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SUNDAY JULY 12 — MONDAY JULY 13, 2015
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Alcalay’s Darkroom lights up Sam Spiegel Film Lab Ashim Ahluwalia
Ahluwalia sets up date with The Boyfriend BY MELANIE GOODFELLOW
Indian writer-director Ashim Ahluwalia is set to shoot his Mumbai-set The Boyfriend, revolving around the illicit gay relationship between a middle-aged banker and a teenager from a lower caste, next summer. The project, Ahluwalia’s second feature after Miss Lovely, which premiered in Cannes’ Un Certain Regard section in 2012, was presented at the Sam Spiegel International Film Lab pitching event on Friday. “The plan is to shoot in July 2016,” said producer Pinaki Chatterjee of Future East Film. Budgeted at $725,000, the project is an adaptation of Indian gay-rights activist R Raj Rao’s eponymous novel, one of the first gay works to come out of the country, where homosexuality was recriminalised in 2013. “What struck me is the way it deals with contemporary Indian life,” said Ahluwalia. “The gay politics goes into the backdrop. It’s about something bigger — class and caste and globalised Mumbai — the new Asia you read about.”
BY MELANIE GOODFELLOW
Israeli film-maker Itamar Alcalay’s Darkroom, revolving around a young gay Armenian man forced into an arranged marriage, has won the top $50,000 prize at the Sam Spiegel International Film Lab’s pitching event. The Death Of Black Horses by Kurdistan’s Ferit Karahan, a story of family intrigue in a Kurdish village during the First World War, clinched the second prize of $20,000. The two prizes were donated by the Beracha Foundation. Darkroom, produced by Amir
Harel and Ayelet Kait of Tel Avivbased Lama Films, is Alcalay’s debut feature, after a number of documentary shorts. Set in a down-at-heel neighbourhood near the central bus station in Tel Aviv, it revolves around the relationship between hot-blooded Armenian Artium, his lover Amir and a freespirited girl to whom Artium is married-off by his family. Jury chairwoman Kirsten Niehuus, general director of Medienboard Berlin-Brandenburg, said the jury had been impressed by the level of all the scripts and chose to award
the prizes to passionate writerdirectors with a special urgency, a unique voice and artistic courage. Other members of the jury included Arte France Cinéma general director Olivier Pere, Oscarwinning producer Ewa Puszczynska and director and former lab participant Laszlo Nemes. As well as the jury prizes, Paris based Digital District post-production studio gave a $28,000 (¤25,000) award to Israeli’s Mihal Brezis and Oded Binnun for Aya, a feature-length version of their Oscar-nominated short.
Nir Shaanani
Talya Lavie’s second feature The Current Love Of My Life, a New York-set comedy in which secular and orthodox worlds collide, is moving towards a 2016 shoot, according to producer Eitan Mansuri of Tel Aviv’s Spiro Films. Lavie’s debut Zero Motivation, which captured the ennui of a group of female army recruits, became Israel’s biggest ever box-office hit when it was released here last year.
Fraternal film-making duo Doron (centre, holding camera) and Yoav Paz (far left, at the back) celebrate ahead of the festival premiere of their zombie thriller JeruZalem, along with members of the cast. The film met with an enthusiastic reception at its sellout screening on Friday night at the Cinematheque.
“It’s got the backing of the Israel Film Fund and now we’re trying to figure out whether it makes sense to go with North American partners for the financing or build a European co-production,” said Mansuri, who plans to attend Toronto and the project forum of the Independent Filmmaker Project in New York in September. Spiro Films is also working on Nir Bergman’s Here We Are (previously titled Father And Son), about
Dietrich Brüggemann
NEWS Counter culture Berlinale winner Dietrich Brüggemann plans his next feature, Lovely Sunny Days » Page 3
SPOTLIGHT Making the Point Israeli film-makers including Itai Tamir and Yossi Atia are lining up for Pitch Point » Page 5
INTERVIEW Shaken identity Respected editor-turned-director Tova Ascher discusses her intriguing identity-crisis drama A.K.A. Nadia » Page 6
Lacote leads street-gang drama Zama BY MELANIE GOODFELLOW
Spiro Films readies Lavie, Bergman, Moaz BY MELANIE GOODFELLOW
TODAY
a father who goes on the run with his mentally challenged son, as well as Samuel Moaz’s family drama Foxtrot, both of which are set to shoot in the coming months. Projects in the early stages of development include Idan Hubel’s A Great Light, a whodunnit/social drama hybrid revolving around the disappearance of a young girl, and Oren Adaf ’s Darwin, about a wildlife photographer rejected by his family for being gay.
Mansuri will also be attending the Pitch Point event on Monday with the debut feature of Israeli performance artist Yossi Atia, Born In Jerusalem And Still Alive, the tale of a guide who specialises in tours of terror-attack sites. Productions due to hit Israeli screens this autumn include Hagar Ben-Asher’s The Burglar and Abulele, a Jerusalem-set live-action children’s movie inspired by a character from Middle Eastern folklore.
Ivory Coast director Philippe Lacote is developing a feature inspired by real-life local streetgang leader Zama, who was hacked to death on the streets of the country’s largest city Abidjan by angry residents in April. The project follows on from Lacote’s debut feature Run, which was set against the backdrop of the Ivory Coast’s civil war and premiered in Cannes’ Un Certain Regard in 2014. “Zama is a product of the war, a former child soldier who went on to become the leader of an infamous street gang. Through his trajectory, I’ll explore the Ivory Coast’s postwar era,” Lacote told Screen. The film-maker is in Jerusalem for a screening of Run, which was developed with the support of the Sam Spiegel International Film Lab, and also present a project he is co-producing with Spiro Films: Oren Adaf ’s Darwin (see story, left). The real-life Zama was an infamous figure on the streets of Abidjan who ran a street gang called Les Microbes, inspired by the name of a gang in Fernando Meirelles and Katia Lund’s City Of God. Lacote, who will also produce the film under his Paris-based Banshee Films banner, is currently working on a first draft of the feature, and plans to start officially looking for partners this autumn.
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Celebrating 10 Years
A decade of inspiring work and great films Thank you all for being fantastic colleagues and partners Please join us in our celebrations at the Jerusalem Film Festival OFFICIAL COMPETITION
OFFICIAL COMPETITION
The Spirit of Hannah Arendt SPECIAL SCREENINGS
SPECIAL SCREENINGS
SHORT COMPETITION
SHTISEL Season 2
HAGIGA The Story of Israeli Cinema
10 BUILDINGS AWAY
Go2Films – Home of creative, passionate and intriguing films www.go2films.com | info@go2films.com
NEWS
By Tom Grater
Dietrich Brüggemann, whose neo-Nazi satire Heil played here in Jerusalem on Friday, is planning his next feature, currently titled Lovely Summer Days, or LSD for short. The film will centre on three senior citizens residing in California who decide to recreate the counter culture of the 1960s, which they missed out on the first time, by experimenting with various narcotics.
The project has a script, which Brüggemann completed over two weeks in Belgrade last summer following a three-month stint in the US researching and nurturing the idea. “It’s about three old gentlemen questioning everything and rising to new spiritual levels,” the director told Screen here in Jerusalem. Brüggemann, whose portrait of hardline Catholicism Stations Of The Cross won the best script prize
at the 2014 Berlinale, is now seeking producers and funding, with two producers in Germany having already expressed interest. The director has actors in mind — particularly for the UK member of his trio — but has not made any initial approaches. Depending on casting, the other two characters will be American. Brüggemann is represented in the US by Echo Lake Entertainment.
Nir Shaanani
Seidl peers into ‘the abyss’
Ulrich Seidl in Jerusalem
Speaking after a screening of Ulrich Seidl — A Director At Work, a documentary following the Austrian film-maker as he completed In The Basement, also screening here at the festival, Seidl claimed “there are no borders between documentary and fiction films… It’s important you believe what you see on the screen, but reality is just the basis from where I develop my films.” Asked about the protagonists of In The Basement, among which are
a sex slave and dominatrix couple and a pair of neo-Nazis, Seidl said: “My subjects do not hide who they are; it is the viewer’s prejudice that creates distance.” Asked how he had searched for subjects, Seidl replied: “I wanted to find people in the human abyss.” Also present on the panel was his long-term collaborator Maria Hofstätter, who Seidl referred to as “among the only 10% of actors I will work with”. Tom Grater
Credit: Berlinale
Heil director trips with Lovely Summer Days Matthijs Wouter Knol
Knol sets out survival guide By Matt Mueller
Here in Jerusalem as a member of the Israeli Film Competition jury, Matthijs Wouter Knol, director of the European Film Market, is not here just to watch films. He will also host a Pitch Point workshop on Tuesday titled ‘How to survive a film market as an emerging film-maker’. “It’s about being aware of what you’re actually looking for when you come to a market and then finding the right people to take you by the hand,” says Knol about some of the advice he plans to impart. “To young people, who can already feel insecure, entering a big machine like the European Film Market can be intimidating. You have to find a way to cope with that.” This year’s festival also marks the occasion of 50 years of Israeli-
German diplomatic relations, and Knol’s Berlinale colleagues Dieter Kosslick and Beki Probst will join him here for tomorrow’s celebration of festival and Cinematheque founder Lia van Leer. “Lia was very good friends with Beki and Dieter, and was also the jury president at Berlin [in 1995],” he says. Knol believes that up-andcoming Israeli film-makers are well placed to succeed in the international marketplace, thanks to strong funding bodies, excellent local training schemes and acclaimed cinema to emulate. “There’s a natural interest in many places around the world in Israeli cinema because of the quality of films that have come from here,” he says. “Israel is a country where the stories are literally on every stone in the street, I would say.”
Go2Films celebrates a decade with five premieres By Tom Grater
Go2Films, the Jerusalem-based distribution, marketing and exhibition company specialising in Israeli documentaries, features and television, is celebrating 10 years of operations at Jerusalem Film Festival this year. The company has five premieres at this year’s festival, including Vita Activa: The Spirit Of Hannah Arendt (see page 7). Managing director Hedva Goldschmidt set up Go2Films in 2005 specialising in festival and educational representation, and her company has since expanded its remit into distribution and international sales. “Israel is looked at only through the Arab-Israeli conflict,” says Goldschmidt. “We’re trying to break stereotypes and bring a
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Hotline
wide spectrum of what is happening to Israel today.” Go2Films’ first major success came in 2008 with Ada Ushpiz’s Desert Brides, which chronicled the lives of Bedouin women. “Desert Brides opened the door for us,” says Goldschmidt. “It brought a different voice to the cinema, a small cultural minority in Israel.”
Hedva Goldschmidt
This year, Go2Films’ documentary slate is again strong. Along with the Arendt film, the company has Hotline, which looks at a Tel Aviv-based NGO for refugees and migrants. The film premiered at the Berlinale in February and screens here on July 15 and 16. Goldschmidt has lined up an Israeli theatrical release for Octo-
ber and is in negotiations for a German release. Go2Films is also putting on a special screening event of Hagiga — The Story Of Israeli Cinema, a documentary that chronicles the history of Israeli cinema through hundreds of contemporary interviews and rare archival footage. Goldschmidt hopes projects such
as this will help overcome what she describes as the biggest challenge facing Israel’s screen output: that international audiences are looking only for stories about the Arab-Israeli conflict, although she believes the tide is turning and audiences are now “seeking other Israeli stories”. Go2Films’ slate includes Café Nagler, an Israel-Germany documentary co-production directed by Mor Kaplansky and produced by Liran Atzmor, about a famed 1920s Berlin hotspot. Goldschmidt has signed broadcast deals with Israel’s Keshet TV, Germany’s MDR/ Arte, Canada’s CBC Radio and Radio Canada, Switzerland’s RSI and Sweden’s UR. Today’s 10th anniversary celebration for Go2Films will be held in the Cinematheque Gardens.
July 12-13, 2015 Screen International at Jerusalem 3
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PITCH POINT SPOTLIGHT
highly anticipated Everything Is Broken Up And Dances, about an Israeli soldier who re-invents himself as a pop star. Dutch international promotions expert Claudia Landsberger of BaseWorx For Film, who is acting as an artistic adviser this year, says Pitch Point is invaluable. “It has enormous promotional value when it comes to launching a project on the international scene,” she affirms. For Schory, the event has been an important training exercise, for him as well as the film-makers. “It helped tremendously, especially before we started venturing onto the bigger platforms such as Berlin and Rotterdam. It taught me how to enter that world and the rules of the game,” he says.
BACK TO THE POINT
Pitch Point, which aims to connect Israeli film-makers with international partners, celebrates its 10th birthday this year. Melanie Goodfellow explores its legacy
Everything Is Broken Up And Dances
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hen the annual Pitch Point event was launched at Jerusalem Film Festival (JFF) in 2006, Israeli cinema was emerging from a very difficult period. “The late 1990s was a bad time for Israeli cinema. The budget of the Israel Film Fund had been slashed by 50% in 1996, which was a tremendous blow, while a series of so-called navalgazing movies had alienated audiences,” explains Katriel Schory, executive director of Israel Film Fund and creator of Pitch Point. The industry was eventually blown out of the doldrums by the creation of the Cinema Law in 2001, which tripled funding and overhauled the way in which it was meted out. “It was just the beginning,” continues Schory. “We had to completely reinvent ourselves and reintroduce ourselves to the international marketplace and festival circuit.” Pitch Point was among a slew of initiatives aimed at kick-starting the industry in the light of the new Cinema Law. Around a dozen new projects are pitched to international decision-makers and there will also be a work-in-progress section this year for the second time. Features launched at the meeting over the past decade include Sharon Maymon and Erez Tadmor’s comedy A Matter Of Size, Rama Burshtein’s portrait of a Hasidic marriage Fill The Void, Nadav Lapid’s intense drama Policeman, Shira
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Geffen’s black comedy Self Made, Samuel Maoz’s Lebanon, set against the 1982 Lebanon War, and Talya Lavie’s local box-office hit Zero Motivation. Today, the meeting is a key date on the Israeli film industry’s calendar — not least because international investment is crucial for the Israeli film industry, notes Schory. According to his tally, international producers and institutions have put some $75m into Israeli films over the last 15 years. But Pitch Point’s value goes beyond sealing deals. “The main thing is that good films are getting a first exposure to the cinema world,” says producer Itai Tamir of Laila Films, who is attending with a debut feature called No Future, about an IsraeliRussian rapper in Ashdod, and a rough cut of Nony Geffen’s
‘The main thing is that good films are getting a first exposure to the cinema world’ Itai Tamir, Laila Films
Our Father
Opening pitch The 11 projects being launched at Pitch Point this year include works by established directors, such as Oded Davidoff ’s Live From Jerusalem, about a Jerusalem correspondent who stages his own kidnapping to get out of an assignment to Darfur, and Dani Rosenberg’s The Gospel According To My Father, which is about a flight out of Israel ahead of a nuclear attack by Iran. Lior Chefetz, whose short The Godmother picked up awards worldwide, will launch family adventure film Sky Raiders. Feature-length debuts include Shahar Rozen’s black comedy On Hope And Despair, which captures intertwining lives in the Tel Aviv neighbourhood of Hatikva and was born out of a real-life community drama project in the area. Further first-time features include Yossi Atia’s self-financed Born In Jerusalem And Still Alive, in which the film-maker plays a tourist guide specialising in terror-attack tours in Jerusalem, and Maysaloun Hamoud’s In Between, about a Palestinian lawyer living a double life between Tel Aviv’s LGBT scene and her home village in Galilee. As well as Geffen’s Everything Is Broken Up And Dances, the work-in-progress features selection includes Eitan Gafny’s kibbutz-set zombie movie Children Of The Fall and Meni Yaesh’s Our Father about a bouncer who dreams of having children. The international panellists comprise Greek producer Thanassis Karathanos of Berlin-based Twenty Twenty Vision, Fortissimo’s Nelleke Driessen, festival strategist Pascale Ramonda, US producer Ira Deutchman, Serb producer Miroslav Mogorovic and Karni Ziv, head of the drama and comedy department of Israel’s Keshet Media Group. Prizes this year include the $5,300 (ILS20,000) Van Leer Group Foundation award, the $1,000 Wouter Barendrecht and Lia van Leer Jerusalem Pitch Point award as well as the YAPIMLAB award, aimed at fostering co-productions with Turkey, and the International Filmmaker Project (IFP) award. The winner of that is invited to IFP’s s project forum in New York. ■
July 12-13, 2015 Screen International at Jerusalem 5
Interview TOVA ASCHER
Main picture and inset: A.K.A. Nadia
Identity crisis Tova Ascher has edited some of the most acclaimed Israeli features of the past three decades. She tells Melanie Goodfellow what compelled her to make a feature directing debut with A.K.A. Nadia
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ova Ascher is one of Israel’s most respected film editors. She has more than 45 credits to her name, from Ali Nasser’s The Milky Way and Joseph Cedar’s Time Of Favor to Eran Riklis’s The Syrian Bride, Lemon Tree and The Human Resources Manager. The veteran editor makes her feature debut with A.K.A. Nadia, the story of a young Palestinian woman in the 1990s who is forced to assume an Israeli identity in order to get back home from London after being abandoned by her on-the-run, PLO-activist husband. Some 20 years later, Nadia — now called Maya — is a successful choreographer, living a hectic life in west Jerusalem with an Israeli husband and children. When her past and present cross paths for a split second, this reality begins to slide as her seemingly liberal, peacenik circle of family and friends take on board her secret past. “The question at the heart of the film is, can a person have a future once her past becomes her present?” says Ascher. Behind this premise, she adds, is a subtle critique of Israeli society. “For me, writing and art are about dealing with things that make you unhappy… The situation in my country is so awful I felt I had to do something beyond go to demonstrations. “This movie is talking about Israel as a discriminating country, which doesn’t accept
6 Screen International at Jerusalem July 12-13, 2015
‘the other’. By ‘the other’ I’m not only talking about Arabs. Women are also ‘the other’, Ethiopians are ‘the other’, African refugees and Asian work immigrants are ‘the other’ and, of course, the Arabs are the ultimate ‘other’. I don’t want to make declarations but I do want to make people think.” Family affair Ascher co-wrote the A.K.A. Nadia screenplay with her daughter Anat Ascher, an academic at Tel Aviv University’s department of philosophy. “I had most of the story but I couldn’t work out the ending,” says Ascher. “I told Anat about my dilemma and she immediately came up with some solutions. Our collaboration grew from there.” Adds her daughter: “The combination of a scholar and an artist is an interesting one. It enabled us to step out of our comfort zones, to explore other realms of writing and fiction and to contemplate things differently.” An Israel-UK co-production between Tel Aviv-based 2 Team Productions and Londonbased One Eyed Dog Films, A.K.A. Nadia, which screens today and tomorrow at Jerusalem Cinematheque, was shot mainly in Israel with a brief foray to the UK. Nadia/Maya is played by Israeli actress Neta Shpigelman, alongside Nazareth-born Ali Suliman as her Arab husband, Oded
‘This movie is talking about Israel as a discriminating country which doesn’t accept “the other”’ Tova Ascher
Leopold as her Jewish husband and John Hurt in a guest role as an MI5 agent. “The Arab and Jewish characters are played by the same person,” says Ascher. “I had to fight for that. The Israeli funds wanted me to cast two different actresses but me and Anat were against it. It would have gone against the purpose of the film. We wanted the actress to inhabit both these characters and get the sense of what it meant to change between the two and at once be the same person.” Aside from ageing 20 years in the film, Shpigelman’s dual role also involved learning Arabic and perfecting an Arab accent to play Nadia. “Neta spent four months learning the language,” says Ascher. “She studied with the teacher four or five times a week and went to sleep listening to Arabic songs.” Ascher’s long experience as an editor also served her well on set. “This isn’t my original idea but I like to say, ‘You create a film three times — first when you write it, then when you direct it and then when you edit it,’” she says. “As an editor, I was always in the third part but now I’ve added the other two parts of the process. “I came very prepared, I didn’t take any chances and knew exactly what I was going to do,” she concludes. “While we were on the set, some of the crew came to me and asked, ‘Is it s really your first movie?’ I was flattered.” n
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Ada Ushpiz Interview
The spirit guide Documentary film-maker Ada Ushpiz tells Melanie Goodfellow about charting the life and fertile mind of a great thinker in her new film Vita Activa, The Spirit Of Hannah Arendt
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hen Ada Ushpiz’s timely documentary Vita Activa, The Spirit Of Hannah Arendt, exploring the roots and legacy of the legendary philosopher’s thinking, premiered at Munich International Film Festival earlier this year it played to a packed-out theatre. “There was not a ticket to be had,” says respected film-maker Ushpiz, whose credits include Good Garbage, Desert Brides and Detained. Today’s screening at Jerusalem Film Festival, where the film is playing in the documentary competition, is also sold out. “They’re not just coming for the documentary,” declares Ushpiz. “They’re also drawn by the figure of Hannah Arendt. She remains as popular, if not more popular, than when she was alive because she was ahead of her time. She is beyond post-modernism. She was a thinking person. She didn’t subscribe to any set doctrine or school of thought but based her writings on experience and what was really happening. She had the ability to universalise her personal experience.” Plurality of thought Arendt’s writings, notes the film-maker, have influenced movements as diverse as Poland’s Solidarity and the pro-democracy Arab Spring. To this day, they also remain a source of inspiration for the Jewish secular movement. The philosopher’s life-long defence of the need for a plurality of thought and voices makes Arendt’s work particularly timely, Ushpiz adds. In Vita Activa, The Spirit Of Hannah Arendt, she hones in on Arendt’s early writings, focusing in particular on her most famous work, Eichmann In Jerusalem, based on the trial of Adolf Eichmann in 1961, for his role as an administrator supporting the deportation and extermination of Jews during the Holocaust. It was in this work that Arendt crystallised her theory about the “banality of evil”, stemming from Eichmann’s assertion that he wasn’t guilty because he had simply been carrying out orders. “I came to the whole thing because I was intrigued by the idea of the banality of evil,” says Ushpiz. “The more I live in this world, the more I believe it is relevant.” The documentary traces how Arendt’s thinking and writing grew out of her experiences growing up in Germany, leaving the country during the rise of the Nazi party and subsequently living a peripatetic life across Europe. She touched down in Prague,
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Vita Activa, The Spirit Of Hannah Arendt
Picture caption here
Geneva and Paris, and was briefly interned by the Nazis in France before fleeing to the US in 1941. This period in Arendt’s life resulted in her writings on what it meant to be a refugee. Her theory that stateless people find themselves “superfluous” to society remains as relevant now as it did at the time of its formulation in the late 1940s. Ushpiz’s film also touches on Arendt’s complex relationship with her philosophy professor Martin Heidegger, who was later discovered to be a Nazi sympathiser. “Her relationship with Heidegger was complicated,” says the director. “Researchers have recently come across lectures he gave in 1933 and 1934 while he was the rector of the University of Freiburg. He speaks in real Nazi language… it’s really terrible.” Vita Activa intercuts archival audio and
‘She remains as popular, if not more popular, than when she was alive because she was ahead of her time’ Ada Ushpiz
video footage of Adolf Hitler and his military chief Hermann Göring, 1930s Europe, refugee conveys, the horrors uncovered in postwar Europe and the Eichmann trial with contemporary interviews with academics who either knew Arendt or have studied her writings in depth. Arendt’s words on the subject of being a refugee, for example, run over footage of people being loaded into lorries, a soup kitchen for Jewish refugees in Paris in the 1930s and images of Hitler addressing his followers. Telling her own story Where possible, Arendt’s story is told through her own words, either by an actress reading her writings and letters, or through television interviews. “I did a lot of interviews but decided in the end it was important for her to tell her own story — through her own words, either in interview or her writing,” explains Ushpiz. “She writes very emotionally, which is nice.” Having spent five years researching, financing and producing the documentary, Ushpiz says she would like to make a second feature that would examine Arendt’s work in the final decade of her life, and its impact in the subsequent decades. “For me,” concludes Ushpiz, “the work of her final years was in s many ways even more interesting.” n
July 12-13, 2015 Screen International at Jerusalem 7
INTERVIEW ULRICH SEIDL
Some of the cellar-dwelling protagonists in Ulrich Seidl’s subversive In The Basement
Tales of the underground Film-maker Ulrich Seidl speaks to Geoffrey Macnab about how a fascination with Austrians and their cellars led to his lauded documentary In The Basement
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art of the fascination with Ulrich Seidl’s work lies in its tone. Audiences are never quite sure how to approach his features and documentaries. His films have a subversive, unsettling quality precisely because they are infused with what seems like such dark, tongue-incheek humour. He is sometimes accused of mocking his subjects, whether they are sex tourists,
Ulrich Seidl
religious zealots or Austrians up to mischief in their cellars. The Vienna-born film-maker’s latest film, In The Basement, premiered at Venice Film Festival last year. It had its first screening at Jerusalem Film Festival on Friday, followed by yesterday’s masterclass with Seidl and his frequent collaborator Maria Hofstätter. It will also screen on July 14 and 16. Seidl insists the owners of the basements on whom he turns his lens are not the punchline to an elaborate joke. “Long ago, I realised the average Austrian likes to spend their leisure time in their cellar engaging in their passions, hobbies and obsessions,” the director remarks. He points out that In The Basement might offer a chance for his subjects to discover a hitherto unknown side to themselves. “Everyone has two sides to them. They will see the film and perhaps think about that and find that part of themselves in it.” As a director, Seidl is himself a split personality. He makes both fiction and documentary features. The fiction part
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of his work, such as his recent Paradise trilogy (Love, Faith and Hope), has a starkly realistic feel while the documentaries are as artfully constructed as any narrative feature film. “It was clear In The Basement was going to be a documentary,” Seidl says. “In the case of a documentary, you have people who are playing themselves, who are authentic. It is their life and their convictions.” The basements may serve a metaphorical purpose, a tool with which he can explore the hidden sides of his subjects. But Seidl isn’t making the stories up. These subjects really existed. Some of them even turned up in Venice last autumn for the film’s world premiere. Dark comedy Given recent grisly Austrian history (notably the notorious Josef Fritzl case), the very idea of Austrians and their underground hobbies has a sinister connotation. As ever with Seidl, grotesques, comedy, lyricism and social comment sit side by side. Behaviour that seems comic often turns out to be rooted in disturbing incidents in the characters’ pasts. Among In The Basement’s sub-
jects, the woman who keeps dolls of babies does so for a reason. The masochist, we discover, has been in abusive relationships. Seidl has a cellar in his own house in which he stores his wine. “I was first confronted with cellars as a child because my grandmother had one in which she stored food,” he recalls. “In Vienna, there are these multi-family tenement blocks that have coal cellars below them. Where I live near Vienna, I have a large wine cellar in the rock.” There promises to be much more daylight in Seidl’s next project, which will be a costume drama but not a conventional one. Sales are likely to be handled by the director’s regular partners, Coproduction Office, and the film will be set in the late 18th century in “the milieu of the poorest of the poor”. Focused on young people returning from war and obliged to turn to crime to stay alive, it will tell the story of Herr Grasl, a real-life Robin Hood-like figure who fought back against the authorities. Don’t, however, expect Errol Flynn and men in green tights. That is not the s Seidl way. ■
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The Rabinovich Foundation – Cinema Project congratulates the 32nd Jerusalem Film Festival and wishes success to the films that were supported by The Rabinovich Foundation Full Length Feature Films:
Documentaries:
Tikkun Director: Avishai Sivan Producers: Ronen Ben Tal, Avishai Sivan, Moshe Edery, Leon Edery Wounded Land Director: Erez Tadmor Producers: Shemi Shoenfeld, Amitan Menelzon
Hotline Director: Silvina Landsmann Producers: Silvina Landsmann, Pierre-Olivier Bardet
Student Graduation Films: CPH Director: Eitan Sarid Souroujon Film School: Tel Aviv University The Fine Line Director: Dana Lerer Film School: Tel Aviv University
Strung Out Director: Nirit Aharoni Producers: David Mandil, Nirit Aharoni Jerusalem Boxing Club Director: Helen Yanovsky Producers: Helen Yanovsky, Shalom Goodman
Dramas (Short Films): The Cantor and the Sea Director: Yehonatan Indursky Producers: Osnat Handelsman-Keren, Talia Kleinhendler
The Rabinovich Foundation for the Arts, Tel-Aviv – Cinema Project In association with The Leon Recanati Foundation
27 993 FILMS
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with the support of Israel Ministry of Culture and Sport The Israel Film Council
The Rabinovich Foundation 90 Ha'Hashmonaim St. Tel Aviv 6120301, Israel Tel: 972-3-525502, Fax: 972-3-5255130 www.cinemaproject.org.il
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EREZ TADMOR INTERVIEW
Wounded Land
The Israeli connection Director Erez Tadmor talks to Stuart Kemp about 1970s cop movies, shooting in Haifa and moving from comedy to drama with his ripped-from-the headlines thriller Wounded Land Wounded Land
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riter-director Erez Tadmor, a graduate of Camera Obscura School of Arts in Tel Aviv, grew up in Israel absorbing the atmosphere and stories of classic 1970s US thrillers, citing Sidney Lumet’s Serpico among his favourites. His love for US cinema of that era — William Friedkin’s The French Connection and John Schlesinger’s work are also high on Tadmor’s repeatviewing list — serves as the inspiration behind Wounded Land. The film marks Tadmor’s first stab at making a thriller, having spent the intervening years since his 2001 award-winning short Moosh carving out an enviable reputation not in gritty police procedurals but with comedy dramas. “My student film Moosh was about a policeman who finds a child in the garbage,” Tadmor says. “Ever since then I have wanted to make a film set in Israel about corrupt police officers.” It would be an itch he wouldn’t get to scratch until more than a decade later, but Wounded Land is Tadmor’s homage to those US films he loves. Co-written with Shlomo Efrati, it tells the story of a police officer, Kobi Amar (Roy Assaf ) and his regional commander Yehuda Neumann (Dvir Benedek). Partners at the Haifa police force for years, the pair know each other inside out. But a brutal terror attack means they have to face difficult questions about the strength of their relationship. “It is very interesting to me to deal with this subject,” Tadmor says. “The newspapers
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are full of stories every day about corruption in Israel so this genre of movie and corrupt policemen reflects what is going on.” Armed with a $1m budget, Tadmor was keen to capture the look and feel of a 1970s US cop thriller and recruited Fill The Void cinematographer Asaf Sudri to help him achieve it. The pair had previously worked together on Tadmor’s 2014 short Dear God. “We had a lot of fun making Wounded Land together,” Tadmor says. “We liked the same films and film-makers.” Port of call Tadmor’s choice of where to make the film was a no-brainer for this lifelong fan of Lumet’s films: it had to be shot in Haifa. “It’s a port city and most closely reflects the settings of those 1970s films,” he says. “Haifa is like Boston. In Haifa, there are the rich kids
Magic Men
‘This genre of movie and corrupt police reflects what is going on’ Erez Tadmor
and the police at the top of a hill and the cool guys down at the port.” Moving away from comedy into a more serious subject matter was one of the biggest challenges, given his previous experience. Unlike most Israeli productions, which typically secure investment from a local broadcaster and then set up as co-productions, usually with European territories, Tadmor opted to fully finance from Israel with no co-production partner, emboldened by his reputation as a hit-maker (Channel 10 is the film’s broadcast investor). Tadmor’s 2009 comedy A Matter Of Size, co-directed with Sharon Maymon, was a festival hit around the world and garnered more than 300,000 admissions in Israel. The tale of overweight people in Israel turning to Sumo wrestling to help come to terms with their size, A Matter Of Size also opened Jerusalem Film Festival in 2009 and Tadmor says coming back to the festival is “the best… it is a good memory,” he smiles. Paramount purchased the English-language remake rights to A Matter Of Size, helping to bolster an international profile that began in 2003 with Strangers (co-written and co-directed with Guy Nattiv), winner of the online short competition at Sundance in 2004. Tadmor and Nattiv returned to Sundance four years later with a featurelength version of Strangers, which was picked up by IFC Films for the US. Tadmor and Nattiv also made Magic Men together in 2014, marking the first feature s Tadmor had produced himself. ■
July 12-13, 2015 Screen International at Jerusalem 11
Reviews Reviews edited by Fionnuala Halligan finn.halligan@screendaily.com
Land And Shade Reviewed by Fionnuala Halligan
The Assassin Reviewed by Allan Hunter Any purist fearing that Hou Hsiao-Hsien might have compromised his artistic integrity by making a wuxia/ kung-fu film will be mostly reassured by the long-gestating The Assassin (Nie Yinniang). This is not a venture into wire-work and acrobatics but a contemplative immersion in the complex politics, power struggles and personalities of the Tang Dynasty as seen through the moral dilemmas facing an enigmatic trained assassin. The combined attractions of Hou’s return, the gorgeous cinematography and the trim running time should be enough to attract substantial arthouse audiences. Directly inspired by a chuanqi (short story) from the period entitled Nie Yinniang, The Assassin is set in 9th century China when provincial outposts established as defenders of the Tang Emperor had become hotbeds of rebellion. It begins with a black-and-white prologue before bursting into the richest palette of colours. Abducted by a nun at the age of 10, general’s daughter Nie Yinniang (Shu Qi) has developed into a feared assassin. Her latest target is Tian Ji’an (Chang Chen), the governor of the troublesome Weibo province, but this is the land of her birth and Tian Ji’an is the man she was once supposed to wed. She faces the dilemma of completing her task or breaking from the group of assassins. Hou proudly made the epic Flowers Of Shanghai (1998) with just 31 cuts. He has clearly moderated his minimalist approach for The Assassin, which mixes shots of measured, distanced observation with some elegantly choreographed and edited bursts of wuxia action. It isn’t always easy to follow the politics of the story but it does look an absolute treat. Clearly influenced by classic Akira Kurosawa and Kenji Mizoguchi, the film also underlines the cross-fertilisation between wuxia films and Hollywood westerns as Shu’s black-garbed assassin evokes both the frontier guardian angel of Shane and the spirit of Clint Eastwood’s Unforgiven in her ultimate adherence to a higher moral code than her life of violence. Shu makes the character’s steely resolution and conflicted heart entirely convincing.
12 Screen International at Jerusalem July 12-13, 2015
Masters Chi-HK-Taiwan. 2015. 104mins Director Hou Hsiao-Hsien Production companies Spotfilms, Sil-Metropole, Media Asia, CMPC International sales Wild Bunch, edvos@ wildbunch.eu Producers Hou HsiaoHsien, Chen Yiqi, Peter Lam, Lin Kufn, Gou TaiChiang, Tung Tzu-Hsien Screenplay Hou HsiaoHsien, Chu Tien-Wen, Hsieh Hai-Meng, Zhong Acheng Cinematography Mark Lee Ping Bing Editor Huang Chih-Chia Music Lim Giong Main cast Shu Qi, Chang Chen, Zhou Yun, Tsumabuki Satoshi
Winner of three prizes at Cannes including the prestigious Camera d’Or awarded to a first-time film-maker, Cesar Acevedo’s Land And Shade (La Tierra Y La Sombra) is a beautifully shot, artistically uncompromising film about the plight of peasant sugar-cane labourers on a ruined plantation as told through one decaying family unit. This slow and occasionally moving drama boasts careful compositions and deliberate framing through which Acevedo, who has won prizes at Rotterdam and Berlin for his short films, marks himself as a name to watch, even though his pace may be too glacial for some. Land And Shade starts out with a beautiful long shot in which an old man, Alfonso (Haimer Leal), walks down a dirt track towards the camera, surrounded by sugar cane, until he is blasted with dust and decay from a lumbering lorry (this sequence is repeated later in the film, to great effect). He is returning to the home — and bitter wife Alicia (Hilda Ruiz) — he abandoned years ago. Alfonso’s son Gerardo (Edison Raigosa) is dying from lung disease, a result of working in the burning cane fields, and Alfonso has come to help out. Ash falls on the family like snow and the plantation fires ravage the landscape, yet Alicia stubbornly refuses to leave her home. Alfonso’s daughter-in-law (Marleyda Soto) and six-year-old grandson (Jose Felipe Cardenas) clearly need to abandon the homestead before it kills them, yet Gerardo will not leave his mother. The house is sealed against the dust, with no windows allowed open and no light to shed on Gerardo’s last days. Meanwhile, in a less-developed sidebar, sugar-cane workers go unpaid and uncared-for in a brutal economic environment. Some of Acevedo’s compositions call to mind The Good Earth, his family captured in almost heroic profile as the ravages of modern development take their toll. A key element is the giant tree in their yard under which moments of peace play out. Acevedo is certainly as preoccupied with image as he is content, and it is the individual frames and tableaux that linger on past this resolutely downbeat, emblematic story.
Debuts Col. 2015. 94mins Director/screenplay Cesar Acevedo Production company Burning Blue Films International sales Pyramide International, lgarzon@pyramidefilms. com Producers Diana Bustamente Escobar, Paola Andrea Perez Nieto, Jorge Forero Cinematography Mateo Guzman Sanchez Production designer Marcela Gomez Montoya Editor Miguel Schverdfinger Main cast Haimer Leal, Hilda Ruiz, Edison Raigosa, Marleyda Soto, Jose Felipe Cardenas
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Screenings, page 14
Green Room
Into the Night
Reviewed by Tim Grierson
Cemetery Of Splendour Reviewed by Allan Hunter Masters
Past lives, shared histories and a fluid sense of personal and national identity are the familiar concerns addressed by Apichatpong Weerasethakul in Cemetery Of Splendour (Rak Ti Khon Kaen), his first major feature since Palme d’Or winner Uncle Boonmee Who Can Recall His Past Lives in 2010. The largely linear narrative creates a more approachable piece than many of his previous films, suggesting the potential to broaden his core arthouse audience. There are shades of the patients treated by Oliver Sacks in Awakenings in the story of a strange sleeping sickness that has overwhelmed a group of soldiers. A former school has been transformed into a temporary clinic where the men now lie slumbering. Volunteer Jenjira (Apichatpong regular Jenjira Pongpas Widner) maintains a vigil at the bedside of handsome soldier Itt (Banlop Lomnoi), watching over him and massaging his body. She has memories of the hospital when it was a school and reminders of the past are all around. She makes friends with young medium Keng (Jarinpattra Rueangram) who reveals that the grounds were once a graveyard for kings and their spirits could now be accessing the energy of the sleeping soldiers. History is everywhere in Cemetery Of Splendour, submerged in the very ground that people walk over and layered throughout individual lives and experiences. Jenjira’s perspective on events changes as her relationship with Keng deepens, allowing her to seek out the spirits. Maintaining his fondness for long, contemplative shots, Apichatpong creates a deceptively serene sense of storytelling, with gentle grace notes of wry humour. The sense of tranquillity is undercut constantly by subtle reflections on the political upheavals that mark Thailand’s history. The film-maker has described Cemetery Of Splendour as a “rumination on Thailand”. Working with director of photography Diego Garcia for the first time, Apichatpong finds his most striking images in the changing colours of the glowing electric lights used for the experimental treatment of the soldiers. It could almost be an art gallery installation.
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Thai-UK-Fr-Ger-Mal. 2015. 122mins Director-screenplay Apichatpong Weerasethakul Production companies Kick The Machine Films, Illumination Films International sales The Match Factory, info@matchfactory.de Producers Keith Griffiths, Simon Field, Charles de Meaux, Michael Weber, Hans Geissendörfer Cinematography Diego Garcia Editor Lee Chatametikool Main cast Jenjira Pongpas Widner, Banlop Lomnoi, Jarinpattra Rueangram, Petcharat Chaiburi
Green Room lacks the mournful poetry and thematic depth of writer-director Jeremy Saulnier’s previous feature, Blue Ruin, but this nasty B-movie thriller delivers where it counts: in blood, body count and dark laughs. The grimly compelling tale of a punk band fighting for their lives after being trapped inside a club run by violent white supremacists, Green Room makes no apologies about its desire to cater to the midnight-movie crowd. The film concerns the misadventures of The Ain’t Rights, including sensitive bassist Pat (Anton Yelchin). During a last-minute gig at a roadhouse in the middle of the Oregon woods, Pat stumbles on a murder committed by one of the patrons. The Ain’t Rights were worried enough about playing for an audience of tough-looking neo-Nazis. Now, they’re trapped in the club’s green room as the skinheads, led by the stoic Darcy (Patrick Stewart), decide how best to dispose of them. Saulnier’s revenge drama Blue Ruin was a crafty mixture of pulp suspense and meditative character study, but his new film returns somewhat to the temperament of his little-seen 2007 horror satire Murder Party, about an innocent man lured to a party where the hosts kill off the attendees. Like that film, Green Room seeks only to unleash bloody, hardcore genre thrills, although thankfully Saulnier’s technical prowess and storytelling skills have evolved greatly since that amateurish outing. Despite its tight running time, Green Room drags in the middle as The Ain’t Rights debate frantically how to escape the tiny room. But Saulnier is merely saving his best moments for a final act that’s a satisfying collection of grisly set-pieces as our heroes run through the club in a bid for freedom. Although Green Room doesn’t leave viewers with as much to ponder as Blue Ruin, Saulnier sneaks in some wry jokes about the so-called ‘authenticity’ of punk rock and even lingers on a touching image of a ferocious dog gently resting its head on its dead master’s body. There may not be a lot of depth to Green Room, but that doesn’t mean there isn’t sufficient thought and care.
US. 2015. 95mins Director-screenplay Jeremy Saulnier Production companies Broad Green Pictures, Filmscience International sales WestEnd Films, nadine@ westendfilms.com Producers Neil Kopp, Anish Savjani, Victor Moyers Cinematography Sean Porter Editor Julia Bloch Production design Ryan Warren Smith Music Brooke Blair, Will Blair Main cast Anton Yelchin, Imogen Poots, Alia Shawkat, Joe Cole, Callum Turner, Mark Webber, Eric Edelstein, Macon Blair, Kai Lennox, Patrick Stewart
July 12-13, 2015 Screen International at Jerusalem 13
Screenings » Screening times and venues are correct at the time of going to press
Sunday July 12 10:15 National Gallery
(US/France) Doc & Film. 174mins. Dir: Frederick Wiseman. Documentary legend Frederick Wiseman takes us behind the scenes of London’s National Gallery, in a journey to the heart of a museum stocked with masterpieces of western art. Masters Cinematheque 2
Sunday 11:00 Thru You Princess
(Israel) First Hand Films. 78mins. Dir: Ido Haar. Thru You Princess follows composer and video artist Kutiman and musicians from around the world who are unaware Kutiman is creating his new music from their musical web clips. Everyone hails from another background, culture and country, but all share a mutual musical vision. Israeli Docs Cinematheque 3
When Marnie Was There See box, right
Sunday 12:45 Dreams Rewired
(Austria/Germany/UK) Amour Fou. 85mins. Dir: Manu Luksch, Martin Reinhart, Thomas Tode. Dreams Rewired traces the desires and anxieties of today’s hyper-connected world back to the days when the telephone, film and television were still new and exciting inventions. Rare archival materials and a text narrated by Tilda Swinton are woven into a fascinating cinematic essay. Intersections Cinematheque 3
We are young. We are strong.
(Germany) Beta Cinema. 116mins. Dir: Burhan Qurbani. Key cast: Devid Striesow, Jonas Nay, Trang Le Hong, Joel Basman, Saskia Rosendahl, Thorsten Merten. Three characters provide
three different perspectives on the violent riots that took place in the German city of Rostock in 1992 — the most violent xenophobic events witnessed in Germany since the end of the war. This feature was developed in the Jerusalem International Film Lab. Spirit of Freedom Cinematheque 1
Sunday 13:15 Umrika
(India) New Cinema. 100mins. Dir: Prashant Nair. Key cast: Suraj Sharma, Tony Revolori, Smita Tambe, Adil Hussain, Rajesh Tailang, Prateik Babbar. Umrika, winner of the Sundance audience award, is a captivating comedy drama about a young man from a remote Indian village whose brother left home for America. After several years he starts to suspect his brother’s letters are not coming from America at all. Gala Lev Smadar
Sunday 13:45 Pennies
(Israel) Badran Badran. 50mins. Dir: Badran Badran. Instead of going to school,
14 Screen International at Jerusalem July 12-13, 2015
Sunday July 12 11:00 When Marnie Was There
(Japan) Wild Bunch. 103mins. Dir: Hiromasa Yonebayashi. Key cast: Sara Takatsuki, Kasumi Arimura, Nanako Matsushima, Susumu Terajima. The latest animated
two kids from Tul-Karem have no alternative but to work in Israel as street beggars. Israeli Docs Cinematheque 3
Sunday 15:00 Corpo Celeste
(Italy) Rai. 100mins. Dir: Alice Rohrwacher. Key cast: Yile Vianello, Salvatore Cantalupo, Pasqualina Scuncia, Anita Caprioli, Renato Carpentieri. Thirteen-year-old Marta and her family move back to Italy. She finds it difficult to acclimatise and challenges the indifference of grown-ups and the hypocrisy of the church. This is a special screening in the presence of the film’s director, Alice Rohrwacher Panorama Cinematheque 3
film from Studio Ghibli tells the story of a young girl sent to the coast to improve her health. There, she meets a mysterious blonde girl and the two form a deep friendship, unravelling each other’s pasts. JFF Kids Lev Smadar
Sunday 15:15 Alky Alky
(Germany) 102mins. Dir: Axel Ranisch. Key cast: Heiko Pinkowski, Peter Trabner, Christina Grosse, Thorsten Merten, Robert Gwisdek. Tobias and Flasche live like two teenagers — partying, boozing and selfdestructing. The problem is that Tobias is in his mid-40s with a wife and children. He understands this friendship is no longer good for him, but it may already be too late. Munich in Jerusalem Cinematheque 2
Trenker and Riefenstahl — A Fine Line Between Truth and Guilt
(Austria/Germany) Beta Cinema. 89mins. Dir: Wolfgang Murnberger.
Key cast: Tobias Moretti, Brigitte Hobmeier, Anatole Taubman, Arndt Schwering-Sohnrey, Barbara Romaner. The true story of two artists in service of the Nazis. It examines mountaineer, director and screen idol Luis Trenker and director Leni Riefenstahl, from their brief romance, through ruthless competition, to their backing by Hitler and Goebbels. Munich in Jerusalem Lev Smadar
Sunday 15:30 Greenery Will Bloom Again
(Italy) Rai. 80mins. Dir: Ermanno Olmi. Key cast: Claudio Santamaria, Alessandro Sperduti, Francesco Formichetti, Andrea Di Maria. This film from Italian master Ermanno Olmi (The Tree Of Wooden Clogs) is a poetic piece about the futility of war, depicting a night in the life of soldiers stationed on the Italian Alps during the First World War. Masters Cinematheque 1
Sunday 17:30 Imperial Dreams
(US) CAA. 87mins.
Dir: Malik Vitthal. Key cast: John Boyega, Glenn Plummer, Rotimi Akinosho, De’aundre Bonds, Anika Noni Rose. A 21-year-old’s family and future are tested when he is released from prison. He returns to the crimeinfested streets of Los Angeles and gets back in touch with the gang that led to his incarceration. Panorama Lev Smadar No Hebrew subtitles
The President
(France/Germany/UK/ Georgia) BAC Films. 105mins. Dir: Mohsen Makhmalbaf. Key cast: Misha Gomiashvili, Dachi Orvelashvili. When a tyrannical president is overthrown during an uprising, the dictator is turned into a fugitive. He and his grandson escape disguised as commoners and witness first hand all of the suffering and hardship their regime has caused. Masters Cinematheque 1
Vita Activa, The Spirit of Hannah Arendt
(Israel/Canada) Go2Films. 125mins. Dir: Ada Ushpiz. A personal spiritual www.screendaily.com
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director Mia HansenLove’s treatment of her brother’s true story. Panorama Lev Smadar
Sunday 22:30 Ned Rifle
(US) Possible Films. 85mins. Dir: Hal Hartley. Key cast: Liam Aiken, Martin Donovan, Aubrey Plaza, Parker Posey, Thomas Jay Ryan, James Urbaniak. In the final chapter in independent film maestro Hal Hartley’s tragicomic trilogy, Ned sets out to find and kill his father for destroying his mother’s life. Masters Cinematheque 1
Monday July 13 09:30
Sunday July 12 20:00 Ingrid Bergman — In Her Own Words
(Sweden) TrustNordisk. 114mins. Dir: Stig Björkman. Never-before-seen personal material such as photographs, notes, letters, private
biography of the Jewish philosopher Hannah Arendt. The movie tracks the connections between her life story and her thinking, through rare archives demonstrating the banality of evil. Her ideas on the nature of evil and freedom are relevant today more than ever. Israeli Docs Cinematheque 3
Sunday 17:45 The Measure
(Germany) 93mins. Dir: Alexander Costea. Key cast: Max Wagner, Aljoscha Stadelmann, Anna Grisebach, Thomas Limpinsel, Gerhard Jilka. Police detective Roland Prengler goes undercover to investigate a murder case that has baffled local officials for quite some time. Munich in Jerusalem Cinematheque 2
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footage, diaries and interviews with her children create this personal and daring cinematic portrait of Ingrid Bergman — one of cinema’s most beloved and respected actresses. Cinemania Cinematheque 3
Sunday 19:45 Run
(France, Ivory Coast) BAC Films. 100mins. Dir: Philippe Lacote. Key cast: Abdoul Karim Konaté, Isaach De Bankolé, Abdoul Bah, Reine Sali Coulibaly. Run is running away. He has just killed his country’s prime minister. His life returns to him in flashes: his childhood when he dreamed of becoming a rainmaker, his adventures with Greedy Gladys, and his past during the Ivory Coast’s military conflict. Panorama Lev Smadar
Sunday 20:00 AKA Nadia
(Israel/UK) 2-Team Productions. 115mins. Dir: Tova Ascher. Key cast: Neta Shpigelman, Oded Leopold, Ali
Suliman, Eli Keren-Assaf, Ruba Blal-Asfour, Naama Amit, John Hurt. More than 20 years after leaving behind her Arab identity, Maya’s past awakens. Now she is about to find out if, in a society that can’t forgive outsiders for their otherness, there is room for the life she has built herself. The Experimental Cinema and Video Art Competition
(Israel) Intersections Cinematheque 2
Ingrid Bergman — In Her Own Words See box, above
Sunday 21:45
past. This complex piece won best film prize at San Sebastian Film Festival. Panorama Cinematheque 3
Sunday 22:00 A Corner of Heaven
(China/France) Pascale Ramonda. 94mins. Dir: Miaoyan Zhang. Key cast: Guo Xinjiang, Huo Xuehui, Bai Haonan. A young boy sets out to find his mother and ends up on a long journey through modernday China’s apocalyptic polluted landscapes, where he encounters modern slavery and gangs. Spirit of Freedom Cinematheque 2
Magical Girl
Eden
(France, Spain) Films Distribution. 127mins. Dir: Carlos Vermut. Key cast: José Sacristan, Barbara Lennie, Luis Bermejo, Israel Elejalde, Lucia Pollan, Elisabet Gelabert. Luis will do anything to fulfil the last wish of his daughter, who has leukaemia. He is about to cross paths with an unstable woman and a retired teacher who cannot escape his
(France) Kinology. 131mins. Dir: Mia Hansen-Love. Key cast: Felix De Givry, Pauline Etienne, Vincent Macaigne, Greta Gerwig, Golshifteh Farahani, Laura Smet, Vincent Lacoste. In 1990s Paris, a young man forms an electronic music ensemble and is sucked into the euphoria offered by fame, which turns out not to be what he expected. This is
I Smile Back
(US) Visit Films. 85mins. Dir: Adam Salky. Key cast: Sarah Silverman, Josh Charles, Thomas Sadoski, Mia Barron, Terry Kinney, Chris Sarandon. A suburban housewife struggles to keep her family together as her secret life of drug abuse, alcohol and infidelity spirals out of control. Sarah Silverman reinvents herself as a dramatic actress in this career-defining, intensely layered, heartbreaking role. Gala Cinematheque 1
Monday 10:00 A Nazi Legacy: What our Fathers did
(UK) The Film Sales Company. 90mins. Dir: David Evans. Niklas Frank and Horst von Wächter are the sons of high-ranking Nazi officials who reported to Hitler himself. But while Frank despises his father, viewing him as a criminal, von Wächter is convinced his parent was a good man. An exploration of men wrestling with their past. Jewish Experience Cinematheque 3
Monday 10:15 Between 10 and 12
(Netherlands) Pascale Ramonda. 67mins. Dir: Peter Hoogendoorn. Key cast: Raymond Thiry, Nasrdin Dchar, Olga Louzgina, Cynthia Abma, Elise van’t Laar, Ko Zandvliet. Between the hours of 10 and 12, a piece of news changes the lives of a normal Dutch family. This film screened at Venice and takes the viewer on an emotional journey. Debuts Cinematheque 2
Monday 11:00 Before I Disappear
(US) Fuzzy Logic Pictures. 97mins. Dir: Shawn Christensen. Key cast: Fatima Ptacek, Shawn Christensen, Paul Wesely, Emmy Rossum, Ron Perlman. At the lowest point of his life, Richie receives a call from his sister, asking him to look after Sophia, his 11-year-old niece. So begins a surreal night’s journey of two completely different characters. A feature adaptation of the Academy Award-winning short Curfew. Gala Lev Smadar
Monday 11:15 Return to Ithaca
(France, Belgium) Funny Balloons. 95mins. Dir: Laurent Cantet. Key cast: Sabel Santos, Jorge Perugorria, Fernando Hechevarria, Nestor Jimenez, Pedro Julio Diaz Ferran. The latest film by Laurent Cantet (The Class) takes us to Havana, where a group of friends reunite for the first time in 16 years. The film received the Venice Days award at Venice Film Festival. Masters Cinematheque 1
Monday 11:45 The Fool
(Russia) m-appeal. 116mins. Dir: Yury Bykov. Key cast: Artem Bystrov, Nataliya Surkova, Boris »
July 12-13, 2015 Screen International at Jerusalem 15
Screenings
there is a catch. She is married and can only offer him brief daily encounters between 5pm and 7pm. Gala Cinematheque 1
Monday 17:00 Strung Out See box, left
Monday 17:30 By Sidney Lumet
(US) Cinephil. 103mins. Dir: Nancy Buirski. A never-before-seen interview with Sidney Lumet lies at the heart of this fascinating documentary about one of the most highly regarded directors in film history. Cinemania Cinematheque 2
Monday 17:45 Ixcanul Volcano
Monday July 13 17:00 Strung Out
(Israel) MoviePlus. 110mins. Dir: Nirit Aharoni. This film tells the story of a group of young women living on the streets, victims Nevzorov, Kirill Polukhin, Darya Moroz, Yury Tsurilo. Can the ethics of an honest man make any difference in a corrupt society, or will he just be considered a fool? This film about corruption in modern-day Russia won four awards at Locarno Film Festival. Spirit of Freedom Cinematheque 2
Monday 12:00 Vita Activa, The Spirit of Hannah Arendt
(Israel, Canada) Go2Films. 125mins. Dir: Ada Ushpiz. A personal spiritual biography of the Jewish philosopher Hannah Arendt. The movie tracks the connections between her life and her thinking, through rare archives demonstrating the banality of evil. Her ideas on the nature of evil, pluralism and freedom, are relevant today more than ever.
of prostitution and addiction to heroin. Robbed of their childhoods, they find themselves trapped in a spiral of addiction that too often leads to death. Israeli Docs Cinematheque 3
Israeli Docs Cinematheque 3
Monday 13:00 Greenery Will Bloom Again
(Italy) Rai. 80mins. Dir: Ermanno Olmi. Key cast: Claudio Santamaria, Alessandro Sperduti, Francesco Formichetti, Andrea Di Maria. This film by Italian master Ermanno Olmi (The Tree Of Wooden Clogs) is a poetic piece about the futility of war, depicting a night in the life of a group of soldiers stationed on the Italian Alps during the First World War. Masters Lev Smadar
Monday 13:15 42nd Street
(US) Park Circus. 89mins. Dir: Lloyd Bacon. Key cast: Warner Baxter, Bebe Daniels, George Brent, Ruby
16 Screen International at Jerusalem July 12-13, 2015
Keeler, Guy Kibbee, Ginger Rogers. When the star of an ambitious production breaks her ankle moments before opening night, the show’s producers must find an actress to replace her. A unique opportunity to watch a newly restored print of the classic musical. JFF Classics Cinematheque 1
Monday 14:00 My Friend Raffi
(Germany) Renate Zylla. 93mins. Dir: Arend Agthe. Key cast: Nicholaus von der Recke, Sophie Lindenberg, Henriette Heinze, Albert Kitzl. This is the story of Raffi, a hamster who is callously kidnapped, and his inseparable friend Sammy who goes on an adventurous journey to find him. Sammy will have to face many challenges in the big city of Hamburg if he ever wants to see Raffi again. JFF Kids Cinematheque 2
Monday 14:30 A.K.A. Nadia
(Israel/UK) 2-Team Productions. 115mins. Dir: Tova Ascher. Key cast: Neta Shpigelman,
Oded Leopold, Ali Suliman, Eli Keren-Assaf, Ruba Blal-Asfour, Naama Amit, Sir John Hurt. More than 20 years after leaving behind her Arab identity, Maya’s past reawakens. Israeli Features Cinematheque 3
Monday 15:00 Victoria
(Germany) Match Factory. 140mins. Dir: Sebastian Schipper. Key cast: Laia Costa, Eike Frederick Schulz, Frederik Lau, Burak Yigit, Franz Rogowski, Max Mauff. In this stirring drama by Sebastian Schipper, shot in a single long take, a young woman from Madrid joins four guys for a night out in Berlin. Panorama Lev Smadar
Monday 15:15
(France/Guatemala) Film Factory. 91mins. Dir: Jayro Bustamante. Key cast: Maria Mercedes Croy, Maria Telon, Manuel Antun, Justo Lorenzo. Maria lives on the slopes of a volcano and dreams of discovering the world beyond. Unexpected circumstances will lead her to the big city. This spectacular and moving piece won the Silver Bear at Berlin Film Festival. Debuts Lev Smadar
Monday 19:30 Dreamcatcher
(US, UK) Dogwoof. 104mins. Dir: Kim Longinotto. For 25 years Brenda worked the streets of Chicago. Today she is a beacon of hope and a pillar of strength for hundreds of women and girls caught up in the cycle of neglect and violence. Spirit of Freedom Cinematheque 3
5 to 7
(US) Forum Film. 97mins. Dir: Victor Levin. Key cast: Anton Yelchin, Berenice Marlohe, Olivia Thirlby, Lambert Wilson, Frank Langella, Glenn Close. A chance encounter drives Brian, a young aspiring writer, into a whirlwind romance with a glamorous French woman. But
Wounded Land
(Israel) ComeBack Films. 80mins. Dir: Erez Tadmor. Key cast: Tawfeek Barhom, Makram Khoury, Roy Assaf, Dvir Benedek. Police officer Kobi Amar and his region commander, Yehuda Neumann, have been partners at the Haifa
police force for years, but now they face a critical turning point in their relationship when one is forced to turn against the other. The tumultuous events of the night place their moral and professional values at stake, as well as their long and dedicated friendship. Israeli Features Cinematheque 1
Monday 19:45 Burden
(Israel) Offer Avnon. 93mins. Dir: Offer Avnon. An attempt to approach the shadow of a catastrophic event, interspersing the views of the individual and the collective. Jewish Experience Cinematheque 2
Monday 20:00 Krisha
(US) Visit Films. 83mins. Dir: Trey Edward Shults. Key cast: Krisha Fairchild, Robyn Fairchild, Bill Wise, Chris Doubek, Olivia Grace Applegate, Alex Dobrenko, Trey Edward Shults. After years of absence, Krisha is reunited with her relatives on Thanksgiving. This is her opportunity to prove that she has changed. But things soon go awry. Winner of the SXSW grand jury award. Debuts Lev Smadar
Monday 21:45 The Tales of Hoffmann
(UK) The Film Foundation. 138mins. Dir: Michael Powell, Emeric Pressburger. Key cast: Moira Shearer, Robert Helpmann, Leonide Massine, Robert Rounseville, Pamela Brown, Ludmilla Tchérina. A restored print of Powell and Pressburger’s adaptation of Offenbach’s 1881 opera. JFF Classics Lev Smadar
Monday 22:00 A Girl Walks Home Alone At Night
(US) Kinology. 100mins. Dir: Ana Lily Amirpour. Key cast: Sheila Vand, www.screendaily.com
Arash Marandi, Mozhan Marno, Dominic Rains, Milad Eghbali, Rome Shadanloo, Marshall Manesh. A mysterious vampire who stalks a post-apocalyptic Iranian town finds herself in an unusual romance. Ana Lily Amirpour’s first feature is one of this year’s most talked-about films.
Three Windows and a Hanging
Into the Night Cinematheque 3
(Germany/Kosovo) EZ Films. 80mins. Dir: Isa Qosja. Key cast: Irena Cahani, Luan Jaha, Donat Qosja. In a small Kosovar village, one year after the war, a schoolteacher tells a foreign reporter that she and three other women were raped by Serbian soldiers.
Heaven Knows What
Spirit of Freedom Cinematheque 2
(US) Stray Dogs. 94mins. Dir: Ben Safdie, Joshua Safdie. Key cast: Arielle Holmes, Caleb Landry Jones, Buddy Duress, Necro, Eleonore Hendricks. Harley loves Ilya. He gives her life purpose and sets her passion ablaze. So when he asks her to prove her love by slitting her wrists, she obliges with only mild hesitation, perhaps because of her other allconsuming love: heroin. Panorama Cinematheque 2
Love and Mercy
(US) United King. 120mins. Dir: Bill Pohlad. Key cast: John Cusack, Paul Dano, Elizabeth Banks, Paul Giamatti. Paul Dano stars in this film about Brian Wilson, the legendary musician behind The Beach Boys. A fascinating portrait of a musical genius and the suffering behind his work. Gala Cinematheque 1
Tuesday July 14 10:00 Paper Planes
(Australia) Arclight Films. 96mins. Dir: Robert Connolly. Key cast: Ed Oxenbould, Sam Worthington. A moving family film about an Australian boy with a passion for aviation who sets himself a challenge: to enter the world championship for flying paper planes, held in Tokyo, and compete against children from all over the world. JFF Kids Cinematheque 1
www.screendaily.com
Tuesday 10:15
Tuesday 12:15 Shaun the Sheep Movie
(France/UK) Forum Film. 85mins. Dir: Mark Burton, Richard Starzak. When Shaun decides to take the day off, he gets a little more than he bargained for. A terrible mistake brings him and his flock to the city. A delightful animated masterpiece by the creators of Wallace and Gromit. JFF Kids
Tuesday 13:00
The Pearl Button
Before I Disappear
See box, right
(US) Fuzzy Logic Pictures. 97mins. Dir: Shawn Christensen. Key cast: Fatima Ptacek, Shawn Christensen, Paul Wesely, Emmy Rossum, Ron Perlman.
Tuesday 11:00 Queen of Earth
(US) Match Factory. 90mins. Dir: Alex Ross Perry. Key cast: Elisabeth Moss, Katherine Waterston, Patrick Fugit, Kentucker Audley. Catherine (Elisabeth Moss) is dealing with the death of her father and recent break-up with her boyfriend. She pays a visit to her good friend, but overwhelmed by memories, she sinks into delusion. Panorama Lev Smadar
Tuesday 12:00 3½ Minutes, 10 bullets
(US) Dogwoof. 98mins. Dir: Marc Silver. In 2012, at a Florida gas station, a white man fired 10 bullets at a car. Three of the bullets hit a 17-year-old, who died on the spot. The assailant claimed selfdefence, leading to an intense investigation. A fascinating Sundance award-winning documentary. Spirit of Freedom Cinematheque 2
Our Boys
(US/Israel) Moriah Films. 40mins. Dir: Richard Trank. Our Boys is Moriah Films’ 14th documentary. It examines the events surrounding the kidnapping and murder of three Israeli teenagers in the summer of 2014 and how the tragedy affected their families. Jewish Experience Cinematheque 1
Gala Lev Smadar
Tuesday 13:30 Jauja
(Denmark/US/Argentina, Mexico, Netherlands, Germany, France) NDM. 108mins. Dir: Lisandro Alonso. Key cast: Viggo Mortensen, Viilbjork Malling Agger, Ghita Norby. Lisandro Alonso’s new film tells the story of a Danish general (Viggo Mortensen) stationed in Patagonia with his beautiful daughter. When she runs off with a young soldier, the general sets out in search of the smitten couple. Panorama Cinematheque 1
Tuesday 14:00 Songs my Brothers Taught me
(US) Fortissimo. 94mins. Dir: Chloe Zhao. Key cast: John Reddy, Jashaun St John, Irene Bedard, Taysha Fuller, Cat Clifford, Travis Lone Hill, Eleonore Hendricks. Chloe Zhao’s beautiful debut presents the story of two siblings who go their separate ways. A fascinating portrait of modern life in the Pine Ridge Indian Reservation of South Dakota. Debuts Cinematheque 2
Strung Out
(Israel) MoviePlus.
Tuesday July 14 10:15 The Pearl Button
(France/Spain/Chile) Pyramide International. 82mins. Dir: Patricio Guzman. Patricio Guzman, one of 110mins. Dir: Nirit Aharoni. This film tells the story of a group of young women living on the streets, victims of heroin and prostitution. Robbed of their childhoods, they now find themselves trapped in a spiral of addiction that too often leads to death. Israeli Docs Cinematheque 3
Tuesday 15:00 May Allah Bless France!
(France) Films Distribution. 96mins. Dir: Abd Al Malik. Key cast: Marc Zinga, Sabrina Ouazani, Larouci Didi, Mickael Nagenraft, Matteo Falkone, Stephane Fayette-Mikano. Teenager Malik excels at school, while picking pockets and selling drugs. Music star and French icon of diversity Abd Al Malik directs his first feature film — a starkly beautiful cinematic work combining rap music and
the great documentary film-makers of his generation, deals with one of the most difficult and painful chapters in Chilean history, through one of the key natural
resources of his homeland — water. The Pearl Button was the winner of best script prize at the Berlinale.
a universal message of religious co-existence.
setting US foreign policy for five decades.
Spirit of Freedom Lev Smadar
JFF Docs Cinematheque 2
Tuesday 15:45
Spirit of Freedom Cinematheque 3
Tuesday 16:30
Listen Up Philip
Three Days and a Child
(US) Match Factory. 108mins. Dir: Alex Ross Perry. Key cast: Jason Schwartzman, Elisabeth Moss, Jonathan Pryce, Krysten Ritter. Philip is awaiting the publication of his second novel. He is tired of the big city and his deteriorating relationship. When a successful writer offers the use of his summer home, he hopes to find the peace and quiet he requires.
(Israel) 90mins. Dir: Uri Zohar. Key cast: Oded Kotler, Judith Solé, Germaine Unikovsky, Illi Gorlitzky. A young man’s broken heart leads him to leave his kibbutz for Jerusalem. But then his beloved and her husband arrive and put their son in his care. Special screening of a digitally restored copy in the presence of the artists.
Gala Cinematheque 1
Tuesday 16:00 The Diplomat
(US) Ro*co Films. 104mins. Dir: David Holbrooke. A portrait of ambassador Richard Holbrooke, a senior American diplomat who played a vital role in
JFF Classics Cinematheque 3
Tuesday 17:00 The President
(France/Germany/UK/ Georgia) BAC Films. 105mins. Dir: Mohsen Makhmalbaf. Key cast: Misha Gomiashvili, Dachi Orvelashvili. Masters Lev Smadar
July 12-13, 2015 Screen International at Jerusalem 17
»
Screenings
Jerusalem Cinemateque, 11 Hebron Rd, Jerusalem, 91083 Editorial Editor Matt Mueller, matt.mueller@ screendaily.com, +44 7880 526 547 Reporters Melanie Goodfellow, melanie. goodfellow@btinternet.com, +44 7460 470 434 Tom Grater, tom.grater@ screendaily.com, +44 7921 711 108 Production editor Mark Mowbray, mark. mowbray@screendaily.com, +44 7710 124 065 Sub editors Jon Lysons, Richard Young
Tuesday 18:00 Mr. Gaga
(Israel) Heymann Brothers Films. 95mins. Dir: Tomer Heymann. Using intimate rehearsal footage, extensive unseen archival materials and stunning dance sequences, acclaimed director Tomer Heymann tells the story of an artist who redefined modern dance. Israeli Docs Cinematheque 1
Tuesday 18:15 Lucifer
(Belgium/Mexico) NDM. 108mins. Dir: Gust Van Den Berghe. Key cast: Gabino Rodriguez, Norma Pablo, Maria Toral Acosta, Jeronimo Soto Bravo. Lucifer passes through a Mexican village and decides to toy with the lives of a local family. The film is shot in Tondoscope, a circular format developed by the director. Panorama Cinematheque 2
Tuesday 19:00 600 Miles See box, above
Tuesday 19:30 Virgin Mountain
(Denmark/Iceland) BAC Films. 96mins. Dir:
Tuesday July 14 19:00 600 Miles
(US/Mexico) NDM. 85mins. Dir: Gabriel Ripstein. Key cast: Tim Roth, Kristyan Ferrer, Harrison Thomas, Noé Hernandez, Monica del Carmen, Armando Hernandez. Dagur Kari. Key cast: Gunnar Jonsson, Ilmur Kristjansdottir, Sigurjon Kjartansson, Franziska Una Dagsdottir. Fusi is 43 but still lives with his mother and has never had a girlfriend, until he meets a special woman. Panorama Lev Smadar
Tuesday 20:00 Sport: IsraeliPalestinian Cinematic Project
(Israel/Palestine) 100mins. Six film-makers, Israeli and Palestinian, created short films, both documentary and fiction, on the subject of sport. Israeli Cinema Cinematheque 4
Tuesday 20:15 The Man in the Wall
(Israel) United Channels
18 Screen International at Jerusalem July 12-13, 2015
Tim Roth plays an ATF agent tracking a young Mexican smuggling guns from Arizona to Mexico. Winner of the best first feature award at the Berlinale. Debuts Cinematheque 3
Movies. 92mins. Dir: Evgeny Ruman. Key cast: Tamar Alkan, Gilad Kahana, Eli Gornstein, Ruth Rasiuk, Roi Miller, Yoav Donat. One night. One apartment. One missing person. Rami takes his dog for a walk and disappears. His wife, Shir, is clueless as to his whereabouts. Different people come in and out of the apartment during the night. Could one of them hold the key to the mystery? Israeli Features Cinematheque 1
Tuesday 20:30 In the Basement
(Austria) Coproduction Office. 81mins. Dir: Ulrich Seidl. Austrian master Ulrich Seidl returns to documentary filmmaking with a piercing yet humorous work about
what people get up to in their basements. Masters Cinematheque 2
Tuesday 21:15 Shtisel — Season 2
(Israel) Go2Films. 47mins. Dir: Alon Zingman. Key cast: Dov Glickman, Michael Aloni, Sasson Gabay, Neta Riskin, Zohar Strauss, Shira Haas, Hadas Yaron. Premiere of the first episode in the second season of the awardwinning Shtisel, which continues the story of an ultra-Orthodox family in present-day Jerusalem. Jewish Experience Cinematheque 3
Tuesday 22:00 5 to 7
(US) Forum Film. 97mins. Dir: Victor Levin. Key cast: Anton Yelchin, Bérénice Marlohe, Olivia Thirlby, Lambert Wilson, Frank Langella, Glenn Close. Gala Lev Smadar
Tuesday 22:15 The Diary of a Teenage Girl
(US) K5 International. 102mins. Dir: Marielle Heller. Key cast: Bel Powley, Alexander
Skarsgard, Christopher Meloni, Kristen Wiig. In 1970s San Francisco, an artistic teenage girl finds herself in a passionate love affair with her mother’s partner. Gala Cinematheque 1
Under Electric Clouds
(Russia/Ukraine/Poland) 137mins. Dir: Aleksei German Jr. Key cast: Louis Franck, Merab Ninidze, Chulpan Khamatova, Anastasia Melnikova, Ramil Salahutdinov. Aleksei German Jr’s new film takes us to 2017 Russia, where his characters cope with adversity. Panorama Cinematheque 2
Tuesday 22:30
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Published by Media Business Insight Ltd (MBI)
Goodnight Mommy
Zetland House, 5-25 Scrutton
(Austria) Films Distribution. 99mins. Dir: Veronika Franz, Severin Fiala. Key cast: Susanne Wuest, Lukas & Elias Schwarz, Hans Escher, Elfriede Schatz. The mother of 10-yearold twins returns to their secluded family house following plastic surgery. A brilliant horror film.
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Into the Night Cinematheque 3
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THE ISRAEL FILM FUND CONGRATULATES THE 32ND JERUSALEM FILM FESTIVAL
ISRAEL FILM FUND www.filmfund.org.il
Ministry of Culture and Sport