reconstruct his life. This leads some of them to Cologne Cathedral and the Sagrada Familia; others to confrontations with their own projections (literally in the case of Carl, the writer, haunted by his creation, Rob). The Holy Bunch is a modernist melodrama – beyond-Antonioni in its images; decisively Dreyerian in its spirituality – the body’s pathos, sex’ fleeting beauty and the soothing calm of pop songs and hymns. Within Emigholz’s œuvre, The Holy Bunch is something like a Great Nave, connecting his 1970s essays in neo-/ post-/straight-forward classical feature filmmaking with Photography and Beyond’s narratives of space and time, meditations on the eternal in the only too finite. One of German cinema’s few modern (or Modernist) masterpieces.

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Goff in der Wüste Goff in the Desert Heinz Emigholz

Part seven is Photography and Beyond’s first feature-length work and is dedicated to maverick autodidact genius of US architecture Bruce Goff. Featuring sixty-two of the eighty-odd existing works built according to his vision. Goff’s nec plus ultra inventive, fascinatingly organic, playfully ornamental, casually outré designs and the multitude of materials used in their realisation were vilified by the dominant discourse of the day (Bauhaus and the International Style). These strange, often amorphous creations were too queerly unruly for an age hell-bent on finding rigorous shapes for new world orders. Looking at the post-modernist crypto-fascism of today’s architecture, one can only say that Bruce Goff’s ideas and ideals are as revolutionary now as they were half a century ago.

Die Basis des Make-Up I-III

The Basis of Make-Up I-III Heinz Emigholz

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Emigholz considers the shorts collected under the series header The Basis of MakeUp as ‘basis films’ and ‘master tapes’ of his feature film projects from the mid-1970s onwards – something like the connective tissue of Photography and Beyond with the rest of his œuvre. They are ‘animations’ of Emigholz’s notebooks full of hand-written observations, drawings and photos, so it’s impossible to read the words or look closer at the images, but one can experience the dynamics of these collages. In between: snippets of ‘cinematic studies’, drawings and pages from sketchbooks plus, in The Basis of Make-Up (I), a few slides. (I) shows 42 notebooks covering the years 1974-83; (II) features another 69 notebooks (198396) detailing the background to The Holy Bunch plus two still unrealised projects. Finally, (III) covers 38 notebooks (19962004) and points relentlessly towards the future, suggesting the outlines of two projects to come. Part one, four and nine of Emigholz’s architectural studies that form the film collection Photography and Beyond.

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Sense of Architecture Heinz Emigholz

Sense of Architecture contains 42 projects realised largely by a Graz-based school of younger architects in their home region of Styria but also in other Austrian states and worldwide; these include not only new buildings but also restoration or redesign projects. Emigholz put these works into an order that reflects the passage through modern civilised life. The film opens with a church belfry, moves through a kindergarten, pharmacy, villa, housing project, prison, monastery, corporate HQ, museum etc. on to a crematorium and finally a columbarium. Whenever possible, Emigholz delineates a building’s history, presents the remains of its older form and how it was re-envisioned by the architects: often a building is first presented as new and then, image by image, its origins are unveiled. As a whole, Sense of Architecture is an epic of change, of progress driven by human development. Part 11 of Emigholz’s architectural studies that form the film collection Photography and Beyond.

Eine Serie von Gedanken (Miscellanea IV–VII) A Series of Thoughts (Miscellanea IV-VII)

Heinz Emigholz

Three variations on the most extreme form of filial piety, not always voluntary: the son’s sacrifice (by the father’s hand). El Greco in Toledo (Miscellanea V) shows Emigholz trying – in many ways – to come closer to a painting; Leonardo’s Tears (Miscellanea VI) is a scratch videoesque tribute to a football player’s struggle; On Board the USS Ticonderoga (Miscellanea VII) retells a photograph of men not long for this earth. The last piece, A Museum in Essen (Miscellanea IV), offers the by now necessary cinematic space for contemplation, some distance and quiet to give the eyes a rest and let the mind roam freely. Note that the pieces are not strictly presented in their consecutive order – a reminder, perhaps, that the numbering is only one of many possible sequences. An Emigholz compendium.

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Parabeton – Pier Luigi Nervi

und Römische Beton Tietokoneet palvelevat Computers Serve

Parabeton – Pier Luigi Nervi and Roman Concrete

Risto Jarva

Heinz Emigholz

Part 19 is the first Photography and Beyond feature to consider its auteur The futuristic aesthetics of Computers within Serve offers an illustrative account ofan theallegorical framework. Parabeton – Pier Luigi Nervi and Roman history of computers, their prospects Concrete 15 buildings createdthe and the risks within, as seen in 1968. explores The voice-over accentuates from plans drawn up by Pier Luigi Germany, 2012 | colour, DCP, highly topical promulgation set against the dangers of monotonous 100 min, no dialogue Nervi (occasionally with a fellow office work andIrene computer totalitarianism. Prod: Frieder Schlaich, von architect) alongside another nine Finland, 1968 | colour, 35mm, Finnishby anonymous Roman master Alberti | Prod Comp: Filmgalerie 451,14 min, erected | Sc: ZDF Risto–Jarva, Pertti Jotuni,3sat | Lasse Naukkarinen | Cam: Lasse Naukkarinen, Antti Peippo | Film Department WDR, builders between the 1st century Ed: LasseEmigholz | Naukkarinen | Sound Des: Jaakko Pakkasvirta | Music: Erkki Kurenniemi | With: voice Sc: Heinz Cam: Heinz BC and the 4th AD. Are the latter of Kalle Holmberg Finnish Ed: Heinz| Print: Emigholz | Emigholz, Till National Audiovisual Archive KAVA | Sales: Filminor mere remnants, or time capsules in Beckmann | Sound Des: Christian concrete? Are we coming back to a Obermaier | Print: Filmgalerie moment in time – if we ever left it, that 451 | Sales: Patra Spanou Film Kinescope Marketing & Consulting | www. is? Concrete, here, becomes the essence filmgalerie451.de/filme/parabeton of civilization. The last Nervi building Eino Ruutsalo is the Papal Audience Hall, the final Public SCREENING Roman Mausoleum. Sic transit gloria Sat 25-1 11:45 Cinerama 2 mundi, forever and ever, Amen. Still, Eino Ruutsalo’s cinematic testament. there’s Includes discarded footage from his something exhilarating and films and kinetic experiments,uplifting as well in all these buildings – an early springlike breeze; time and as unexposed stock. These clips were again pleasantly warm and soothing treated by throwing them on the floor walkingofon sunlight, and reminiscent thethem. air inOn the electronic soundtrack, we hearSullivan’s a collective stream of consciousness Banks. by Donner, Kurenniemi and Ruutsalo from 1967. See also The Jump in this compilation programme. Finland, 1960 | colour, 35mm, 11 min, no dialogue Prod: Eino Ruutsalo | Cam: Eino Ruutsalo | Ed: Eino Ruutsalo | Music: Eino Ruutsalo, Erkki Kurenniemi, Otto Donner | Print: Finnish National Audiovisual Archive KAVA | Sales: Liisa Ruutsalo-Vaahtio

Perret in Frankreich und Algerien Perret in France and Algeria

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If Parabeton – Pier Luigi Nervi and Roman Concrete hops back and forth in time, then Perret in France and Algeria crisscrosses the Mediterranean Sea. Thirty buildings or ensembles (which can mean whole city quarters) by Auguste Perret are explored: twenty-one in France and nine in Algeria. While the former are mostly carefully preserved and feel like memorials to themselves, the latter are often either put to uses other than their original ones (e.g. Oran cathedral, which is now a public library) or are used by a very different section of the populace (e.g. the Algiers yacht club). Algeria, three months after Perret’s death, started a war of independence which it won. Now, France desperately tries to remain the same. In contrast to its Italian pendant but similar to Maillart’s Bridges, Perret in France and Algeria is imbued with a deep sense of melancholia, as becomes a work more concerned with the body than the soul. Part twenty of Emigholz’s architectural studies that form the film collection Photography and Beyond.

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Heinz Emigholz – Short Films I Two cinematographic movements and a series of unpredictable thoughts: the world premiere of Emigholz’s latest work Two Museums and the third instalment of his Miscellanea series, followed by a discussion with Heinz Emigholz. Public SCREENING Fri 24-1 14:15 LantarenVenster 5

Zwei Museen Two Museums Heinz Emigholz

One museum is the Mishkan LeOmanut in kibbutz Ein Harod, founded in the 1930s and built in 1948 by Samuel Bickels. The other is The Menil Collection in Houston, Texas, built in 1986 by Renzo Piano. What combines these two places is the use of light in their architecture, the latter inspired by the former. Part 22 of Emigholz’s architectural studies that form the film collection Photography and Beyond. Germany, 2014 | colour, DCP, 20 min, no dialogue Prod: Frieder Schlaich, Irene von Alberti | Prod Comp: Filmgalerie 451 | Cam: Heinz Emigholz | Ed: Heinz Emigholz, Till Beckmann | Sound Des: Jochen Jezussek, Christian Obermaier | Print: Filmgalerie 451 | Sales: Patra Spanou Film Marketing & Consulting | www.pym.de

Miscellanea III Heinz Emigholz

A meditation on ruins and remains linked strongly to the US chapters of Photography and Beyond. A rumination on a nation and dream in tatters. A cautious reminder of ever-lurking horrors: a glimpse of the warship Puglia, not far from the sarcophagus containing the mortal remains of Gabriele d’Annunzio. Part 10 of Emigholz’s architectural studies that form the film collection Photography and Beyond. Germany, 2005 | colour, 35mm, 22 min, German/English Prod: Heinz Emigholz | Prod Comp: Pym Films | Cam: Heinz Emigholz | Ed: Heinz Emigholz | Sound Des: Christian Obermaier | Print: Filmgalerie 451 | Sales: Patra Spanou Film Marketing & Consulting | www.pym.de/en/alle-filme/77/738-miscellanea-iii

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Heinz Emigholz – Short Films II Two complimentary examples of architecture and the visions of enlightenment, modernity and community they can convey. Followed by two diary-like collages of Emigholz’s life and thoughts. Public SCREENING Sun 26-1 11:45 Cinerama 2

Sullivans Banken Sullivan’s Banks Heinz Emigholz

Sullivan’s Banks explores eight buildings in the US Midwest built between 1908 and 1920 according to Louis H. Sullivan’s vision. Their generosity suggests a Whitmanian ideal of community and democracy. Part two of Emigholz’s architectural studies that form the film collection Photography and Beyond.

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Maillarts Brücken Maillart’s Bridges Heinz Emigholz

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A counterpoint to Sullivan’s Banks, mainly because of the austerity of Robert Maillart’s art: 14 exemplary steel/concrete structures, mainly bridges. Emigholz’s gaze reveals the poetry of Maillart’s art – the gracefulness and ease of these buildings. Once revolutionary design that is now an architectural standard. Part three of Emigholz’s film collection Photography and Beyond.

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Miscellanea I Heinz Emigholz

The series Miscellanea is something like a diary track for Photography and Beyond – with each work, of course, reflecting the other. Miscellanea I, covering 198897 and in black-and-white, is strongly connected to The Holy Bunch, from which it features some unused scenes. Part five of Emigholz’s architectural studies that form the film collection Photography and Beyond. Germany, 2001 | b&w, 35mm, 20 min, German/English Prod: Heinz Emigholz | Prod Comp: Pym Films, Filmförderung Hamburg SchleswigHolstein GmbH | Sc: Heinz Emigholz | Cam: Heinz Emigholz | Ed: Heinz Emigholz | Sound Des: Martin Langenbach | Print: Filmgalerie 451 | Sales: Patra Spanou Film Marketing & Consulting | www.pym.de/en/alle-filme/77/740-miscellanea-i

Miscellanea II Heinz Emigholz

Like the series’ first instalment, Miscellanea II covers 1988-97, albeit this time in colour and with a stronger focus on when Emigholz worked on Photography and Beyond’s first two monographs, Sullivan’s Banks and Maillart’s Bridges. Both works are also book-ended by images shot on the same day: 11 October 1988, at Cabo de Creus. Part six of Emigholz’s architectural studies that form the film collection Photography and Beyond. Germany, 2001 | colour, 35mm, 19 min, German/English Prod: Heinz Emigholz | Prod Comp: Pym Films, Filmförderung Hamburg SchleswigHolstein GmbH | Sc: Heinz Emigholz | Cam: Heinz Emigholz | Ed: Heinz Emigholz | Sound Des: Martin Langenbach | Print: Filmgalerie 451 | Sales: Patra Spanou Film Marketing & Consulting | www.pym.de/en/alle-filme/77/739-miscellanea-ii

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Heinz Emigholz – Furies Ornament and Crime is a grimly eloquent damnation of surface artifice in architecture; D’Annunzio’s Cave is the lone part of Emigholz’s Photography and Beyond cycle, devoted to a piece of architecture he genuinely loathes. Daily (not on Monday), 10:00-18:00 (from 11:00 on Sunday), Het Nieuwe Instituut (Museumpark 25), free admission.

D’annunzios Höhle D’annunzio’s Cave Heinz Emigholz

Part eight is Photography and Beyond’s major exception: the only part devoted to architecture Emigholz genuinely loathes: Gabriele d’Annunzio’s Villa Cargnacco. Edited from four independent yet parallel eight-hour sessions inside the beast, it’s a unique example of formalist outrage. One of Emigholz’s finest works. Germany, 2005 | 52 min,

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Ornament and Crime Heinz Emigholz, Benjamin Krieg

A 1908 essay by Adolf Loos is here read by the incomparable Carola Regnier and set to virtual photographs of 18th-century marble inlays at St. John’s Cathedrale in Valletta, Malta. Originally an addendum to Loos Ornamental, Ornament and Crime works splendidly as an ironic standalone piece. Austria, 2008 | 30 min,

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The End of the World As We Know It? Inge de Leeuw

What do you do if you find yourself in extreme circumstances, confronted by the limits of your existence; when every action is a matter of life or death? Survival films were a big trend in the cinemas in 2013. From Gravity, about existential questions such as the will to live and Captain Phillips, about the necessity of deploying all your social and strategic skills, to All Is Lost, simply a man battling the elements. Very diverse Hollywood productions, and all very successful. The Signals programme How to Survive... shows that survival films are not just made in Hollywood. A film programme on very topical themes. In Transit

The majority of the prosperous world seems safer than ever. Our CCTV, insurance and pensions have created a – perhaps artificial – sense of security. However, in recent years it has become increasingly apparent that there are global problems that no insurance can protect us from: raw material depletion, the (global) capitalist system malfunctioning and destructive natural disasters seem to occur everywhere. There are also new problems in the field of technology: how can our privacy still be safeguarded? Although a new equilibrium is being sought on multiple levels, the results are unpredictable. The media copiously report on these modernday survival stories, forcing us to contemplate what we would do if these disasters should befall us. It therefore isn’t a coincidence that over the past year we have seen such a rise in the production of survival films. These current topics provide stimulating points of departure for filmmakers as well as plenty of options and ideas for innovation within the familiar genre.

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From Tehran to Heaven

To Beat the System

How to Survive... contains films in which the cause of all the disasters occurs in the reality of our current (economic, social and technological) systems. In these films not the invisible force of nature or a sudden invasion of bizarre monsters force the leading characters to survive; rather they reflect our real-world fears. Just like systems theory, which assumes that society consists of cohesive sub-systems in which minor events work as catalysts, the films’ focus is on ostensibly innocent human actions that cause the systems’ total collapse. Climate change is one such contemporary problem. How this turns out is crucial to the continued existence of life on this planet; we may be facing major ecosystem changes and, as a result, many natural disasters. Martin Kren’s The Station provides a preview in which a changing glacier mutates the local fauna into bloodthirsty monsters. A horror film, but with a very realistic point of departure. Religion is another one of these sub-systems. Its role in society has changed dramatically in recent centuries and the existence of fanatical, pseudo-religious sects is no longer exceptional. In The Sacrament by Ti West a trio of curious intruders quickly ensures the destruction of a whole, sect-like commune at the great leader’s behest. Or think of the struggle between communism and capitalism: a very contemporary issue for Koreans and a lasting source of tension and threat. Secretly Greatly criticises using the story of three North Korean infiltrators. Being ordered to commit suicide leads to doubt in the young agents and their ultimate rebellion results in a destructive battle between two systems. The films in How to Survive... provide a rich, varied impression and often appropriate metaphors for the problems and fears in contemporary society, each from its own perspective. Web 2.0

Nowadays we also have to deal with less physical, but no less dangerous, threats. Our increasing dependence on technology makes us very vulnerable to dangers such as cyber terrorism and identity theft. British columnist and satirist Charlie Brooker’s technology-critical, science fiction TV series Black Mirror was an international success. Each episode highlights an aspect of our reliance on technology, how this changes our consciousness and what the serious consequences of this for society are. For example,

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Secretly Greatly

in White Bear he provides a menacing look at the future, critiquing online sharing and the accompanying voyeurism. To a great extent, digital media determine our impression of the world and can awaken fears we didn’t even know we had. When predictions emerged that the world would end in 2012, a massive internet hype started. Dominic Gagnon’s film Hoax_canular consists entirely of young people’s end of the world videos. The latter – whether the result of fear or parody – provide insight into teenager’s use of technology around the world. Artist duo eteam takes these ideas a step further. Their installation Phire explores how technology changes a typical survival experience by replacing part of the physical campfire by a digital version. If our consciousness is truly changed by technology, this vision of the future – in which a simulation replaces the real experience – may soon become a reality. Hope for the Future?

Is there still hope for the future? The films may provide a rather sombre impression, but humans have strong natural survival instincts. Not only are these instincts used in case of a disaster, they are useful in everyday life. In the practical counterpart to the films, the focus lies on the survival of our daily life. Today countless initiatives teach modern individuals how to repair, refurbish and produce things in an artisanal matter. This is partly a response to our technological dependence and partly a result of the economical downturn. Several of these experts are invited to participate in the How to Survive... Clinics. In these workshops visitors will learn forgotten survival skills and how they can be applied to their daily lives. These initiatives are not only set up in real life, on the internet an increasing number of instructional videos can be found. A selection of these videos, where people from all around the world share their handy tips and tricks, can be viewed at KlubKat. So there is hope for the future. Even in the films there is a glimmer of hope; responsibility for the disasters is largely attributable to humankind. Our society is and remains malleable, and as long as there’s a chance, we will survive. With thanks to my colleague Gerwin Tamsma for his invaluable input.

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Hoax_canular Dominic Gagnon

INTERNATIONAL PREMIERE

Canada, 2013 | colour/b&w, video, 90 min, English Prod: Dominic Gagnon | Ed: Dominic Gagnon | Sound Des: Dominic Gagnon | Print/Sales: Dominic Gagnon Public SCREENINGS Sat 25-1 15:45 Pathé 3 Sun 26-1 22:00 Cinerama 3 Thu 30-1 21:45 Cinerama 1 Press & Industry SCREENING Tue 28-1 13:15 Pathé 3

The end of the world was a hot topic online in 2012. Hoax_canular is a contemporary found-footage film that counts down the end of the world and consists of teenagers’ online videos dealing with the impending end. They believe they can survive as long as they have the right survival equipment – weapons, food and medicine. At the same time, the film reflects on how contemporary media deal with our fears and how we deal with those media. For the young people in Hoax_canular, the videos are a means of preparing for an uncertain future. Dominic Gagnon’s film expands the boundaries of traditional documentary and lends new meaning to online sharing; we never know when the parody ends and things get serious.

Secretly Greatly Jang Cheol-Soo

EUROPEAN PREMIERE

South Korea, 2013 | colour, DCP, 123 min, Korean Prod: Kim Young-Min | Prod Comp: MCMC Production | Sc: Kim Bang-Hyun, Yun Hong-Gi | Cam: Choi Sang-Ho | Ed: Kim SunMin | Prod Des: Kim Jong-Woo | Sound Des: Wave Lab | Music: Jang Young-Gyu, Dalparan | With: Kim Soo-Hyun, Park Ki-Woong, Lee Hyun-Woo, Son Hyun-Joo, Park Hay Sook, Kim Sung-Kyun | Print/ Sales: Showbox/Mediaplex, Inc Public SCREENINGS Tue 28-1 22:00 Cinerama 6 Wed 29-1 15:15 Pathé 2 Fri 31-1 13:00 Oude Luxor Sat 1-2 12:30 Cinerama 1 Press & Industry SCREENING Mon 27-1 13:00 Pathé 3

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Three North Korean spies are in a South Korean village on a secret mission. Won Ryu-han, a well-trained hitman, has to pretend to be the village idiot, while his colleagues pretend to be a trainee musician and student. They wait patiently for orders from Pyongyang. The longer their stay lasts, the stronger their bonds with the villagers become. Then, after a regime change in Pyongyang, the mission is ended. The order is: commit suicide or kill each other, because all traces have to be erased. But are the men willing to die for their country? This is where the film changes into a real action film, in which the difference between good and evil, in other words South and North, is fought out on a knife edge. A box-office hit in South Korea, partly due to the popular actors and the fans of the ‘webtoon’ on which the film is based. With this film, Jang Cheol-Soo offers an interesting perspective on the shaky balance between North and South Korea.

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Blutgletscher The Station Marvin Kren

Austria, 2013 | colour, DCP, 93 min, German Prod: Helmut Grasser | Prod Comp: Allegro Films | Sc: Benjamin Hessler | Cam: Moritz Schultheiss | Ed: Daniel Prochaska | Prod Des: Alexandra Maringer | Sound Des: Dietmar Zuson | Music: Stefan Will, Marco Dreckkötter | With: Gerhard Liebmann, Edita Malovcic, Hille Beseler, Peter Knaack, Felix Römer, Brigitte Kren, Wolfgang Pampel | Print/ Sales: Rezo Films | www.rezofilms. com/world-sales/the-station Public SCREENINGS Thu 23-1 21:45 Pathé 6 Sun 26-1 18:30 Cinerama 1 Thu 30-1 14:00 Cinerama 6 Fri 31-1 22:45 Oude Luxor

In the Alps, danger looms in the form of a glacier that is transformed into a dangerous, genetically modified instrument. Climate researcher Janek, who works at an observation station in the Alps, is the first to notice that the glacier is discharging a red fluid that mutates the local animals into bloodthirsty monsters. At first, his colleagues don’t believe him, but once they are convinced he’s right, they want to keep the news at any cost from the Minister of the Environment, who has announced he is planning a visit to the station. Outside, the monsters threaten, inside people are in fundamental disagreement. And to make it all even more complex: the woman accompanying the Minister is Janek’s ex-girlfriend. With the current climate changes, this wondrous mix of horror, comedy and melodrama is far from being an unrealistic scenario. The evil in this film is all caused by humankind. Regard it as a serious warning for the future.

Starred Up David MacKenzie

United Kingdom, 2013 | colour, DCP, 100 min, English Prod: Gillian Berrie, Brian Coffey | Prod Comp: Sigma Films | Sc: Jonathan Asser | Cam: Michael McDonough | Ed: Jake Roberts, Nick Emerson | Prod Des: Tom McCullagh | Music: Rupert Friend, Jack O’Connell, Ben Mendelsohn, Sam Spruell, David Ajala, Sian Breckin, Peter Ferdinando | Sales: Independent Film Company | Distr NL: ABC – Cinemien Public SCREENINGS Fri 24-1 19:30 Oude Luxor Sat 25-1 16:45 Cinerama 6 Sun 26-1 19:30 Pathé 4 Sat 1-2 14:00 Cinerama 4 Press & Industry SCREENING Thu 23-1 16:30 LantarenVenster 4

‘Starred Up’ is the controversial British measure of transferring extreme delinquents to adult prisons before they turn 21. 19-year old Eric (Jack O’Connell) is one such youth. He ends up in the same depressing prison as his father Neville. Starred Up is more about father and son’s dysfunctional relationship than about suffering. There isn’t much background, it’s mainly about here and now, about surviving harsh daily reality. Eric’s status elicits various responses; the therapist still has hope, his dad wants to change him and others want him out of the way for good. Naturalistic and raw, Mackenzie doesn’t avoid the stark reality of the British prison system. The prisoners are often hard to understand, but that doesn’t matter as their aggressive postures say it all. Heartbreaking and violent; top performances from the actors.

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Mahi va gorbeh Fish and Cat Shahram Mokri

Iran, 2013 | colour, DCP, 134 min, Farsi Prod: Sepehr Seifi | Prod Comp: Iran Novin Film | Sc: Shahram Mokri | Cam: Mahmoud Kalari | Prod Des: Amir Esbati | Sound Des: Parviz Abnar | Music: Christophe Rezai | With: Babak Karimi, Saeed Ebrahimifar, Abed Abest, Ainaz Azarhoush, Mona Ahmadi, Neda Jebraieli, Parinaz Tayeb | Print/ Sales: Iranian Independents Public SCREENINGS Fri 24-1 21:45 Cinerama 6 Tue 28-1 12:45 Pathé 4 Thu 30-1 12:15 Pathé 2 Press & Industry SCREENING Thu 23-1 11:45 LantarenVenster 4

Inspired by a news report on a restaurant in the boondocks that served human flesh, Fish and Cat could easily have become a run-of-the-mill horror. Luckily, the film – which was shot in a single take – refrains from graphic violence, slowly creating tension through the suggestion of terrible events. A group of friends prepare for an annual kite contest in a remote area. They’re camping by a lake and there is only one restaurant for miles around, though the owner’s a bit odd… The film ingeniously exploits the limitations of shooting in a single take with the camera alternating between leads and the various non-linear storylines. Fish and Cat is Shahram Mokri’s own twist on American genre conventions with a generous shot of humour. The horror soundtrack in particular makes the film unexpectedly exciting. Venice prize winner.

La cueva

In Darkness We Fall Alfredo Montero

WORLD PREMIERE

Spain, 2014 | colour, DCP, 80 min, Spanish Prod: Alfredo Montero, Marcos Ortiz | Prod Comp: Morena Films | Sc: Alfredo Montero, Javier Gullón | Cam: Alfredo Montero | Ed: Alfredo Montero, Nacho Ruiz Capillas | Music: Carlos Goñi | With: Marcos Ortiz, Marta Castellote, Jorge Páez, Eva García, Xoel Fernández | Print/ Sales: Filmax International | www. filmaxinternational.com/film.php?id=86 Public SCREENINGS Sat 25-1 19:00 Pathé 1 Sun 26-1 14:00 Cinerama 6 Thu 30-1 13:00 Oude Luxor Sat 1-2 22:15 Pathé 4 Press & Industry SCREENING Tue 28-1 14:45 Cinerama 7

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A group of Spaniards is looking for a dose of excitement and sensation on the tropical island where they are holidaying. Just like modern Robinsons, they are looking for the hidden paradise beyond the welltrodden paths of tourism. It won’t be a surprise that all of this can only end up unhappily. On the second day of their holiday, the group innocently decides to leave the sunny beach for a hidden, dark cave. They have a camera, a torch and some water with them but they’re not prepared for the unexpected turn that their excursion takes. A variation on the found-footage genre, in which a very realistic scenario is sketched with minimal means and well-developed characters. These are normal people in extreme conditions who have to appeal to their primaeval instincts to survive. In Darkness We Fall is an effective horror thriller that fits in well with the recent Spanish tradition of horror films such as REC.

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Az Tehran ta behesht From Tehran to Heaven Abolfazl Saffary

EUROPEAN PREMIERE

Iran/Germany, 2013 | colour, DCP, 75 min, Persian Prod: Reza Mostafavi Tabatabaei, Alireza Saadat Nia | Prod Comp: Linkeeper Film production | Sc: Hossein Mortezavian Abkenar, Abolfazl Saffary | Cam: Bayram Fazli | Ed: Hayedeh Safiyari, Ebrahim Saeedi | Prod Des: Abolfazl Salimi | Sound Des: Nezamoddin Kiaie | Music: Behzad Abdi | With: Mahnaz Afshar, Jafar Vali, Alireza Khamse, Farzin Sabouni, Ashkan Saffary, Shabnam Farshadjo, Mehdi Abbasi | Print/Sales: PicArt Film Co. Public SCREENINGS Sat 25-1 17:00 Cinerama 2 Mon 27-1 19:45 Cinerama 7 Fri 31-1 18:30 Pathé 6 Press & Industry SCREENING Thu 30-1 10:45 Cinerama 3

An apocalyptic vision of Iran in which the pregnant, desperate and disoriented Ghazal goes looking for her husband. Her surrealistic journey takes her from a totally chaotic Tehran to a small house in the vast desert. When Ghazal comes home after having an ultrasound scan, she finds that her apartment has been ransacked and her husband Farhad has disappeared. He has left a note on the fridge with a cryptic message that he has left for a place called Heaven. Apparently he has stolen incriminating documents about biological weapons. Having survived rape and physical abuse, she knows she has to find Farhad as quickly as possible. Unknown pursuers are in the meantime hunting her. The story and the overwhelming visual style are more reminiscent of a nightmare rather than a lineair story. Imprisoned in what seems to be a feverish dream, Ghazal not only tries to survive herself, the life of her unborn child is also at risk in this dystopian society.

The Sacrament Ti West

USA, 2013 | colour, DCP, 95 min, English Prod: Eli Roth, Jacob Jaffke, Peter Phok, Christopher Woodrow, Molly Conners | Prod Comp: Arcade Pictures, Worldview Entertainment | Sc: Ti West | Cam: Eric Robbins | Ed: Ti West | Prod Des: Jade Healy | Sound Des: Graham Reznick | Music: Tyler Bates | With: Amy Seimetz, Joe Swanberg, AJ Bowen, Kate Lyn Sheil, Gene Jones, Kentucker Audley, Shawn Parsons | Print/Sales: IM Global Public SCREENINGS Mon 27-1 22:30 Cinerama 2 Tue 28-1 22:30 Oude Luxor Thu 30-1 19:30 LantarenVenster 5

Based on the 1978 Jonestown Massacre. Fashion photographer Patrick (Kentucker Audley) visits his sister Caroline (Amy Seimetz) with two of his colleagues from Vice magazine (Joe Swanberg and AJ Bowen). She has joined the Eden Parish, a utopian community somewhere in the bush. Its inhabitants paint an idyllic picture of their community and are full of praise for their leader (Gene Jones), whom they address as Father. They collaborate harmoniously on creating their paradise. Like any good journalist, the three distrust this much ‘bliss’ and the true story is slowly uncovered. As is often the case, the rigid utopian system is far from paradisiacal. This found-footage-style film is a really exciting slow burner, perfectly structured towards the inescapable, unfortunate dénouement. Cult filmmaker Ti West’s sixth and perhaps best film.

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Canopy Aaron Wilson

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Australia, 2013 | colour, DCP, 78 min, Mandarin/ Japanese/English Prod: Katrina Fleming, Royston Tan, Mabelyn Ow | Prod Comp: Finer Films Pty Ltd, Chuan Pictures | Sc: Aaron Wilson | Cam: Stefan Duscio | Ed: Cindy Clarkson | Prod Des: Tim Burgin | Sound Des: Nic Buchanan, Rodney Lowe | Music: Rob Mackenzie | With: Khan Chittenden, Mo Tzu-Yi | Print/Sales: Odin’s Eye Entertainment | www.canopythefilm.com Public SCREENINGS Thu 23-1 12:15 Pathé 2 Fri 24-1 15:15 Pathé 6 Sat 25-1 19:30 Cinerama 2 Wed 29-1 11:30 Schouwburg GZ Press & Industry SCREENING Sun 26-1 09:00 Cinerama 4

During the Japanese invasion in 1942, the Australian fighter pilot Jim crashes in the impenetrable rainforest of Singapore. Disoriented and on unknown terrain, he has to flee the Japanese troops. The deeper he flees into the jungle, the more his fear grows. In the depths of the jungle and close to despair, he meets a young Chinese/ Singaporean soldier. Even though they can’t understand each other, the men still have a special bond and retain a spark of hope for survival. Canopy is about the age-old battle of people against nature. It’s a war story that is not about epic fights but precisely about the psyche of a desperate man on the run. The mysterious jungle not only provides protection but, just like the Japanese soldiers, forms a dangerous enemy and threat. The sound design that was chosen and the beautiful camera work ensure a claustrophobic and atmospheric debut film by the Australian Aaron Wilson.

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Phire eteam

EUROPEAN PREMIERE

USA, 2013 | colour/b&w, video, , no dialogue 60 min,

∞ Prod: eteam | Cam: eteam | Print/Sales: eteam

Daily, 11:00-21:30, first floor of the Rotterdamse Schouwburg, free admission.

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Phire, an installation by artist duo eteam, is a digital campfire. As a typical survival element, Phire offers a communal openair experience tailored to our modern way of life. Here, the physical event is partly replaced by a technological variant. We sit around the campfire, staring into the flames and wondering what has actually changed over the course of human development and civilisation. At the same time, fire and warmth are essential sources of energy for ourselves and our equipment. This installation asks the question: what impact does the power source have on the atmosphere? The installation consists of eight short videos about survival, showing on three different monitors. On the first screen: Heidrun Holzfeind, Bitches (12.40); Deborah Stratman, untied (3.08); Christoph Draeger, The Rd (7.49). On screen two: Kristin Lucas, Lo fi Green Sigh (3.11); Torsten Zena Burns, DEMOFORMANCES (4.15). On screen three: Franz Höffner and Harry Sachs, Venice by Car (2.46); Becky James hit o antinatural (5.20); eteam, Wat Everest (4.33).

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Signals: How to Survive...

How to Survive... Technology Three frightening future scenarios for technologyâ&#x20AC;&#x2122;s role in our lives and psyche. Exciting and critical with a musical touch. PUBLIC SCREENINGS Mon 27-1 17:30 Cinerama 3 Tue 28-1 16:30 LantarenVenster 6 Fri 31-1 22:00 Cinerama 3

#PostModem Lucas Leyva, Jillian Mayer

A comic, satirical sci-fi musical, based on the ideas of Ray Kurzweil and other futurists. In the near future, technology advances so rapidly that society becomes incomprehensible. The filmâ&#x20AC;&#x2122;s playful style reflects the culture being criticised, in which man is connected only to technology: not to his fellow man. USA, 2013 | colour, DCP, 14 min, English Prod: Jonathan Kane, Arly Montes | Prod Comp: Borscht Corporation | Sc: Jillian Mayer, Lucas Leyva | Cam: Daniel Fernandez | Ed: Lucas Leyva | Prod Des: Jillian Mayer | Sound Des: Diego Meza Valdes, Cory Czajkowski | Music: Jillian Mayer, John Hancock, Jonathan Snipes, Lucas Leyva | With: Amy Seimetz, Jillian Mayer, Kayla Delacerda, Sidney Greenberg, Shivers Thedog | Print/Sales: Borscht Corporation

Aep Sa-pi-en-s App Sapiens

Ko Hyun-Chang

A man is looking for an abandoned mine and blindly follows the instructions given by his navigation system. Too late, he discovers that the system is not reliable. The Homo sapiens is becoming more and more an App sapiens. A portrait of our modern world, in which man is becoming increasingly dependent on technology. INTERNATIONAL PREMIERE

White Bear Carl Tibbetts

A young woman awakes with amnesia in a frightening world. Curious bystanders film her instead of helping. Disturbing vision of the future in which technology is part of our psyche. Part of the technology-critiquing TV series Black Mirror, written by British satirist Charlie Brooker. United Kingdom, 2013 | colour, DCP, 50 min, English Prod: Annabel Jones, Charlie Brooker | Prod Comp: Zeppotron | Cam: Jorge Luengas | Ed: Hazel Baillie | Prod Des: Joel Collins | Sound Des: Jim Goddard | Music: Jon Opstad | With: Lenora Crichlow, Michael Smiley, Tuppence Middleton, Ian Bonar, Elisabeth Hopper | Print/Sales: Zeppotron

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So similar, so diﬀerent, so European.

This event has been made possible in part with the support of the European Commission in the context of its awareness-raising campaign on enlargement of the European Union (EU). The EU’s enlargement policy aims at preparing for membership those European countries that aspire to join the EU. It serves our interests by making Europe a safer place, and promoting democracy and fundamental freedoms, while consolidating the rule of law in the aspiring countries. By extending the single market, it brings beneﬁts to all: as a result of successive enlargements, with more than 500 million citizens, the EU is the largest economy in the world. It has more weight internationally than ever before. Croatia, the latest example of EU enlargement, became the Union’s 28th Member State on 1 July 2013.

Albania, Bosnia and Herzegovina, the former Yugoslav Republic of Macedonia, Iceland, Kosovo*, Montenegro, Serbia and Turkey are candidates or potential candidates for EU membership. Some of them are already in the negotiation process or waiting to start, while others have been promised the prospect of membership when they are ready. Entry to the EU is based on strict conditions – if countries do not meet the criteria, they cannot join the EU. Democracy, human rights, minority rights and a functioning market economy all need to be in place. Negotiations for EU membership generally last several years. A�er they have been closed and before the country can join the EU, the Member States and the acceding country have to ratify the accession treaty. The European Parliament also has to give its consent.

* This designation is without prejudice to positions on status, and is in line with UNSCR 1244/1999 and the ICJ Opinion on the Kosovo Declaration of Independence.

Want to know more? ec.europa.eu/enlargement

GROWING TOGETHER

Enlargement

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Mittsommernachtstango Midsummer Night’s Tango Viviane Blumenschein

Germany/Argentina/ Finland, 2012 | colour, video, 82 min, English/ German/Finnish/Spanish Prod: Christian Beetz, Gema Juarez Allen, Pertti Veijalainen | Prod Comp: Gebrüder Beetz Filmproduktion, Gema Films, Illume Ltd | Sc: Viviane Blumenschein | Cam: Björn Knechtel | Ed: Oliver Weiss | Music: Diego Kvitko | Print/Sales: New Docs Public SCREENING Tue 28-1 20:30 Schouwburg KZ

Is tango perhaps not Latin American, but Finnish? No less a person than Finnish director Aki Kaurismäki makes this bold statement. After which, German director Viviane Blumenschein switches straight to a bar in Buenos Aires where a handful of tango musicians respond with fits of laughter. Because if tango is Finnish, then Kaurismäki probably thinks Maradona is too? And is sauna an Argentine invention then? The Argentinians’ laughter was probably heard in Finland. In the documentary Midsummer Night’s Tango, three Argentine musicians fly to Helsinki to see what’s going on with ‘their’ tango in a totally different country. Their continual surprise is unavoidable. This results in a hilarious and sometimes moving series of meetings between musicians from two cultures that are totally different and yet sometimes surprisingly similar.

Salsa Giants Pablo Croce

Curaçao, 2013 | colour/b&w, video, 70 min, English/Spanish Prod: Gerardo Lopez, Gregory Elias | Prod Comp: Top Stop Music | Cam: Pablo Croce, Jorge Lozada, Orlando Zamora | Ed: Jorge Lozada, Pablo Croce, Manuel Perez Matos | Sound Des: Carlos Alvares | Print/Sales: Top Stop Music Public SCREENING Fri 31-1 20:30 Schouwburg KZ

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On 31 August 2012, several big names from the world of salsa came together for a unique reunion on Curaçao led by producer Sergio George. The reason: a concert at the Curaçao North Sea Jazz Festival that has already attained legendary status. On stage that day, no one less than hit singer Marc Anthony, flamboyant bassist Oscar de León, Cheo Feliciano, Willy Chirino, Charlie Zaa, Jose Alberto ‘El Canario’, singer Tito Nieves, Nora van Roquesta de la Luz, Luis Enrique and Andy Montañez. US/Venezuelan director Pablo Croce has recorded this exceptional event in a gripping, intimate and above-all swinging documentary. Atmospheric black-and-white backstage images, rehearsal footage showing musical sparks flying, archive footage and personal interviews with musicians are rhythmically edited to form a dynamic whole. And to top it all off, Salsa Giants naturally includes beautiful footage of that exceptional concert at Curaçao North Sea Jazz.

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The Last Song Before the War Kiley Kraskouskas

Mali is regularly referred to as the home of pop music. West-African music has clear links with blues, country and folk. Except it has been played in Mali for centuries. The Festival au Désert has been organised since 2000 at the Essakane oasis, two hours from Timbuktu, as a symbol of peace between the Tuaregs (nomads) and the Malinese. It’s a Tuareg custom to meet at agreed spots in the desert to refresh social contacts and make music. Musicians, visitors and organisers from all over arrive by plane, moped, van and camel. En route and in between performances they talk about West Africa and the festival: what it used to be like and what it is like now that Al-Qaeda has banned music. Musicians, visitors and documentary watchers enjoy every gig; a patchwork of cultures. Until Islamic militants and Tuareg rebels ban music and silence the festival.

Electro Chaabi Hind Meddeb

Mahraganat is a style of electro developed in El Salam City, a poor neighbourhood in Cairo. During the revolution that started in January 2013, this part of the city was razed by the government. However, the revolution brought freedom of speech, which young musicians immediately grasped to play their fast beats. To them, belly dancers and Chaabi at weddings are so old-hat. They want to have their world expressed in lyrics about shot-up homes, brothers who became cops and soldiers and have to face off, about parties that have to be held. Whether happy or sad, Mahraganat makes the masses dance. Journalist and documentary maker Hind Meddeb filmed artists such as Sadat, Oka & Ortega, Weza, Fig, Chipsy and Amra Haha on their route past freedom, values, ideals and dreams. What is left once fame and fortune come calling? Luckily the huge raves in Egypt keep going.

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Brasslands Meerkat Media Collective

USA, 2013 | colour, video, 84 min, English/Roma/Serbian Prod: Adam Pogoff, Bryan Chang | Prod Comp: Meerkat Media Collective | Sc: Meerkat Media Collective | Cam: Bryan Chang, Eric PhillipsHorst, Jay Arthur Sterrenberg, Jeffrey Sterrenberg, Michael Palmieri | Ed: Bryan Chang, Jay Arthur Sterrenberg | Sound Des: Splash Studios | Music: Mitchell Yoshida, Don Godwin | Print/Sales: Rise and Shine | www.brasslands.com Public SCREENING Sun 26-1 20:30 Schouwburg KZ

Balkan music is characterised by fast, high-pitched, moving trumpet lines. This sound, the musicians responsible and their bands are central to the Trumpet Festival. The 50th edition was held in August 2013 in the Serbian village of Guca and attracted 500,000 visitors. At the end a contest: which band and brass musician get to call themselves master for the next year? Three brass bands from different backgrounds were filmed during the run-up to the festival. The Serbian members of Dejan Petrovic see it as a contest they want to win. Zlatne Uste from New York, who lacks a Balkan background, hopes to play flawlessly. The Roma-Serbian members of Demiran Cerimovic Orchestra hope to win so they’ll be booked all year and earn a living. Feelings towards the Americans present are mixed as memories of the bombing of Serbia in 1995 are still fresh. Brasslands is not only an enervating festival registration, but also provides insight into Serbian culture and daily life.

This Ain’t No Mouse Music! Chris Simon, Maureen Gosling

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The pained look American label boss Chris Strachwitz has when he uses the term he coined, mouse music, says it all. Mouse music is soulless music made purely for financial gain. Strachwitz, who fled from Germany to the US with his parents during the war, really detests it. In his opinion, the US has a lot more to offer musically. That is why he has been making field recordings since 1960, which he releases on the renowned Arhoolie Records. This tall immigrant has worked in the most remote places with famous artists including Lightnin’ Hopkins and Big Mama Thornton, but also with the illustrious Clifton Chenier and Mance Lipscomb. His methods have ensured that thousands of folk songs were saved. This Ain’t No Mouse Music! is an airy, upbeat, musical ode to this charming treasurer who has lost none of his enthusiasm despite his advanced age.

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Elektro Moskva

Electro Moscow Elena Tikhonova, Dominik Spritzendorfer

There are two types of machines. Western ones that always work and Russian ones, which you never know if they are going to work or not. So it is said in the documentary Electro Moscow, which takes us back to a fabulous piece of musical history that will surprise even true music buffs. Soviet industry fanatically manufactured one electrical device after the other. During the day, the scientists dedicatedly tinkered with new moon rockets, bombs and control systems primarily intended for the weapons industry, but at night they worked for themselves. Behind the closed doors of their cramped quarters at industrial complexes, they created odd-looking musical equipment that was far ahead of its time and produced sounds that had never been heard before. Austrian filmmakers Tikhonova and Spritzendorfer managed to track down some of these devices and tell the often bizarre stories behind them. Electro Moscow is a lively documentary that puts a big smile on your face.

Kaip mes žaideme revoliucija

How We Played the Revolution Giedre Žickyte

Lithuania/France, 2011 | colour, video, 69 min, Lithuanian/English/Russian Prod: Asta Tumaite | Prod Comp: Just a Moment | Sc: Giedre Žickyte | Cam: Audrius Kemežys, Eitvydas Doškus, Rimvydas Leipus | Ed: Giedre Žickyte, Samuel Lajus, Laurence Generet | Sound Des: Vytis Puronas | Music: Viktoras Diawara, Vytautas Bikus | Print/Sales: Just a Moment | www.justamoment.lt/en/movies/ how-we-played-the-revolution Public SCREENING Wed 29-1 20:30 Schouwburg KZ

In 1984, the Baltic state of Lithuania, which was still part of the Soviet Union at the time, suffered intense economic and social malaise. The people were increasingly restless. It wasn’t weapons and violence that occupied them, but music. The fight for freedom in the Baltic States that ultimately led to independence is known as the singing revolution. How We Played the Revolution shows how rock band Antis played a conspicuous role. Antis was founded by a group of architects from Vilnius in 1984 with a single, not very serious goal: to play on New Year’s Eve. However, their colourful theatrical show full of subtle parody and rebellion was a hit and thousands of Lithuanians came to their gigs around the country. The latter felt more and more emboldened. With a keen eye for the complex political situation, director Zickyte reveals the impact Antis had right under the regime’s nose as it permitted the performances in order to make money off them.

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CircusTime René Hazekamp

WORLD PREMIERE

First-year students at the school of Circus Arts in Rotterdam (Codarts) learn the hard tricks of juggling or acrobatics from their teachers. Besides their physical abilities, the students are looking for themselves, their inner artist and a style that suits them. Documentary maker René Hazekamp not only shows how the students, but also the teachers and policymakers, struggle with the question of what is expected of a circus artist. CircusTime is named after the week’s last hour of class during which students show each other and their teachers their latest tricks, choreographies and ideas. Hazekamp’s style of filming is reminiscent of documentaries from a bygone era about children undergoing athletic training in the former Eastern Bloc. However, the students’ assertiveness and own vision soon reveals that this is an international school in Western Europe.

The Other Side of the Heart Is White Leonardo Pansier

WORLD PREMIERE

Netherlands, 2014 | colour, DCP, 70 min, Dutch Prod: Hennie Huigen | Prod Comp: H-K Enterprise BVBA | Sc: Leonardo Pansier | Cam: Brandon Baan | Ed: Brandon Baan, Leonardo Pansier | Prod Des: Leonardo Pansier, Brandon Baan | Sound Des: Leonardo Pansier | Print/Sales: H-K Enterprise BVBA Public SCREENINGS Mon 27-1 21:30 Pathé 5 Wed 29-1 15:30 LantarenVenster 1 Thu 30-1 12:15 Pathé 6 Sat 1-2 14:15 LantarenVenster 5 Press & Industry SCREENING Fri 24-1 22:30 Cinerama 5

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There are few football clubs with fans as passionate as those of Feyenoord, the Rotterdam team of rolling up your sleeves, working side-by-side and getting on with it. The documentary The Other Side of the Heart Is White is about this unconditional support. Not the players, but the super-fanatical supporters play the lead. A handful of them, from sponsors to prominent members and a child explain their intense ties with their team. The passionate stories are accompanied by exceptional shots of the stadium, city and port. Because Feyenoord is Rotterdam and everything it encompasses. Director Pansier, a fan himself, wants his documentary to show the players what loving your team means. Those who can’t live without the players, get a brief treat from Pansier: a few famous Feyenoord team members have affecting walk-ons.

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Zombie: The Resurrection of Tim Zom Billy Pols

WORLD PREMIERE

Nutcase or exceptional talent? Dutch adman Billy Pols, known for his Sportlife and Nestlé ads, makes no judgement in this documentary about Rotterdam skateboarder Tim Zom. Others do it for him. Zom is a wanker, a difficult git and pig-headed, according to his stepfather. If she’d known what was in store she would never have had kids, says his mum. Pols paints a raw portrait of a difficult street kid full of aggression with a dark past from a south Rotterdam problem area using painfully honest interviews. Zom’s life was saved by skateboarding. The intangible Zom, nicknamed Zombie, even became an international celebrity skateboarder. This documentary is full of impressive tricks, kickflips and rail grinds, but director Pols mainly focuses on the hard-to-fathom Zom himself, still fighting the difficult circumstances of his life.

Rotterdam Classics: Leve de Koningin!

Ed: Arthur Bueno | Music: Half Way Station Public SCREENING Fri 31-1 19:30 Schouwburg GZ

This footage of Queen Mother Emma’s visit to Rotterdam in 1899 is some of the earliest Dutch film material. Many members of the royal family have visited the city on the river Maas since. Emma, Wilhelmina, Juliana and Beatrix opened hospitals, christened ships, decorated veterans and shared good times and bad. The Municipal Archive of Rotterdam and The Netherlands Institute for Sound and Vision present a collage of historic film images of Beatrix and her predecessors Emma, Wilhelmina and Juliana, musically accompanied by Half Way Station. This compilation revolves around Rotterdam’s bond with the royal family. The live music will make this film concert a unique viewing, listening, recognising and remembering experience. This cinematic commemoration of four generations of queens will be held on Princess Beatrix’s birthday. The national thank you to her will take place the following day in Ahoy in Rotterdam.

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No quiero dormir sola She Doesn’t Want to Sleep Alone Natalia Beristáin

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Bad-tempered Amanda is 33 and lives a calm, orderly life. She tries to retain control of her life by taking photos with her Polaroid camera. This is disrupted when she takes on caring for her grandmother, Lola. Lola used to be a great, successful actress. Now she spends her days in a dirty home, surrounded by bottles of drink and souveniers from her glory days. She is no longer able to sleep. Amanda’s father, Lola’s son, is hard to contact and would like Lola to move into an old people’s home. So it is up to Amanda to help the confused old lady. After a very difficult beginning, the relationship between grandmother and granddaughter improves: it turns out they have more in common than they thought. This atmospherically designed drama full of hidden sorrow unfolds at a calm pace. in 2012, young director Beristaín won the Best Film award at the Morelia film festival for this story of difficult family relationships, loneliness and acceptance. At Curaçao IFFR it won the Yellow Robin Award.

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About the FestivaL

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The Supportive Festival IFFR actively supports independent filmmaking from around the globe. The festival is an established international platform in Europe for launching new films and talent from Africa, Asia, Latin America, the Middle East and parts of Eastern Europe. CineMart, IFFR’s co-production market for international film projects, takes place at the festival from January 26 to 29, 2014. The festival’s Hubert Bals Fund contributes financially to film projects from developing countries. Each year, the festival programme contains a rich harvest of Hubert Bals Fund-supported films. IFFR promotes training and talent development within its Rotterdam Lab for young film producers and the IFFR Trainee Project for Young Film Critics, as well as the new coaching programme Boost! coorganised with the Binger Filmlab. HUBERT BALS FUND

The Hubert Bals Fund is designed to facilitating the completion of remarkable feature films by innovative and talented filmmakers from Africa, Asia, Latin-America and parts of Eastern Europe. The HBF provides grants that often turn out to play a crucial role in enabling these filmmakers to realise their projects. Celebrating its 25th anniversary at the 43rd edition of IFFR, the Fund has supported more than 1,000 projects since its establishment in 1989. Each year, a rich harvest of films supported by the HBF is presented at IFFR. This year, IFFR proudly presents a total of 11 films supported by the HBF in various programme sections, including one nominated for the Hivos Tiger Awards Competition. The Hubert Bals Fund aims to support feature-length fiction projects that are original, authentic and rooted in the culture of the applicant’s country. Annually, the HBF has around € 500.000 at its disposal and is able to make individual grants in two categories: script and project development and postproduction/ final financing. The Fund gives financial support twice a year, with application deadlines on 1 March and 1 August. The HBF Plus programme is a joint initiative by the Netherlands Film Fund and the HBF, aiming to facilitate access for Dutch producers to artistically interesting co-productions. Dutch producers can apply for financial support from HBF Plus. Projects eligible for the HBF Plus programme are those that have been granted HBF support for Script and Project Development at an earlier stage, and which are looking for funds to finance the production. Four projects are selected annually for HBF Plus support, receiving a contribution of € 50,000 each. The HBF Plus programme offers support twice a year, with application deadlines on 1 April and 1 October. The HBF is also involved in several coaching initiatives aimed at stimulating emerging filmmakers in their professional development. One of these initiatives is Boost!, a coaching process initiated by IFFR’s HBF and CineMart and Binger Filmlab, in partnership with regional markets and workshops in Africa, South Asia and Latin America and supported by MEDIA Mundus. The HBF is also one of the founding partners of African Metropolis, a short film programme for emerging African filmmakers. African Metropolis is an initiative by South African producer Steven

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Markovitz, the Goethe Institute and the Hubert Bals Fund, with support from Nigeria’s GT Bank. HBF Harvest 2014

The Hubert Bals Fund is proud to present this year’s HBF Harvest at the 43rd edition of International Film Festival Rotterdam. Hivos Tiger Awards Competition

Concrete Clouds, Lee Chatametikool Bright Future

The Voices, Carlos Armella Remote Control, Byamba Sakhya Leave It for Tomorrow, for Night Has Fallen, Jet Leyco The Liar’s Dice, Geethu Mohandas Qissa, Anup Singh Spectrum

EDSA XXX: Nothing Ever Changes in the Ever-Changing Republic of Ek-Ek-Ek, Khavn How to Disappear Completely, Raya Martin Reimon, Rodrigo Moreno Zanj Revolution, Tariq Teguia Lake August, Yang Heng Spectrum Shorts

African Metropolis The Other Woman, Marie KA Berea, Vincent Moloi The Cave, Ahmed Ghoneimy Homecoming, Jim Chuchu The Line-Up, Folasakin Iwajomo To Repel Ghosts, Philippe Lacôte CINEMART

The 43rd International Film Festival Rotterdam marks the 31st edition of its international co-production market, CineMart. This was the first platform of its kind to offer filmmakers the opportunity to launch their ideas to the international film industry and to find the right connections to get their projects financed. Launching 25 projects in need of additional financing, CineMart also heralds an important start of the ‘film year’. Every year, CineMart invites a select number of directors/producers to present their film projects to co-producers, funds, sales agents, distributors, TV stations and other potential financiers, through carefully scheduled one-to-one meetings. At the start of CineMart, every guest can find his or her personal schedule online on their MyIFFR account. During CineMart 2013, there were some 1,500 meetings between project representatives and potential financiers. One of CineMart’s trademarks is its highly productive, yet informal atmosphere. The four-day event takes place during IFFR and shares its location with the Festival Center, de Doelen, in the heart of Rotterdam.

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Former CineMart projects in IFFR 2014

CineMart is proud to present six former CineMart projects now selected for this yearâ&#x20AC;&#x2122;s film programme. Bright Future

The Distance, Sergio Caballero A Spell to Ward Off the Darkness, Ben Rivers & Ben Russell Spectrum

Canibal, Manuel MartĂn Cuenca Heli, Amat Escalante Night Moves, Kelly Reichardt Remote Control, Byamba Sakhya Rotterdam Lab

The CineMart staff also organises the Rotterdam Lab, a training workshop for young and emerging producers designed to build up their international networks and their experience at an international festival and market. Participation in the Rotterdam Lab provides producers with the confidence and skills to navigate the festival circuit and meet professionals who can help finance their projects. In the five-day programme experts from the industry will give the producers tools with which to present their project and build up an international network. In addition to the organised programme, the producers are offered the chance to participate in all other CineMart events, such as networking, breakfasts, lunches, cocktails and other panels. By bringing together a mix of producers from around Europe and the rest of the world, the Rotterdam Lab has also generated many alluring international co-productions. In 2014 the Rotterdam Lab welcomes XX participants from XX countries. Art:Film

Art:Film is an initiative of IFFR/CineMart and CPH:DOX to further enhance, platform and nurture highly artistic cinema and visual arts. It reacts on the specific needs of radical art house cinema to expand in new fields of financing, production and distribution. As well as on the growing number of films by directors coming from the field of visual arts, which are successfully shown on festivals and theatres worldwide, thus proving a demand and also commercial success. The idea behind Art:Film is to connect people from the world of visual art and cinema, to exchange knowledge and contacts, and to support filmmakers and artists working on feature projects in between the two fields. DISTRIBUTION

IFFR is very active in the field of distribution; for years, the festival has organized the distribution of its own HBF films and often Tiger Award winners in the Netherlands. By doing this, the festival strengthens an artistic film climate which is always vulnerable. Moreover, this provides filmmakers with a platform for finding an audience for their films, also outside of the festival circuit. In the field of distribution, IFFR pays a great deal of attention to digital developments. IFFR has its own YouTube channel that features a weekly series of short films and a selection of Hubert Bals Fund supported feature films. In 2011, IFFR launched the DVD & VoD (Video on Demand) series 10 to Watch; a package of 10 festival films, mainly Bright Future titles from the last festival

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edition, including Hubert Bals Fund-supported titles. The films are now also released on VoD through partner platforms Ximon, MUBI and most importantly IFFR in the Cloud. IFFR in the Cloud is a collaboration with aggregator Under the Milky Way. It facilitates Hivos Tiger Awards nominees, Bright Future and Spectrum filmmakers in having their films available on iTunes Benelux. This availability can also be extended to other territories outside the Benelux and other VoD platforms. Finally, IFFR plays a mediating role for filmmakers through Festivalscope, an industry website where sales agents, programmers and other professionals can preview films. The Big Screen Award Competition

Since 2013, IFFR has a new competition in support of theatrical distribution of feature films in the Netherlands and Belgium. Over the past years, for cultural, demographical, economical or technological reasons, many things have changed in cinema distribution. Some of these changes have been beneficial, other have been problematic. But we feel some of the films in the festival’s line up have the potential to reach a wider audience than is possible during the festival. This year again, we have selected ten films, both from Bright Future and Spectrum sections, to be seen by an Audience Jury comprising five enthusiastic film lovers from the Netherlands. These ten films, including four world premieres, will also be eligible for the KNF Award, the prize given by Circle of Dutch Film Critics since 1984. Both prizes come with a guaranteed distribution offer for the Benelux, in collaboration with local distributor Amstelfilm. The Big Screen Award Selection

Reimon, Rodrigo Moreno Obvious Child, Gillian Robespierre The Distance, Sergio Caballero See No Evil, Jos de Putter Jacky in Women’s Kingdom, Riad Sattouf Another Year, Oxana Bychkova R100, Matsumoto Hitoshi To Kill a Man, Alejandro Fernández Almendras The Militant, Manolo Nieto It’s Us, Nick Reding The Big Screen Award Jury 2014

Christine de Baan Ivana Barisic Tobias Bijl Ruud Heere Yasmine Wegman The KNF Jury 2014

KEES Driessen (Vrij Nederland) Paul van Es (Troskompas/TVKrant) Quirijn Foeken (Biosagenda) Nienke Huitenga (Dagelijkse Standaard) Jelle Schot (VPRO Gids/Cinema.nl)

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Veel nieuwe topfilms bij UPC On Demand upc.nl

Catalogue Crew

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Chief Editor Saskia Gravelijn

Campaign Concept & Design 75B

Editors Charlotte Lipić, Lot Piscaer,

Cover Design DeeTeePee

Harriëtte Ubels Copy Editors (English:) Mark Baker, Jane Bemont, Christine Gardner, (Dutch:) Mariska Graveland, Pauline Kleijer, Mark Mallon Contributors Niels Bakker, Leo Bankersen, Joost Broeren, Annet Brugel, Edo Dijksterhuis, KEES Driessen, Jan Pieter Ekker, Mariska Graveland, Pauline Kleijer, Olaf Möller, Maricke Nieuwdorp, Nicole Santé, Anton Slotboom, Ronald Rovers, André Waardenburg and Festival Staff Translators (English:) Mark Baker, Martin Cleaver, Titus Verheijen, (Dutch:) Sjaan de Bruijn, Leo Reijnen Photo Editor Simone Guljé Production Marieke Berkhout Programme Chris Schouten, Mirjam Klootwijk (interim), Melissa van der Schoor

Design & Typesetting Sjoukje van Gool, Gerald Zevenboom Print Veenman+

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© 2014 International Film Festival Rotterdam Nothing from this publication may be reproduced, stored in an automated retrieval system or made public in print, photocopy, microfilm or in any other way without prior written permission from the publisher. For inclusion of any part(s) of this publication in anthologies, readers and other compiled works, one should contact the publisher. ISSN 1873-8362

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Festival Staff 43rd International Film Festival Rotterdam PO Box 21696 3001 AR Rotterdam The Netherlands tel: +31 10 890 9090 tiger@filmfestivalrotterdam.com filmfestivalrotterdam.com Supervisory Board Pieter Broertjes, Mart

Dominicus, Frans van Gestel, Steven Lak Advisory Board Tiger Business Lounge

Jacob van der Goot, Jacqueline van den Ende, Jacques Kröner, Marc van Staveren, Melany van Twuijver, Wilbert van Twuijver Festival Director Rutger Wolfson Interim Artistic Director Mart Dominicus Managing Director Janneke Staarink Steering Committee Marit van den Elshout, Peter van Hoof, Martje van Nes, Chris Schouten, Janneke Staarink, Juul Veenboer, Rutger Wolfson Programmers Edwin Carels, Evgeny Gusyatinskiy, Peter van Hoof, Chinlin Hsieh, Inge de Leeuw, Bianca Taal, Gerwin Tamsma, Gertjan Zuilhof, (short films:) Peter van Hoof, Joke Ballintijn, Erwin van ’t Hart, Peter Taylor, Theus Zwakhals Guest Curator Olaf Möller Programme Advisors Christiane Gruen, Aihara Hiromi, Robert Gray, Shelly Kraicer, Janneke Langelaan, Ralph McKay, Olivier Pierre, Rada Sesic, Roberto Turigliatto, Miroljub Vickovic, Jordi Wijnalda, Grace Winter Programme Department Chris Schouten, Mirjam Klootwijk (interim), Patricia Chaves, Bryan Diender, Pim Kipp, Robert de Rek, Melissa van der Schoor, Meral van de Velde, Charlie Vermeulen Marketing & Fundraising Martje van Nes, (communication & marketing:) Marieke Berkhout, Hedwig Hupkes, Sanne de Rooij, (sponsoring & fundraising:) Natalie Blok, Kitty Bogte, Angela Visser Education Ronny Theeuwes, Lana Kujundzic Online Loes Evers, Ouassima Belmoussi, Pete Wu Press Nancy van Oorschot, Mieke van der Linden, Jodie de Groot, Isabelle de Klein, Tamara Pater Chief Editors Anton Damen, Saskia Gravelijn Editors Charlotte Lipić, Lot Piscaer, Harriëtte Ubels Photo Editor Simone Guljé CineMart Marit van den Elshout, Bianca Taal (interim), Johanna Fuhler, Inke van Loocke, Tobias Pausinger, Nienke Poelsma, Emmy Sidiras, (consultants/ matchmakers:) Jolinde den Haas, Konstantinos Kontovrakis, David Pope Hubert Bals Fund Iwana Chronis, Janneke Langelaan Film Office Nikolas Montaldi, Petra Albu, Stien Meesters, Myrthe Terpstra,

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(industry consultants:) Hayet Benkara, Mary Davies, Marina Kozul, Louis Tisné Video Library Rob Duyser, Samanta Telleri Distribution Melissa van der Schoor, Sara Tatou Finance & Human Resources Eva de Jong, Marleen de Kok, Karin Zuijderwijk Office Anne-Mercedes Langhorst, Marianne van Dam, Marel Jap-Sam Production Juul Veenboer, Joost Trines (interim), Ben Bouwmeester, Sissy Choi, Antwan Cornelissen, Arielle Fenton, Frank van der Horst, Johan Ista, Adam Verhaar, Randi de Vries, Paul Westerweel Guest Department & Hospitality Martine Maris, Sonja Hermans, Maite Klis, Marit Oprins, Saskia Pique, Nasztazia Potapenko Jury Support Jeroen Achterberg, Annie Britner-Schiffers, Riona Gray, Jodie de Groot, Jorien Soeterik Information & Communications Technology Erik Gelsema, Jeroen

Diderik, Victor Verheij Volunteers Coordination Annemarie

van Leeuwen, Fleur Mosterdijk, Thomas van der Zel Box Office Andrée van den Berg, Marco Oudewortel, Quirien Schouten Film Technique Rembrandt Boswijk, Martin van Broekhoven, Dick Moesker Electronic Subtitling Els van der Meer Film Control Joop van Langen, Kathinka Verhoeven Car Service Caspar van der Lecq, Thijs Pruis Q&A & Interpretors Mercedes Martinez-Abarca, Erik Tijman Talkshows/Specials Mieke van der Linden, Natasja van den Berg, Ted Chiaradia, Gerlinda Heywegen, Mariken van der Meer, Farid Tabarki, Jordi Wijnalda Catering Remco Ris, Food for Thought CineMart International Advisory Board

Ido Abram, David Atlan-Jackson, JeanBaptiste Babin, Juan Gordon, Keith Griffiths, Claudia Landsberger, Scott Macaulay, Lorna Tee, Susan Wendt International Liaison Lucius Barre, Dicky Parlevliet CineMart Selection Committee

Konstantinos Kontovrakis, Jannie Langbroek, Nikolas Montaldi, Frank Peijnenburg, Anita Voorham and CineMart Staff Hubert Bals Fund Selection Committee

Jan Pieter Ekker, Simon Field, Ilse Hughan, Jannie Langbroek, Dicky Parlevliet, Lucas Rosant, Ineke Smits, Bianca Taal, Gerwin Tamsma, Denis Vaslin, Gertjan Zuilhof and HBF Staff Curaçao IFFR Joost Trines, Christine Davila, Saskia Gravelijn, Mirjam Klootwijk, Pim Kipp and Festival Staff Festival Groningen Gerben ter Haar, Sahar Hanrahan, Hanneke van den Hoogen, Henk Klein Wassink, Martijn Rotgers

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Thanks to

International Film Festival Rotterdam would like to thank:

Ahmed Aboutaleb Tikoy Aguiluz Sitora Alieva Arie Altena Emily Ansenk Errki Astala Annamaria Basa Cooper Battersby Violeta Bava Maartje Berendsen Julie Bergeron Guus Beumer Bero Beyer Marianne Bhalotra Doreen Boonekamp Ger Bouma Han Bouman Filip Braams Fay Breeman Cornell den Broeder Sacha Bronwasser Gijsbregt Brouwer Rémi Burah Carla Cattani Chang Ting Carlo Chatria Jack Chiang Mihai Chirilov Marcel Cobussen Emmanuel Cocq Fabiana Comparato Ben Cook Simon Corsèl Florian Cramer Arleen Cuevas Claudia Curio Ludmila Cvikova Tom Dalderup Christian De Schutter Roman Dekhtiar Mati Diop Amy Dotson Nelleke Driessen Marie-Pierre Duhamel Afke Duinkerken (i.m.) Emily Vey Duke Edwin Heinz Emigholz Basak Emre Amir Esfandiari Danielle Eversby Isabel Arrate Fernandez Tine Fischer Eric Franssen Meschac Gaba Raviv Ganchrow Yuri van Geest Marie-Claude Giroux Maaike Gouwenberg Eva de Grote Trevor Groth Helma Haak

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Sandra den Hamer Briony Hanson Lien Heidenreich-Seleme Jacques van Heijningen Sonja Heinen Titia Hienema Hong Hyosook Barbara Honrath Rogier van der Horst Alexander Horvath Brigitte Hubmann Ge Huismans Hans Hurch Peter Inklaar Juliette Jansen Marit Kapla Ida de Kat- van Meurs Petri Kemppinen Omar Kholeif Kim Haery King Yiu Chu Lis Kogan Roger Alan Koza Mario Kozina Stefan Laudyn Lee Yongkwan Nanouk Leopold Ruby Lerner Jan Loorbach Michelle Lou Jodie Mack Kate MacKay Nils Malmros Claudia Marcoux François Margolin Helvecio Marins jr. Steven Markovitz Dorleta Martin San Venancio Jasmin McSweeney Toni Monty Thure Munkholm Nakayama Hiroki Nam Dongchul Mark Neirynck Lauge Nielsen Mona Nicoara Ken Okubo Roberto Olla Irina Orssich Jacqueline Oskamp Jerome Paillard Michiel Pannekoek Arnaud Pasquali Chris Paton Theo Peekel Gerrit Peeters Adina Pintilie Andrea Posthuma Matyas Prikler Simon Pummell Marten Rabarts Alessandro Raja Rachel Robey Jeroen Roovers Peter Rorvik

Roee Rosen Gabrielle Rozing Ruan Liang-cheng Bart Rutten Aukje Rypma Eva Sangiorgi Frieder Schlaich Marc-André Schmachtel Dan Schoenbrun Martin Schweighofer Vicky Serao Aviva Silver Andrey Silvestrov Elena Stepanischeva Kiki Sugino Elia Suleiman Anocha Suwichakornpong Mika Taanila Meiske Taurisia James Thompson Ruth Timmermans Amanda Trager & Erik Moskowitz Tsai Jing-fang Renee Turner Chalida Uebumrungjit Eduardo Valente Edwin Veekens Ronald Vierbergen Jacobine van der Vloed Frans Westra Manon WilbrinkLommen E-Shyh Wong Gamila Ylstra Zhu Rikun Bert-Jan Zoet Alliance Française Rotterdam Ancine, Rio Arminius ARTE France Cinéma Asian Film Market Ateliers du Cinéma Européen Austrian Film Museum Atelier Nord AV-arkki Beijing Independent Film Festival Berlinale Co-Production Market Binger Filmlab British Council Buenos Aires Festival Internacional de Cine Independiente (BAFICI) Busan International Film Festival CentEast Market Warsaw Centre for the Moving Image

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Thanks to

Chinese Independent Film Festival Cinéfondation – Résidence du Festival de Cannes Cinémathèque de Toulouse Cinereach Cinergia City Development Corporation CPH-DOX Creative Capital Creative Scotland Creative Skillset Croatian Audiovisual Centre Czech Film Center Danish Film Institute Doha Film Institute Dubai International Film Festival Durban FilmMart/ Durban Film Office Durban International Film Festival Edinburgh International Film Festival Embassy of India Embassy of Poland Eurasia International Film Festival Eurimages European Audiovisual Entrepreneurs (EAVE) EYE Film Instituut Farabi Cinema Foundation, Tehran Festival del Film Locarno Festival des Trois Continents Festival International du Film de Cannes Film Bazaar Filmgalerie 451 Film I Väst Film- und Medienstiftung NRW Filmmaker Magazine Finnish Cultural Institute for the Benelux Finnish Film Foundation Finnish Film Institute Flanders Audiovisual Fund Frame Visual Arts Finland Frieze Art Fair Fundación TyPA Goethe Institute Johannesburg Goethe Institute Khartoum Goethe Institute Lagos Goethe Institute Rotterdam Golden Apricot Yerevan

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International Film Festival Gonzo (circus) Göteborg International Film Festival Gouvernestraat Het Nieuwe Instituut HBO Nederland Hofplein Rotterdam IDFA Bertha Fund International Divison of the Hungarian National Film Fund Irish Film Board Israel Film Fund Istanbul Film Festival (Meetings on the Bridge) Istituto Luce Cinecittà Filmitalia Kansai Television Karlovy Vary International Film Festival Kiasma, Museum of Contemporary Art in Helsinki Korean Film Council (KOFIC) Les Films de l’Elysee Li Xianting Film Fund Li Xianting Film School Marché du Film Cannes (Producer’s Network) MEDIA Desk Nederland MEDIA Mundus MEDIA Programme of the European Union Mediafonds Medienboard BerlinBrandenburg Ministerie van Buitenlandse Zaken Ministerie van OCW MoMa Museum of Modern Art Mostra de Cinema de Belo Horizonte Mostra del Cinema di Venezia National Audiovisual Institute, Finland National Film Development Corporation India NCDO NCP Holland Nederlands Filmfonds Nederlandse Film en Televisie Academie NETPAC New Zealand Film Commission Norwegian Film Institute One Fine Day Films Paris Cinéma Parking Gallery, Tehran ParOvisie Piet Zwart Instituut

PNEK Polish Film Institute PrintRoom Proimagenes Colombia Rio de Janeiro State Secretariat of Culture Riviera Maya Film Festival Rome Film Festival (New Cinema Network) Rotterdam Partners Rotterdamse Raad voor Kunst en Cultuur Screen Australia (Indigenous Branch) Semana dos realisadores, Rio Singapore Film Commission Skip City Internationl DCinema Festival, Tokyo Slovak Film Institute Slovenian Film Centre Sonic Acts SØRFOND Norwegian South Film Fund Stedelijk Museum Amsterdam Stichting Verzameling van Wijngaarden-Boot Studio Media Madness Sundance Film Festival Sundance Institute Swedish Film Institute Swedish Music Center Telefilm Canada TENT T-Mobile New Horizons International Film Festival (Polish Days) Topkapi Films Toronto International Film Festival Toshiyuki Hasegawa, Tokyo Transilvania International Film Festival (Cluj-Napoca) Tribeca Film Festival Tribeca Film Institute Trinidad & Tobego Film Festival TV Man Union Unifrance Film US in Progress Wroclaw Viennale Vilnius International Film Festival Wallonie Bruxelles Images Witte de With ... and special thanks to our patrons, individual donors and Tiger Friends

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DCP ✶ video ✶ 70 mm ✶ 35 mm ✶ 16 mm ✶ Super 8 ✶ 8 mm

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LICHTBURG FILMPALAST

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industry services & FAcilities

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ACCREDITATIONS For the 2014 edition, International Film Festival Rotterdam is providing four different types of accreditations. Accreditation assignment is at the discretion of the Festival. Badges and delegate bags can be collected from the Accreditation Desk on the third floor of Festival Center de Doelen. An administration fee or accreditation fee may be applicable. 1. CineMart accreditation

(for professionals taking part in CineMart) • Access to all CineMart events and CineMart Meeting Request Service • Access to all Festival and Industry activities and main events • Free admission to Public Screenings (ticket via internet or guest box office required) • Free admission to Press & Industry Screenings (ticket not necessary) • Use of the Video Library and Film Office services • Listing in the Industry Manual • Access to the Industry Club 2. Industry accreditation

(for professionals active in the international film industry) • Access to all Festival and Industry activities and main events • Free admission to Public Screenings (ticket via internet or guest box office required) • Free admission to Press & Industry Screenings (ticket not necessary) • Use of the Video Library and Film Office services • Listing in the Industry Manual • Access to the Industry Club 3. Director accreditation

(for filmmakers with a film in the Festival) • Access to all Festival and Industry activities and main events • Free admission to Public Screenings (ticket via internet or guest box office required) • Free admission to Press & Industry Screenings (subject to availability of seats) • Use of Film Office services • Access to the Industry Club for Consultancy Meetings and Industry Panels

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4. Press accreditation

(for journalists and media representatives seeking coverage of the Festival) • Access to all Festival and Industry activities and main events • Free admission to Public Screenings (ticket via internet or guest box office required) • Free admission to Press & Industry Screenings (ticket not necessary) • Use of the Video Library and Press Desk services For more information, please visit the Accreditation, Guest, CineMart or Press Desk.

DESKS All desks are located on the third floor of de Doelen. The members of the desk teams will assist you in finding your way through the Festival. Opening Hours

Accreditation Desk 09:00-20:00 Wed 22-Sat 1 Guest Desk 09:00-20:00 Wed 22-Sat 2 CineMart Desk 09:00-20:00 Wed 22-Wed 29 Press Desk 09:00-20:00 Wed 22-Wed 29 09:00-18:00 Thu 30-Sat 1

TICKETS & BOX OFFICES Press & Industry Screenings

Accredited guests (CineMart, Industry and Press guests) are welcome to attend the extensive programme of Press & Industry Screenings. As Public Screenings tend to be very busy and often fully booked, we strongly advise you to schedule your personal programme around the Press & Industry Screenings which take place from Thursday 23 through Friday 31 January, during the day and in the evening in de Doelen, Cinerama, LantarenVenster and Pathé Schouwburgplein. All venues are within walking distance except for LantarenVenster. For access to the Press & Industry Screenings, badge holders do not have to get a ticket. At the entrance of the Press & Industry screening auditoriums, your badge will be scanned.

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Screening Schedule

In the IFFR catalogue, the Press & Industry Screening Schedule is combined with the Public Screenings. Schedule changes are published in the Daily Tiger and on the Festival website. The latest print versions of schedule changes are also available at the Box Offices and at the Guest and Press Desk. Tickets for Public Screenings

On Monday 20 January from 12 noon, guests can order tickets online for the whole festival period. If tickets for a film screening are no longer available, it is still possible to obtain tickets which may become available later. These tickets will be available online from 8 pm on the evening before the day on which the film is screened and can be bought from the festival box-office. Guests can cancel tickets they’ve purchased via their MyIFFR account, so these tickets are available again for regular sale. Central Box Office

The Central Box Office is located on the ground floor of de Doelen (entrance Willem Burgerkwartier, Kruisplein 40). Open to the public and badge holders. Opening Hours

09:00-21:00 Wed 22 09:00-23:00 Thu 23-Fri 31 09:00-18:00 Sat 1 From Sat 1, 18:00, the Central Box Office will move to Pathé Schouwburgplein. Guest Box Office

The Guest Box Office is located on the third floor of de Doelen next to the Accreditation and CineMart desks and open exclusively to accredited badge holders. Opening Hours

09:00-20:00 Wed 22-Fri 31 09:00-18:00 Sat 1

FILM OFFICE The Film Office promotes the interests of filmmakers in the official programme by connecting them with international buyers, film programmers and Industry delegates present at the festival.

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IFFR provides a vital platform for making valuable connections that can stimulate the career of a filmmaker. The Film Office links the business side of the festival and the professionals attending the coproduction market CineMart, with the filmmakers present with a film in the official line-up of IFFR. As part of the Film Office’s activities, filmmakers are invited to take 30-minute one-to-one meetings with a consultant. These Industry insiders can provide important advice, guidance, counselling and inspiration to the filmmakers. Consultancy Meetings are also open to CineMart delegates. The Film Office also organises the Industry Expert panels, where top professionals will share their experiences and dispense important advice to up-and-coming filmmakers. The Film Office distributes all relevant film and contact data to distributors, sales agents and producers worldwide. Available information includes the Sales Letter (overview of feature-length films that are currently not represented by an international sales agent), Distributor Letter (rights information for all selected festival films), Sales & Print Source List, and Viewing Reports of the Video Library and Press & Industry Screenings. During the festival period itself the Film Office team can be found on the 3rd floor of Festival Center De Doelen. Film Office Contacts

Nikolas Montaldi, Coordinator Film Office/Industry Panels Myrthe Terpstra, Consultancy Meetings Petra Albu, Press & Industry Screenings Stien Meesters, Premiere Protocol filmoffice@filmfestivalrotterdam.com

Consultancy Meetings & Industry Expert Panels As part of the Film Office’s services, a time slot can be pre-booked with our Industry Consultants. They assist filmmakers and buyers in making the right contacts at IFFR and can give information about the selected films, the attending industry guests, film market developments and the international festival circuit. The Industry Expert panels, where top

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professionals attending the festival and CineMart will share their experiences with other professionals and dispense important advice to up-andcoming filmmakers take place over the first week of the festival. The panels are informal, yet highly instructive and are a great forum for filmmakers to get their questions answered and for Industry pro’s to meet new talent. Information on the panels will be available on the notice boards on the 3rd and 4th floor of de Doelen and in the Industry Programme. Panels and consultancy meetings take place on the 4th floor of Festival Center de Doelen in the Industry Club.

demand can be high, especially during CineMart (Sun 26-Wed 29), and certain restrictions may apply. It is also possible to screen titles on your device on a closed circuit within de Doelen, on the 3rd and 4th floor dedicated to professionals, as well as the CineMart meeting room and foyer on the 2nd floor. Opening hours

09:00-23:00 Thu 23-Fri 31 09:00-18:00 Sat 1 Video Library Contact

Samanta Telleri videolibrary@filmfestivalrotterdam.com Mailboxes

Industry Consultants

Hayet Benkara, Mary Davies, Marina Kozul and Louis Tisné. consultancy@filmfestivalrotterdam.com Industry Club

The Industry Club is an efficient and relaxing work place, centrally located in the festival headquarters De Doelen, on the 4th floor, directly opposite the Video Library. During the festival, the Industry Club hosts the Industry panels with international guests (Sat 25–Wed 29), the consultancy meetings and network gathering for all attending film professionals to animate connections. The Industry consultants and the Industry Club hostess will be on hand to help with all questions concerning the professional side of IFFR. It offers: • Comfortable meeting areas • Information stands • Reading table with industry periodicals • Coffee facility • Wi-Fi connection

Mailboxes are located behind the desks on the third floor. You can find the CineMart and Guest mailboxes behind the corresponding desks. You are kindly asked to regularly check and collect your mail. Please ask the staff behind the desks for assistance. Print Facilities

Professional guests will find print and photo copying facilities to use at their own expense in de Doelen behind the Guest Desk.

PRESS The IFFR Press Office can be contacted for information on the IFFR organization, the festival programme, CineMart, the Hubert Bals Fund and all other IFFR events. During the festival, the Press Office is located at IFFR Professional Centre ‘de Doelen’ (3rd floor, right behind the Press Desk). IFFR Press Officers will be present for comments, information and upon request for arranging interviews with the IFFR staff members. Press Office Contacts

Opening hours

09:30-18:30 Thu 23-Fri 31 Industry Club Hostess

Modupe Wetzel filmoffice@filmfestivalrotterdam.com

Nancy van Oorschot, Press Officer Mieke van der Linden, Press Officer Isabelle de Klein, Press Officer Jodie de Groot, Jury Host KNF and FIPRESCI Tamara Pater, Publicity Materials press@filmfestivalrotterdam.com

Video Library

Accredited industry and CineMart guests are welcome to use the Video Library on the 4th floor of de Doelen to view festival titles. Please note that

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Press Desk

The Press Desk is the first point of reference for accredited journalists and media representatives. The Press Desk

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publicists provide information, press kits and image material from films and events in Official Selection. The team can answer questions about the attending filmmakers and arrange interviews with them. As each of the members of the Press Desk is specialized in a group of festival titles and associated attending talent, please do not hesitate to ask for more information. Interview requests and interpreters

IFFR Press badge holders are invited to contact the Press Desk for arranging their interview requests with attending talent. If possible, interviews take place on a ‘one-to-one’ basis; there is a possibility – in agreement with the filmmaker – of a photo call and an interview room. We ask for your understanding if the attendance period of talent does not allow for all interview requests to be honored. For interview schedules with directors from films acquired for distribution within the Netherlands, the Press Desk collaborates with the distributor’s representatives. In case an interpreter is needed during the interview session, the Press Desk will arrange for this. During the Festival, the Press Desk is reachable for any further information. pressdesk@filmfestivalrotterdam.com Press Materials

Upon request, the Press Desk will provide additional information about feature films and documentaries within the Festival programme. Hi-res stills from films in the programme selection are also available for download on the press page of the Festival website: filmfestivalrotterdam.com/professionals/press/ film-stills-IFFR-2014. We advise all journalists to use the information available online. For the purpose of television broadcast, the Press Office provides free use of clips from a select number of 2014 titles, either digital or on Betacam SP tapes or DVD. Please call the Press Desk first to ask if a clip is available. Tapes are available for copying at own cost and have to be returned to the Press Office the same day. The Festival does not provide copying or editing services. For copying purposes, the Press Office Intern Tamara Pater,

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can provide addresses and contact information of nearby Rotterdam based companies.

MERCHANDISE Festival T-shirts, bags, sweaters and other souvenirs can be purchased in the Festival Shop on the ground floor of de Doelen, along with the catalogue and DVDs from the Festival’s own Tiger Releases label. You can also purchase various products from the Festival’s webshop by visiting: filmfestivalrotterdam.com/webshop Opening hours

daily 09:00-22:00

PUBLICATIONS/SOURCES The following list comprises the main points of reference published in English by the Festival in print and/or online as well as official documents sent out to film representatives before and after the Festival. IFFR’s Festival Catalogue is the complete and essential guide to all festival films and events, including all industry, sales and print information. The catalogue is also a practical guide to the Festival; it includes a concise programme overview and schedule. All practical information and the latest Festival news can be found on the Festival Website. There is a public part (in Dutch and English) for the general audience and a professional part (in English) for our international Industry and Press guests: filmfestivalrotterdam.com/professionals The Daily Tiger is IFFR’s bilingual (Dutch and English) Festival newspaper, written by professionals, published daily, available at all festival venues and online, and containing the latest news, announcements, programme changes, interviews and more. During the four days of CineMart, IFFR will collaborate with Screen International in several Screen Dailies, sent out as E-newsletters. The Dailies contain programme highlights, events reports, sales information and industry news. The Events List is an overview of all official Festival events, both those

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which are open to all badge holders as well as those events which are accessible by invitation only. The Delegates List is a quick reference to all Festival and CineMart guests attending the 2014 edition, including the dates of their stay and where to find them. A quick reference guide to all Industry companies and representatives attending CineMart and the Festival is the Industry Manual. There is an online version available prior and during the Festival for CineMart and Industry badge holders. The Sales Letter is sent out several times prior to the festival and available during the Festival, details all feature-length films not currently represented by an international sales agent. The Distributor Letter lists all feature films in the festival with full contact information. The CineMart Dossier has detailed information for all CineMart projects including synopses, directors’ biographies and filmographies, production company background, budget and technical specifications, and more. The CineMart Dossier is also available online for all CineMart badge holders prior to and during the Festival. The printed version is distributed to CineMart guests upon arrival. The Rotterdam Lab Reader contains information on the programme and participants of the Rotterdam Lab. The reader is only available for Rotterdam Lab participants. The Hubert Bals Fund leaflet contains an overview of the Fund’s activities and results. Listed are all films supported by the Fund that are screened at the festival, including the anniversary programme Signals: Mysterious Objects - 25 Years of Hubert Bals Fund. The leaflet also contains an overview of the projects that received support in 2013, HBF’s funding schemes, regulations and application deadlines.

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All accredited guests who attend a Press & Industry Screening will have their badge scanned. These data are compiled in the Screening Report – Press & Industry Screenings

and sent out by the Film Office to the rights holder of each film. The Video Library system keeps detailed records of viewings and provides this information in the Screening Report – Video Library Viewings to the rights holder of each film.

FESTIVAL CENTER de Doelen

Kruisplein 40

SCREENING VENUES de Doelen

Kruisplein 40 Screens: 3 Capacity: 425-1516 www.dedoelen.nl Rotterdamse Schouwburg

Schouwburgplein 25 Screens: 1 Capacity: 817 www.schouwburg.rotterdam.nl Pathé Schouwburgplein

Schouwburgplein 101 Screens: 7 Capacity: 101-687 www.pathe.nl/schouwburgplein Cinerama Filmtheater

Westblaak 18 Screens: 7 Capacity: 100-291 www.cineramabios.nl LantarenVenster

Otto Reuchlinweg 996 Screens: 6 Capacity: 61-245 www.lantarenvenster.nl Oude Luxor Theater

Kruiskade 10 Screens: 1 Capacity: 850 www.luxortheater.nl Het Nieuwe Instituut

Museumspark 25 Screens: 1 Capacity: 185 www.hetnieuweinstituut.nl

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Addresses Print & sAles

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ADDRESSES PRINT & SALES

Dutch Distributors

Print & Sales

ABC - Cinemien

Interakt

22 Hours Films

info@cinemien.nl www.cinemien.nl

interakt@interakt.nl www.interakt.nl

22hoursfilms@gmail.com

Amsteldijk 10 1074 HP Amsterdam Netherlands T: +31 20 5776010

Singel 360 1016 AG Amsterdam Netherlands T: +31 20 6237982

Cinéart Netherlands

Just Film Distribution

info@cineart.nl www.cineart.nl

jean@justfilmdistribution.nl www.justfilmdistribution.nl

Herengracht 328-III 1016 CE Amsterdam Netherlands T: +31 20 5308848

Melkpad 51 1217 KB Hilversum Netherlands T: +31 35 6882834

Cinema Delicatessen

LIMA

info@cinemadelicatessen.nl www.cinemadelicatessen.nl

info@li-ma.nl www.li-ma.nl

Arie Biemondstraat 111 1054 PD Amsterdam Netherlands T: +31 20 4207123

EYE Film Institute Netherlands

IJpromenade 1 1031 KT Amsterdam Netherlands T: +31 20 7582362

MartaJurkiewicz@eyefilm.nl eyefilm.nl

Filmfreak Distribution

Arie Biemondstraat 111 1054 PD Amsterdam Netherlands T: +31 20 3892030

Mokum Film

Lijnbaansgracht 209 D 1016 XA Amsterdam Netherlands T: +31 6 29535043 info@mokumfilm.nl www.mokumfilm.nl

Paradiso Filmed Entertainment (NL)

Van Hallstraat 54 1051 HH Amsterdam Netherlands T: +31 20 4864940

Van Eeghenstraat 92 1071 GL Amsterdam Netherlands T: +31 20 6159222

info@filmfreaks.nl www.filmfreaks.nl

info@paradisofilms.nl www.paradisofilms.eu

Hubert Bals Fund

P.O. Box 21696 3001 AR Rotterdam Netherlands T: +31 10 8909090

Some Shorts

Imagine Filmdistributie Nederland

Wild Bunch Benelux

hbf@filmfestivalrotterdam.com www.filmfestivalrotterdam.com

Prinsengracht 452 1017 KE Amsterdam Netherlands T: +31 20 6252653 info@imaginefilm.nl www.imaginefilm.nl

St. Annastraat 149 6524 ER Nijmegen Netherlands

info@someshorts.com www.someshorts.com

Willemsstraat 24B 1015 JD Amsterdam Netherlands T: +31 20 5357550 info@wildbunch.nl www.wildbunch.nl

Chaoyang District 100020 Beijing China T: +86 13 552049170 6 SALES

Real Baja 18, 1º C, Majadahonda, 28220 Madrid Spain T: +34 911 723 734 info@6sales.es www.6sales.es

Aamu Filmcompany Ltd

Hiihtomäentie 34 00800 Helsinki Finland T: +358 9 68744980

info@aamufilmcompany.fi www.aamufilmcompany. wordpress.com/

ABS-CBN Creative Programs Inc.

8th Floor, ELJ Communications Center Building Eugenio Lopez Drive corner Mother Ignacia Avenue, ABS-CBN, 1103 Quezon City Philippines T: +63 9 178084190 ourcinema@gmail.com www.abs-cbn.com

Across Films

4F-1, 245, Fuhsing S. Rd., 106 Taipei Taiwan T: +886 2707 9607 tientsungma@gmail.com

Adomeit Film

Husumgade 43,4th 2200 Copenhagen N Denmark T: +4531418681

Katja.adomeit@gmail.com

Advanced Music S.L.

Zamora 45-47 6º1ª A 08005 Barcelona Spain T: +34 93 3208163 sonar@sonar.es www.sonar.es

Agencia - Portuguese Short Film Agency

Auditório Municipal Praca de Republica 4480-715 Vila do Conde Portugal T: +351 2 52646683 agencia@curtas.pt www.curtas.pt

Ai Weiwei Studio

Caochangdi 258 100015 Beijing China T: +86 10 84561233

aiweiwei.fake@gmail.com www.aiweiwei.com

Anadu, Chika

41 road, K close, house 1, Festac town 000 Lagos Nigeria T: +234 802 7669913 cbanadu@gmail.com

Anggi Noen, Yosep

Kaliduren 3, Sumberagung, Moyudan Sleman 55563 Yogyakarta Indonesia T: +62 81 328316563 angginoen@yahoo.com

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ADDRESSES PRINT & SALES

ales

honda,

Anna Lena Films

Azabache Films

BTF

anna@annalena.fr www.annalenafilms.com

info@azabachefilms.com www.azabachefilms.com

info@btf.de www.btf.de

10 rue Sainte Anastase 75003 Paris France T: +33 66 3741011

Av. Amilcar Cabral 43 0000 Maputo Mozambique T: +258 825582324

Anna Sanders Films

BAC Films

asf@annasandersfilms.com www.annasandersfilms.com

sales@bacfilms.fr www.bacfilms.com

152 rue Robespierre 93170 Bagnolet France T: +31 6 81898918

AreachikaCine

Bad Crowd

Tte. Genaro Ruiz 979 1408 Asunción Paraguay T: +595 98 1199600

collarenrique@hotmail.com www.areachikacine.com

Argos Centre for Art and Media

ions

Werfstraat 13 1000 Brussels Belgium T: +32 2 2290003

distribution@argosarts.org www.argosarts.org

Arikawa Shigeo

lamoustakas@hotmail.com www.badcrowd.eu

Balazstarraf - Vientocine

Carlos Antonio Lopez 4391 1419 Buenos Aires Argentina T: +54 9 1164216239 balazstarraf@gmail.com www.vientocine.com

Woodlands, 80 Wood Lane W12 0TT London United Kingdom T: +44 2084332245

info@back2now.org www.back2now.org

www.bbcworldwide.com/ global-offices.aspx

Arsenal - Institut für Film und Videokunst e.V.

Potsdamer Strasse 2, Im Filmhaus D-10785 Berlin Germany T: +49 30 26955100

Beavers, Robert

Kottbusser Damm 8 10967 Berlin Germany T: +49 30 691 6778 rbeavers@thing.net www.the-temenos.org

nm@arsenal-berlin.de www.arsenal-berlin.de

Big World Cinema

1st Floor, 27 Caledon Street 8001 Cape Town South Africa T: +27 21 4615962

Arsenali Medicei S.r.l.

Via Raimondo Montecuccoli, 32 00176 Roma Italy T: +39 06 70613538

info@bigworld.co.za www.bigworld.co.za

contatto@arsenalimedicei.it www.arsenalimedicei.it

Artech Digital Cinema

Via Piemonte, 8 20093 Cologno Monzese (MI) Italy T: +39 02 273421 laurap@artech-dcinema.com

500 Ft. Washington Ave. #C3 10033 New York USA T: +1 917 6910776

Biscaya, José Miguel

Frans de Wollantstraat 70 1018 SC Amsterdam Netherlands T: +31 6 28246498 jose@jmbiscaya.com www.jmbiscaya.com

Bitters End Inc.

3F,13-3 Nanpeidai Shibuya 1500036 Tokyo Japan T: +81 3 34620345

info@edenfilm.net

info@bitters.co.jp www.bitters.co.jp

Auguste Orts

Borscht Corporation

info@augusteorts.be www.augusteorts.be

contact@borschtcorp.com www.borschtcorp.com

Aalststraat 7-11 1000 Brussels Belgium T: +32 2 8808560

848 NE 81st Street 33138 Miami USA T: +1 7862522836

Aura été Production

Boule de Suif Production

auraete@wanadoo.fr

boule2suif@gmx.fr

6, rue de l’Essai 75005 Paris France T: +33 9 81989008 AV-arkki

2, Kaf kassou street 11362 Athens Greece T: +30 693 7084430

BBC WorldWide

1-23-4 Kugahara Ota 146-0085 Tokyo Japan T: +81 3 63068053

Atlantis 8 Films LLC

88 rue de la Folie Méricourt 75011 Paris France T: +33 1 53535252

Tallberginkatu 1 C 76 00180 Helsinki Finland T: +358 4 05570321 distribution@av-arkki.fi www.av-arkki.fi

FR 2014 Indexes V04.indd 299

70/6 rue Vaillant 59130 Lambersart France T: +33 9 51435044 Brooks, Nicholas

42 Reynolds House, Approach Road E2 9JR London United Kingdom T: +44 7 963947019

nja_brooks@hotmail.com www.nickbrooks.info

Leyendeckerstrasse 27 50825 Köln Germany T: +49 221 82008710

Burr, Peter

163 Nassau Avenue apt 2 NY 11222 Brooklyn USA T: +1 860 5734739

digital_peat@hotmail.com www.peterburr.org

C.R.I.M.

Avenida do Brasil 154 R/C Esq 1700-076 Lisboa Portugal T: +351 2 18446102 crimfestivals@gmail.com www.crim-productions.com

CABINET

C/O Cabinet 49-59 Old Street EC1V 9HX London United Kingdom T: +44 20 72516114

art@cabinetltd.demon.co.uk www.cabinet.uk.com

Caetano, Marcelo

Rua Cônego Eugênio Leite 682 ap. 74 05414000 São Paulo Brazil T: +55 11 982637372

marcelo.desbun@gmail.com www.vimeo.com/marcelocaetano

Campfilm Production

Károly Körút 3/C 1075 Budapest Hungary T: +36 20 9922629

barbara@campfilm.eu www.campfilm.eu

Canadian Filmmakers Distribution Centre (CFMDC)

401 Richmond St W. Suite 245 M5V 3A8 Toronto Canada T: +1 416 5880725 bookings@cfmdc.org www.cfmdc.org

canecapovolto

Via Cervignano, 15 95129 Catania Italy T: +39 95 8362580

info@canecapovolto.it www.canecapovolto.it

Capricci Films

3 rue de Clermont 44000 Nantes France T: +33 2 40892059 contact@capricci.fr www.capricci.fr

Carlos Motta Studio

PO Box 11 NY 10276 New York USA T: +1 917 5535546

mottacarlos@yahoo.com www.carlosmotta.com

Cataract Vision

Kundmanngasse 10/6 1030 Vienna Austria T: +43 699 18020033

cataractoffice@gmail.com

Celis, Sebastian

Esperanza 957 - 204 Narvarte, Benito Juarez 03020 Mexico City Mexico T: +52 55 56153925

sebastian@pimientafilms.com

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ADDRESSES PRINT & SALES

Centro Galego de Artes da Imaxe

Collins, Nick

Deckert Distribution

cgai@xunta.es www.cgai.org

nickcollins637@btinternet.com

info@deckert-distribution.com www.deckert-distribution.com

Compañía Amateur

Delgado Viteri, Daniela

romoren@hotmail.com https://vimeo.com/romoren

daniela.zoso@gmail.com www.vimeo.com/user8526349

Rúa Durán Loriga, 10 baixo 15003 A Coruña Spain T: +34 881 881260

Chemistry Cine

Diagonal de San Antonio 934 Col. Del Valle, Del. Benito Juarez 03100 Mexico DF Mexico T: +52 55 56586572 info@chemistrycine.com www.chemistrycine.com

East Wing, Malling Deanery Church Lane BN7 2JA Lewes United Kingdom T: +44 1273 476518

Av. Cordoba 4144 1188 Buenos Aires Argentina T: +54 11 48634778

Olmedo y Quito 201 201 Portoviejo Ecuador T: +593 5 2630693

Coproduction Office

Desmet, Robbrecht

24 rue Lamartine 75009 Paris France T: +33 1 56026000

Cheng, Ian

47 Catherine Street Apt 3C NY 10038 New York USA T: +1 818 3998223

info@coproductionoffice.eu www.coproductionoffice.eu

Cornerhouse Artist Film

ianchenged@gmail.com www.iancheng.com

Child, Abigail

303 East 8th Street, Apt. 6F NY 11211 New York USA T: +1 212 6731608 achild@mindspring.com www.abigailchild.com

Cinema Republic

Rosario Manzaneque Ave., 25 28250 Torrelodones Madrid Spain T: +34 91 8592963 cinemarepublic@ cinemarepublic.es www.cinemarepublic.es

Cinematografica Films

353 Vicente G. Cruz Street 1008 Manila Philippines T: +31 6 34644357 arleencuevas@gmail.com www.cinematografica.org

70 Oxford Street M1 5NH Manchester United Kingdom T: +44 78 33449357

artistfilm@cornerhouse.org www.cornerhouse.org/artist-film

Crowe, Rowena

Planciusplein 6C 4812SG Breda Netherlands T: +31 6 40244031

rowena@rowenacrowe.com www.rowenacrowe.com

Cuentos Mecánicos

Centro Sector Milla. Avenida 2 Casa 13-40 5101 Mérida Venezuela T: +58 426 6767747

gustavobastidas57@gmail.com www.cuentosmecanicoscine. blogspot.nl

Curious Film

Cinetic Media

555 West 25th Street, 4th floor NY 10001 New York USA T: +1 212 2047979 info@cineticmedia.com www.cineticmedia.com

26 Putiki Street 1021 Auckland New Zealand T: +64 9 3607880

production@curiousfilm.com www.curiousfilm.com

Curtas Metragens CRL

Cinquemani, Shiloh

Auditorio Municipal, Pr da Republica 4480-715 Vila do Conde Portugal T: +351 252 646683

380 Parke Street #19 CA 91101 Pasadena USA T: +1 80 23694332

shiloh.cinquemani@gmail.com

Claerbout studio

Claerbout studio Kruikstraat 28 2018 Antwerpen Belgium T: +32 479 225774

agencia@curtas.pt www.curtasmetragens. com/agencia

Dahan, Michael Moshe

tseling@claerboutstudio.be www.gms.be

Collantes, Pedro

15420 Deerhorn Road CA 91403 Sherman Oaks USA T: +1 818 3868158

studio@michaelmoshedahan.com www.michaelmoshedahan.com

Dam, Jan Willem van

Añastro 50 28033 Madrid Spain T: +31 62 6756079

collantespedro@gmail.com www.pedrocollantes.com

Samuel Mullerstraat 28 a 3023 SR Rotterdam Netherlands T: +31 10 2762531 mijnheervandam@hetnet.nl

Danish Film Institute

Collar, Enrique

Marienplatz 1 04103 Leipzig Germany T: +49 341 2156638

Jupiterlaan 171 1190 Vorst Belgium

contact@robbrechtdesmet.be www.robbrechtdesmet.be

Deutsche Film- und Fernsehakademie Berlin

Potsdamer Strasse 2 10785 Berlin Germany T: +49 30 25759152 info@dffb.de www.dffb.de

Dieptescherpte BV

WG Plein 259 1054SE Amsterdam Netherlands T: +31 206766717 wink@deepfocus.nl

Dijkstra, Douwe

Billitonstraat 46 8022RD Zwolle Netherlands T: +31 6 45476593

info@douwedijkstra.nl www.douwedijkstra.nl

Dissidenz Films

127 rue Amelot 75011 Paris France T: +33 68 7774147

bqt@dissidenzfilms.com www.dissidenzfilms.com

Doc & Film International

13 rue Portefoin 75003 Paris France T: +33 1 42775687

sales@docandfilm.com www.docandfilm.com

Doghouse 73 Pictures

3, Jalan 20/18 46300 Petaling Jaya Malaysia T: +60 16 2631590

doghouse73@yahoo.com www.doghouse73pictures.com

Dreammaker Productions

Risco 173, Col. Jardines del Pedregal 01900 Mexico City Mexico T: +52 1 5524431973 yaedop@hotmail.com

Duke, Emily Vey

2425 Onativia Road NY 13084 LaFayette USA T: +1 315 7151405

emilyveyduke@gmail.com www.dukeandbattersby.com

Tte. Genaro Ruiz 979 1408 Asuncion Paraguay T: +31 10 2652747

Gothersgade 55 1123 Copenhagen Denmark T: +45 33 743400

Dutch Independent Pictures

Collectif Jeune Cinéma (CJC)

De Productie

Dziedzic, Agnieszka

admin@cjcinema.org www.cjcinema.org

info@deproductie.nl www.deproductie.nl

agnieszka@koi-studio.pl www.koi-studio.pl

collarenrique@hotmail.com www.areachikacine.com

71 rue Robespierre 93100 Montreuil France T: +33 1 80601983

300

FR 2014 Indexes V04.indd 300

dfi@dfi.dk www.dfi.dk

Gashouderstraat 9 3061 EH Rotterdam Netherlands T: +31 10 4763388

Heemstedestraat 41-2 1059 EA Amsterdam Netherlands info@kawfilms.nl www.kawfilms.nl

Slupecka 4/29 02-309 Warsaw Poland T: +48 605164104

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ADDRESSES PRINT & SALES

om m

EastWest Filmdistribution GmbH

eOne Films International

sales@eastwest-distribution.com www.eastwest-distribution.com

internationalsales@ entonegroup.com www.entertainmentonegroup.com

Schottenfeldgasse 14 1070 Vienna Austria T: +43 1 524931034

Eddie Saeta

eteam

Pasaje Permanyer 14 08009 Barcelona Spain T: +34 93 4677040

50-15 39th Street #3H Sunnyside NY 11104 New York USA T: +1 34 72766981

eddie@eddiesaeta.com www.eddiesaeta.com

eteam@meineigenheim.org www.meineigenheim.org

Edwin

Jl. Madrasah no.3B, Cilandak Timur 12560 Jakarta Selatan Indonesia T: +31 652 606899

Eurasia Communications Ltd.

Lianbao Apt. 5-11B 100027 Beijing China T: +86 10 64159644

kotakhitam@gmail.com www.kotakhitam.com

eurasia@public3.bta.net.cn

Extra Virgin Co. Ltd.

Eilers, Willehad

15/67 Soi Chokchai Ruammit Vibhavadi Rangsit Road 10900 Bangkok Thailand T: +66 2 2770824

Buiksloterweg 207 1031DB Amsterdam Netherlands T: +31 20 4567890

wayne@waynehorse.com www.waynehorse.com

info@extravirginco.com www.extravirginco.com

El Carro SRL

EYE Film Institute Netherlands

Duarte Quiros 1220 5010 Córdoba Capital Argentina T: +54 351 4225525

inesmoyano5@hotmail.com

El Viaje Films

Salvia Street n6 38627 Tenerife Spain T: +34 922 721578

Calle Eros, 7, portal b, 9 f 28045 Madrid Spain T: +34 911 727 412 elamedia@elamedia.es www.elamedia.es

Electronic Arts Intermix (EAI)

535 West 22nd Street, 5th Floor NY 10011 New York USA T: +1 212 3370680

ures

contact@figafilms.com www.figafilms.com

Film Republic

eva@elledriver.eu www.elledriver.fr

Ellen de Bruijne Projects

Rozengracht 207A 1016 LZ Amsterdam Netherlands T: +31 20 5304994

21 Campden Street W8 7EP London United Kingdom T: +44 7 835999112 info@filmrepublic.biz www.filmrepublic.biz

Film Sharks International

edbprojects@cs.com www.edbprojects.nl

R. Dona Elisa de Moraes Mendes, 802 Alto de Pinheiros SP 05449-001 Sao Paolo Brazil T: +55 11 30230173

FR 2014 Indexes V04.indd 301

3925 Cazador Street CA 90065 Los Angeles USA T: +1 323 2299816

info@fimfactory.es www.filmfactoryentertainment. com

66 rue Mirosmesnil 75008 Paris France T: +33 1 56434870

info@eloaudiovisual.com www.eloaudiovisual.com

FiGa Films

Carrer de Lincoln, 11, 3, 3 08006 Barcelona Spain T: +34 93 3684608

Elle Driver

Elo Company

sales@fandangoportobello.com www.portobellopictures. com/fandango-portobello

Film Factory Entertainment

info@eai.org www.eai.org

MartaJurkiewicz@eyefilm.nl eyefilm.nl

Krystalgade 7 1st Floor 1172 Copenhagen Denmark T: +45 35143000

Elamedia

IJpromenade 1 1031 KT Amsterdam Netherlands T: +31 20 7582362

Fandango Portobello Sales

jose@elviaje.es www.elviaje.es

175 Bloor Street East Suite 1400, North Tower M4W 3R8 Toronto Canada T: +1 416 6462400

Diaz Velez 4323 1200 Buenos Aires Argentina T: +54 11 48629326

info@macacini.com.ar www.filmsharks.com

Filmax International

Calle Miguel Hernández, 81-87 08908 L’Hospitalet de Llobregat Spain T: +34 93 3368555

filmaxint@filmax.com www.filmax.com

Filmform

Svarvargatan 2 SE-112 49 Stockholm Sweden T: +46 86 51842 info@filmform.com www.filmform.com

Filmgalerie 451

Saarbrucker Strasse 24 10405 Berlin Germany T: +49 30 33982800 info@filmgalerie451.de www.filmgalerie451.de

FilmNation Entertainment

150 W22nd Street 9th Floor NY 10011 New York USA T: +1 917 4848900

ssaldana@filmnation.com www.wearefilmnation.com

FILMO

22 rue Davy 75017 Paris France T: +33 9 50697172 prod@filmo.biz

Films Boutique

Köpenicker Strasse 184 D-10997 Berlin Germany T: +49 30 69537850 info@filmsboutique.com www.filmsboutique.com

Films Distribution

34 rue du Louvre 75001 Paris France T: +33 1 53103399

info@filmsdistribution.com www.filmsdistribution.com

Films Transit International Inc.

252 Boulevard Gouin Est. H3L 1A8 Montral Canada T: +1 514 8443358 info@filmstransit.com www.filmstransit.com

Finecut Co, Ltd

4F Incline Bldg., 89137 Daechi-dong Gangnam-gu 135-280 Seoul South Korea T: +82 2 5698777 cineinfo@finecut.co.kr www.finecut.co.kr

Finnish National Audiovisual Archive KAVA

P.O. Box 16 00151 Helsinki Finland T: +358 9 615400 kava@kava.fi www.kava.fi

First Creative Union

11, Victorenko street 125167 Moscow Russia T: +7 916 5943786

stepanischeva@gmail.com www.1tvo.ru

First Hand Films

Neunbrunnenstraße 50 8050 Zürich Switzerland T: +41 44 3122060

stories@firsthandfilms.com www.firsthandfilms.com

Flatform

via Dante Chiasserini 68 20157 Milan Italy T: +39 02 89058783 flatform@flatform.it www.flatform.it

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ADDRESSES PRINT & SALES

Flying Ant Films

Geen Dank Produkties

Hobbiton Weston Road PO39 0HA Totland Bay, Isle of Wight United Kingdom T: +44 7773 793931

Samuel Mullerstraat 28a 3023 SR Rotterdam Netherlands T: +31 10 2762531 mijnheervandam@hetnet.nl

adam@flyingant.org.uk www.flyingant.org.uk

Gibson, Cameron

Fortissimo Films

Van Diemenstraat 100 1013 CN Amsterdam Netherlands T: +31 20 6273215

Jl. Retno Dumilah 21 B Kotagede 55171 Yogyakarta Indonesia T: +62 274 412313

info@fourcoloursfilms.com www.fourcoloursfilms.com

Free Stone Productions

313-3-25-18 Jingumae Shibuyaku 150-0001 Tokyo Japan T: +81 3 34980728

Hi Film Productions

info@globalscreen.de www.globalscreen.de

office@hifilm.ro www.hifilm.ro

Gneisspecker

Tweede van Swindenstraat 176-3 1093 XA Amsterdam Netherlands T: +31 614041247 Gräfe-Höft, Verena

Barnerstrass 14 22765 Hamburg Germany T: +49 17 11406011

French Quarter Film

verena@junafilm.de www.junafilm.de

Arbetargatan 32 11245 Stockholm Sweden T: +46 7 3934450

mathilde@frenchquarter.se www.frenchquarter.se

FunFilm Distribution

5146 St-Laurent H2T 1R8 Montreal Canada T: +1 514 2725505

Gu Tao

#37 Houhai Beiyan Xicheng District 100010 Beijing China T: +86 150 11361913

sydneybardwell@gmail.com www.greengoundproductions.com

funfilm@cinemaginaire.com www.funfilm.ca

Funny Balloons

4 Bis, rue Saint-Sauveur 75002 Paris France T: +33 1 40130586 info@funny-balloons.com www.funny-balloons.com

Guan, Cassandra

Whitney ISP 100 Lafayette Street #504 NY 10013 New York USA T: +1 57 12458623 cassandraguan@gmail.com

Guru Media

Khan Uul District, Jargalan town 1-4 17010 Ulaanbaatar Mongolia T: +976 11 319017

Gagnon, Dominic

7457 Avenue Querbes H3N 2B7 Montreal Canada T: +31 20 1234567

ariunaa@artscouncil.mn

dg900@hotmail.com

Gyeltshen, Tashi

Thimphu 000 Thimphu Bhutan T: +975 17633112

Galerie Nagel Draxler

Weydingerstr. 2/4 10178 Berlin Germany T: +49 30 40042641

emadatsi@hotmail.com

cn.berlin@galerie-nagel.de www.galerie-nagel.de

Garagefilm International

Kvarngatan 4 11847 Stockholm Sweden T: +46 760 393050

H-K Enterprise BVBA

Noorderlaan 139 2030 Antwerpen Belgium T: +31 10 2662530 Huigen@nirint.com

HanWay Films

info@garagefilm.se www.garagefilm.se

24 Hanway Street W1T 1UH London United Kingdom T: +44 20 72900750

Gartenberg Media Enterprises, Inc

143 West 96th Street, Suite 7B NY 10025 New York USA T: +1 212 2808654 info@gartenbergmedia.com www.gartenbergmedia.com

Gaumont

Global Screen GmbH

stijnverhoeff@gmail.com

info@freestone.main.jp freestone.main.jp

30, Avenue Charles de Gaulle 92200 Neuilly Sur Seine France T: +33 1 46432180

c.beatt@heartbeattpictures.de

Herman, Todd

Sonnenstrasse 21 D-80331 München Germany T: +49 89 2441295580

Fourcolours Films

Admiralstrasse 17a Fabrik, 2 HH 10999 Berlin Germany T: +49 30 69569205

2030 W. Coulter St Apt 2R 60608 Chicago USA T: 815.501.9612

camerondeangibson@gmail.com camerondeangibson.com

info@fortissimo.nl www.fortissimofilms.com

Heartbeatt Pictures

info@hanwayfilms.com www.hanwayfilms.com

Hazazah Pictures

Plantage Parklaan 9 1018 SR Amsterdam Netherlands T: +31 20 4226422

info@hazazah.nl www.hazazahpictures.com

5214-F Diamond Heights Boulevardd #826 CA 94131 San Francisco USA echo7@mindspring.com www.todd-herman.com

Sf. Stefan Street 7 023996 Bucharest Romania T: +40 21 2524867

Holm, Elisabeth

58 Kent Street 11222 New York USA T: +1 917 3759990

elisabeth@kickstarter.com

Hsu, John

4F, 117, Linko St., Xinyi Dist. 11081 Taipei Taiwan T: +886 926 356652 ck1109@gmail.com

Hu Wei

20 rue de L’Abbe Lemire 59110 La Madeleine France T: +33 6 38425000

googoowood@hotmail.com

Hugonnier, Marine

407 Seddon House EC2Y8BX London United Kingdom T: +44 79 60945616

marinehugonnier@ googlemail.com www.marinehugonnier.com

Idrissi, Yassine el

Amal 3 Bloc P n 163 C.Y.M 10050 Rabat Morocco T: +212 6 65244347

yassinemedia@gmail.com www.phototechnique.org

Illume Ltd

Palkkatilankatu 7 00240 Helsinki Finland T: +358 9 1481489 illume@illume.fi www.illume.fi

IM Global

The Beverly Quest Building 8201 Beverly Blvd. - 5th Fl. CA 90048 Los Angeles USA T: +1 310 7773590

bonnie_voland@imglobalfilm.com www.imglobalfilm.com

Imcine

Insurgentes Sur 674, 2 Floor 03100 DF Mexico T: +52 55 54485344 mercaint@imcine.gob.mx www.imcine.gob.mx

Independencia Productions

27 rue Bleue 75009 Paris France T: +33 9 83840158

productions@independenciasociete.com www.independencia-societe.com

abuhl@gaumont.fr www.gaumont.fr

302

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.de

Dist.

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m.com

oor

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ADDRESSES PRINT & SALES

Independent Film Company

Jour2Fête

mail@independentfilmcompany. com www.independentfilmcompany. com

sales@jour2fete.com www.jour2fete.com

32 Tavistock Street WC2E 7PB London United Kingdom T: +44 20 772578734

Indiestory Inc.

4FL., BaekAk Bldg., 135-4, Tongin-dong, Jongno-gu 110-043 Seoul South Korea T: +82 2 7226051 indiestory@indiestory.com www.indiestory.com

Institut Francais

8 - 14 rue du Capitaine Scott 75015 Paris France T: +33 1 53 69 83 00 info@institutfrancais.com www.institutfrancais.com

7 rue Ambroise Thomas 75009 Paris France T: +33 1 40229215

Jürgen Brüning Filmproduktion

Luckauer Strasse 3 10969 Berlin Germany T: +49 30 69504106

producer@ottothezombie.de www.thunska.com

Klahr, Lewis

1938 N. Commonwealth Avenue CA 90027 Los Angeles USA T: +1 323 9061734 engram66@sbcglobal.net

dagne@justamoment.lt www.justamoment.lt

contact@knightworks.fr www.knightworks.fr

info@jvdwfilm.nl www.jvdwfilm.nl

interakt@interakt.nl www.interakt.nl

contact@kino.com www.kino.com

Knightworks

Pylimo Street 9 - 13 LT-01118 Vilnius Lithuania T: + 370 6 8688980

De Kempenaerstraat 11B 1051 CJ Amsterdam Netherlands T: +31 20 6885049

Singel 360 1016 AG Amsterdam Netherlands T: +31 20 6237982

333 West 39th Street, Suite 503 NY 10018 New York USA T: +1 212 6296880

Just a Moment

JvdW film

Interakt

Kino Lorber

Kamias Road Studios

32 rue Traversière 75012 paris France T: +33 6 70265001

Knut Åsdam Studio

Knut Åsdam Studio Møllergata 34B 0179 Oslo Norway T: +47 9757 9839

studio@knutasdam.net www.knutasdam.net

23-F Kamias Road Barangay Pinyahan 1102 Quezon City Philippines T: +63 917 8394676

Koi Studio

PO Box 15875-4769Tehran Iran T: +98 21 22271157

Istituto Luce - Cinecittà Srl

Katásia Filmes

Kong Lihong

m.pellegrini@cinecittaluce.it www.cinecitta.com

tiagomm73@gmail.com ww.katasiafilmes.wordpress.com

lihongk@gmail.com

Iranian Independents

info@iranianindependents.com www.iranianindependents.com

Via Tuscolana, 1055 00173 Rome Italy T: +39 06 72286407

office@kamiasroad.org www.kamiasroad.org

Rua Rádio 149 apto. 410 30240-210 Belo Brazil T: +55 31 25262879

Ivaasks

Kerberus Kinorama Klassiks

ivarad@gmail.com www.ivaasks.com

jetbleyco@gmail.com

503 Lafayette Ave 3F NY 11205 Brooklyn USA T: +1 917 6697584

2780 Buencamino St Poblacion 1210 Makati Philippines T: +63 2 8905056 Kiasma

Ivancic, Stefan

Mannerheimplatsen 2 00100 Helsinki Finland T: +358 9 17336501

Valjevska 8 26000 Pancevo Serbia T: +381 63 7106633 sivancic@gmail.com

info@kiasma.fi www.kiasma.fi

Jar Pictures

KIDAM

info@jarpictures.com www.jarpictures.com

diffusion@kidam.net www.kidam.net

41, Aram Nagar 2, Varsova 400061 Mumbai India T: +91 22 26300799

Jeonju International Film Festival

Kijiweni Productions

4F Room 402, SinDongHo Building 372-31 Sindangdong, Jung-gu 100840 Seoul South Korea T: +82 2 22850562 program@jiff.or.kr www.jiff.or.kr

Jon Rafman Studios

4350 Sherbrooke Street West Apt 213 H3Z 1E3 Montreal Canada T: +1 438 8895768 jonrafman@gmail.com www.jonrafman.com

Jost, Jon

4743 NE 21st Avenue OR 97211 Portland USA clarandjon@msn.com www.jon-jost.com

FR 2014 Indexes V04.indd 303

8 rue Edouard Robert 75012 Paris France T: +33 1 46285317

Alykhan Road, Plot 62 953 Dar es Salaam Tanzania T: +255 654 233386

info@kijiweniproductions.com www.kijiweniproductions.com

Kinekuma Pictures

Apartemen Permata Senayan #308 Jl. Palmerah Selatan Kav. 20-20A 10270 Jakarta Indonesia T: +62 856 91873353

furiousroses@gmail.com www.kinekuma.com

King Record Co. Ltd.

1-2-3 Otowa, Bunkyo-ku 112-0013 Tokyo Japan T: +81 3 39452181

Slupecka 4/29 02-309 Warsaw Poland T: +48 605164104

agnieszka@koi-studio.pl www.koi-studio.pl

Rm 1318/20, 13/F, Hollywood Plaza, 610 Nathan RdMongkok, Kowloon Hong Kong T: +33 1 44786849 La Termita Films SL

Calle Sant Daniel 11, baixos 17007 Girona Spain T: +34 686 491095 isakilacuesta@gmail.com

Lang (Raymond Lee), Moira

18 Long Beach Street Merville 1700 Paranaque City, Metro Manila Philippines T: +63 920 7004009 moira.pelikula@gmail.com

Lanzadera Films

Torrecilla del Leal, 32 2ºA 28012 Madrid Spain T: +34 66 7979620 office@lanzaderafilms.com www.lanzaderafilms.com

Le Fresnoy

22 rue du Fresnoy 59200 Tourcoing France T: +33 3 20283864

communication@lefresnoy.net www.lefresnoy.net

Le Pacte

5 rue Darcet 75017 Paris France T: +33 1 44695959

contact@le-pacte.com www.le-pacte.com

Lefrant, Emmanuel

157 rue de Crimée atelier 105 75019 Paris France T: +33 1 46590153

lightcone@lightcone.org www.lightcone.org

akiko-uchida@kingrecords.co.jp www.kingrecords.co.jp

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ADDRESSES PRINT & SALES

Lehman, Boris

LUX

Memento Films International

lehman.boris@gmail.com www.borislehman.be

distribution@lux.org.uk www.lux.org.uk

sales@memento-films.com www.international. memento-films.com

14 avenue Guillaume Macau 1050 Bruxelles Belgium T: +32 4 86288345

Lertxundi, Laida

m-appeal

Los Angeles USA T: +1 323 5595605

Prinzessinnenstrasse 16 D-10969 Berlin Germany T: +49 30 61507505

lertxundi@gmail.com www.laidalertxundi.net

berlinoffice@m-appeal.com www.m-appeal.com

Les Films d’Ici

Mack, Jodie

62 boulevard Davout 75020 Paris France T: +33 1 44522323

production.1@lesfilmsdici.fr www.lesfilmsdici.fr

Les Films du Losange

22 avenue Pierre 1er de Serbie 75016 Paris France T: +33 1 44438728 a.valentin@filmsdulosange.fr www.filmsdulosange.fr

Les Productions de L’Oeil Sauvage

Gl. Kongevej 137 B, 3rd Floor DK - Frederiksberg C 1850 Denmark Norway T: +45 48 443072 freja@levelk.dk www.levelk.dk

P.O. Box 3643Damascus Syria T: +963 1 14424837 duniafilm@gmail.com

Marfilmes

15 Rue Raze 33000 Bordeaux France T: +33 5 56 06 89 51

contact@marmitafilms.fr www.marmitafilms.fr

Marni Films

12 Mnisikleous 10556 Athens Greece T: +30 69 36714601

Lièvre, Pascal

12 rue Abel Ferry 75016 Paris France T: +33 6 9051341

info@marnifilms.gr www.marnifilms.gr

lievrepascal@noos.fr www.lievre.fr

Marques, Cláudio

Light Cone Distribution

157 rue de Crimée atelier 105 75019 Paris France T: +33 1 46590153

Rua Direita de Santo Antonio, 84, Santo Antonio 40.301-280 Salvador Brazil T: +55 71 32761241

redacao@coisadecinema.com.br www.coisadecinema.com.br

lightcone@lightcone.org www.lightcone.org

Mathy, Isabelle

LIMA

Arie Biemondstraat 111 1054 PD Amsterdam Netherlands T: +31 20 3892030 info@li-ma.nl www.li-ma.nl

83 rue de Reuilly 75012 Paris France T: +33 1 77186943

contact@perspectivefilms.fr www.perspectivefilms.fr

Mazzolo, Pablo

Jose Bonifacio 254 1424 Buenos Aires Argentina T: +54 11 49217640

Limaenam Films

Jl Antasena 37, Krajan, Mancasan, Sleman 55281 Yogyakarta Indonesia T: +62 81 22955550

pablomazzolo@hotmail.com

limaenamfilms@gmail.com www.limaenamfilms. wordpress.com

Media Luna New Films

Aachener Strasse 24 50674 Cologne Germany T: +49 221 51091891 info@medialuna.biz www.medialuna.biz

Local Films

50-52 rue du Faubourg Saint-Denis 75010 Paris France T: +33 1 44937359

Mega-Vision Pictures Limited

11/F, 78 Hung To Road Kwun Tong 00000 Kowloon Hong Kong T: +852 27 928800

info@localfilms.com www.local-films.com

17 rue de la Forge Royale 75011 Paris France T: +33 6 07119935

FR 2014 Indexes V04.indd 304

Malas, Mohamad

MarmitaFilms

LevelK

304

jodienmack@gmail.com www.jodiemack.com

mali@marfilmes.com www.marfilmes.com

docs@oeilsauvage.com www.oeilsauvage.com

cloizillon@yahoo.fr

14 Summer St, #1 NH 03766 Lebanon USA T: +1 773 5952312

Avenida Duque de Loule 79 r/c AA 1050-088 Lisbon Portugal T: +351 2 13140339

3 rue Albert Guilpin 94250 Gentilly France T: +33 1 45466413

Loizillon, Christophe

3rd Floor, 18 Shacklewell Lane E8 2EZ London United Kingdom T: +44 20 75033980

angelaolwong@mvphk.biz

9 Cité Paradis 75010 Paris France T: +33 1 53349020

Menirom, Orr

3255 W Belden #2W IL 60647 Chicago USA T: +1 773 5548558

orrmenirom@gmail.com www.orrmenirom.com

Meridiano Film

Via Tevere 30 60019 Senigallia (Ancona) Italy T: +39 71 2411689 valeria.belbusti@gmail.com

Migdal Films

Rua Inglês de Sousa, 11/201 22460-110 Rio de Janeiro Brazil T: +55 21 3592 2667 migdal@migdalfilmes.com.br www.migdalfilmes.com.br

Minds Meet

Kerkeveldstraat 103 1020 Brussels Belgium T: +32 4 76460015 info@mindsmeet.be www.mindsmeet.be

Minimal Animal

61 Sukhumwit 81 Prakaong Wattana 10260 Bangkok Thailand T: +66 82 3311760

yossyoss@hotmail.com www.sorayos.blogspot.com

Miyakawa Shin’ichi

1-8-24 Tanaka 300-0048 Tsuchiurashi Ibaraki Japan pinpu12@yahoo.co.jp

MK2

55 rue Traversière 75012 Paris France T: +33 1 44673000 intlsales@mk2.com www.mk2.com

Monoduo Films

Wildenbruchplatz 5 12045 Berlin Germany T: +49 178 1876787 sales@monoduo.net www.monoduo.net

Morgenfeld, Martin

Céspedes 3249 dpto. 306 C1426DVG Buenos Aires Argentina T: +54 11 47883402

martinmorgenfeld@gmail.com

Morituri

76-78 rue Dupont 1030 Bruxelles Belgium T: +32 22 198397

quandjeseraidictateur@gmail.com

Mosquito Films Distribution

55/105 Soi Ladprao 88 (Orapin) Wangtonglang 10310 Bangkok Thailand T: +66 8 91058909 info@mosquitofilmsdistribution.com www.mosquitofilmsdistribution.com

Moulton, Shana

1868 Bleecker Street Apt. 2L NY 11385 Ridgewood USA T: +1 347 7994403 smoulton@gmail.com www.shanamoulton.info

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onal

201 o

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tion

ngkok

on.com n.com

ADDRESSES PRINT & SALES

MPM Film (Movie Partners in Motion)

O film

Prinsenstraat 16 1015 DC Amsterdam Netherlands T: +31 643478665

17 rue Julien Lacroix 75020 Paris France T: +33 1 58535712

odoardistefano@gmail.com www.stefano-odoardi.com

festival@mpmfilm.com www.mpmfilm.com

Odin’s Eye Entertainment

Patra Spanou Film Marketing & Consulting

Yorck Strasse 22 40476 Düsseldorf Germany T: +49 15 201987294

patra.spanou@yahoo.com www.patraspanou.wordpress.com

PelikulaRed

rozentsveyg@gmail.com

85 The Grand Parade, Level 2 PO Box 173 Brighton Le Sands 2216 Sydney Australia T: +61 295672294

Museum of Modern Art (MOMA) dept. of Film and Video

info@odinseyeent.com www.odinseyeent.com

production@raymondred.com www.raymondred.com

Oettinger, Johan

Perspective Films

johan@oettinger.dk

phciompi@btopneworld.com www.guoxiaolu.com

Multiland Ltd.

25 Dolgorukovskaya str. 127006 Moscow Russia T: +7 495 7412458

11 West 53 Street NY 10019 New York USA T: +1 212 7089611 archives@moma.org www.moma.org

My-i Productions

41 baalei melacha st. apt 12 63824 tel aviv Israel T: +972 52 2443078 naama@me.com www.my-i.com

Jægergaardsgade 152, 3C, 1. Sal, 8000 Aarhus C Denmark T: +45 517 869 32

35 Gillman House, Pritchards Road E2 9BL London United Kingdom T: +44 20 77394909

Olhos de Cão

Petit Film

Rua General Glicério, 440 apto 504 Laranjeiras 22245-120 Rio de Janeiro Brazil T: +55 21 38131109

olhosdecao@olhosdecao.com.br www.olhosdecao.com.br

National Film Board of Canada

Opsomer, Els

3155 Cote-de-Liesse H4N 2N4 Montreal Canada T: +1 514 2839133

Vaartstraat 14 1000 Brussels Belgium T: +32 495 871022

festivals@nfb.ca www.nfb.ca

NDM

Sultepec 47, Hipodromo Condesa C.P. 06170 Mexico City Mexico T: +52 55 52730230 fm@mantarraya.com www.mantarraya.com

13, Boulevard de Rochechouart 75009 Paris France T: +33 1 74308794

desforets@petit-film.com www.petit-film.com

Petra Pan Film Production

Dunajsa 195 1000 Ljubljana Slovenia T: +386 41 770715

elso@xs4all.nl

brand@petrapan.com www.petrapan.com

Österreichisches Filmmuseum

Petri, Vlad

Augustinerstrasse 1, Office,1st floor A-1010 Vienna Austria T: +43 1 5337054

d.tschuetscher@filmmuseum.at www.filmmuseum.at

Neffa Films

FILMEX Inc. 2663 Honduras St. San Isidro 1234 Makati City MM Philippines T: +63 2 8449360

42 Regina Elisabeta Boulevard ap85, floor8, district 5 050018 Bucharest Romania T: +40 7 22502052 vladpetri@gmail.com www.vladpetri.ro

Pi Animation Studio

Piazza Rondanini 29 00186 Roma Italy T: +39 06 6875073

No5, 56° Art District, Heiqiao Village, Chaoyang District 100015 Beijing China T: +86 10 64361539

Dasselstr. 75-77 50674 Köln Germany T: + 49 221 16819743

Paleoteve Produção Cultural

PIA Film Festival

New Europe Film Sales

evelyn@paleotv.com.br

international@pff.jp www.pff.jp

71, Rue du Colonel Si M’Hamed 16202 Ain Benian, Algiers Algeria T: +213 662 096500 neffafilms@hotmail.com

New Docs

sales@newdocs.de

Slowicza 12/2 05-075 Warsaw Poland T: +48 60 0173205

No Permits Produktions

70 West 95th Street #17H NY 10025 New York USA T: +1 212 8658751

tibaldi@nopermitsproduktions. com www.nopermitsproduktions.com

Mosedalvej 14 2500DK-170 Valby Denmark T: +45 36 188200

1 Antissis Street 15126 Athens Greece T: +30 210 8048497

ppanayotopoulou@gmail.com www.pennypanayotopoulou. wordpress.com

Panorama

9536 Wilshire Boulevard Suite 206 CA 90212 Beverly Hills USA T: +1 310 858 1001

Pathe International

contact@nordiskfilm.com www.nordiskfilmsales.com

Norwegian Film Institute

FR 2014 Indexes V04.indd 305

Street Paulistânia number 99 Sumarezinho 05440000 São Paulo Brazil T: +55 11 38138333

kaylieh@filmpanorama.com www.filmpanorama.com

Nordisk Film International Sales

int@nfi.no www.nfi.no/english

info@pacocinematografica.it www.pacocinematografica.it

Panayotopoulou, Penny

jan@neweuropefilmsales.com www.neweuropefilmsales.com

Filmens Hus, Dronningensgate 16 N-0152 Oslo Norway T: +47 2 2474500

Paco Cinematografica

2, rue Lamennais 75008 Paris France T: +33 1 71723305

sales@patheinternational.com www.patheinternational.com

g362005@163.com www.paianiamtion.com

1-2-20 Higashi Shibuya-ku 150-0011 Tokyo Japan T: +81 3 57745296

PicArt Film Co.

Tomkova 3166/1 15000 Prague Czech Republic T: +420 774 619968

fariba@picartfilm.com www.picartfilm.com

Picture Palace Pictures

PO Box 645 Prince Street NY 10012 New York USA T: +1 212 2523187

picturepalacesale@yahoo.com www.picturepalacepictures.com

Picture Tree International

Zur Börse 12 10247 Berlin Germany T: +49 30 4208 248 - 14

pti@picturetree-international.com www.picturetreeinternational.com

Plaza, Patricio

Calle 14 Nº 33 depto 2º B 1900 La Plata, Buenos Aires Argentina T: +54 2214220452 info@patricioplaza.com.ar www.opusbou.com.ar

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ADDRESSES PRINT & SALES

Pony Canyon Inc.

R44

intl@ponycanyon.co.jp www.ponycanyon.co.jp/intl

isazivanovic@gmail.com

2-5-10 Toranomon, Minato-ku 105-8487 Tokyo Japan T: +81 3 55218016

Potsdam-Babelsberg University of Film and Television “Konrad Wolf”

Marlene-Dietrich Allee 11 14482 Potsdam Germany T: +49 331 62020 distribution@hff-potsdam.de www.hff-potsdam.de/ en/university.html

Poulet-Malassis

Opaticka 4a 10000 Zagreb Croatia T: +385 91 5165488

Raffenaud, François

110 rue Jean-Pierre Timbaud 75011 Paris France T: +33 6 76542641 raffenaud@bbox.fr

RAMONDAParis

91 rue de Menilmontant 75020 Paris France T: +33 6 62013241

pascale@pascaleramonda.com www.pascaleramonda.com

41 bis Quai de la Loire A 304 75019 Paris France T: +33 6 47826890

Reeder, Jennifer

3920 S. Torrence Avenue IN 46327 Hammond USA T: +1 312 4989493

info@pouletmalassis.com www.pouletmalassis.com

thejenniferreeder@gmail.com www.thejenniferreeder.com

Prada

Via Fogazzaro, 28 20135 Milano Italy T: +39 02 550281

Reel Suspects

marta.monaco@prada.com www.prada.com

Prelinger Archives

PO Box 590622 CA 94159 San Francisco USA T: +1 415 4258641 footage@panix.com www.nomoreroadtrips.com

Price, John

42 rue René Boulange 75010 Paris France T: +33 1 42401284 info@reelsuspects.com www.reelsuspects.com

Republica Pureza Filmes

Rua dos Oitis, 43 - 302 Gávea 22451-050 Rio de Janeiro Brazil T: +55 21 32645920

republicapurezafilmes@ gmail.com www.republicapureza.com.br

185, Vine Avenue M6P 1V9 Toronto Canada T: +1 416 7624884

Rezo Films

john@filmdiary.org www.filmdiary.org

Protagonist Pictures

42-48 Great Portland Street W1W 7NB London United Kingdom T: +44 20 77349000 info@protagonistpictures.com www.protagonistpictures.com

Pryce, Charlotte

2006 Vestal Avenue CA 90026 Los Angeles USA T: +31 20 1234567

29 rue du Faubourg Poissonière 75009 Paris France T: +33 1 42464630

infosrezo@rezofilms.com www.rezofilms.com

Rise and Shine

Schlesische Strasse 29/30 10997 Berlin Germany T: +49 30 47372980

stefan.kloos@kloosundco.de www.kloosundco.de

calipman@earthlink.net www.charlottepryce.net

PO Box 3264 Nizamuddin East 110 013 New Delhi India T: +91 11 41826115 tulika@psbt.org www.psbt.org

284 17 Street NY 11215 Brooklyn USA T: +1 718 9166697

Largo Maria Isabel Aboim Inglês, nº 2- B 1400-244 Lisboa Portugal T: +35 19 16588889

POB 326 Shvil Klipot HaTapuzim 20 60910 Bnei Zion Israel T: +972 9 7439947

249, Jhelum Hostel, Jawaharlal Nehru University 110067 New Delhi India

rproker13@gmail.com

agrosen@netvision.net.il www.roeerosen.com

Pyramide International

Rouge International

5, rue du Chevalier de Saint-Georges 75008 Paris France T: +33 1 42960101

distribution@pyramidefilms.com www.pyramidefilms.com

306

FR 2014 Indexes V04.indd 306

T: +358 405127672 liisa@asumaan.fi

Rytel, Joanna

Mörbylund 23 18230 Danderyd Sweden T: 0737759332

joanna.rytel@gmail.com www.joannarytel.com

Sadie Coles HQ

69 South Audley Street W1K 2QZ London United Kingdom T: +44 20 74938611 sadie@sadiecoles.com www.sadiecoles.com

Sage Blossom Productions

1182 South 300 East UT 84111 Salt Lake City USA T: +1 435 260 8646

downhomesisters@gmail.com www.nomousemusic.com

Sansing, James

17 Merrydale road Apartment 19 CA 94903 San Rafael USA T: +1 415 2332547

sanmas@prodigy.net www.jamessansing.com

Satz, Aura

United Kingdom

aurasatz@onetel.com www.iamanagram.com

Schüpbach, Hannes

Amselweg 14 8400 Winterthur Switzerland T: +41 79 7533592

hs.schuepbach@gmail.com

Screenworks

3 Meath Square 8 Dublin Ireland T: +3531 5512642

info@screenworks.ie

seashoreimage@gmail.com

Rosen, Roee

Punyashloka, Rahee

Ruutsalo-Vaahtio, Liisa

contact@rohfilm.de www.rohfilm.de

distribuicao@rosafilmes.pt www.rosafilmes.pt

lamphole@gmail.com www.andrewlampert.com

aidaruilova@gmail.com www.aidaruilova.com

Seashore Image Productions

Rosa Filmes

Public Opinion Laboratory

8 Spruce Street Apt 57C NY 10038 New York City USA T: +1 917 4980763

Rohfilm

Schwedenstrasse 14 13357 Berlin Germany T: +49 30 499198880

PSBT

Ruilova, Aïda

54 rue du Faubourg Saint-Honoré 75008 Paris France T: +33 9 51493844

2F., No.14, Ln. 167, Jing’an Rd., Zhonghe Dist. 235 New Taipei City Taiwan T: +886 2 89434323 Sertic, Oliver

Trg Vladka Maceka 1 10000 Zagreb Croatia T: +385 91 5315205 osertic@zamir.net

SET Film Workshop

Jl.Bambu Kuning 8 Blok. A Kebayoran Baru 12130 Jakarta Selatan Indonesia T: +62 21 72799227

setworkshop_film@yahoo.com www.setfilmworkshop.blogspot.nl

Sever Ltd.

Kamennoostrovskiy pr. 10 197101 Saint-Petersburg Russia T: +7 812 2370693 ivmdms@gmail.com

production@rougeinternational.com www.rouge-international.com

43RD INTERNATIONAL FILM FESTIVAL ROTTERDAM

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ADDRESSES PRINT & SALES

Shochiku Co. Ltd.

4-1-1 Tsukiji, Togeki Building 13F, Chuo-Ku 104-8422 Tokyo Japan T: +81 3 55501623

2F Mediaplex 177-2 Dogok-Dong, Gangnam-Gu 135-270 Seoul South Korea T: +82 2 32185636

Tornel 26 San Miguel Chapultepec 11850 Mexico DF Mexico T: +52 55 52727061 pablosigg@gmail.com

Neubaugasse 45/13 1070 Vienna Austria T: +43 1 5260990

Sudoor Sahkaar

G-3, Balkrishna C.H.S., 7-Bungalows, J.P. Road, Andheri West. 400053 Mumbai India T: +91 20 1234567

1921 S 11th Street W MT 59801 Missoula USA T: +1 734 7304355

dhananjai.singh@gmail.com

Takacs Film

vbsung@gmail.com www.bellavistafilm.com

Anton Freunschlaggasse 99/15 1230 Vienna Austria T: +43 699 19588660

SNG Film BV

Van Hallstraat 52 1051 HH Amsterdam Netherlands T: +31 20 6867837

rudi.takacs@gmx.at

Takeba, Lisa

sngfilm@xs4all.nl www.sngfilm.nl

Minatoku, Akasaka 8-11-16 Nogizaka 202 107-0052 Tokyo Japan T: +81 3 6216 8901

Solomon, Philip

6 Pinon Place CO 80020 Broomfield USA T: +1 303 4381485

sanpuraa@gmail.com

Tan, Jingliang

solomon@colorado.edu www.philsolomon.com

Blk 366 #11-510 Woodlands Avenue 5 730366 Singapore Singapore T: +65 81213098

Sonic Acts

Weteringschans 6 - 8 1017SG Amsterdam Netherlands T: +31 20 6264521

tanjingliang@gmail.com

Tarantula

info@sonicacts.com www.sonicacts.com

Sophie Dulac Distribution

16, rue Christophe Colomb 75008 Paris France T: +33 14 4434600 evicente@sddistribution.fr www.sddistribution.fr

Special Affects Films

3802 3rd Avenue CA 92103 San Diego USA T: +1 203 5616774

Spray, Stephanie

manakamanafilm@gmail.com www.stephaniespray.com

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99 rue Auguste Donnay 4000 Liège Belgium T: +32 4 2259079 office@tarantula.be www.tarantula.be

TBS Tokyo Broadcasting System, Inc.

5-3-6 Akasaka, Minato-ku 107-8006 Tokyo Japan T: +81 3 37461111 th@best.tbs.co.jp www.tbs.co.jp

info@specialaffectsfilms.com www.specialaffectsfilms.com

19 Prescott ST MA 02138 Cambridge USA T: +1 256 7973162

Pobre ka cesta 20 2000 Maribor Slovenia T: +386 41 640410

info@studiocanal.co.uk www.studiocanal.co.uk

Sky Entertainers

Slowtale LLC

Studio Legen

50 Marshall Street W1F 9BQ London United Kingdom T: +44 20 75342700

rasithadj@gmail.com www.ew-sky.com

om pot.nl

karel@doingfilm.nl

StudioCanal

office@sixpackfilm.com www.sixpackfilm.com

18 Tickel road 00800 Colombo Sri Lanka T: +94 117 593922

Walenburgerweg 90a 3033 AH Rotterdam Netherlands T: +31 6 21877936

info@studio-legen.si www.studio-legen.si

sixpackfilm

1958 W. Walnut Street IL 60612 Chicago USA T: +1 312 2431227

Studio I

Sigg, Pablo

cosimo.et.damien@gmail.com www.cosimoterlizzi.com

delta@pythagorasfilm.com www.pythagorasfilm.com

judy@showbox.co.kr www.showbox.co.kr

tions

hito.steyerl@googlemail.com

Stratman, Deborah

Showbox/Mediaplex, Inc

Terlizzi, Cosimo

Körtestrasse 5 10967 Berlin Germany T: +49 30 70125131

ibd@shochiku.co.jp www.shochikufilms.com

ons

Steyerl, Hito

Teia Filmes

Rio Negro 855 30431-058 Belo Horizonte-MG Brazil T: +55 31 21274986 contato@teia.art.br www.teia.art.br

Ruelle Montbrillant 13 2300 La Chaux-de-Fonds Switzerland T: +41 786107379

The Festival Agency

14, rue des Jeuneurs 75002 Paris France T: +33 9 54904863

info@thefestivalagency.com www.thefestivalagency.com

The Film Collaborative

418 Bamboo Lane, Suite A CA 90012 Los Angeles USA T: +1 323 610 8128 orly@thefilmcollaborative.org www.thefilmcollaborative.org

The Film Sales Company

165 Madison Avenue 33rd Street Suite 601 NY 10016 New York USA T: +1 212 4815020

contact@filmsalescorp.com www.filmsalescorp.com

The Finnish Film Foundation

Kanavakatu 12 FI-00160 Helsinki Finland T: +358 9 62203019 ses@ses.fi www.ses.fi

The Match Factory GmbH

Balthasarstrasse 79-81 50670 Cologne Germany T: +49 221 5397090

info@matchfactory.de www.the-match-factory.com

The Swedish Film Institute

P.O. Box 27 126 102 52 Stockholm Sweden T: +46 8 6651208 pegu@sfi.se www.sfi.se

Think’o Film

Via Severo Carmignano 00151 Roma Italy T: +39 339 6356135 massimiliano.thinkofilm@ gmail.com

Thinking Forward Media

3334 Beechtree Lane VA 22042 Falls Church USA T: +32 49 6273020

leola@essakanefilm.com www.thelastsongbeforethewar. com

Tiven, Benjamin

97 Summit St. #3 NY 11231 Brooklyn USA T: +1 267 9739508

benjamin@benjamintiven.com www.benjamintiven.com

Tomonari Nishikawa

Lehigh Avenue 937 NY 13850 Vestal USA T: +1 607 2409568

tomonarinishikawa@gmail.com www.tomonarinishikawa.com

Topkapi Films

Rapenburgerstraat 123 1011 VL Amsterdam Netherlands T: +31 20 3032494 info@topkapifilms.nl www.topkapifilms.nl

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ADDRESSES PRINT & SALES

Trivial Media

Video Data Bank (VDB)

Y Production

pablo@trivialmedia.com.ar www.trivialmedia.com.ar

distro@vdb.org www.vdb.org

yfilmproduction@gmail.com

Laprida 1660 1602 Florida Argentina T: +54 11 48379529

112 S. Michigan Avenue IL 60603 Chicago USA T: +1 312 3453550

83, rue Saint-Honore 75001 Paris France T: +33 148066772 Yeo, Edmund

TrustNordisk

Viktoria Films

info@trustnordisk.com www.trustnordisk.com

maya@viktoriathefilm.com

eswiftfire@gmail.com www.edmundyeo.com

Visit Films

Yuen, Nina

info@visitfilms.com www.visitfilms.com

ninaoyuen@gmail.com

Filmbyen 28 2650 Hvidovre Denmark T: +45 36 868788

Buckstone District, bl.31A, fl.17, apt.77 T: +359 8 84 905 220

Tseng, Lichun

173 Richardson Street NY 11222 New York USA T: +1 718 3128210

Pretorialaan 29A02 3072EE Rotterdam Netherlands T: +31 6 25391252

lichun.nov@gmail.com www.lichuntseng.com

Vitkova, Maya

Tu i Tam Filmes

Alameda Presidente Taunay 1075 - ap. 101 80430000 Curitiba Brazil T: +55 41 91461365 rafael@tuitamfilmes.com www.tuitamfilmes.com

Postbus 11 1200 JC Hilversum Netherlands T: +31 35 6712999

180 Main Street MA 01810 Andover USA T: +1 802 3490591

hope@theobituaryproject.org www.theobituaryproject.org

Tuohy, Richard

richard@nanolab.com.au www.nanolab.com.au/ screen tone.htm

Vtape

info@vtape.org www.vtape.org

WA Entertainment Inc

Twenty Twenty Vision

2-20-8 Terabun 2470064 Kamakura Japan T: +81 90 16021599

Schwedter Strasse 13 D-10119 Berlin Germany T: +49 30 61281750

office@twentytwentyvision.eu www.twentytwentyvision.eu

Tykkä, Salla

kousuke@waentertain.com www.waentertain.com

Walter, Calum

3274 W Altgeld unit 2 IL 60647 Chicago USA T: +1 720 6847885

Liisankatu 21 B 16 00170 Helsinki Finland T: +358 40 7267413

cwalter@saic.edu www.calumwalter.com

salla@sallatykka.com www.sallatykka.com

Wanek, Joel

Unisono Produzioni

2633 Telegraph Avenue Apt. 315 CA 94612 Oakland USA

Via Rosano 1 80024 Cardito Italy T: +39 33 83372156

unisonoproduzioni@gmail.com www.unisonoproduzioni.it

Urban Distribution International

14 rue du 18 Août 93100 Montreuil sous Bois France T: +33 1 48707376 contact@urbandistrib.com www.urbandistrib.com

Urlus, Esther

joel@joelwanek.com www.joelwanek.com

Wang, Nan

Gerrit van de Lindestraat 2b 3022TK Rotterdam Netherlands T: +31 61 9520888 wangnan2011w@gmail.com

Wild Bunch

99 rue de la Verrerie 75004 Paris France T: +33 1 71197777

allan@bunchoftalents.com www.wildbunch.biz

esther@worm.org www.estherurlus.hotglue.me

Calle 35 No 5 - 89 (Nueva) (Barrio La Merced)Bogota D.C. Colombia T: +57 12 884919

info@vpro.nl www.vpro.nl

401 Richmond Street West Suite 452 M5V 3A8 Toronto Canada T: +416 351 1317

36 Grant Street 3460 Daylesford Australia T: +61 400 748864

Velvet Jellyfish

mayvitkovitz@yahoo.com www.mayavitkova.jimdo.com

VPRO

Tucker, Hope

Postbus 25045 3001 HA Rotterdam Netherlands T: +31 6 23396983

Buckstone District, bl.31A, fl.17, apt.77 1618 Sofia Bulgaria T: +359 2 4813712

Wild Heart Productions

Rue Notre Dame du Sommeil 24 1000 Brussels Belgium T: +32 2 4506000

Number 3, Jalan 20/ 18 46300 Petaling Jaya Malaysia T: +60 1 23518382

2 Park Street NJ 07825 Blairstown USA T: +31 91 7586771 Yuichi Suita

2-24-10-701 Toyotama-kita, Nerima-ku 176-0011 Tokyo Japan T: +81 90 28959565 papermoonfilms@gmail.com www.yuichi-suita.tumblr.com

Zaatari, Akram

P.O. Box 13-6676 chouran 1102 2140 Beirut Lebanon T: +961 3 490902

akramzaatari@yahoo.com www.vimeo.com/user4659478

ZABBARA

Via Libertà 104 91100 Trapani Italy T: +39 349 4421416

genovesealessio@yahoo.it www.zabbara.org

Zdjelar, Katarina

Wolphaertstraat 27C 3082 BK Rotterdam Netherlands T: +31 6 19656117

zdjelar.k@gmail.com www.katarinazdjelar.net

Zeitun Films

Plaza de la Gaiteira, nº2, 5ºA 15006 A Coruña Spain T: +34 69 8179653 info@zeitunfilms.com www.zeitunfilms.com

Zeleman Production

25479 1000 Addis Ababa Ethiopia T: +251 116 632800

zelalem.woldemariam@gmail.com www.zelemanproduction.com

Zeppotron

Shepherd’s Building Central Charecroft Way Shepherd’s Bush W14 0EE London United Kingdom T: +44 8703331700 Zilleruelo, Lorena

9, passage St-Sébastien 75011 Paris France T: +33 6 77376089

lorena.zilleruelo@gmail.com www.lorenazilleruelo.org

Zwier, Pim

Zeeburgerdijk 73-b 1094 AB Amsterdam Netherlands T: +31 20 6938875 pimzwier@gmail.com

anna@wildheart.be www.wildheart.be

jellyfish@lbv.co www.lbv.co

308

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Film list by country

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film LIST By COUNTRy

Afghanistan

The Red Door

Not at Home

Brazil

Algeria

Zanj Revolution Argentina

Ana y los otros Culebra Jr. Darkness by Day The Militant Mittsommernachtstango P3ND3JO5 Padre Photooxidation La playa de Mexico Rapado Reimon Tres D El valle interior Las voces Australia

Bulgaria

Viktoria

Cambodia

Canopy Dot Matrix Ruin

Ruin

Canada

Austria

Blutgletscher Bring Me the Head of Henri Chrétien! Colterrain Creme 21 Electro Moscow Exterior Extended I Can’t Cry Much Louder Than This Lettre à Mohamed Louver Mariage blanc Mein blindes Herz Oktober November Ornament und Verbrechen Perfect Garden Pyramid Flare Sitzfleisch Trespass Zounk! Belgium

After the Rain Apicula Enigma Blood in Bahia’s Hot Casa Grande Educação sentimental The History of Eternity One Way Street Periscópio O porto Riocorrente Terno To What Do I Owe the Honor of This Illustrious Visit? Verona

Apicula Enigma Building Stories #001 | That Distant Piece of Mine Cherry Blossoms Corrections The Dark Galleries L’éclat furtif de l’ombre Feel My Love I’m the Same, I’m an Other L’infirmière cannibale The Joycean Society Lettre à Mohamed Mes sept lieux //MY_HAND_DRAWN_ SCREENSAVER// The Painters Papillon d’amour Quand je serai dictateur Ronse See No Evil Silence radio Stop the Pounding Heart Temps mort The Dark Pages Thing Travel The Wave Wide.Love.Resist. Beautiful.Seduction. Violence.Your.Game.

Arwad Axis The Blue Train Brimstone Line D’où je viens Dinosaurs Here Is Everything Hoax_canular I’m Yours Le jour nous écoute Modern Island Passing Repercussions Rhymes for Young Ghouls Sea Series #9, 11, 12, 13, 14 Second Phase Siddharth Still Life (betamale) This Town of Toronto... Totem Chad

Grigris Chile

La isla To Kill a Man The Voice Thief China

Ai Weiwei’s Appeal ¥15,220,910.50 Concrete Clouds Lake August La lampe au beurre de yak The Last Moose of Aoluguya Letters from the South Life on a String Magician Party and Dead Crow On the Beat A Touch of Sin Trap Street Colombia

Nefandus Trilogy Solecito Costa Rica

Por las plumas Côte d’Ivoire

To Repel Ghosts

Croatia

Happily Ever After Mother Europe On Shaky Ground Tiny Bird Cuba

Hotel Nueva Isla Curaçao

Salsa Giants Cyprus

Evaporating Borders Denmark

Aching Hearts Århus by Night Barbara Beauty and the Beast Boys Christmas by Your Friends Facing the Truth Lars Ole 5.C Not at Home On the Edge Pain of Love Solecito Sorrow and Joy Spies & Glistrup A Strange Love Tree of Knowledge Walk with Me Ecuador

Culebra Jr. Egypt

The Cave Electro Chaabi The Iranian Film Rags and Tatters Estonia

A Spell to Ward Off the Darkness Ethiopia

Adamt Chigger Ale Finland

Black and White Movies Computers Serve Concrete Night The Driver Electronics in the World of Tomorrow EMS Nr 1 Flora & Fauna Giant Grind Kinescope Kudryavka - Little Ball of Fur Mittsommernachtstango Psychedelic Alphabet for the Newborn The Punched Tape of Life Remembrance - A Small Movie About Oulu in the 1950s A Replacement Sleeping Spindrift Tea Party The Jump Therefore It Is (Has Been) Here

Bhutan

310

FR 2014 Indexes V04.indd 310

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of Fur go

ife l

film LIST By COUNTRy

France

Alan Partridge: Alpha Papa L’amour est un crime parfait Les Apaches L’armée du salut Atlas Le bout du fil Braconnière Buck Fever Canibal De chair et de lait De la musique ou La jota de Rosset Double Play Dzma/Brother Eastern Boys Electro Chaabi L’escale L’eternel retour Few of Us The Forsaken Land Gare du Nord Géographie humaine Gli immacolati Grigris Heli A Hole in the Sky How We Played the Revolution I’m Not Him L’inconnu du lac Jacky au royaume des filles La jalousie L for Leisure La lampe au beurre de yak Let Us Persevere in What We Have Resolved Before We Forget Mille soleils Mouton Mr X Notre tempo L’optimisme Padre Petit matin Photomontage/Mon beau souci Prologue to the Great Desaparecido Qissa Redemption Les rencontres d’après minuit Sacro GRA Separation des soeurs siamoises Silence radio Solecito A Spell to Ward Off the Darkness Les statues meurent aussi Story of My Death Suzanne Swim Little Fish Swim ‘Til Madness Do Us Part To Kill a Man Tonight and the People Trento Symphonia The Ugly One The Undiscovered Drawer Village modèle The Voice Thief A Way in Untilled When Evening Falls on Bucharest or Metabolism

FR 2014 Indexes V04.indd 311

Georgia

Dzma/Brother Germany

Alles was irgendwie nützt Die Basis des Make-Up I-III Buck Fever Corrections D’Annunzios Höhle L’éclat furtif de l’ombre Ein Gleiches Finsterworld The Formative Years I-II Die Frau des Polizisten Die Frau hinter der Wand From Tehran to Heaven The Girl Who Never Was Goff in der Wüste Heli The Holy Bunch A House in Berlin HOW NOT TO BE SEEN. A Fucking Didactic Educational .Mov File Listening to the Space in My Room Louver Love Steaks Maillarts Brücken Miscellanea I Miscellanea II Miscellanea III Mittsommernachtstango Not at Home Of Horses and Men Oilfields Mines Hurricanes Parabeton - Pier Luigi Nervi und Römische Beton Pelo malo Perret in Frankreich und Algerien Ein proletarisches Wintermärchen Qissa Redemption Reimon Remote Control Sense of Architecture September Eine Serie von Gedanken (Miscellanea IV–VII) Serious Ladies Sullivans Banken Supernatural To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation Vergiss mein Ich Zwei Museen

Hungary

Another Hungary I’m the Same, I’m an Other Iceland

L for Leisure Metalhead Of Horses and Men Oilfields Mines Hurricanes India

The Liar’s Dice Noise Reduction II: Chinatown Qissa The Seventh Walk Siddharth Venomous Folds Indonesia

Chaotic Memories: Selected Works 2010-2013 Genre Sub Genre Hortus A Lady Caddy Who Never Saw a Hole in One Masked Monkey The Evolution of Darwin’s Theory A Poet Someone’s Wife in the Boat of Someone’s Husband Iran

Fish and Cat From Tehran to Heaven Manuscripts Don’t Burn Ireland

Natan Israel

Big Bad Wolves The Buried Alive Videos Chronicle of a Disappearance Limited Speech Holds Endless Misunderstandings Italy

EU 013, l’ultima frontiera

Le 5 avril je me tue The Animals Blessing Blood in Bahia’s Hot Castello Cavalcanti I Am a Part of the Problem Istintobrass Lettera al presidente Mancanza-Inferno Une petite histoire des plateaux abandonnés Piccola patria Profezia. L’Africa di Pasolini Redemption Sacro GRA Stop the Pounding Heart La strada di Raffael Thing Trento Symphonia War Story

Guinea-Bissau

Japan

Greece

I’m Not Him King Kong September Guinea

The Blue Eyes of Yonta Hong Kong

Concrete Clouds Lake August Once Upon a Time in Shanghai Rigor Mortis ‘Til Madness Do Us Part

Anatomy of a Paper Clip Au revoir l’été Celery The Day She Commits Suicide The Great Passage It Has Already Been Ended Before You Can See the End The Lake Mejima

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film LIST By COUNTRy

The Mole Song: Undercover Agent Reiji The Pinkie R100 Real Seventh Code Strangers When We Meet Tamako in Moratorium ‘Til Madness Do Us Part Kenya

Homecoming It’s Us A Third Version of the Imaginary Lebanon

Letter to a Refusing Pilot Lithuania

Few of Us How We Played the Revolution Macedonia

Mother Europe Malaysia

Floating Sun Letters from the South Mali

The Last Song Before the War Mexico

About Sarah El adios largos The Amazing Catfish Club Sándwich Contemporary Artist Edén Heli Japón L for Leisure No quiero dormir sola Las voces What an Excellent Day for an Exorcism Der Wille zur Macht

CircusTime Costa Dulce Démontable Deorbit Division Dust Poetry Flow Garagedoor December 2nd The Girl Who Never Was Happily Ever After Helium Hortus I’m the Same, I’m an Other If We Were Together The Illmannered Milkman Inferno The Iranian Film Is It Real Love? Of Course Not! Konrad & Kurfurst De leeuw Life’s a Hide Out Lunar Storm Mancanza-Inferno Metamorfoza The Other Side of the Heart Is White Play Within a Play Primary Expansion Qissa Rode molen Ronse See No Evil Seven Stones Sexy Money Stimme The Dark Pages Uit de lucht gegrepen A Vertical Slice of Landscape Walzkörpersperre Zombie: The Resurrection of Tim Zom New Zealand

Fantail

Nigeria

Mongolia

Remote Control

B for Boy The Line-Up

Morocco

Norway

L’armée du salut The Iranian Film Mariage blanc Une petite histoire des plateaux abandonnés Profezia. L’Africa di Pasolini

A Blank Slate Egress The Quiet Roar

Mozambique

Back to the Temple of the Sun Pelo malo

A Tropical Sunday Myanmar

Letters from the South The Palace on the Sea Nepal

Manakamana Netherlands

#43 #47 Afscheid van de maan After the Tone All the World’s a Stage-Ways of Seeing 2013 Alles was irgendwie nützt Back to the Temple of the Sun Birdhide Ooltgensplaat Chrome

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Paraguay

Costa Dulce Peru

Philippines

EDSA XXX: Nothing Ever Changes in the Ever-Changing Republic of Ek-Ek-Ek How to Disappear Completely Kamera obskura Leave It for Tomorrow, for Night Has Fallen Legend of China Doll Norte, the End of History Prologue to the Great Desaparecido

Poland

Ida La isla Little Crushes Papusza Portugal

#47 Até ver a luz Double Play The Mother and the Sea Nefandus Trilogy El Rayo Redemption A vida invisível What Now? Remind Me Romania

Canibal Giant Shadow of a Cloud Viktoria When Evening Falls on Bucharest or Metabolism Where Are You Bucharest? Russia

4 Another Year Canibal Hard to Be a God The Hope Factory Senegal

L’autre femme Serbia

The Disobedient Soles de primavera Tiny Bird Singapore

Letters from the South The Transplants Slovenia

Karpotrotter Mother Europe Somalia

A Hole in the Sky South Africa

Berea Of Good Report South Korea

App Sapiens Han Gong-Ju Intruders Our Sunhi Secretly Greatly Someone’s Wife in the Boat of Someone’s Husband Strangers When We Meet Spain

Ancha es Castilla/ N’importe quoi Apicula Enigma Canibal Celery Chigger Ale Costa da Morte The Creator of the Jungle La cueva La distancia El futuro Hotel Nueva Isla Japón El Rayo Stella cadente Story of My Death La strada di Raffael We Had the Experience But Missed the Meaning

43RD INTERNATIONAL FILM FESTIVAL ROTTERDAM

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film LIST By COUNTRy

Sri Lanka

28 The Forsaken Land Sweden

2011 12 30 Concrete Night Me Seal, Baby The Quiet Roar The Reunion Something Must Break Trespassing Bergman Switzerland

olism est?

L’amour est un crime parfait Até ver a luz L’atelier Cherry Pie Deep Weather L’escale Falten Instants Late at Night - Voices of Ordinary Madness Listening to the Space in My Room To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation Vaters Garten - Die Liebe meiner Eltern Syria

La nuit Taiwan

Flow The Great Escape from Café City The Palace on the Sea Tanzania

Shoeshine Thailand

Boonrerm Concrete Clouds Letters from the South Malaria and Mosquitoes Mary Is Happy, Mary Is Happy Mysterious Object at Noon The Songs of Rice Supernatural Tunisia

Lettre à Mohamed Les silences du palais

Boat nd eet

Turkey

I’m Not Him Uganda

Walk with Me United Kingdom

But

About Sarah Alan Partridge: Alpha Papa Apicula Enigma The Case The Chimera of M. Doorway for Natalie Kalmus Even Pricks Exhibition The Freestone Drone G Is the Dial The Gillian Hills Trilogy Grandma’s Dream A House in Berlin It for Others Joan the Woman With Voice Late at Night - Voices of Ordinary Madness

FR 2014 Indexes V04.indd 313

Lay Bare Medea Medium Earth No More Road Trips? Rough Cut The Selfish Giant Southcliffe Starred Up that now To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation Transit of the Megaliths Trissákia 3 A vida invisível Wantee What Do You Want from Me? (I Asked You a Thousand Times) White Bear Working to Beat the Devil Uruguay

The Militant USA

45 7 Broadway 55505 Pareidolia El adios largos Amassed Andoe Au revoir l’été The Backup Tapes from Moon and Mars Bbrraattss Bella Vista A Blank Slate Blue Blue Ruin Brasslands Castello Cavalcanti Collapse of the Expanded Field I-III Coming to Terms Creme 21 Crux Film Deadline Double Play Drive with Care Dusty Stacks of Mom: The Poster Project Edén ELSA merdelamerdelamer The Emblazoned Apparitions Evaporating Borders Excerpts from ‘Three Evenings on a Revolving Stage’ Experiments in Buoyancy Fe26 The Filmballad of Mamadada G Is the Dial The Gillian Hills Trilogy Glistening Thrills Green | Red Hacked Circuit Handful of Dust Head and Hands: My Black Angel Helen of T Her Here Is Everything HOW NOT TO BE SEEN. A Fucking Didactic Educational .Mov File Immortal, Suspended Inferno

The Inner and Outer Vanishing Point Interior. Leather Bar. L for Leisure The Last Song Before the War Let Us Persevere in What We Have Resolved Before We Forget Let Your Light Shine Limited Speech Holds Endless Misunderstandings Listening to the Space in My Room Manakamana A Million Miles Away Nebraska Nefandus Trilogy New Fancy Foils Night Moves Obvious Child Only Lovers Left Alive Phire Ping Pong Summer #PostModem The Sacrament Stop the Pounding Heart A Study in Natural Magic Sugarcoated Arsenic Sun Song Swim Little Fish Swim A Third Version of the Imaginary This Ain’t No Mouse Music! Tiger Morse Tonight and the People Tunnel Vision Two Points of Failure Undertone Overture The Undiscovered Drawer Verses The Voice Thief War Story We Had the Experience But Missed the Meaning When I Stop Looking When the Smog-Filled Wind Began to Howl Venezuela

Habitable Pelo malo

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

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IFFR in the Cloud

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

The IFFR best opportunity to get in the Cloud your film distributed in VoD IFFR in the Cloud gives ﬁlmmakers the opportunity to distribute their ﬁlms on iTunes in the Benelux within the itunes.com/iffr collection. Films can also be offered to other territories according to rights and material availability.

The best opportunity to get your film distributed in VoD

umtw_cata_160x220_2014:Mise en page 1

6/01/14

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Page 1

Entering this innovative programme is open to all feature ﬁlmmakers with an IFFR 2014 selection for Bright Future or Spectrum.

International Filmprovides Festival Rotterdam The Milkyconditions Way are proud to present IFFR in the Cloud standard and yet Under very flexible for filmmakers to effectively distribute their films. the opportunity to distribute their films on IFFR in the Cloud gives filmmakers iTunes in the Benelux within the itunes.com/iffr collection. Films can also be Also, through its partners, in the Cloud significantly lowers the technical costs offered to other territoriesIFFR according to rights and material availability. of preparing films for Global VoD Distribution on platforms such as iTunes. Entering this innovative programme is open to all feature filmmakers with an IFFR 2014 selection for Bright Future or Spectrum.

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ﬁlmfestivalrotterdam.com

IFFR in the Cloud gives filmmakers the opportunity to distribute their films on iTunes in the Benelux within the itunes.com/iffr collection. Films can also be offered to other territories according to rights and material availability. Entering this innovative programme is open to all feature filmmakers with an IFFR 2014 selection for Bright Future or Spectrum. IFFR in the Cloud provides standard yet very flexible conditions for filmmakers to effectively distribute their films.

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For more information on IFFR in the Cloud, please contact: Melissa van der Schoor distribution@ﬁlmfestivalrotterdam.com

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FR 2014 Indexes V04.indd 314

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Also, through its partners, IFFR in the Cloud signiﬁcantly lowers the technical costs of preparing ﬁlms for Global VoD Distribution on platforms such as iTunes.

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ﬁlmfestivalrotterdam.com

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list oF Premieres

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List of Premieres

Feature length World premiere

Little Crushes

Aleksandra Gowin, Ireneusz Grzyb (Poland)

Mancanza-Inferno

Stefano Odoardi (Italy, Netherlands)

About Sarah

Masked Monkey - The Evolution of Darwin’s Theory

Elisa Miller (Mexico, United Kingdom)

Ismail Fahmi Lubish (Indonesia)

Afscheid van de maan

Mes sept lieux

Dick Tuinder (Netherlands)

Boris Lehman (Belgium)

After the Tone

Oilfields Mines Hurricanes

Digna Sinke (Netherlands)

Fabian Altenried (Germany, Iceland)

Ai Weiwei’s Appeal ¥15,220,910.50

On the Edge

Ai Weiwei (China)

Christian E. Christiansen (Denmark)

Another Year

The Other Side of the Heart Is White

Oxana Bychkova (Russia)

Leonardo Pansier (Netherlands)

Back to the Temple of the Sun

The Pinkie

Marco Pando (Netherlands, Peru)

Lisa Takeba (Japan)

Bella Vista

Ein proletarisches Wintermärchen

Vera Brunner-Sung (USA)

Julian Radlmaier (Germany)

Blood in Bahia’s Hot

Quand je serai dictateur

Aurelio Grimaldi (Italy, Brazil)

Yaël André (Belgium)

Casa Grande

The Quiet Roar

Fellipe Barbosa (Brazil)

Henrik Hellström (Sweden, Norway)

Chaotic Memories: Selected Works 2010-2013

Reimon

Prasanna Jayakody (Sri Lanka)

Paul Agusta (Indonesia)

Rodrigo Moreno (Argentina, Germany)

See No Evil

Jos de Putter (Netherlands, Belgium)

CircusTime

René Hazekamp (Netherlands)

The Creator of the Jungle Jordi Morató (Spain)

Sexy Money

Karin Junger (Netherlands)

Sitzfleisch

Lisa Weber (Austria)

La cueva

Alfredo Montero (Spain)

The Songs of Rice

Uruphong Raksasad (Thailand)

D’où je viens

Claude Demers (Canada)

Stella cadente

Luis Miñarro (Spain)

La distancia

Sergio Caballero (Spain)

Supernatural

Thunska Pansittivorakul (Thailand, Germany)

Dzma/Brother

Téona Mghvdeladze, Thierry Grenade (France, Georgia)

L’éclat furtif de l’ombre

Tres D

Rosendo Ruiz (Argentina)

Alain-Pascal Housiaux, Patrick Dechesne (Belgium, Germany)

Vergiss mein Ich

Edén

Las voces

Elise DuRant (USA, Mexico)

EDSA XXX: Nothing Ever Changes in the Ever-Changing Republic of Ek-Ek-Ek Khavn (Philippines)

Evaporating Borders

Iva Radivojevic (USA, Cyprus)

Feel My Love

Griet Teck (Belgium)

The Gillian Hills Trilogy

Keith Sanborn (USA, United Kingdom)

Happily Ever After

Carlos Armella (Mexico, Argentina)

Where Are You Bucharest? Vlad Petri (Romania)

Zombie: The Resurrection of Tim Zom Billy Pols (Netherlands)

International premiere After the Rain

Cláudio Marques, Marília Hughes (Brazil)

Tatjana Božic´ (Croatia, Netherlands)

Helium

Arwad

Samer Najari, Dominique Chila (Canada)

Eché Janga (Netherlands)

The History of Eternity Camilo Cavalcante (Brazil)

Cherry Pie

Lorenz Merz (Switzerland)

De la musique ou La jota de Rosset

The Hope Factory

Jean-Charles Fitoussi (France)

Natalia Meschaninova (Russia)

Hotel Nueva Isla

The Driver

Jarkko T. Laine, J-P Passi (Finland)

Irene Gutiérrez, Javier Labrador (Cuba, Spain)

A House in Berlin

EU 013, l’ultima frontiera Alessio Genovese (Guinea)

Cynthia Beatt (Germany, United Kingdom)

The Iranian Film

Die Frau hinter der Wand Grzegorz Muskala (Germany)

Yassine el Idrissi (Morocco, Netherlands, Egypt)

Jacky au royaume des filles Riad Sattouf (France)

Hoax_canular

Dominic Gagnon (Canada)

I’m the Same, I’m an Other

L for Leisure

Caroline Strubbe (Belgium, Netherlands, Hungary)

Lev Kalman, Whitney Horn (USA, Mexico, France, Iceland)

Lake August

Jan Schomburg (Germany)

Late at Night - Voices of Ordinary Madness

Xiaolu Guo (United Kingdom, Switzerland)

Yang Heng (China, Hong Kong)

316

FR 2014 Indexes V04.indd 316

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)

List of Premieres

Leave It for Tomorrow, for Night Has Fallen Jet Leyco (Philippines)

Legend of China Doll

Adolfo B. Alix Jr. (Philippines)

Lettera al presidente Marco Santarelli (Italy)

Mejima

No More Road Trips?

Rick Prelinger (United Kingdom)

Periscópio

Kiko Goifman (Brazil)

Phire

eteam (USA)

Qissa

Anup Singh (Germany, India, Netherlands, France)

Izutani Tomonori (Japan)

Not at Home

R100

Matsumoto Hitoshi (Japan)

Shahrbanoo Sadat, Katja Adomeit (Denmark, Afghanistan, Germany)

Obvious Child

Gillian Robespierre (USA)

Once Upon a Time in Shanghai Wong Ching Po (Hong Kong)

Perfect Garden

Mara Mattuschka, Chris Haring (Austria)

Piccola patria

Alessandro Rossetto (Italy)

Ping Pong Summer Michael Tully (USA)

Profezia. L’Africa di Pasolini

Gianni Borgna, Enrico Menduni (Italy, Morocco)

Rhymes for Young Ghouls Jeff Barnaby (Canada)

Riocorrente

Paulo Sacramento (Brazil)

Something Must Break

Ester Martin Bergsmark (Sweden)

Tonight and the People Neil Beloufa (France, USA)

War Story

Mark Jackson (USA, Italy)

European premiere

Remote Control

Byamba Sakhya (Mongolia, Germany)

Secretly Greatly

Jang Cheol-Soo (South Korea)

Swim Little Fish Swim

Lola Bessis, Ruben Amar (USA, France)

Tamako in Moratorium Yamashita Nobuhiro (Japan)

To Kill a Man

Alejandro Fernández Almendras (Chile, France)

Viktoria

Maya Vitkova (Bulgaria, Romania)

Short films World premiere #47

José Miguel Biscaya (Netherlands, Portugal)

Le 5 avril je me tue Sergio Canneto (Italy)

All the World’s a StageWays of Seeing 2013

Donna Verheijden (Netherlands)

Amassed

Cho Seoungho (USA)

Ancha es Castilla/N’importe quoi

Anatomy of a Paper Clip

Sergio Caballero (Spain)

Coming to Terms

Astrid van Nimwegen (Netherlands)

Concrete Clouds

Pedro Collantes (Japan, Spain)

Costa Dulce

Keren Cytter (Germany, Belgium)

Darkness by Day

Nicolas Provost (Belgium)

The Disobedient

Yuichi Suita (Japan)

Fantail

Douwe Dijkstra (Netherlands)

From Tehran to Heaven

Pilvi Takala (USA)

Han Gong-Ju

Nan Wang (Netherlands)

Intruders

Andrew Lampert (USA, United Kingdom)

It’s Us

Astrid van Nimwegen (Netherlands)

Kamera obskura

Yosep Anggi Noen (Indonesia)

Letters from the South

Salla Tykkä (Finland, Romania)

Ikeda Akira (Japan) Jon Jost (USA)

Lee Chatametikool (Thailand, Hong Kong, China) Enrique Collar (Paraguay, Netherlands) Martín Desalvo (Argentina) Mina Djukic (Serbia)

Curtis Vowell (New Zealand) Abolfazl Saffary (Iran, Germany) Lee Su-Jin (South Korea) Noh Young-Seok (South Korea)

Raymond Red (Philippines) Aditya Assarat, Royston Tan, Midi Z, Tan Chui Mui, Tsai Ming-liang, Sun Koh (China, Malaysia, Thailand, Singapore, Myanmar)

The Liar’s Dice

Geethu Mohan Das (India)

Mein blindes Herz Peter Brunner (Austria)

The Militant

Manolo Nieto (Uruguay, Argentina) Tessa Louise Salomé (France)

FR 2014 Indexes V04.indd 317

Celery

Corrections

The Dark Galleries

The Day She Commits Suicide Démontable

Drive with Care Dust Poetry

G Is the Dial

Garagedoor December 2nd Genre Sub Genre

Nick Reding (Kenya)

Mr X

Birdhide Ooltgensplaat

Giant

Green | Red

Peter Burr (USA)

Habitable

Gustavo Bastidas (Venezuela)

Hacked Circuit

Deborah Stratman (USA)

Head and Hands: My Black Angel Aïda Ruilova (USA)

Hortus

Edwin (Indonesia, Netherlands)

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List of Premieres

If We Were Together

Rowena Crowe (Netherlands)

The Inner and Outer Vanishing Point Cameron Gibson (USA)

Is It Real Love? Of Course Not! Florian Krepcik (Netherlands)

Konrad & Kurfurst

Esther Urlus (Netherlands)

Walk with Me

Johan Oettinger, Peter Tukei Muhumuza (Uganda, Denmark)

We Had the Experience But Missed the Meaning Laida Lertxundi (USA, Spain)

Wide.Love.Resist.Beautiful. Seduction.Violence.Your.Game. Jelena Vanoverbeek (Belgium)

Kudryavka - Little Ball of Fur Risto-Pekka Blom (Finland)

Working to Beat the Devil

Chu-Li Shewring, Adam Gutch (United Kingdom)

De leeuw

Klaas Arie Westland (Netherlands)

Life’s a Hide Out

Jan Willem van Dam (Netherlands)

International premiere

Metamorfoza

#43

Martha Colburn (Netherlands)

Joost Rekveld (Netherlands)

A Million Miles Away

Andoe

Jennifer Reeder (USA)

Nina Yuen (USA)

Nefandus Trilogy

The Animals Blessing

Carlos Motta (USA, Colombia, Portugal)

Cosimo Terlizzi (Italy)

Night Moves

Another Hungary

Takeshi Murata (USA)

Dénes Nagy (Hungary)

Noise Reduction II: Chinatown

App Sapiens

Rahee Punyashloka (India)

Ko Hyun-Chang (South Korea)

On Shaky Ground

The Backup Tapes from Moon and Mars

Sonja Tarokic (Croatia)

eteam (USA)

One Way Street

A Blank Slate

Cinthia Marcelle, Tiago Mata Machado (Brazil)

Sara Eliassen (Norway, USA)

The Painters

Blue

Nicolas Provost (Belgium)

Shiloh Cinquemani (USA)

Passing

Le bout du fil

Andrew James Paterson (Canada)

François Raffenaud (France)

Petit matin

Braconnière

Christophe Loizillon (France)

Martin Tronquart (France)

Photomontage/Mon beau souci

Brimstone Line

Mark Rappaport (France)

Chris Kennedy (Canada)

Play Within a Play

Bring Me the Head of Henri Chrétien!

Yasmijn Karhof (Netherlands)

Billy Roisz, Dieter Kovacic (Austria)

O porto

Building Stories #001 | That Distant Piece of Mine

Clarissa Campolina, Julia De Simone, Luiz Pretti, Ricardo Pretti (Brazil)

Els Opsomer (Belgium)

Psychedelic Alphabet for the Newborn

The Case

Sami Sänpäkkilä (Finland)

Cecilia Stenbom (United Kingdom)

The Red Door

The Chimera of M.

Tashi Gyeltshen (Bhutan)

Sebastian Buerkner (United Kingdom)

A Replacement

Chrome

Sini Pelkki (Finland)

Esther Urlus (Netherlands)

Seven Stones

Colterrain

Frank Scheffer (Netherlands)

Tina Frank (Austria)

Stimme

Creme 21

Katarina Zdjelar (Netherlands)

Eve Heller (Austria, USA)

Sugarcoated Arsenic

Crux Film

Kevin Jerome Everson, Claudrena Harold (USA)

Alexander Stewart, Lilli Carré (USA)

Tea Party

Deorbit

Outi Sunila (Finland)

Telcosystems, Makino Takashi (Netherlands)

Therefore It Is (Has Been) Here

Even Pricks

Marika Orenius (Finland)

Ed Atkins (United Kingdom)

The Transplants

Experiments in Buoyancy

Jingliang Tan (Singapore)

Calum Walter (USA)

Trento Symphonia

Fe26

Flatform (France, Italy)

Kevin Jerome Everson (USA)

Two Points of Failure

Grandma’s Dream

Michael Moshe Dahan (USA)

Laure Prouvost (United Kingdom)

Uit de lucht gegrepen

The Great Escape from Café City

Jasper Coppes, Stijn Verhoeff (Netherlands)

John Hsu (Taiwan)

The Undiscovered Drawer

Immortal, Suspended

Shana Moulton (USA, France)

Deborah Stratman (USA)

El valle interior

La isla

Alejandro Telemaco Tarraf (Argentina)

A Vertical Slice of Landscape Astrid van Nimwegen (Netherlands)

Village modèle

Hayoun Kwon (France)

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Dominga Sotomayor, Katarzyna Klimkiewicz (Chile, Poland)

It Has Already Been Ended Before You Can See the End Arikawa Shigeo (Japan)

43RD INTERNATIONAL FILM FESTIVAL ROTTERDAM

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ars

List of Premieres

Le jour nous écoute

Culebra Jr.

Karpotrotter

Dot Matrix

King Kong

Egress

The Lake

The Emblazoned Apparitions

Louver

Floating Sun

Lunar Storm

Flow

Malaria and Mosquitoes

Here Is Everything

Medea

Homecoming

Notre tempo

Inferno

The Palace on the Sea

A Lady Caddy Who Never Saw a Hole in One

Félix Dufour-Laperrière (Canada) Matjaž Ivanišin (Slovenia)

Daniela Delgado Viteri (Argentina, Ecuador) Richard Tuohy (Australia)

Nikolaos Kyritsis (Greece)

Knut Åsdam (Norway)

Miyakawa Shin’ichi (Japan)

Philip Solomon (USA)

Björn Kämmerer (Germany, Austria) Rosa Menkman (Netherlands) Pimpaka Towira (Thailand)

Ursula Mayer (United Kingdom) Lorena Zilleruelo (France)

Edmund Yeo (Malaysia) Lichun Tseng (Netherlands, Taiwan) Emily Vey Duke, Cooper Battersby (USA, Canada) Jim Chuchu (Kenya) Yael Bartana (Netherlands, USA)

Midi Z (Taiwan, Myanmar)

La playa de Mexico

Yosep Anggi Noen (Indonesia)

Pyramid Flare

Akram Zaatari (Lebanon)

Ronse

Folasakin Iwajomo (Nigeria)

Second Phase

The Otolith Group (United Kingdom)

Terno

Eva Kolcze (Canada)

that now

Pablo Mazzolo (Argentina)

Thing

Amil Shivji (Tanzania)

This Town of Toronto...

Philippe Lacôte (Côte d’Ivoire)

To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation

Travis Shilling (Canada)

Martin Morgenfeld, Gastón Margolin (Argentina)

Letter to a Refusing Pilot The Line-Up

Johann Lurf (Austria) Robbrecht Desmet (Belgium, Netherlands)

Medium Earth

Modern Island

Charlie Egleston (Canada) Gabriela Amaral Almeida, Luana Demange (Brazil) Sarah Forrest (United Kingdom) Anouk De Clercq (Belgium, Italy) Izabella Pruska-Oldenhof (Canada)

Pauline Boudry, Renate Lorenz (Germany, Switzerland, United Kingdom)

To What Do I Owe the Honor of This Illustrious Visit?

Photooxidation Shoeshine

To Repel Ghosts Totem

Trissákia 3

Nick Collins (United Kingdom)

The Voice Thief

Adan Jodorowsky (France, Chile, USA)

Rafael Urban, Terence Keller (Brazil)

Transit of the Megaliths

Nicholas Brooks (United Kingdom)

Tunnel Vision Jeff Scher (USA)

Verona

Marcelo Caetano (Brazil)

Verses

James Sansing (USA)

Walzkörpersperre

Martijn van Boven, Gert-Jan Prins (Netherlands)

When I Stop Looking Todd Herman (USA)

European premiere El adios largos

Andrew Lampert (USA, Mexico)

L’autre femme

Marie KA (Senegal)

Axis

John Kneller (Canada)

Bbrraattss

Ian Cheng (USA)

Berea

Vincent Moloi (South Africa)

The Blue Train

Vera Frenkel (Canada)

The Cave

Ahmed Ghoneimy (Egypt)

FR 2014 Indexes V04.indd 319

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IFFFR14_STOPPER_CATALOG_1-1_V1.indd 2

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index directors

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Index DIRECTORS

bdalla, Ahmad 75 Adomeit, Katja 66 Agusta, Paul 75 Ai Weiwei 76 Alix Jr., Adolfo B. 76 Almy, Max 155 Altenried, Fabian 41 Amar, Ruben 44 Amaral Almeida, Gabriela 144 Anadu, Chika 41 Ananas, Fanta 269 Anderson, Wes 160 André, Yaël 243 Anggi Noen, Yosep 160 Araújo, Fran 189 Arikawa Shigeo 31 Armella, Carlos 42 Arvidsson, Leontine 157 Åsdam, Knut 200 Assarat, Aditya 77 Atkins, Ed 35

Bagh, Peter von 205

Bakhtiari, Kaveh 189 Barber, George 169 Barbosa, Fellipe 11 Bark, Jan 241 Barnaby, Jeff 42 Barnard, Clio 178 Bartana, Yael 33 Bartas, Sharunas 215 Bastidas, Gustavo 117 Battersby, Cooper 30 Battle, Christina 157 Baudelaire, Eric 43 Beatt, Cynthia 200 Beavers, Robert 140 Bellinck, Thomas 174 Beloufa, Neil 43 Benson, Lily 191 Bergsmark, Ester Martin 12 Beristáin, Natalia 278 Bessis, Lola 44 Biemann, Ursula 169 Biscaya, José Miguel 123 Bloch, Bernard 44 Blom, Risto-Pekka 117 Blumenschein, Viviane 272 Boe, Christoffer 183 Borgna, Gianni 193 Boudry, Pauline 128 Boven, Martijn van 152 Božic´, Tatjana 13 Bragason, Ragnar 77 Bressane, Júlio 78 Brooks, Nicholas 115 Brunner-Sung, Vera 45 Brunner, Peter 14 Buerkner, Sebastian 29 Bünger, Erik 150 Burr, Peter 124 Bush, Paul 169 Bychkova, Oxana 78

Caballero, Sergio 31

Caetano, Marcelo 145 Cairns, David 244 Calder, Terril 170 Cambrinus, Robert 170 Campbell, Duncan 147 Campillo, Robin 178 Campolina, Clarissa 34 canecapovolto 131 Canneto, Sergio 145 Carrasco, Luis López 179 Carré, Lilli 170 Cavalcante, Camilo 46 Chatametikool, Lee 15 Chen Kaige 212 Cheng, Ian 136 Chila, Dominique 21 Child, Abigail 238 Cho Seoungho 169

322

FR 2014 Indexes V04.indd 322

Christiansen, Christian E. 79 Chuchu, Jim 112 Cinquemani, Shiloh 154 Claerbout, David 134 Cody, Michael 46 Colburn, Martha 136 Collantes, Pedro 142 Collar, Enrique 79 Collins, Nick 139 Coppes, Jasper 133 Courtin-Wilson, Amiel 46 Croce, Pablo 272 Crowe, Rowena 116 Cuevas, Ximena 155 Cytter, Keren 119

’Agata, Antoine 47 da Cunha, Basil 190 Dahan, Michael Moshe 32 Dam, Jan Willem van 129 De Clercq, Anouk 34 de Peretti, Thierry 190 De Simone, Julia 34 Dechesne, Patrick 52 Delgado Viteri, Daniela 119 Demange, Luana 144 Demers, Claude 80 Deroo, Gilles 62 Desalvo, Martín 47 Desamory, Lucile 158 Desmet, Robbrecht 114 Deutsch, Gustav 159 Diaz, Lav 80 Dienderen, An van 170 Dijkstra, Douwe 137 Diop, Mati 243 Djukic, Mina 48 Doyen, Eugène 156 Duane, Paul 244 Dufour-Laperrière, Félix 115 Duke, Emily Vey 30 Dunn, Lloyd 236 Dupuy, Jean 170 DuRant, Elise 48 Durkin, Sean 49 Dutta, Amit 81

dwin 166 Egleston, Charlie 169 Eilers, Willehad 130 Eimbcke, Fernando 81 Eliassen, Sara 145 Emigholz, Heinz 251 Erlingsson, Benedikt 49 Escalante, Amat 82 eteam 38 Everson, Kevin Jerome 122

Fahmi Lubish, Ismail 50

Falco, Alessandro 144 Fernández Almendras, Alejandro 82 Finsterwalder, Frauke 183 Fitoussi, Jean-Charles 83 Flatform 37 Forrest, Sarah 156 Franco, James 244 Frank, Tina 152 Frenkel, Vera 157 Fruhauf, Siegfried A. 123 Fukada Koji 83

agnon, Dominic 264 García, Dora 118 Garrel, Philippe 179 Genovese, Alessio 191 German, Alexei 84 Ghoneimy, Ahmed 112 Gibson, Cameron 122 Goifman, Kiko 84 Gomes, Flora 213 Gomes, Miguel 269 Gonçalves, Vítor 85 Gonzalez, Yann 50

Gosling, Maureen 274 Gowin, Aleksandra 51 Grasso, Santiago ‘Bou’ 163 Grenade, Thierry 58 Grimaldi, Aurelio 85 Gröning, Philip 86 Grzyb, Ireneusz 51 Gu Tao 86 Guan, Cassandra 191 Guiraudie, Alain 87 Guo, Xiaolu 192 Gutch, Adam 32 Gutiérrez, Irene 51 Gyeltshen, Tashi 116

Haring, Chris 97

Harold, Claudrena 127 Haroun, MahamatSaleh 87 Hazekamp, René 276 Heller, Eve 153 Hellström, Henrik 52 Herman, Todd 133 Hiltunen, Jenni 170 Hogg, Joanna 88 Hong Sang-Soo 88 Honkasalo, Pirjo 89 Horn, Whitney 54 Housiaux, Alain-Pascal 52 Hsu, John 126 Hu Wei 123 Hubbard, Alex 170 Hughes, Marília 57 Hugonnier, Marine 134 Huyghe, Pierre 125

Idrissi, Yassine el 53

Ikeda Akira 16 Ishii Yuya 89 Ivancic, Stefan 142 Ivanišin, Matjaž 166 Iwajomo, Folasakin 112 Izutani Tomonori 53

ackson, Mark 17 Jang Cheol-Soo 264 Janga, Eché 54 Jarmusch, Jim 90 Jarva, Risto 242 Jayakody, Prasanna 90 Jayasundara, Vimukthi 218 Jia Zhang-ke 91 Jodorowsky, Adan 38 Jonze, Spike 91 Jordan, Lawrence 170 Jost, Jon 92 Joynt, Chase 170 Jude, Radu 143 Junger, Karin 192

K A, Marie 113

Kalman, Lev 54 Kämmerer, Björn 151 Karhof, Yasmijn 169 Keller, Terence 129 Kennedy, Chris 169 Keshales, Aharon 92 Khavn 93 Khrzhanovsky, Ilya 218 Klahr, Lewis 119 Klimkiewicz, Katarzyna 36 Klinger, Gabe 245 Knapp, Manuel Kneller, John 124 Ko Hyun-Chang 269 Kobayashi Masahiro 159 Kolcze, Eva 169 Komljen, Dane 138 Kos-Krauze, Joanna 193 Kovacic, Dieter 151 Kraskouskas, Kiley 273 Krauze, Krzysztof 193 Kren, Marvin 265 Krepcik, Florian 136 Krieg, Benjamin 258

43RD INTERNATIONAL FILM FESTIVAL ROTTERDAM

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Index DIRECTORS

Kurenniemi, Erkki 240 Kurosawa Kiyoshi 93 Kwon, Hayoun 36 Kyritsis, Nikolaos 143

abrador, Javier 51 Lacôte, Philippe 113 Laine, Jarkko T. 55 Lampert, Andrew 237 Larrieu, Arnaud 94 Larrieu, Jean-Marie 94 Lass, Jakob 55 Lee Su-Jin 18 Lehman, Boris 201 Lertxundi, Laida 140 Leyco, Jet 56 Leyva, Lucas 269 Liechti, Peter 201 Lièvre, Pascal 131 Loizillon, Christophe 141 Long, Terra Jean 170 Lora, Alex 131 Lorenz, Renate 128 Louise Salomé, Tessa 247 Lowney, Declan 95 Lundsten, Ralph 241 Lurf, Johann 152

achado, Tiago Mata 135 Mack, Jodie 148 MacKenzie, David 265 Magnusson, Jane 245 Mak, Juno 56 Makino Takashi 152 Malas, Mohamad 213 Malmros, Nils 224 Marcelle, Cinthia 135 Margolin, Gastón 141 Marker, Chris 147 Marques, Cláudio 57 Martín Cuenca, Manuel 95 Martin, Raya 96 Martino, Ra di 169 Mathews, Travis 244 Matsumoto Hitoshi 96 Mattuschka, Mara 97 Mayer, Jillian 269 Mayer, Ursula 120 Maze, Raphaël 170 Mazzolo, Pablo 153 Meddeb, Hind 273 Meerkat Media Collective 274 Mehta, Richie 97 Menduni, Enrico 193 Menirom, Orr 138 Menkman, Rosa 151 Merz, Lorenz 57 Meschaninova, Natalia 19 Mghvdeladze, Téona 58 Midi Z 33 Miike Takashi 98 Miller, Elisa 58 Miñarro, Luis 20 Minervini, Roberto 98 Miyakawa Shin’ichi 163 Moderbacher, Christine 135 Mohan Das, Geethu 59 Mokri, Shahram 266 Moloi, Vincent 113 Montero, Alfredo 266 Morató, Jordi 59 Moreno, Rodrigo 99 Morgenfeld, Martin 141 Motta, Carlos 30 Moulton, Shana 120 Murata, Takeshi 104 Murga, Celina 217 Muskala, Grzegorz 60 Myllymäki, Pasi 170

Nagy, Dénes 202 Najari, Samer 21 Neozoon 156 Nieto, Manolo 60

FR 2014 Indexes V04.indd 323

Nimwegen, Astrid van 169 Ning Ying 214 Noh Young-Seok 61 Nova, Ernesto de 189 Nugroho, Garin 216

dell, Anna 202 Odoardi, Stefano 99 Oettinger, Johan 29 Opsomer, Els 135 Orenius, Marika 170 Otolith Group, The 125

Pallas, Hynek 245

Panayotopoulou, Penny 61 Pando, Marco 100 Pansier, Leonardo 276 Pansittivorakul, Thunska 100 Papushado, Navot 92 Passi, J-P 55 Paterson, Andrew James 170 Patiño, Lois 62 Pawlikowski, Pawel 182 Payne, Alexander 101 Pelkki, Sini 169 Périot, Jean-Gabriel 164 Perrone, Raul 101 Petri, Vlad 203 Pinto, Joaquim 203 Pirselimoglu, Tayfun 102 Pistone, Marianne 62 Pols, Billy 277 Porumboiu, Corneliu 181 Prapapan, Sorayos 126 Prelinger, Rick 246 Pretti, Luiz 34 Pretti, Ricardo 34 Price, John 140 Prins, Gert-Jan 152 Prouvost, Laure 37 Provost, Nicolas 137 Pruska-Oldenhof, Izabella 169 Pryce, Charlotte 154 Punyashloka, Rahee 139 Putter, Jos de 102

u, Vivian 63 Qubeka, Jahmil X.T. 63 Quillévéré, Katell 103

Rabreau, Diane 175

Radivojevic, Iva 194 Radlmaier, Julian 182 Raffenaud, François 116 Rafman, Jon 122 Raksasad, Uruphong 64 Rapp-Meichler, Gisèle 170 Rappaport, Mark 234 Rasoulof, Mohammad 103 Red, Raymond 246 Reding, Nick 64 Reeder, Jennifer 38 Reichardt, Kelly 104 Rejtman, Martín 212 Rekveld, Joost 150 Resnais, Alain 147 Reygadas, Carlos 217 Ribezzo, Fabian 132 Rigole, Jasper 235 Rijpma, Johan 169 Riki Kalbe, Barbara Kasper 157 Rivers, Ben 66 Robespierre, Gillian 65 Roisz, Billy 170 Rondón, Mariana 104 Rosen, Roee 128 Rosi, Gianfranco 181 Rosier, Valéry 204 Rossetto, Alessandro 105 Rouhi, Mahine 170 Ruilova, Aïda 247 Ruiz Navia, Oscar 141

Ruiz, Rosendo 65 Russell, Ben 66 Ruutsalo, Eino 240 Rytel, Joanna 130

Sachsse, Susanne 170

Sacramento, Paulo 22 Sadat, Shahrbanoo 66 Saffary, Abolfazl 267 Sainte-Luce, Claudia 67 Sakhya, Byamba 67 Sanborn, Keith 235 Sänpäkkilä, Sami 169 Sansing, James 140 Santarelli, Marco 105 Sattouf, Riad 68 Satz, Aura 234 Saulnier, Jeremy 68 Savage 236 Scheffer, Frank 114 Scher, Jeff 156 Schomburg, Jan 23 Schüpbach, Hannes 146 Seliškar, Petra 194 Serra, Albert 180 Shewring, Chu-Li 32 Shilling, Travis 170 Shivji, Amil 132 Shovlin, Jamie 248 Sigg, Pablo 184 Simon, Chris 274 Simon, Claire 195 Singh, Anup 69 Sinke, Digna 106 Solomon, Philip 239 Sotomayor, Dominga 36 Spielmann, Götz 180 Spray, Stephanie 69 Spritzendorfer, Dominik 275 Stenbom, Cecilia 170 Stewart, Alexander 170 Steyerl, Hito 138 Stratman, Deborah 28 Strubbe, Caroline 196 Suleiman, Elia 215 Sun Koh 77 Sun Xun 124 Sunila, Outi 155 Swinnen, Eno 236

Taanila, Mika 235

Taïa, Abdellah 196 Takala, Pilvi 121 Takeba, Lisa 70 Tan Chui Mui 77 Tan, Jingliang 127 Tan, Royston 77 Tarokic, Sonja 143 Tarraf, Alejandro Telemaco 115 Teck, Griet 184 Teguia, Tariq 106 Telcosystems 152 Terlizzi, Cosimo 130 Thamrongrattanarit, Nawapol 70 Tibaldi, Antonio 131 Tibbetts, Carl 269 Tikhonova, Elena 275 Tiven, Benjamin 238 Tlatli, Moufida 214 Tocha, Gonçalo 204 Tomonari Nishikawa 153 Towira, Pimpaka 165 Trocker, Ronny 197 Tronquart, Martin 142 Tsai Ming-liang 77 Tseng, Lichun 139 Tucker, Hope 237 Tuinder, Dick 24 Tukei Muhumuza, Peter 29 Tully, Michael 107 Tuohy, Richard 154 Tykkä, Salla 29

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Index DIRECTORS

rban, Rafael 129 Urlus, Esther 114

anagt, Sarah 171 Vanoverbeek, Jelena 235 Velez, Pacho 69 Verheijden, Donna 137 Verhoeff, Stijn 133 Vermeire, Katrien 171 Vijay, Vipin 125 Villalobos, Neto 71 Vitkova, Maya 25 Vowell, Curtis 71

Walter, Calum 237

Wanek, Joel 121 Wang Bing 107 Wang, Nan 133 Warhol, Andy 248 Weber, Lisa 72 Weerasethakul, Apichatpong 216 Wenninger, Paul 170 West, Ti 267 Westland, Klaas Arie 117 Wilson, Aaron 268 Woldemariam, Zelalem 132 Wong Ching Po 108

Yamashita Nobuhiro 108 Yang Heng 109 Yeo, Edmund 127 Yuen, Nina 121 Yuichi Suita 126 Zaatari, Akram 35 Zanin, Massimiliano 249 Zdjelar, Katarina 149 Ĺ˝ickyte, Giedre 275 Zilleruelo, Lorena 28 Zwier, Pim 165

324

FR 2014 Indexes V04.indd 324

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index Films & comPilAtion ProgrAmmes

FR 2014 Indexes V04.indd 325

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Index films & compilation programmes

2011 12 30 157 28 90 4 218 #43 150 45 7 Broadway 153 #47 123 5 avril je me tue, Le 145 55505 Pareidolia 236

A que deve a honra da ilustre visita

este simples marquês? 129 About Sarah 58 Aching Hearts 224 Adamt 132 Adios largos, El 239 Aep Sa-pi-en-s 269 African Metropolis 112 Afscheid van de maan 24 After the Night 190 After the Rain 57 After the Tone 106 Ai Weiwei’s Appeal ¥15,220,910.50 76 Ajomies 55 Alamat ni China Doll 76 Alan Partridge: Alpha Papa 95 All About the Feathers 71 All the World’s a Stage-Ways of Seeing 2013 137 All What Is Somehow Useful 165 Alles was irgendwie nützt 165 Amassed 169 Amazing Catfish, The 67 Amour est un crime parfait, L’ 94 Ana and the Others 217 Ana y los otros 217 Anatomy of a Paper Clip 16 Ancha es Castilla/N’importe quoi 31 Andoe 121 Animals Blessing, The 130 Another Hungary 202 Another One 157 Another Year 78 Apaches, Les 190 Apicula Enigma 134 App Sapiens 269 Århus by Night 226 Armée du salut, L’ 196 Artist Present 114 Arwad 21 At kende sandheden 225 Até ver a luz 190 Atelier, L’ 146 Aterträffen 202 Atlas 47 Au revoir l’été 83 Autre femme, L’ 113 Avant-premières 115 Axis 124 Az Tehran ta behesht 267

B for Boy 41

Back to the Temple of the Sun 100 Backup Tapes from Moon and Mars, The 38 Bad Hair 104 Barbara 225 Basis des Make-Up I-III, Die 252 Basis of Make-Up I-III, The 252 Bbrraattss 136 Beach of Mexico, The 141 Beauty and the Beast 227 Before We Forget 118 Bella Vista 45 Ben o degilim 102 Benedizione degli animali, La 130 Berea 113 Betoniyö 89 Bian zou bian chang 212 Big Bad Wolves 92 Birdhide Ooltgensplaat 169 Black and White Movies 235 Blank Slate, A 145 Blood in Bahia’s Hot 85 Blue 154 Blue Eyes of Yonta, The 213 Blue Ruin 68 Blue Train, The 157 Blutgletscher 265 Boonrerm 126 Bout du fil, Le 116 Boys 228 Braconnière 142 Brasslands 274 Break of Day 141 Brimstone Line 169

326

FR 2014 Indexes V04.indd 326

Bring Me the Head of Henri Chrétien! 151 Buck Fever 156 BucuresŞ ti, unde esŞ ti? 203 Building Stories #001 | That Distant Piece of Mine 135 Bukas na lang, sapagkat gabi na 56 Buried Alive Videos, The 128 Butter Lamp, The 123 Butterfly of Love 158

ând se lasa˘ seara peste BucuresŞti sau metabolism 181 Canibal 95 Cannibal 95 Cannibal Nurse 158 Canopy 268 Casa Grande 11 Case, The 170 Castello Cavalcanti 160 Cave, The 112 Celery 142 Chaotic Memories: Selected Works 2010-2013 75 Cherry Blossoms 170 Cherry Pie 57 Chigger Ale 269 Chimera of M., The 29 Christmas by Your Friends 229 Chrome 150 Chronicle of a Disappearance 215 CircusTime 276 Club Sándwich 81 Coast of Death 62 Collapse of the Expanded Field I-III 170 Colterrain 152 Coming to Terms 92 Computers Serve 242 Concrete Clouds 15 Concrete Night 89 Contemporary Artist 155 Corrections 119 Costa da Morte 62 Costa Dulce 79 Creator of the Jungle, The 59 Creme 21 153 Crux Film 170 Cueva, La 266 Culebra Jr. 119

’Annunzio’s Cave 258 D’Annunzios Höhle 258 D’où je viens 80 Dark Galleries, The 238 Darkness by Day 47 Dast-neveshtehaa nemisoozand 103 Day Is Listening, The 115 Day She Commits Suicide, The 126 De chair et de lait 44 De la musique ou La jota de Rosset 83 Deadline 155 Deep Weather 169 Démontable 137 Deorbit 152 Depois da chuva 57 Día trajo la oscuridad, El 47 Diane Goes for You 175 DINAMO P&I Screenings 1 169 DINAMO P&I Screenings 2 169 DINAMO P&I Screenings 3 170 DINAMO P&I Screenings 4 170 Dinosaurs 170 Disobedient, The 48 Distance, The 45 Distancia, La 45 Division 158 Dogfar nai mae marn 216 Domo de Eu˘ ropa Historio en Ekzilo 174 Doorway for Natalie Kalmus 239 Dot Matrix 154 Double Play 245 Dreams and Myths 119 Drenge 228 Drive with Care 121 Drive with Care VP 121 Driver, The 55 Dust Poetry 133 Dusty Stacks of Mom: The Poster Project 148 Dzma/Brother 58

agora? Lembra-me 203 Eastern Boys 178 Eclat furtif de l’ombre, L’ 52 Eden 48 Edén 48

43RD INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 17:52

148

Index films & compilation programmes

EDSA XXX: Ganito kami noon, ganito pa rin kami ngayon 93 EDSA XXX: Nothing Ever Changes in the Ever-Changing Republic of Ek-Ek-Ek 93 Educação sentimental 78 Egress 200 Ein Gleiches 157 Elämän reikänauha 241 Electro Chaabi 273 Electro Moscow 275 Electronics in the World of Tomorrow 240 Elektro Moskva 275 ELSA merdelamerdelamer 238 Emblazoned Apparitions, The 239 Emigholz, Heinz - Furies 258 Emigholz, Heinz - Short Films I 255 Emigholz, Heinz - Short Films II 256 EMS Nr 1 241 En mærkelig kærlighed 229 Encre de Chine 170 End of the Line, The 116 Entr’acte 170 Epilogues 237 Escale, L’ 189 Eternal Return, The 131 Eternel retour, L’ 131 EU 013, l’ultima frontiera 191 EU 013, The Last Frontier 191 Evaporating Borders 194 Even Pricks 35 Excerpts from ‘Three Evenings on a Revolving Stage’ 170 Exhibition 88 Experiments in Buoyancy 237 Extended Visions 123 Exterior Extended 123 Extraterrestrial 125

Facing the Truth 225

Falling Star 20 Falten 146 Fantail 71 Farewell to the Moon 24 Farsh wa ghata 75 Father 163 Father’s Garden - The Love of My Parents 201 Fe26 122 Feel My Love 184 Feng ai 107 Few of Us 215 Film for Music #11 – Musique: Ben Miller 170 Filmballad of Mamadada, The 191 Finsterworld 183 Fish and Cat 266 Floating Stories 126 Floating Sun 127 Flora & Fauna 240 Flow 139 Formative Years I-II, The 251 Forsaken Land, The 218 Frau des Polizisten, Die 86 Frau hinter der Wand, Die 60 Freestone Drone, The 169 From Tehran to Heaven 267 Fune wo amu 89 Future, The 179 Futuro, El 179

Is the Dial 237 Garagedoor December 2nd 169 Gare du Nord 195 Genre Sub Genre 160 Géographie humaine 195 Ghostly Matters 127 Giant 29 Gillian Hills Trilogy, The 235 Girl Who Never Was, The 150 Gli immacolati 197 Glistening Thrills 149 Godka ciirka 131 Goff in der Wüste 252 Goff in the Desert 252 Grandma’s Dream 37 Great Escape from Café City, The 126 Great Passage, The 89 Green | Red 124 Grigris 87 Grind 170

abitable 117 Hacked Circuit 28 Hai shang huang gung 33 Han da han 86 Han Gong-Ju 18

FR 2014 Indexes V04.indd 327

Handful of Dust 237 Happily Ever After 13 Harbor, The 34 Hard to Be a God 84 Hassan’s Way 189 Head and Hands: My Black Angel 247 Heinz Emigholz - Furies 258 Heinz Emigholz - Short Films I 255 Heinz Emigholz - Short Films II 256 Helen of T 119 Heli 82 Helium 54 Her 91 Here Come the Problems 269 Here Is Everything 30 Hide Out 129 História da eternidade, A 46 Història de la meva mort 180 History of Eternity, The 46 Hoax_canular 264 Hole in the Sky, A 131 Holy Bunch, The 251 Homecoming 112 Hope Factory, The 19 Hortus 162 Hotel Nueva Isla 51 Hotori no sakuko 83 House in Berlin, A 200 House of European History in Exile 174 HOW NOT TO BE SEEN. A Fucking Didactic Educational .Mov File 138 How to Disappear Completely 96 How to Survive... Technology 141 How We Played the Revolution 275 Hross í oss 49 Hsiao ching hsin da bao cha 126 Huan ri 127 Human Geography 195 Hyppy 240

Am a Part of the Problem 131 I Can’t Cry Much Louder Than This 170 I’m Not Him 102 I’m Part of the Problem 130 I’m the Same, I’m an Other 196 I’m Yours 170 Ida 182 If We Were Together 116 Illmannered Milkman, The 130 Immaculates, The 197 Immortal, Suspended 134 In Darkness We Fall 266 Inconnu du lac, L’ 87 Inferno 33 Infirmière cannibale, L’ 158 Inner and Outer Vanishing Point, The 122 Inner Valley, The 115 Insólitos peces gato, Los 67 Instant de vérité, Un 170 Instants 146 Interior. Leather Bar. 244 Intruders 61 Invisible Life, The 85 Io sono una parte del problema 131 Iranian Film, The 53 Is It Real Love? Of Course Not! 136 Isla, La 36 Island, The 36 Istintobrass 249 It for Others 147 It Has Already Been Ended Before You Can See the End 31 It’s Us 64

acky au royaume des filles 68 Jacky in Women’s Kingdom 68 Jalousie, La 179 Japón 217 Jealousy 179 Jo-nan-ja-deul 61 Joan the Woman - With Voice 234 Jour nous écoute, Le 115 Joycean Society, The 118

Kærestesorger 224

Kærlighedens smerte 226 Kaip mes žaide˙ me revoliucija 275 Kamera obskura 246 Kammesjukjul 229 Karpopotnik 166 Karpotrotter 166 Kinescope 242 King Kong 143 Kombinat Nadezhda 19

43RD INTERNATIONAL FILM FESTIVAL ROTTERDAM

327

13-01-14 17:52

Index films & compilation programmes

Konrad & Kurfurst 154 Kudryavka - Little Ball of Fur 117 Kundskabens træ 227 Kurdrjavka - Pikku kippura 117 Kurenniemi’s Cinematic Collaborations 240

for Leisure 54 Lack-Hell 99 Lady Caddy Who Never Saw a Hole in One, A 161 Lake August 109 Lake, The 163 Lampe au beurre de yak, La 123 Lars Ole 5.C 228 Last Moose of Aoluguya, The 86 Last Song Before the War, The 273 Late at Night - Voices of Ordinary Madness 192 Lay Bare 169 Leave It for Tomorrow, for Night Has Fallen 56 Leeuw, De 117 Legend of China Doll 76 Let Us Persevere in What We Have Resolved Before We Forget 118 Let Your Light Shine 149 Letter to a Refusing Pilot 35 Letter to Mohamed, A 135 Lettera al presidente 105 Letters from the South 77 Letters to the President 105 Lettre à Mohamed 135 Lev stærkt 79 Liar’s Dice, The 59 Life on a String 212 Life’s a Hide Out 129 Limited Speech Holds Endless Misunderstandings 138 Line-Up, The 112 Lion, The 117 Listening to the Space in My Room 140 Little Crushes 51 Lose My Self 23 Louver 151 Love Is the Perfect Crime 94 Love Steaks 55 Lugar del hijo, El 60 Lunar Storm 151

Mãe e o mar, A 204

Magician Party and Dead Crow 124 Mahi va gorbeh 266 Maillart’s Bridges 256 Maillarts Brücken 256 Malaria and Mosquitoes 165 Male stluczki 51 Malmhaus 77 Mama Europa 194 Manakamana 69 Mancanza-Inferno 99 Manuscripts Don’t Burn 103 Mariage blanc 159 Mary Is Happy, Mary Is Happy 70 Másik Magyarország 202 Masked Monkey - The Evolution of Darwin’s Theory 50 Matar a un hombre 82 Me Seal, Baby 130 Meat and Milk 44 Medea 120 Medium Earth 125 Mein blindes Herz 14 Mejima 53 Mes sept lieux 201 Metalhead 77 Metamorfoza 136 Midsummer Night’s Tango 272 Militant, The 60 Mille soleils 243 Million Miles Away, A 38 Mind The Gap Nights 167 Minjing gushi 214 Miscellanea I 257 Miscellanea II 257 Miscellanea III 255 Mittsommernachtstango 272 Mizuumi wa Hito wo Nomikomu 163 Mo shu shi dang yu si wu ya 124 Model Village 36 Modern Island 169 Mogura no uta 98 Mole Song: Undercover Agent Reiji, The 98 Moratorium Tamako 108 Mother and the Sea, The 204 Mother Europe 194 Mouton 62

328

FR 2014 Indexes V04.indd 328

Mr leos caraX 247 Mr X 247 Muisteja - Pieni elokuva 1950-luvun Oulusta 205 My Blind Heart 14 My Seven Places 201 //MY_HAND_DRAWN_SCREENSAVER// 236 Mysterious Object at Noon 216

Na pian hu shui 109

Nacht van de Wansmaak Has Risen from the Grave!, De 249 Nånting måste gå sönder 12 Natan 244 Nebraska 101 Nefandus Trilogy 30 Neposlusni 48 New Fancy Foils 148 Ni sisi 64 Night Moves 104, 170 Night, The 213 No More Road Trips? 246 No quiero dormir sola 278 Noise Reduction II: Chinatown 139 Nona kedi yang tak pernah melihat keajaiban 161 Norte, hangganan ng kasaysayan 80 Norte, the End of History 80 Not at Home 66 Notre tempo 28 Nua dhamma chat 100 Nuit, La 213

O umbra de nor 143

Obvious Child 65 October November 180 Of Good Report 63 Of Horses and Men 49 Of Kids and Goats 131 Oilfields Mines Hurricanes 41 Oktober November 180 On Music or the Dance of Joy 83 On Shaky Ground 143 On the 5th April I’ll Kill Myself 145 On the Beat 214 On the Edge 79 Once Upon a Time in Shanghai 108 One Way Street 135 Only Lovers Left Alive 90 Optimism 164 Optimisme, L’ 164 Order of Things 133 Ornament and Crime 258 Ornament und Verbrechen 258 Other Side of the Heart Is White, The 276 Other Woman, The 113 Our Sunhi 88 Our Tempo 28 Out of Darkness 133 Out on the Streets 135

P3ND3JO5 101

Padre 163 Pain of Love 226 Painters, The 137 Palace on the Sea, The 33 Papillon d’amour 158 Papusza 193 Parabeton - Pier Luigi Nervi and Roman Concrete 254 Parabeton - Pier Luigi Nervi und Römische Beton 254 Passing 170 Pavang rak 15 Pelo malo 104 Perfect Garden 97 Periscope 84 Periscópio 84 Perret in France and Algeria 254 Perret in Frankreich und Algerien 254 Petit matin 141 Petite histoire des plateaux abandonnés, Une 169 Phire 268 Photomontage/Mon beau souci 234 Photooxidation 153 Piccola patria 105 Ping Pong Summer 107 Pinkie, The 70 Plastic People 136 Play Within a Play 169 Playa de Mexico, La 141 Pleng khong kao 64 Poet, A 216 Police Officer’s Wife 86 Por las plumas 71

43RD INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 17:52

Index films & compilation programmes

ta 205 236

an 161

Porto, O 34 POST SCRIPT 234 #PostModem 269 Primary Expansion 169 Profezia. L’Africa di Pasolini 193 Proletarian Winter’s Tale, A 182 Proletarisches Wintermärchen, Ein 182 Prologo sa ang dakilang desaparecido 159 Prologue to the Great Desaparecido 159 Prophecy. Pasolini’s Africa 193 Psychedelic Alphabet for the Newborn 169 Puisi tak terkuburkan 216 Punched Tape of Life, The 241 Pyramid Flare 152

issa 69 Quand je serai dictateur 243 Quiet Roar, The 52

100 96 Raffael’s Way 144 Rags and Tatters 75 Rapado 212 Rayo, El 189 Real 93 Red Door, The 116 Red Mill 114 Redemption 269 Reimon 99 Remembrance - A Small Movie About Oulu in the 1950s 205 Remote Control 67 Rencontres d’après minuit, Les 50 Repercussions 170 Replacement, A 169 Resolution 138 Resonating Spaces 139 Reunion, The 202 Rhymes for Young Ghouls 42 Rigor Mortis 56 Riocorrente 22 Riverrun 22 Rode molen 114 Ronse 114 Rotterdam Classics: Leve de Koningin! 277 Rough Cut 248 Rua de mão única 135 Ruin 46

Saatvin sair 81

Sacrament, The 267 Sacro GRA 181 Salsa Giants 272 Salvation Army 196 Samt el Koussour 214 Sangue è quente da Bahia, O 85 Sea Series #9, 11, 12, 13, 14 140 Second Phase 169 Secretly Greatly 264 See No Evil 102 Segell ikhtifa 215 Selfish Giant, The 178 Sense of Architecture 253 Sentimental Education 78 Separation des soeurs siamoises 156 September 61 Serie von Gedanken (Miscellanea IV–VII), Eine 253 Series of Thoughts (Miscellanea IV-VII), A 253 Serious Ladies 170 Serori 142 Seven Stones 114 Seventh Code 94 Seventh Walk, The 81 Sex, Drugs & Taxation 183 Sexy Money 192 Shadow of a Cloud 143 Shanghai tan ma yongzhen 108 She Doesn’t Want to Sleep Alone 278 Sheep 62 Shoeshine 132 Short History of Abandoned Scenes, A 169 Short Stories 1: New Beginnings 141 Short Stories 2: Adaptation 142 Short Stories 3: Support 143 Short Stories 4: Building a Character 145 Shorts Special: Hannes Schüpbach 146 Shorts Special: It for Others 147 Shorts Special: Jodie Mack 148 Shorts Special: The Girl Who Never Was 149 Shorts Special: Vertical Cinema 150 Shui Yinjie 63 Shuvuukhai 67

FR 2014 Indexes V04.indd 329

Siddharth 97 Silence radio 204 Silences du palais, Les 214 Sillä se on (ollut) tässä 170 Silver 153 Sitna ptica 138 Sitzfleisch 72 Skønheden og udyret 227 Sleeping 170 Small Homeland 105 Sobre la marxa 59 Solecito 141 Soles de primavera 142 Someone’s Wife in the Boat of Someone’s Husband 166 Something Must Break 12 Songs of Rice, The 64 Sorg og glæde 224 Sorrow and Joy 224 Southcliffe 49 Sparkling Shadows, The 52 Spell to Ward Off the Darkness, A 66 Spies & Glistrup 183 Spindrift 241 Springtime Suns 142 Starred Up 265 Station, The 265 Statues Also Die 147 Statues meurent aussi, Les 147 Steadiness 72 Stella cadente 20 Still Life (betamale) 122 Stimme 149 Stop the Pounding Heart 98 Stop-Over 189 Story of My Death 180 Strada di Raffael, La 144 Strange Love, A 229 Stranger by the Lake 87 Strangers When We Meet 159 Study in Natural Magic, A 154 Sugarcoated Arsenic 127 Suit 144 Sulanga enu pinisa 218 Sullivan’s Banks 256 Sullivans Banken 256 Sun Song 121 Supernatural 100 Survival Strategies 155 Suzanne 103 Swim Little Fish Swim 44

Tamako in Moratorium 108

Tea Party 155 Temps mort 235 Terno 144 That now 156 The Dark Pages 236 The Jump 240 Therefore It Is (Has Been) Here 170 Thing 34 Third Version of the Imaginary, A 238 This Ain’t No Mouse Music! 274 This Town of Toronto... 169 Thousand Suns, A 243 Three D 65 Thwara Zanj 106 Tian zhu ding 91 Tietokoneet palvelevat 242 Tiger Awards Competition for Short Films 1 28 Tiger Awards Competition for Short Films 2 30 Tiger Awards Competition for Short Films 3 32 Tiger Awards Competition for Short Films 4 34 Tiger Awards Competition for Short Films 5 36 Tiger Awards Competition for Short Films 6 38 Tiger Morse 248 Til Madness Do Us Part 107 Tiny Bird 138 Tlo pod nogama 143 To Kill a Man 82 To Repel Ghosts 113 To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation 128 To What Do I Owe the Honor of This Illustrious Visit? 129 Tonight and the People 43 Totem 170 Touch of Sin, A 91 Transit of the Megaliths 115 Transplants, The 127 Trap Street 63 Travel 134 Tree of Knowledge 227

43RD INTERNATIONAL FILM FESTIVAL ROTTERDAM

329

13-01-14 17:52

Index films & compilation programmes

Trento Symphonia 37 Tres D 65 Trespass 170 Trespassing Bergman 245 Trissákia 3 139 Tropical Sunday, A 132 Trudno byt’ Bogom 84 Tunnel Vision 156 Two Grand Pianos 159 Two Museums 255 Two Points of Failure 32

dju azul di Yonta 213 Ugly One, The 43 Uit de lucht gegrepen 133 Undertone Overture 148 Undiscovered Drawer, The 120 Uri Sunhi 88

alle interior, El 115 Vaters Garten - Die Liebe meiner Eltern 201 Venomous Folds 125 Vergiss mein Ich 23 Verona 145 Verses 140 Vertical Slice of Landscape, A 169 Vida invisível, A 85 Viktoria 25 Village modèle 36 Vishaparvam 125 Voces, Las 42 Voice Thief, The 38 Voices, The 42

Walk with Me 29

Walzkörpersperre 152 Wantee 120 War Story 17 Wave, The 171 Way in Untilled, A 125 We Had the Experience But Missed the Meaning 140 What an Excellent Day for an Exorcism 234 What Do You Want from Me? (I Asked You a Thousand Times) 236 What Now? Remind Me 203 When Evening Falls on Bucharest or Metabolism 181 When I Stop Looking 133 When I Will Be Dictator 243 When the Smog-Filled Wind Began to Howl 157 Where Are You Bucharest? 203 Where I’m From 80 Whispers Behind the Wall 60 White Bear 269 Wide.Love.Resist.Beautiful.Seduction. Violence.Your.Game. 235 Will to Power, The 184 Wille zur Macht, Der 184 Working to Beat the Devil 32

Yamamori clip koujo no atari 16 Yeshche odin god 78 You and the Night 50

Zanj Revolution 106

Zombie: The Resurrection of Tim Zom 277 Zounk! 170 Zwei Museen 255 Zynische Körper, Der 251

330

FR 2014 Indexes V04.indd 330

43RD INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 17:52

ProgrAmme dAy by dAy

FR 2014 Indexes V04.indd 331

13-01-14 18:16

332

ap 3 - IFFR 2014 blokken V05.indd 332

24.00

LantarenVenster 6 LantarenVenster 5

LantarenVenster 5 LantarenVenster 3

LantarenVenster 3 LantarenVenster 2

LantarenVenster 2 LantarenVenster 1

LantarenVenster 1 Pathé 7

Pathé 7 Pathé 6

Pathé 6 Pathé 5

Pathé 5 Pathé 4

Pathé 4 Pathé 3

Pathé 3 Pathé 2

de Doelen Jurriaanse Zaal Oude Luxor Schouwburg de Doelen Grote Zaal Jurriaanse Zaal Pathé 1 Schouwburg Grote Zaal Pathé 2 Pathé 1

Oude Luxor

Pathé 1

09.00

VPRO Previewdag VPRO Previewdag

10:00 10:00

10:00

VPRO Previewdag

VPRO Previewdag 11:00 Costa da Morte Lois Patiño

11:00 Costa da Morte Lois Patiño VPRO Previewdag

VPRO Previewdag

10:00

VPRO Previewdag

10:00

11.00

VPRO Previewdag

10:00

12.00

13.00

14.00

12:15

84’

Canopy Aaron Wilson

12.00

13.00

78’

14:00

15:15

Suzanne

Suzanne Katell Quillévéré

87’

85’

RG Trespassing Bergman Jane Magnusson, Hynek Pallas 107’ 14:15 Two Grand SH Pianos combined programme 77’

RG Trespassing Bergman Jane 14:30 Magnusson, Hynek The Red DoorPallas SP The Seventh Walk 107’ 85’ Amit Dutta

112’

17:00

Seventh Code Kurosawa Kiyoshi SP 60’ 18:00

SP Seventh Code Kurosawa Kiyoshi 60’

112’

20:00

19:00

19:15

21:00

21.00

Her Spike Jonze

75’

164’

116’

78’

80’

91’

83’

The Mole Song: 22:45 Agent Undercover Reiji Our Sunhi Miike Takashi Hong Sang-Soo

23.00

Our Sunhi Hong Sang-Soo

23.00

126’

23.00 SP

100’

93’

22:15 22:15

SH 92’

92’

117’

22:15 Dreams SH SP Canibal and Myths combined programme 72’ Manuel Martín Cuenca

Blutgletscher Marvin Kren Canibal Manuel Martín Cuenca

Manakamana Stephanie Spray, Pacho Velez

Blutgletscher Marvin Kren

22:15

100’

Manakamana EU Velez L’escale Stephanie Spray, Pacho Kaveh Bakhtiari 22:15

The Mole Song: Undercover Agent Reiji Miike Takashi EU L’escale Kaveh Bakhtiari 22:00

22:00

22.0022:45

22.00

Short Stories 3: Support SH Dreams combined programme and Myths 72’ 22:00 The combined BF Driver programme 22:15 Jarkko T. Laine, TS Short Stories 3: J-P Passi 62’ Support 83’ combined programme 21:45 BF Trap Street 22:00 Vivian QuDriver BF The 94’ Jarkko T. Laine, J-P Passi 62’ TS

21:45

21.00

Gers! meets IFFR

20.00

Gers! meets IFFR

20.00

Tamako in Moratorium Yamashita Nobuhiro

Evaporating Borders Iva Radivojevic

Evaporating BordersBF The Iranian Iva Radivojevic Film 67’ Yassine el Idrissi

Oktober November Götz Spielmann BF The Iranian Film 67’ Yassine el Idrissi

Oktober November Götz Spielmann

19.00

Tamako in Moratorium Nobuhiro What Now? Remind Yamashita Me Joaquim Pinto

18:30

18:45

18.00

19:45 Silver SH SH Avant-premières 18:00 What Now? Remind Me combined programme combined programme PE 97’ 70’ Joaquim Pinto 164’ 16:45 Extended Visions SH 20:15 Tiger Awards 17:00 19:45 Silver Competition combined programme SH SH for Avant-premières 78’ Films 1 combined programme combinedShort programme 97’ 70’ 16:45 Ida 19:30 Finsterworld GT GT 16:45 Extended 20:15 Tiger Awards Pawel Pawlikowski Frauke Finsterwalder Visions SH 91’ Competition for combined programme 80’ 78’ 16:30 Ai Weiwei’s Appeal 19:45 Hide OutShort Films 1SH SP 16:45 19:30 Finsterworld combined programmeGT ¥15,220,910.50 GT Ida 127’ 86’ Ai Weiwei Pawel Pawlikowski Frauke Finsterwalder

16:45

De chair et de lait Bernard Bloch

15:45 Alles was irgendwie nützt

De chair etSP de lait How to Disappear Bernard Bloch Completely 80’ Raya Martin

94’

17.00

15:45 Alles was irgendwie nützt

The Seventh Walk Amit Dutta

14:30 The Red Door

Rags and Tatters Ahmad Abdalla

16:00

16.00

Katell Quillévéré How to Disappear SP Completely 80’ Raya Martin

15.00

Rags and Tatters Ahmad Abdalla

14.00

Thursday 23 January

11.00

Wednesday 22 January

10:00

10.00

public screenings

88’

BF 118’

118’

130’

88’

130’

24.00

LantarenVenster 6

LantarenVenster 5

LantarenVenster 3

LantarenVenster 2

LantarenVenster 1

Pathé 6

Pathé 3

Pathé 2

Schouwburg Grote Zaal

programme day by day

43RD INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 18:05

ap 3 - IFFR 2014 blokken V05.indd 333

24.00

LantarenVenster 4

de Doelen Jurriaanse Zaal

LantarenVenster 6

LantarenVenster 6 LantarenVenster 5

LantarenVenster 5 LantarenVenster 3

LantarenVenster 3 LantarenVenster 2

LantarenVenster 1

09:30

09.00

10.00

Intruders Noh Young-Seok

99’

43RD INTERNATIONAL FILM FESTIVAL ROTTERDAM

12.00

11:45

Fish and Cat Shahram Mokri

The Amazing Catfish Claudia Sainte-Luce

89’

13:30

13.00

134’

14:30

109’

Sacro GRA Gianfranco Rosi

15.00

SH Two Grand Pianos combined programme 77’

14.00

14:15

85’

GT 93’

16:30

Khavn

Starred Up David MacKenzie

80’

17.00

Ai Weiwei’s Appeal ¥15,220,910.50 Ai Weiwei

Ever Changes...

16.00

16:30 SP

HS 100’

18.00

80’

127’

97’

97’ Joaquim Pinto

78’ combined programme

Extended Visions SH

17:00 combined programme Avant-premières GT Ida Pawel Pawlikowski Extended Visions SH combined programme 80’ 78’ 16:30 Ai Weiwei’s Appeal 16:45 ¥15,220,910.50 GT Ida Ai Weiwei Pawel Pawlikowski

16:45 16:45

16:45

16:00 EDSA XXX: Nothing SP

RG Trespassing Bergman Jane Magnusson, Hynek Pallas 107’ 14:15 Two Grand SH Pianos combined programme 77’

Qissa Anup Singh

Amit Dutta

RG Trespassing Bergman Jane 14:30 Magnusson, Hynek The Red DoorPallas SP The Seventh Walk 107’ 85’ Amit Dutta

PDF: default Press Quality Page 39-49 PDF: default Press Quality Page 39-49

11:30

11.00

14:00

164’

70’

Tiger Awards

91’ Competition for Short Films 1

19:45

20.00

Hide Out combined programme 86’

21:45

22.00

Trap Street Vivian Qu 94’

23.00

combined programme 72’ Manuel Martín Cuenca 22:15 Short Stories 3: 22:15 Dreams Support SH 83’ combined programme and Myths 72’ 22:00 The combined BF Driver programme 22:15 Jarkko T. Laine, TS Short Stories 3: J-P Passi 62’ Support 83’ combined programme 21:45 BF Trap Street 22:00 Vivian QuDriver BF The 94’ Jarkko T. Laine, J-P Passi 62’ TS

21.00

91’

SH Hide Out combined programmeGT Finsterworld 86’ Frauke Finsterwalder

19:45

19.00

19:30

20:15 SH for Silver Competition Films 1 combinedShort programme 70’ GT Finsterworld 20:15 Tiger Awards Frauke Finsterwalder

19:45

SH 92’

92’

117’

24.00

programme day by day

press & industry screenings

333

13-01-14 18:05

334

ap 3 - IFFR 2014 blokken V05.indd 334

LantarenVenster 2 LantarenVenster 1

LantarenVenster 1 Cinerama 7

Cinerama 7 Cinerama 6

Cinerama 6 Cinerama 5

Cinerama 5 Cinerama 4

Cinerama 4 Cinerama 3

Cinerama 3 Cinerama 2

Cinerama 2 Cinerama 1

Cinerama 1 Pathé 7

Pathé 7 Pathé 6

Pathé 6 Pathé 5

Pathé 5 Pathé 4

Pathé 4 Pathé 3

Pathé 3 Pathé 2

de Doelen Jurriaanse Zaal Oude Luxor Schouwburg de Doelen Grote Zaal Jurriaanse Zaal Pathé 1 Schouwburg Grote Zaal Pathé 2 Pathé 1

Oude Luxor

09:30

09.00

10:00

Zanj Revolution Tariq Teguia

11.00

12:00

127’

12:00

13.00

Yamashita Nobuhiro Kurosawa Kiyoshi

13:00 Moratorium Real

Pelo malo Mariana Rondón Real Kurosawa Kiyoshi

13.00

Pelo malo Mariana Rondón

Tamako in

13:00

78’

14.00

93’

127’

15:45

15.00

Metalhead

16:00 Ragnar Bragason Night Moves

16:00

17.00

Grigris Mahamat-Saleh Haroun Night Moves Kelly Reichardt

16.00 16:15

17.00

Grigris Mahamat-Saleh Haroun

16.00 16:15

101’

19.00

20.00

20.00 Starred Up David MacKenzie

19:30 Big Talk

19.00

20:00 19:30 Big Talk

Siddharth Richie Mehta Starred Up David MacKenzie SP 18:45 Canibal 20:00 Siddharth Manuel Martín Cuenca Richie Mehta 117’ 19:00 Of Horses BF 18:45 Canibal and Men SP 81’ Benedikt Manuel MartínErlingsson Cuenca 117’ 18:30 Obvious Child BF 19:00 Gillian Robespierre BF Of Horses 83’ and Men 81’ Erlingsson 19:00 Benedikt SP Lake August 18:30 ObviousYang Heng BF Child 113’ Gillian Robespierre 83’ 19:15 Riocorrente TG 19:00 LakePaulo Sacramento SP August 79’ Yang Heng 113’ 18:30 The Quiet Roar BF 19:15 Riocorrente Henrik Hellström TG 80’ Paulo Sacramento 79’ 18:30 CircusTime + 18:30 The René Quiet Hazekamp BF Roar 75’ Henrik Hellström 80’ 18:45 Dzma/Brother BF 18:30 CircusTime Téona Mghvdeladze, + Grenade 94’ RenéThierry Hazekamp

18.00

18.00 101’

112’

127’ 15:15

23.00 23.00

Rigor Mortis Juno Mak

22.0022:45

22:30

22.00 105’

24.00

21:45

86’

Life on a String Chen Kaige

22:00

A Touch of Sin 190’ Jia Zhang-ke 22:30 Costa Dulce

Atlas D’Agata FishAntoine and Cat Shahram Mokri 22:00 A Touch of Sin 22:00 Atlas Jia Zhang-ke Antoine D’Agata

Fish and Cat Shahram Mokri

22:00

Life on a String Chen Kaige GT When Evening Falls on Bucharest... 85’ Corneliu Porumboiu 22:00

22:30

76’

99’

134’

120’

129’

GT Ida Pawel Pawlikowski BF Rigor Mortis 96’ 80’ Juno Mak 120’ 105’ 21:30 The Selfish Giant GT 22:45 Ida SPClio Barnard GT Pawel93’Pawlikowski 96’ 80’ 22:15 R100 SP 21:30 The Selfish Giant Matsumoto GT Hitoshi 100’ Clio Barnard 93’ 21:45 28 SP 22:15 Jayakody Prasanna SP R100 Matsumoto Hitoshi 98’ 100’ 22:15 Double Play RG 21:45 28 Gabe Klinger SP 70’ Prasanna Jayakody 98’ 22:15 Les rencontres BF 22:15 d’après minuit RG Double Play 100’ Yann Gabe Gonzalez Klinger 70’ 21:45 Até ver a luz EU Basil22:15 da Cunha BF Les rencontres d’après minuit 95’ 100’ Yann Gonzalez 21:45 Supernatural SP 21:45 Até Thunska EU ver Pansittivorakul a luz 106’ Basil da Cunha 95’ 22:00 Concrete Clouds TG 21:45 Supernatural Lee Chatametikool SP 99’ Thunska Pansittivorakul 106’ 21:45 When Evening GT 22:00 FallsConcrete on Bucharest... TG Clouds 85’ Corneliu Porumboiu Lee Chatametikool

120’

21.00

97’ Kelly Reichardt 112’ SP L’inconnu du lac 12:45 Tamako in Alain15:45 Guiraudie SP SP Metalhead 97’ Ragnar Bragason Moratorium 78’ 97’ Yamashita Nobuhiro 12:30 L’amour 15:45 Qissa SP BF est un 15:15 L’inconnu Anup Singh crime parfait SP du lac 109’ Arnaud Larrieu, Jean-Marie Larrieu 111’ Alain Guiraudie 97’ 16:00 Intruders PE BF What Now? Remind Me 12:30 Pinto 15:45 Joaquim Noh Young-Seok SP BF L’amour est un Qissa 164’ 99’ Anup Singh crime parfait 111’ 109’ Arnaud Larrieu, Jean-Marie Larrieu 12:15 Oktober 15:15 Big Bad Wolves GT SP November 16:00 Intruders Götz Spielmann Aharon Keshales, Navot Papushado PE BF What Now? Remind Me 116’ 110’ Joaquim Pinto Noh Young-Seok 164’ 99’ 12:15 Of Good Report 15:15 Canopy BF HS 12:15 Oktober 15:15 Big Jahmil X.T.November Qubeka Aaron Wilson GT SP Bad Wolves 109’ 78’ Götz Spielmann Aharon Keshales, Navot Papushado 116’ 110’ 12:30 Por las plumas 15:30 The Militant BF BF 12:15 Of Good 15:15 Canopy Neto Villalobos Manolo Nieto HS BF Report 85’ 120’ Jahmil X.T. Qubeka Aaron Wilson 109’ 78’ 12:30 The Iranian 15:30 18:30 The Great Passage 75’ BF SP SP Club Sándwich 12:30 Por 15:30 The 18:45 Fernando Eimbcke Ishii Yuya Filmlas plumas BF BF BF Militant Dzma/Brother 67’ 82’ 133’ Yassine el Idrissi Neto Villalobos Manolo Nieto Téona Mghvdeladze, Thierry Grenade 85’ 120’ 13:00 P3ND3JO5 16:30 Trespassing Bergman 19:30 Where Are 94’ SP SP RG PE 12:30 The Iranian 15:30 Club Sándwich JaneSP Raul Perrone Magnusson, Hynek Pallas 18:30 The Great Passage You Bucharest? SP BF 136’ 157’ 107’ 76’ Vlad Petri Fernando Eimbcke Ishii Yuya Film 67’ 82’ 133’ Yassine el Idrissi 14:30 Evaporating 16:45 Alles 19:45 D’où je viens was irgendwie nützt EU BF SP 13:00 P3ND3JO5 16:30 Trespassing 19:30 Where Claude Demers Borders SP SP RG PE De chair Bergman et de lait Are 75’ 112’ 82’ Iva Radivojevic Bernard Bloch Raul Perrone Jane Magnusson, Hynek Pallas You Bucharest? 136’ 157’ 107’ 76’ Petri 16:30 EDSA XXX: Nothing SP 19:30 Vlad BF The Creator Ever Changes... 14:30 Evaporating 16:45 19:45 of the Jungle Alles was irgendwie nützt EU BF SP D’où je viens Khavn 74’ Jordi Claude MoratóDemers Borders De chair et de lait80’ 75’ 112’ 82’ Iva Radivojevic Bloch BF 16:45 Bernard 19:30 Perfect Garden SP The Driver 16:30 EDSA 19:30 The Jarkko Laine, SP MaraCreator Mattuschka, BF XXX:T. Nothing Passi Chris 62’ 80’ Ever J-P Changes... of theHaring Jungle Khavn 80’ 74’ Jordiand Morató 13:00 Ai Weiwei’s Appeal 16:30 Manakamana 19:15 Tonight SP BF BF 16:45 19:30 Stephanie Spray, Pacho ¥15,220,910.50 the People BFVelez SP The Driver Perfect Garden 127’ 118’ Ai Weiwei Neil Beloufa Jarkko T. Laine, Mara Mattuschka, 81’ J-P Passi Chris Haring 62’ 80’ 15:30 Mes sept lieux SP PE Manuscripts Don’t Burn 13:00 Ai Weiwei’s Appeal 19:15 Tonight and Mohammad Rasoulof Boris Lehman 16:30 Manakamana SP BF BF 323’ Stephanie Spray, Pacho Velez ¥15,220,910.50 127’ the People 127’ 118’ 81’ Ai Weiwei13:45 Les Apaches Neil Beloufa 16:45 Papusza 20:00 Tiger Awards EU EU TS CompetitionPE for 15:30 Mes sept lieux Thierry Joanna Kos-Krauze, Krzysztof Krauze SP de Peretti Manuscripts Don’t Burn 82’ 131’ Short Films 2 Mohammad Rasoulof Boris Lehman 127’ 323’ 14:45 Dreams 17:00 Shorts Special: SH 19:15 Southcliffe EU SH Mother Europe Hannes Schüpbach 13:45 Les Apaches 16:45 Papusza 20:00 Tiger Awards Petra Seliškar Sean Durkin andEUMyths EU TS 90’ 63’ Krauze combined programme Competition for Thierry de Peretti combined programme 72’ Joanna Kos-Krauze, Krzysztof 131’ Short Films 2 12:15 Short Stories 2: 14:30 Extended 82’ 16:45 Tiger Awards 20:15 SH TS Visions SH Short Stories 4:

12:45

12.00

Friday 24 January

I’m Not Him Tayfun Pirselimoglu 10:00 Zanj Revolution Tariq Teguia

I’m Not Him Tayfun Pirselimoglu

10.00

public screenings

programme day by day

43RD INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 18:05

ap 3 - IFFR 2014 blokken V05.indd 335

Supernatural

The Reunion

43RD INTERNATIONAL FILM FESTIVAL ROTTERDAM

LantarenVenster 4

LantarenVenster 2

Cinerama 7

09:15

89’

10:00

Miike Takashi

79’

11:30

11:45

130’

89’

Alessio Genovese

62’

75’

EU EU 013, l’ultima frontiera

Sitzfleisch Lisa Weber

See No Evil Jos de Putter

12:00

Love Steaks Jakob Lass

67’

12.00

Concrete Clouds Lee Chatametikool

12:00

99’

77’

13:30

14:15

99’

14:30

96’

16.00

16:30

80’

119’

72’

16:15

92’

17:30

17.00

72’

18.00 The Hope Factory Natalia Meschaninova

Die Frau des Polizisten Philip Gröning

Drive with Care SH combined programme

Mein blindes Herz Peter Brunner

15:30

15.00

Chaotic Memories... Paul Agusta

Sexy Money Karin Junger

Gare du Nord Claire Simon

Floating Stories combined programme

14.00

Anatomy of a Paper Clip Ikeda Akira

13.00

13:15

14:15

127’ 118’ Ai Weiwei Jarkko T. Laine, J-P Passi 62’ 15:30 Mes sept lieux SP Manuscripts Don’t Burn 13:00 Ai Weiwei’s Appeal Mohammad Rasoulof Boris Lehman 16:30 Manakamana SP BF Stephanie Spray, Pacho Velez ¥15,220,910.50 127’ 127’ 118’ Ai Weiwei13:45 Les Apaches 16:45 Papusza EU 12:00 Manuscripts Don’t Burn 15:30 Mes sept lieux Thierry Joanna Kos-Krauze, Krzysztof Krauze SP de Peretti 82’ Mohammad Rasoulof Boris Lehman 127’ 12:00 Mother Europe 14:45 Dreams 17:00 Shorts Special: SH EU SH Hannes Schüpbach 13:45 Les Apaches 16:45 Papusza Petra Seliškar andEUMyths 90’ 63’ Krauze combined programme Thierry de Peretti combined programme 72’ Joanna Kos-Krauze, Krzysztof 12:15 Short Stories 2: 14:30 Extended 82’ 16:45 Tiger Awards SH TS Visions SH Competition for 12:00 Mother 14:45 17:00 combined programme Adaptation EU SH SH Shorts Special: Europe Dreams 97’ 78’ ShortHannes Films 1Schüpbach 83’ Petracombined Seliškar programme and Myths 90’ combined programme 63’ programme 72’ 11:45 Educação 14:15 Emigholz combined 16:45 Masked SP RG BF Monkey – The ShortExtended Films I Evolution of Darwin’sTS Theory 12:15 Short Stories 2: 14:30 16:45 Tiger sentimental SH SH Awards Visions comb.combined progr. 44’programme 110’ Ismail Fahmi Lubish Júlio Bressane Competition for Adaptation 84’ 97’ 14:15 78’ 83’ Short Films 1 combined programme 16:30 Drive with Care SH SH Floating Stories 11:45 Educação 14:15 Emigholz 16:45 combined programme combined programme SP RG BF Masked Monkey – The 96’ 72’ Short Films I Evolution of Darwin’s Theory sentimental comb. progr. 44’ 84’ 110’ Ismail Fahmi Lubish Júlio Bressane

11.00

11:15

11:00

106’

75’

DINAMO P&I Screenings 1

The Mole Song: Undercover Agent Reiji

Cinerama 6 Anna Odell

09:00

Cinerama 5

Feel My Love Griet Teck

09:30

10.00

Riocorrente Paulo Sacramento

09:30

09.00

Cinerama 4 Thunska Pansittivorakul

09:00

Cinerama 3

de Doelen Jurriaanse Zaal

Arminius

Arminius LantarenVenster 6

LantarenVenster 6 LantarenVenster 5

LantarenVenster 5 LantarenVenster 3

LantarenVenster 3 LantarenVenster 2

LantarenVenster 2 LantarenVenster 1

LantarenVenster 1 Cinerama 7

Cinerama 7 Cinerama 6

Cinerama 5

90’

81’

323’

86’

21:45

19:45

175’

20:00

21.00

SH 106’

Leonardo Pansier

90’

65’

75’

70’

75’

of the Heart Is White

Quand je serai dictateur Yaël André

The Pinkie Lisa Takeba

23.00

22:30 The Other Side

127’

22:15

22:45

22.00

SH I’m Part of the Problem combined programme 80’

22:00

190’

76’

RG Mille 22:30 Costa Dulce soleils 45’ Collar Mati DiopEnrique SH I’m Part of the Problem RG Mille combined programme 80’ soleils 45’ Mati Diop

22:00101’

A Touch of Sin 190’ Jia Zhang-ke 22:30 Costa Dulce Enrique Collar BF

101’

22:00

Atlas D’Agata FishAntoine and Cat Shahram Mokri 22:00 A Touch of Sin 22:00 Atlas Jia Zhang-ke Antoine D’Agata 22:00

Mary Is Happy, Mary Is Happy Nawapol Thamrongrattanarit

20.00

Shorts Special: Vertical Cinema combined programme

105’

20:15 Short Stories 4: Building a Character Southcliffe combined programme Sean Durkin 19:30 L’escale EU 20:15 Short Stories 4: Kaveh Bakhtiari 100’ Building a Character combined programme 19:45 Letters from the South SP 19:30 L’escale various directors EU 105’ Kaveh Bakhtiari 100’ 19:45 Shorts Special: SH 19:45 Letters Verticalfrom Cinema the South SP 106’ combined programme various directors

Competition for Short Films 2

Southcliffe 20:00 Tiger Awards Sean Durkin

CompetitionPE for Short Films 2

323’

80’

BF Tonight and the People 81’ Neil Beloufa 20:00 Tiger Awards

Neil Beloufa Mara Mattuschka, Chris Haring

19.00

19:15

131’

19:15

131’

19:15

129’

24.00

134’

programme day by day

press & industry screenings

335

13-01-14 18:05

24.00

336

ap 3 - IFFR 2014 blokken V05.indd 336

Concrete Clouds Lee Chatametikool 09:45 The Driver Jarkko T. Laine, J-P Passi

62’

94’

101’

99’

94’

62’

La nuit Mohamad Malas

09:15 The Red Door

The Seventh Walk Amit Dutta

09:15 The Red Door

09:30

Ismail Fahmi Lubish

85’

Evolution of Darwin’s Theory

BF Masked Monkey – The Theory

Evolution Darwin’s 09:30 Lake of August

IsmailYang Fahmi Lubish Heng 09:30 La nuit 09:15 Masked Mohamad Malas Monkey – The

09:15

LantarenVenster 3 LantarenVenster 2

111’ Arnaud Larrieu, Jean-Marie 10:00 Le jour Larrieu nous écoute D’où je viens Claude Demers

LantarenVenster09:00 2 L’amour est un LantarenVenster 1 crime parfait

09:00

CJP Serveert

11.00

110’

118’

125’

11:45

90’

11:45

125’ 11:45

11:45

113’

118’ 11:45

113’

12:15

13.00

12:30

12:45

75’

85’

14.00

Finsterworld Frauke Finsterwalder

13.00

14.00

Finsterworld Frauke Finsterwalder

Gare du Nord Claire Simon

13:00

CircusTime René12:45 Hazekamp Gare du Nord Claire Simon 75’ 25 Mysterious Object at Noon + CircusTime RenéApichatpong Hazekamp Weerasethakul

12:30

12:45

12.00

91’

119’

Piccola patria Alessandro Rossetto

87’

111’

17.00

Jacky au royaume des filles Riad Sattouf

16.00 16:15

17.00

Jacky au royaume des filles Riad Sattouf

16.00 16:15

Quand je serai 15:45 Piccola patria dictateur SP Yaël AndréAlessandro Rossetto90’ 111’ 15:45 Hoax_canular HS 15:15 Quand je Dominic RG serai Gagnon 90’ dictateur Yaël 15:45 AndréAnatomy of a 90’ TG 15:45 Paper Clip HS Hoax_canular 99’ Ikeda Akira Dominic Gagnon 90’ 15:15 Mary Is Happy, Mary Is Happy BF 15:45 Thamrongrattanarit Nawapol TG Anatomy of a 127’ Paper Clip 99’ Ikeda AkiraSP 15:15 See No Evil 15:15 Mary Jos de Putter Is Happy, Mary Is Happy BF 75’ Nawapol Thamrongrattanarit 127’ 15:30 Zombie: + 15:15 See The Resurrection... SP No Evil 70’ Pols Jos deBilly Putter

15:15

15:45

15.00

15.00 19.00

20.00

20.00 Ping Pong Summer Michael Tully

19:30 Big Talk

19.00

18:30

Ein proletarisches

80’

Wintermärchen BF L for Leisure 63’ Julian Radlmaier Lev Kalman, Whitney Horn 69’ 19:15 La distancia 19:00 Ein proletarisches Sergio CaballeroGT

19:00

20:00 19:30 Big Talk

110’

97’

23.00

96’

22:15 Castello Cavalcanti

La jalousie Philippe Garrel

23.00

La jalousie Philippe Garrel

102’

112’

97’

77’

24.00

SP Once Upon aObvious Time Child 91’ in Shanghai Gillian Robespierre 96’ WongAChing 21:45 BF SpellPoto Ward Off 22:15 the Darkness Castello Cavalcanti BF 98’ Ben Russell, Ben Rivers Obvious Child 91’ Robespierre TG 22:15 Gillian Riocorrente 21:45 A Spell to Paulo Sacramento BF Ward 79’ Off the Darkness 98’ Ben 22:15 Russell, Ben Rivers EU Les Apaches 22:15 Thierry de Peretti TG Riocorrente 82’ Paulo Sacramento 79’ 21:45 Of Horses BF and22:15 MenLes Apaches EU Benedikt Erlingsson Thierry de Peretti81’ 82’ 21:45 El futuro GT 21:45 Of LuisHorses López Carrasco BF 68’ and Men 81’ Benedikt 22:00 TG TheErlingsson Hope Factory 21:45 El futuro Natalia Meschaninova GT 90’ Luis López Carrasco 68’ 21:45 The Militant BF 22:00 Manolo TG TheNieto Hope Factory 120’ Natalia Meschaninova 90’ 22:00 Night Moves SP 21:45 The Kelly Reichardt BF Militant 112’ Manolo Nieto 120’ 22:15 On the Beat 25 22:00 Night Ning Ying SP Moves 143’ 102’ Kelly Reichardt

97’

in SP 21:30

22:45

22.00

22:45

22.00

Once Upon a Time Shanghai Wong Ching Po

110’ 21:30

21.00

L’inconnu du lac Alain Guiraudie Ping Pong Summer Michael Tully 18:45 Papusza EU Joanna Kos-Krauze,20:00 Krzysztof Krauzedu lac L’inconnu Alain Guiraudie 131’ 19:00 La cueva HS 18:45 Papusza Alfredo Montero EU 80’ Joanna Kos-Krauze, Krzysztof Krauze 131’ 18:30 L for Leisure BF 19:00 La cueva Lev Kalman, HS Whitney Horn 69’ Alfredo Montero

18.00

GT BF The Selfish Giant Clio Barnard 25 Mysterious 93’ 80’ Wintermärchen Object at Noon 85’ 63’ Apichatpong Weerasethakul 12:15 Intruders 18:30 Helium Julian RadlmaierBF BF 19:15 La distancia Noh12:45 Young-Seok Eché Janga GT BF The Selfish Giant 99’ 90’ Clio Barnard Sergio Caballero 93’ 80’ 12:15 Manakamana 18:30 Die Frau hinter BF BF 12:15 Intruders 18:30 Helium Stephanie Spray, Pacho Velez BF der Wand BF 118’ 89’ Grzegorz Noh Young-Seok Eché JangaMuskala 99’ 12:30 The Mole Song: 18:45 Mein blindes Herz 90’ TG SP 12:15 Manakamana 18:30 Die Frau Peter Brunner Undercover Agent Reiji BF BF hinter 130’ 92’ MiikeSpray, Takashi Stephanie Pacho Velez der Wand 118’ 89’ Grzegorz Muskala 12:30 28 15:45 Grand Talk 75’ 19:30 The Pinkie SP BF EU 12:30 The 15:30 Zombie: 18:45 Mein blindesLisa Prasanna Jayakody Takeba TG SP + Géographie humaine Mole Song: Herz 65’ 130’ Claire Simon The Resurrection... Peter Brunner Undercover Agent Reiji 98’ 130’ 70’17:00 92’ Billy Pols Miike Takashi RG 14:15 Supernatural 19:30 SP HS HS Parabeton – Pier Luigi From Tehran Canopy Nervi und Römische Beton 12:30 19:30 The Thunska Pansittivorakul15:45 Grand Talk AaronPinkie Wilson BF to Heaven EU SP 28 100’ 106’ 75’ 78’ Heinz EmigholzPrasanna Jayakody Lisa Takeba Géographie humaineAbolfazl Saffary 98’ 65’ 130’ 12:15 The Creator 14:15 16:30 Perret in Frankreich 19:00 Japón BF 25 Claire Simon RG 25 A Poet 14:15 17:00 19:30 Garin Nugroho Carlos Reygadas of the Jungle und Algerien RG SP HS HS Parabeton – Pier Luigi Supernatural From Tehran Canopy 74’ 90’ 110’ MoratóBeton Heinz Emigholz Nervi undJordi Römische Thunska Pansittivorakul Aaron Wilson to Heaven 100’ 106’ 16:30 75’ 78’ Heinz Emigholz AbolfazlBF Saffary 14:00 A vida invisível 19:30 The Mother SP PE Not at Home 12:15 The Creator 14:15 16:30 Shahrbanoo 19:00 Japón and the Sea 22:15 On the Beat VítorAGonçalves Sadat, BF 25 RG 25 Poet Perret in Frankreich Katja Adomeit 99’ 65’ 91’ Gonçalo Tocha Garin Nugroho Carlos Reygadas Ning Ying of the Jungle und Algerien 74’ 90’ 110’ 143’ Jordi MoratóSP HeinzBack Emigholz 14:15 Alles was irgendwie nützt 16:45 19:30 Feel My Love 22:00 Where Are BF SP GT PE EDSA XXX: Nothing to the Ever Changes... of the 14:00 A vida 16:30 Not Temple 19:30 The GrietMother Teck You Bucharest? BFSun PE Deinvisível chair et de lait SP at Home Khavn 80’ 112’ 63’ 75’ 76’ Marco Pando Vlad Petri Bloch VítorBernard Gonçalves Shahrbanoo Sadat, and the Sea Katja Adomeit 99’ 65’ 91’ Gonçalo Tocha 16:45 Starred Up 19:15 Sitzfleisch 21:30 Rough Cut HS BF RG 14:15 Alles was irgendwie nützt 16:45 Back 19:30 Davidto MacKenzie Lisa Weber Jamie22:00 Shovlin BF SP GT PE EDSA XXX: Nothing SP the Feel My Love Where Are 100’ 77’ Ever Changes... Temple of the Sun Griet Teck You Bucharest? 90’ De chair et de lait Khavn 80’ 112’16:30 63’ 76’ Marco Pando Petridu fil Bloch 14:15 Bernard 20:00 Tiger Awards75’ 22:00 Vlad Le bout GT TS TS TS BF Tiger Awards Tiger Awards When Evening Competition for Competition for 16:45 19:15 Sitzfleisch Competition 21:30 Rough Cut Falls on Bucharest... HS BF RG The Quiet Roar Starred for Up 85’ 86’ 80’ 85’ Jamie Shovlin 93’ Short Films 2 ShortDavid Films 3 Corneliu Porumboiu Henrik Hellström MacKenzie Lisa Weber Short Films 4 100’ 77’ 90’ 12:30 Silver 14:45 Resonating 17:00 Shorts Special: 19:45 Plastic People 22:00 Two Grand SH SH SH SH SH 14:15 Tiger Awards 16:30 Tiger Awards 20:00 22:00 Pianos combinedGT programme combined Spaces It for Others Le bout du fil TS TS TS BF Tigerprogramme Awards When Evening 70’ 86’ 77’ combined combined combined Competition for programme 77’ Competition for programme Competition for 73’ Falls on Bucharest... The Quietprogramme Roar 85’ 86’ 80’ 85’ 93’ Short Films 2 Short Films 3 Short Films 4 Corneliu Porumboiu Henrik 12:30 Tonight and 14:30 16:45 20:15 22:30Hellström BF SH Hide Out Out on the Streets SH Artist Present SH Short Stories 2: 12:30 the 14:45 17:00 19:45 Plastic People 22:00 Two Grand combined programme combined programme combined SH programme People Adaptation SH SH SH SH Silver Resonating Shorts Special: 81’ 86’ 88’ 73’ Neil Beloufa combined programme combined programme combined programme Spaces It for Others Pianos 70’ 77’ 86’ 73’ 77’ combined programme combined programmeEU combined programme 14:15 Epilogues 16:45 Mother 19:15 I’m Not Him 22:00 Karpotrotter SP RG SP SH Perfect Garden Europe

105’

SP Heli Amat Escalante11:00 CJP Serveert

11:00

Concrete Clouds 10:00 Heli Lee Chatametikool Amat Escalante

10:00

10.00

Grigris 09:45 The Driver Mahamat-Saleh Haroun Jarkko T. Laine, J-P Passi 09:15 Dzma/Brother 09:15 Grigris Téona Mghvdeladze, Thierry GrenadeHaroun Mahamat-Saleh 09:30 B for Boy 09:15 Dzma/Brother Chika Anadu Téona Mghvdeladze, Thierry Grenade 09:30 Lake August 09:30 B Yang forHeng Boy Chika Anadu

09:15

09.00

Saturday 25 January

The Seventh Walk 85’ Amit est Dutta SP L’amour un LantarenVenster 1 crime parfait Cinerama 6 Arnaud Larrieu, Jean-Marie Larrieu 111’

Cinerama 6 Cinerama 5

Cinerama 5 Cinerama 4

Cinerama 4 Cinerama 3

Cinerama 3 Cinerama 2

Cinerama 2 Cinerama 1

Cinerama 1 Pathé 7

Pathé 7 Pathé 6

Pathé 6 Pathé 5

Pathé 5 Pathé 4

Pathé 4 Pathé 3

Pathé 3 Pathé 2

de Doelen Jurriaanse Zaal Oude Luxor Schouwburg de Doelen Grote Zaal Jurriaanse Zaal Pathé 1 Schouwburg Grote Zaal Pathé 2 Pathé 1

Oude Luxor

public screenings

programme day by day

43RD INTERNATIONAL FILM FESTIVAL ROTTERDAM

13-01-14 18:05

ap 3 - IFFR 2014 blokken V05.indd 337

24.00

09:00

Cinerama 5

The Seventh Walk Amit est Dutta L’amour un

85’

43RD INTERNATIONAL FILM FESTIVAL ROTTERDAM

After the Tone

LantarenVenster 4

09:30

10:00

96’

85’

10:45

Khavn 80’ GT When Evening Falls on Bucharest... 85’ Corneliu Porumboiu

Ever Changes...

11.00

Tres D Rosendo Ruiz

110’

91’