Katalog 25 liffe

Kolofon Credits

25. ljubljanski mednarodni filmski festival 2014 25th Ljubljana International Film Festival 2014 programski direktor/programme director Simon Popek programski svet/programme board Jurij Meden, Koen Van Daele, Neil Young, Igor Prassel (kratki filmi/shorts), Barbara Kelbl in Petra Slatin{ek (Kinobalon) vodja projekta/project manager Brane Kodrin vodja slu`be za tr`enje programa in odnose z javnostmi/marketing and public relations department manager Sa{a Globa~nik vodja promocije in tr`enja festivala/head of festival promotion and marketing Janina Pintar pokroviteljstvo, vodja glasovanja ob~instva, organizacija dogodkov/ sponsorship, head of audience voting, event organisation Zvezdana Lazar urednica tiskovin/editor of publications Damjana Kenda Hussu urejanje spletne strani/web page editor Tadeja Drolc celostna grafi~na podoba, oblikovanje tiskovin /identity and publications design Mojca Vanelli izdelava spletne strani in aplikacij za pametne telefone/creation of website and smartphone applications Jure Mo`ina vodja prodaje/head of box-office Andreja [teblaj vodja slu`be za goste/head of guest service Janina Kos koordinacija `irij/jury coordination Anina Oblak vodja prostovoljcev/head of volunteers Ivana Vulanovi} koordinatorka filmskih kopij/print coordination Antoaneta G. Kuhar koordinacija projekcij za {olske skupine/coordination of school group screenings Kristina Jerman~i~ Golc koordinacija prevajanja in podnaslavljanja/translation services Gregor Bite`nik (vodja/head), Niko Bogataj

tehni~ni vodja festivala, glavni kinooperater/head of technicians, head projectionist Juro Gani} kinooperaterji v Cankarjevem domu/Cankarjev dom projectionists Karmen Tom{i~, Andrej Per{in, Bojo Panti} manipulant kopij/transport of copies Samir Botonji} tehni~ni vodja odprtja in sklenitve festivala/technical head of opening and closing ceremonies Uro{ Plestenjak poslovna sekretarka/business secretary Tamara Habjani~ finan~no-ra~unovodska slu`ba/accounting department Du{an Lakner (vodja/head), Irena Balanti~, Vladana Spiri}, Helena Pugelj producent festivala/producer Cankarjev dom

kulturni in kongresni center Ljubljana cultural and congress centre Ljubljana www.cd-cc.si, E info�cd-cc.si generalna direktorica/director general Ur{ula Cetinski direktorica poslovnega sektorja/managing director Jana Kramberger direktorica kongresno-komercialne dejavnosti/congress and events management director Breda Pe~ovnik direktorica tehni~nega sektorja/technical department director Karmen Klu~ar direktorica Kinodvora/Kinodvor director Nina Pe~e direktor Koloseja zabavni centri, d.o.o./Kolosej zabavni centri, d.o.o. director Franc @mavc direktor Slovenske kinoteke/Slovenian Cinematheque director Ivan Nedoh direktor Centra urbane kulture Kino [i{ka/ Kino [i{ka director Simon Kardum

www.liffe.si

katalog/catalogue

urednici/editors [pela Barli~, Damjana Kenda Hussu besedila/texts Matic Majcen, [pela Barli~, Denis Vali~, Janina Kos; Petra Slatin{ek (Kinobalon); Igor Prassel (Evropa na kratko) prevajanje/translation Anina Oblak lektoriranje/proof-reading Sonja Ko{mrlj

oblikovanje/design Toma` Perme, Mojca Vanelli (naslovnica) tisk/printed by Mat-Format, d.o.o. izdajatelj/issued by Cankarjev dom zanj/represented by Ur{ula Cetinski, generalna direktorica/director general oktober/October 2014

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Uvodnik Foreword

^as za igro Time to Play Simon Popek Francoske filmske klasike Playtime Jacquesa Tatija, ki bo slovesno odprla jubilejni Ljubljanski mednarodni filmski festival, nikoli nismo prevajali v sloven{~ino. Malo verjetno zato ker bi dobesedni prevod zvenel trapasto ali ker bi po{iljal napa~no sporo~ilo. Za Tatija oziroma gospoda Hulota, ki v prekratkih hla~ah, s pipo v ustih in de`nikom pod pazduho zganja vragolije in povzro~a nemir, je bilo od nekaj samo po sebi umevno, da se v filmu predvsem igra; {e natan~neje: poigrava. Malo z lastno podobo (in mitom), malo s tradicijo burleske, {e ve~krat pa z zvokom, opti~nimi prevarami in modernimi tehni~nimi pripomo~ki, naprednimi oh in sploh trendi, ki so mno`ice (in {e posebej vi{ji razred) navdu{ile dale~ pred digitalno dobo in svetom, kot ga poznamo danes.

Tati ni bil ravno ljubitelj brezglave modernizacije in uporabne mehanike, iz nje se je v svojih filmih (najbolj o~itno v Mojem stricu in Prometni zmedi) najve~krat nor~eval. Verjamem, da ne zato ker bi modernizacijo sovra`il, temve~ preprosto zato ker se v tem svetu ni zna{el, podobno kot se gospod Hulot ne znajde oziroma se izgublja v modernisti~nem steklenjaku umetno ustvarjenega Pariza v Playtimu.

Modernizacija mu je pomenila komedijantski spro`ilec vse od prvenca Prazni~ni dan, v katerem se je Tati kot pode`elski po{tar edinkrat zna{el v kinu, pa {e takrat so mu Ameri~ani solili pamet s propagando o super naprednih ameri{kih po{tarjih v filmskem obzorniku. Kdo ve, morda bi se Tati nor~eval tudi iz aktualnih na~inov konzumiranja filmov. Prepri~an pa sem, da jih ne bi odobraval, tudi zato ker bi se zavedal, da bi mali ekrani njegovemu delu vzeli bistvo in veli~astnost. V tem smislu je Playtime morda osrednji film v prizadevanju tega festivala, Kinodvora in Slovenske kinoteke, ki s celoletno akcijo Leto kina in festivalsko retrospektivo Veliko platno: Filmi, ki jih no~ete videti nikjer drugje kot v kinodvorani opozarjamo na nujnost in edinstvenost klasi~ne kinematografske projekcije. Zavrtite si Playtime po televiziji ali ra~unalni{kem zaslonu in skoraj zagotovo se boste razo~arani spra{evali, od kod filmu polo`aj nesporne klasike francoske in svetovne komedije; oglejte si ga v kinu ter prepoznajte vse male nianse in subtilne detajle, ki konstituirajo bistvo tatijevske minimalisti~ne in neskon~no o~arljive komike. Zato smo vsi skupaj tu, na Liffu, po vsej Ljubljani in v Mariboru, da gledamo filme v kinodvoranah, kjer so bili od vsega za~etka.

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Playtime, a French classic by Jacques Tati, the opening film of this year' jubilee edition of the Ljubljana International Film Festival, was never translated into Slovenian. One of the possible reasons was that the literal translation would sound idiotic; and the other that it would send the wrong message. It has always been self-evident that Tati, or Monsieur Hulot, causing mischief and terrible commotion in his too-short trousers, a pipe in his mouth and an umbrella under arm, is only playing on screen; to put it more precisely: toying. Toying with his own image (and mythology), the traditional genre of the burlesque, and primarily with sound, optical illusions and high-tech gadgets, the state-of-the-art technology that has been fascinating the masses (especially the upper classes) long before the digital era and the present-day modernised world.

Tati was no lover of mindless modernisation, of machines and devices, his frequent objects of ridicule (most obviously so in My Uncle and Traffic). I believe this wasn't because he hated modernisation but simply because he struggled with this impersonal gadgetised world, similarly to Monsieur Hulot, a man constantly at odds with technology and lost in the ultra-modern glasshouse of Playtime's artificial Paris.

To Tati, modernisation served as a powerful lever for humour ever since his debut feature, The Big Day, in which he as a countryside postman finds himself in a cinema for the first and last time, and even then has to watch Americans proudly boasting of their cutting-edge postal service in the newsreel.

Who knows, perhaps Tati would have ridiculed also the present-day ways of film consumption. I am confident that he would disapprove of them, also because being aware that the digital and television screens strip his work off its essence and grandeur. To this end, Playtime is perhaps the central feature in the joint endeavours of our Festival, the Kinodvor Cinema and the Slovenian Cinematheque. Our year-long campaign, A Year of Celebrating Cinema, and the Festival retrospective, Big Screen: Films You Wouldn't Want to See Anywhere Else Except in a Movie Theatre, have been designed with the aim of drawing attention to the essentialness and uniqueness of classic cinema screening. Play Playtime on your TV or computer screen and it is almost certain that you will fail to see the reason for this French comedy's classic status; see it in a cinema and you will be able to identify all the nuances and subtle details that represent the essence of Tati's minimalistic and infinitely enchanting humour.

That is why we go to our Festival every year, taking place throughout the city of Ljubljana and in Maribor, to watch films in cinema, their rightful place.

Vsebina Contents

Le grand soir Le grand soir Veliki ve~er 10 Uvodnik Foreword 12 @irije, nagrade Juries, Awards Program Programme 15 29 55 73 97 105 113

Perspektive Perspectives Predpremiere Avantpremieres Kralji in kraljice Kings and Queens Panorama svetovnega filma Panorama of World Cinema Ekstravaganca Extravaganza Kinobalon Kinobalon Posve~eno Tribute Ruben Ă–stlund 121 Posve~eno Tribute Aleksej German 129 Retrospektiva Retrospective Veliko platno Big Screen 145 Evropa na kratko Europe in Short 152 Kazalo Index 154 Nagrade Awards 158 Spremljevalni program Accompanying Programme

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@irije, nagrade Juries, Awards

Nagrada vodomec (sklop Perspektive) – mednarodna `irija Kingfisher Award (the Perspectives section) – International Jury Klemen Dvornik Filmski in televizijski re`iser. Zaposlen je kot asistent na oddelku za televizijsko re`ijo na Akademiji za gledali{~e, radio, film in televizijo Univerze v Ljubljani. Od decembra 2012 je predsednik Dru{tva slovenskih re`iserjev. Za svoja dela je prejel ve~ nagrad, med njimi {tudentsko Pre{ernovo nagrado za kratko televizijsko dramo Vojna Zvezdi~, nagrado gong ustvarjalnosti za dokumentarni film Temuen – Pri~a, viktorja za posebne dose`ke, za re`ijo nadaljevanke Prepisani, nagrado ob~instva na 14. festivalu slovenskega filma za celove~erni prvenec Kruha in iger.

Michael Pattison Svobodni pisec in filmski kritik iz Gatesheada, Anglija. ^lanke objavlja v publikacijah, kot so Sight & Sound, The Guardian, Film Comment, Little White Lies, Fandor. Sodeloval je v kriti{kih akademijah na filmskih festivalih v Locarnu (2013) in Rotterdamu (2014) ter na festivalu Dokufest 2014 v kosovskem Prizrenu organiziral in vodil prvo delavnico Common Ground Critics, ki se je je udele`ilo deset mladih kritikov iz Vi{egrada in balkanskih dr`av. V publikaciji Directory of World Cinema: Britain Volume 2 je objavil ve~ esejev.

Alexandra Strelková Direktorica Nacionalnega kinematografskega centra pri Slova{kem filmskem in{titutu je odgovorna za promocijo slova{kega filma. Leta 2002 je bila programska koordinatorica Bratislavskega mednarodnega filmskega festivala in v letih 2003–14 sodelovala pri programiranju Mednarodnega filmskega festivala v Karlovih Varih. Leta 2005 se je na Slova{kem filmskem in{titutu zaposlila kot direktorica Nacionalnega kinematografskega centra. Je ~lanica Slova{ke filmske in televizijske akademije ter predstavnica Slova{kega filmskega in{tituta v okviru Evropske filmske promocije.

Nagrada FIPRESCI mednarodna `irija FIPRESCI Prize International Jury

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Klemen Dvornik Film and TV director. Employed as reader at the TV Direction Department of the Academy of Theatre, Radio, Film and Television of the University of Ljubljana. Since December 2012, Dvornik has been President of the Slovenian Film Directors' Association. As a filmmaker, he has won several awards, among others the Student Pre{eren Award for his short TV-drama, Vojna Zvezdi~, the Gong Creativity Award for his documentary film, Temuen-Pri~a, the Extraordinary Achievement Viktor Award for the Guard TV-series, and Audience Award at the 14th Slovenian Film Festival for his debut feature film, Bread and Circusses.

Michael Pattison A freelance writer and film critic from Gateshead, England. His work has been published by Sight & Sound, The Guardian, Film Comment, Little White Lies, Fandor and others. A participant in the critics' academies at Locarno Film Festival 2013 and Rotterdam Film Festival 2014, Michael organised and led the inaugural Common Ground Critics Workshop, with ten young writers from the Visegrad and Balkan countries, at Dokufest 2014 in Prizren, Kosovo. He also contributed several essays to the forthcoming book Directory of World Cinema: Britain Volume 2.

Alexandra Strelková The director of the National Cinematographic Centre of the Slovak Film Institute, in charge of Slovak film promotion. In 2002, she joined the Bratislava International Film Festival as programme coordinator and worked between 2003 and 2014 with the Programme Department at Karlovy Vary International Film Festival. In 2005, she joined the Slovak Film Institute as the Director of the Institute´s National Cinematographic Centre. She is member of the Slovak Film and Television Academy and the representative of the Slovak Film Institute in the European Film Promotion.

Zmaj – nagrada ob~instva Dragon – Audience Award

@irije, nagrade Juries, Awards

Nagrada za najbolj{i kratki film – mednarodna `irija Best Short Film Award – International Jury Paola Bristot Profesorica sodobnega umetni{kega izraza ter filmske in avdiovizualne teorije in analize na Akademiji lepih umetnosti v Bologni. Je kustosinja razstav vizualne umetnosti, mdr.

Graphicnovel.it (v Italijanskem kulturnem in{titutu, Pariz, Hamburg; Torre Massimiliana v Benetkah in Visionario v Centru za vizualne umetnosti, Videm, 2011/12), in sodeluje z zalo`bo Coconino Press. Je predsednica zdru`enja Vivacomix ter umetni{ki vodja festivala animiranega filma Piccolo Festival dell'Animazione v Vidmu, Pordenonu, Gorici in Trstu.

V sodelovanju z Andreom Martignonijem je uredila antologijo sodobnega animiranega kratkega filma Animazioni 3 (2010).

Paola Bristot Professor of Contemporary Art Expression, and Theory and Analysis of Cinema and Audiovisual Arts at the Academy of Fine Arts in Bologna. She is a curator of visual art exhibitions, like the recent 'Graphicnovel.it' (in Istituto Italiano di Cultura, Paris, Hamburg; Torre Massimiliana, Venice and Visionario – Centro per le Arti Visive, Udine, 2011/12) and collaborated with Coconino Press publishing house. She is the President of the Vivacomix association and the art director for the Piccolo Festival dell’Animazione, in Udine, Pordenone, Gorizia and Trieste. She curated, with Andrea Martignoni, the anthology of contemporary animated short film, Animazioni 3 (2010).

Matev` Jerman Filmski publicist pri razli~nih medijih in asistent na programskem oddelku Slovenske kinoteke. Je direktor slovenske izpostave mednarodnega festivala kratkega filma K3, kurator sklopa kratkih neodvisnih filmov Video na pla`i festivala Kino Otok / Isola Cinema in sodeluje kot koordinator spremljevalnega filmskega programa na Festivalu slovenskega filma. Je tudi soustanovitelj dru{tva za uveljavljanje kratkega filma Kraken, ki si prizadeva za odpiranje prostora slovenski neodvisni produkciji in za {ir{e uveljavljanje forme kratkega filma. Napisal in re`iral ve~ kratkih filmov, videospotov in oglasov.

Matev` Jerman Film critic publishing in various media and Programme Assistant at the Slovenian Cinematheque. He is Director of the Slovenian section of the International Short Film Festival K3, curator of Video on the Beach, short independent film programme within the scope of the Isola Cinema Festival, and coordinator of the Slovenian Film Festival accompanying film programme. He has co-founded the Society for Short Film Promotion, Kraken, which fosters the growth of independent Slovenian production and overall development of short film. Jerman has written and directed several shorts, music videos and commercials.

Vladan Petkovi} Svobodni novinar s sede`em v Beogradu, filmski kritik, prevajalec in festivalski selektor, diplomant kulturnega mened`ementa na beograjski Fakulteti za dramske umetnosti. Je balkanski dopisnik za publikaciji Screen International in Cineuropa.org ter redno objavlja filmske ocene, novice iz filmske industrije, intervjuje in festivalske reporta`e na {tevilnih mednarodnih spletnih straneh ali revijah. Je programski vodja Mednarodnega filmskega festivala Kratkofil Plus v Banja Luki, BiH, selektor za filmski festival Cinema City v Novem Sadu in programski svetovalec {tevilnim filmskim festivalom, kot so mdr. Linz Crossing Europe ter tisti v Motovunu, Skopju in Pali}u.

Vladan Petkovi} Belgrade-based freelance journalist, film critic, translator and festival programmer, holding a BA in Culture Management at Belgrade Faculty of Dramatic Arts. He is the Balkan correspondent for Screen International and Cineuropa.org, and regularly writes film reviews, industry news, interviews and festival reports for several international websites and magazines. He is the programme director of International Film Festival Kratkofil Plus in Banja Luka, Bosnia and Herzegovina, a programmer for Cinema City Film Festival Novi Sad, and programme advisor to numerous film festivals, including Motovun, Linz Crossing Europe, Skopje, Pali} and others

13

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Perspektive Perspectives

Le grand soir Le grand soir Veliki ve~er 18 Ritem norosti Whiplash Damien Chazelle 19 Mrhovinar Buzzard Joel Potrykus 20 Lahko no~, mamica Goodnight Mommy Veronika Franz, Severin Fiala 21 Pleme The Tribe Miroslav Slabo{picki 22 Po`ri svoje prednike Eat Your Bones Jean-Charles Hue 23 Proletarska zimska pravljica A Proletarian Winter's Tale Julian Radlmaier 24 Puberteta: navodila za uporabo Guidelines Jean-François Caissy 25 Slepa Blind Eskil Vogt 26 Številka 55 Number 55 Kristijan Mili} 27 Velika hi{a Casa Grande Fellipe Barbosa

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Perspektive Perspectives

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Perspektive Perspectives

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Perspektive Perspectives

Whiplash Whiplash Ritem norosti ZDA USA 2014

Damien Chazelle re`ija/directed by Damien Chazelle scenarij/screenplay Damien Chazelle fotografija/cinematography Sharone Meir glasba/music Justin Hurwitz monta`a/editing Tom Cross igrajo/cast Miles Teller (Andrew Neyman), J. K. Simmons (Terence Fletcher), Melissa Benoist (Nicole), Paul Reiser (Andrewov o~e/Andrew's father), Austin Stowell (Ryan), Jayson Blair (Travis), Kavita Patil (Sophie) producent/producer Jason Blum produkcija/production Bold Films 6464 Sunset Boulevard Suite 800 Los Angeles, CA 90028, USA E david�boldfilms.com & Blumhouse Productions (USA) & Right of Way Films (USA) format/format DCP, barvni/colour dol`ina/running time 105' festivali, nagrade (izbor)/ festivals, awards (selection) Sundance 2014, Cannes 2014 – [tirinajst dni re`iserjev/Directors' Fortnight

Glasbeni film, ki `eljo po ble{~e~em uspehu jemlje z resnostjo boja za `ivljenje ali smrt. Senzacija filmskega festivala v Sundanceu.

A musical drama driven by the demon desire for a stellar career, the film caused a sensation at the Sundance Film Festival.

Devetnajstletni Andrew je obetaven bobnar na manhatnskem glasbenem konservatoriju, a no~e biti zgolj povpre~en glasbenik.

Ker njegovemu o~etu v `ivljenju ni uspelo, ga skrbi, da ima tudi on povpre~nost vpisano v genih. Ker si vseeno mo~no `eli uspeha, bobne vadi vsak dan, vse dokler mu ne za~nejo krvaveti roke. Želja po uspehu se {e pove~a, ko ga izberejo v {olsko glasbeno skupino pod vodstvom razvpitega Terencea Fletcherja, brutalnega glasbenega u~itelja, ki mu ni~ ne more prepre~iti, da ne bi iz svojih {tudentov izvabil vsega potenciala. Pod njegovim vodstvom se Andrew odpravi na pot popolnosti za vsako ceno – tudi svoje ~love~nosti.

Andrew, a promising 19-year-old drummer at a Manhattan music conservatory, has little interest in being just a musician. Haunted by his father's failed writing career and plagued by the fear that mediocrity just might be genetic, Andrew dreams of greatness.

He practises daily until his hands literally bleed. The pressure of success ratchets into high gear when he is picked to join the school band led by the infamous Terence Fletcher, a brutally savage music instructor who will stop at nothing to realise a student's potential. Under Fletcher's ruthless direction, Andrew begins to pursue perfection at any cost – even his humanity.

"Videl sem `e {tevilne glasbene filme, ki poveli~ujejo glasbo ali prikazujejo veliko radost ob muziciranju, kar je seveda zelo pomembna prvina in je ne `elim zanikati. Nisem pa videl prav veliko filmov, ki bi zares poglobljeno prou~evali strahove ob glasbenem poustvarjanju, ali jezik, s katerim se glasbeniki lahko med seboj obravnavajo, ter kako te lahko oropa ~love{kega dostojanstva in spominja na strogo voja{ko urjenje. /.../ Zato se mi je zdelo zanimivo ustvariti glasbeni film, ki bi spominjal na grozljivko, boj za `ivljenje in smrt." (Damien Chazelle)

prodaja/world sales Sierra Affinity 9378 Wilshire Blvd.

Suite 210 Beverly Hills, CA 90212, USA E info�sierra-affinity.com distribucija/distribution Continental film d.o.o.

Stegne 3 1000 Ljubljana E manja.verbic�continentalfilm.si

Damien Chazelle

filmografija/filmography

Rojen leta 1985 v mestu Providence (Rhode Island, ZDA). Med odra{~anjem se je posvetil jazzovskemu bobnanju ter redno igral po newyor{kih klubih, ulicah in postajah podzemne `eleznice. Prvi film Guy and Madeline on a Park Bench je za~el snemati med {tudijem na Harvardu. Z drugim filmom Ritem norosti se je uvrstil na festivala v Sundanceu in Cannesu.

2009 Guy and Madeline on a Park Bench 2013 Whiplash (kratki/short) 2014 Whiplash (Ritem norosti)

Born in 1985 in Providence, Rhode Island, USA, teenage Chazelle devoted himself to jazz drumming, playing everywhere from New York jazz clubs to street corners and subway stops. Guy and Madeline on a Park Bench began as a short for Chazelle’s thesis when he was an undergraduate at Harvard.

His second feature, Whiplash, entered the Sundance and Cannes Film Festivals.

18

"I had seen a lot of music movies that celebrated music or that showed the kind of joys from playing music, which is a big part of it, of course, and not something that I would want to deny. But I hadn’t seen that many movies that really go deep enough into the fears of playing music, or the language that musicians can use to treat each other, or like the way that you can see it dehumanise and the way that it can feel like boot camp. /.../ So it was sort of an interesting question to want to make a music movie that felt like a thriller, that felt like life or death." (Damien Chazelle)

Perspektive Perspectives

Buzzard Buzzard Mrhovinar ZDA USA 2014

Joel Potrykus

re`ija/directed by Joel Potrykus scenarij/screenplay Joel Potrykus fotografija/cinematography Adam J. Minnick monta`a/editing Joel Potrykus glasba/music Honduran & Bog Rot igrajo/cast Joshua Burge (Marty Jackitansky), Joel Potrykus (Derek), Teri Ann Nelson (Carol), Katie Call (Stacy), Joe Anderson (Craig Kowalcyk), Scott Baisden (James), Rico Bruce Wade (Larry), Crystal Hilliard (Maid) producenta/producers Michael Sanders, Ashley Young produkcija/production Sob Noisse Ashley Young Grand Rapids, MI, USA E ashley�sobnoisse.com format/format HD, barvni/colour dol`ina/running time 97'

Anarhi~na in uporni{ka sklenitev "`ivalske trilogije" enega najbolj svojskih ustvarjalcev sodobnega ameri{kega neodvisnega filma prina{a zgodbo o malem ~loveku, ki se v imenu vse bolj brezpravnih 99 odstotkov ameri{ke dru`be poda v napad na korporativno Ameriko.

An anarchic and rebellious conclusion of the "animal trilogy" by one of the most idiosyncratic makers of contemporary American indie film, Buzzard spotlights an everyman who decides to take on the corporate America on behalf of the increasingly rightless fellow citizens.

Marty Jackitansky, za~asno zaposlen v pisarni za izdajo hipote~nih posojil, si je odlo~en izboriti tisto, kar mu pripada, s prevarami in krajo korporacij. Najprej namerava okrasti kar lastno firmo, kar pove tudi Dereku, edinemu prijatelju na delu. A napetost in stres, ki si ju s tem naprti, za~neta vse bolj vplivati nanj. Postane ujetnik lastnih sumni~enj, zaradi ~esar se zate~e v Derekovo klet. Toda v enem izmed napadov tesnobe za~ne groziti tudi Dereku, zato pobegne v Detroit, mesto, ki so ga v njegovih o~eh korporacije iz`ele tako kot vse iz tistih nevidnih 99 odstotkov ameri{ke dru`be.

Marty Jackitansky, a temp at a mortgage office, is out to get what he feels he deserves. One of his main goals is to swindle and scam corporations, even just for the thrill. So Marty hatches a scheme to steal from his own company, which he reveals also to his work mate, Derek. The increasing pressure of the situation and the stress are slowly starting to affect him. Soon his ever stronger suspicions force him to hide in Derek's basement. After lashing out against Derek, Marty hops a bus to Detroit, a city that has fallen victim to corporate oppression alongside that 99% of insignificant American individuals.

"Ne `elim si toliko, da bi gledalci navijali za protagonista, ampak ga preprosto razumeli in se celo poistovetili z njegovim vedenjem. /.../ Kot moj prej{nji film Ape tudi ta prikazuje diegetski svet.

Izvirno napisane filmske glasbe ni, je pa veliko dobre glasbe. Ni komedija, je pa sme{en. Ni grozljivka, vendar zna biti stra{ljiv.

Odvzel sem vsakr{no mo`nost bli{~a. Gledalci morajo vedeti, da pripoveduje resnico, ~eprav ne prihaja iz ust glavnega junaka."

(Joel Potrykus)

"I want audiences not so much to root for the protagonist, but to simply understand and even relate to his behaviour. /.../ As with my previous film, Ape, this film shows a diegetic world.

There is no score, but lots of good music. It's not a comedy, but it's funny. It's not horror, but may be scary. And I've eliminated any possibility of glamour. I want audiences to know that the truth is being told, even if it's not coming from the mouth of the protagonist." (Joel Potrykus)

Joel Potrykus

filmografija/filmography

Že v srednji {oli je za~el snemati kratke filme (super osmi~ka). Pozneje, spodbujen z zgodnjimi deli Jima Jarmuscha in Davida Lyncha, se je lotil tudi bolj ambicioznih projektov, kot je "živalska trilogija", ki se za~ne s kratkim Coyote, nadaljuje s celove~ernim prvencem Ape (nagrada za prvenec v Locarnu), Mrhovinar pa je njen sklepni del. V delih prepleta `anrski {und in slogovne postopke avtorskega filma.

1999 1999 1999 2001 2007 2010 2012 2014

Began making Super-8 movies in high school. Later on, encouraged by the early work of Jim Jarmusch and David Lynch, he tackled more ambitious projects, such as the "animal trilogy" that started with the short film, Coyote, continued with the debut feature, Ape (Best First Feature Award at Locarno), and concluded with Buzzard. In his films, Potrykus blends the genre of pulp and the stylistic methods of auteur cinema.

festivali, nagrade (izbor)/ festivals, awards (selection) South by Southwest 2014, Sarasota 2014, Minneapolis-St. Paul 2014, Cinetopia 2014, Locarno 2014

prodaja/world sales Media Luna New Films UG Aachener Strasse 24 50674 Cologne, Germany E info�medialuna.biz

The Ludivico Treatment (kratki/short) Peter Knows Kelly's the Cool One (kratki/short) Birthday Boy (kratki/short) Mice & Milk (kratki dokumentarni/documentary short) Gordon (kratki/short) Coyote (kratki/short) Ape Buzzard (Mrhovinar)

19

Perspektive Perspectives

Ich seh, Ich seh Goodnight Mommy Lahko no~, mamica Avstrija Austria 2014

Veronika Franz, Severin Fiala re`ija/directed by Veronika Franz, Severin Fiala scenarij/screenplay Veronika Franz, Severin Fiala fotografija/cinematography Martin Gschlacht glasba/music Olga Neuwirth monta`a/editing Michael Palm igrajo/cast Susanne Wuest, Lukas Schwarz, Elias Schwarz, Hans Escher, Elfriede Schatz, Karl Purker, Georg Deliovsky, Christian Steindl, Christian Schatz, Erwin Schmalzbauer producent/producer Ulrich Seidl produkcija/production Ulrich Seidl Film Produktion GmbH Wasserburgergasse 5/7 1090 Vienna, Austria E office�ulrichseidl.com format/format DCP, barvni/colour dol`ina/running time 99' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2014, Toronto 2014

prodaja/world sales Films Distribution 34, rue du Louvre 75001 Paris, France E info�filmsdistribution.com

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[e eno srhljivo popotovanje po stranpoteh ~love{kega vedenja iz dru`inske produkcije avstrijskega pikre`a Ulricha Seidla.

Yet another chilling insight into deviant human behaviour by the spouse of the trenchant critic of Austrian society, Ulrich Seidl.

Vrhunec poletnega vro~inskega vala. V oddaljeni pode`elski hi{i med gozdom in koruznimi polji desetletna dvoj~ka ~akata svojo mamo. Ko se ta vrne, je njena glava ovita v povoje zaradi prestale plasti~ne operacije. Po njeni vrnitvi ni~ ve~ ni, kot je bilo. Mati je zdaj stroga in hladna, dru`ini pa posku{a omejiti vezi z zunanjim svetom. Dvoj~ka za~neta dvomiti, ali je ta `enska resni~no njuna mati. Odlo~ena sta, da prideta zadevi do dna in poi{~eta resnico.

In the heat of the summer, ten-year-old twins wait for their mother in an isolated house in the countryside, situated between woods and corn fields. When she comes back, her head wrapped in bandages after plastic surgery, nothing is as it was before.

Stern and distant now, she shuts the family off from the outside world. Starting to doubt that this woman is actually their mother, the boys are determined to find the truth by any means.

"Ljubiva fizi~ne filme, ki te popolnoma preplavijo. Ne filmov, ki predstavljajo samo neki koncept ali pripovedujejo zgodbe, temve~ tiste, ki prikazujejo prepotene ljudi, drgetajo~e, vpijo~e, jokajo~e, krvave~e, v katerih se pot, drget, vpitje, jok in krvavenje prelijejo tudi fizi~no na gledal~evo telo. Tak{en film sva `elela ustvariti.

Vendar se je obenem moral dr`ati tudi dolo~enega naturalizma.

Zanimala naju je dolo~ena groza, ki se poraja v vsakdanjem `ivljenju in izhaja iz resni~nosti, iz zelo preprostih stvari, kot so povit obraz, stavek, pove~evalno steklo, nitka za ~i{~enje zob."

(Veronika Franz & Severin Fiala)

"We love physical cinema, movies that overpower you, movies that are not simply about a concept or telling a story, but rather ones that show people sweating, trembling, screaming, crying, bleeding, and where the sweating, trembling, screaming, crying and bleeding are also communicated to the viewer's body. That's the kind of movie we wanted to make. But a movie that at the same time adhered to a certain naturalism. We were interested in a certain kind of horror, one that grows out of daily life and is rooted in reality and in very simple things: a bandaged face, a sentence, a magnifying glass, dental floss." (Veronika Franz & Severin Fiala)

Veronika Franz, Severin Fiala

skupna filmografija /joint filmography

V. F.: Rojena leta 1965 na Dunaju. Delovala je na vseh podro~jih filmske umetnosti in refleksije: kot novinarka, asistentka re`ije, vodja avdicij, {tudentka filozofije in posrednica pri prodaji. Soproga Ulricha Seidla, s katerim sodeluje tudi poklicno vse od filma The Bosom Friend (1997) naprej.

Born in Vienna in 1965, Franz has been active in all fields of cinematic art and film criticism: film journalist, assistant director, casting director, philosophy student, saleswoman. Ulrich Seidl’s wife, she has worked as co-scriptwriter and artistic collaborator on all of his films since The Bosom Friend (1997).

S. F.: Rojen leta 1985 na Dunaju. S filmom se ukvarja od enajstega leta, posnel je ve~ kratkih filmov. Leta 2012 je kot scenarist in re`iser za~el snemati z Veroniko Franz.

Born in Vienna in 1985, Fiala has been making films since the age of 11. Having made a number of shorts, he established a scriptwriting and filmmaking partnership with Veronika Franz in 2012.

2012 Kern (dokumentarni/documentary) 2013 Dreh & Trink (Shoot & Drink) (kratki dokumentarni/documentary short) 2014 Ich seh, Ich seh (Goodnight Mommy/Lahko no~, mamica)

Perspektive Perspectives

Plemja The Tribe Pleme Ukrajina Ukraine 2014

Miroslav Slabo{picki

re`ija/directed by Miroslav Slabo{picki scenarij/screenplay Miroslav Slabo{picki fotografija/cinematography Valentin Vasjanovi~ zvok/sound Sergi Stepanski monta`a/editing Valentin Vasjanovi~ igrajo/cast Grigori Fesenko (Sergej), Jana Novikova (Ana), Rosa Babi, Aleksander Dsiadevi~, Jaroslav Biletski, Ivan Ti{ko, Aleksander Osad~i, Aleksander Sidelnikov, Aleksander Panivan producenti/producers Valentin Vasjanovi~, Jacopo Saraceni, Federico Saraceni produkcija/production Garmata film production E vasyanovych�ukr.net format/format DCP, barvni/colour dol`ina/running time 130'

Celove~erni prvenec ve~krat nagrajenega ukrajinskega re`iserja je zgodba o najstni{kem nasilju in iskanju identitete v novem okolju, njeni protagonisti pa se med seboj pogovarjajo izklju~no v znakovnem jeziku. Film je predvajan brez podnapisov ali razlage.

Debut feature by Myroslav Slaboshpytskiy, an award-winning Ukrainian director, The Tribe chronicles teenage violence and the bitter struggle to establish one's identity in an alien environment. Shot entirely in sign language with neither subtitles nor voice-over.

Gluhonemega Sergeja vpi{ejo v internat s prilagojenim programom za gluhoneme. V novi {oli se sre~a s Plemenom, mre`o, ki se ukvarja s kriminalom in prostitucijo. Sergej sodeluje pri nekaj organiziranih ropih in tako uspe{no napreduje po hierarhiji kriminalne organizacije. Nato spozna Ano, eno od {efovih prile`nic, in kmalu nevedé prekr{i vsa nenapisana pravila Plemena.

Deaf mute Sergey enters a specialised boarding school for deafand-dumb. In this new place, he needs to find his way through the hierarchy of the school's network, The Tribe, dealing with crime and prostitution. By taking part in several robberies, he gets propelled higher into the organisation. Then he meets one of the Chief's concubines, Anna, and unwittingly breaks all the unwritten rules of the tribe.

"Nikoli mi ni pri{lo na misel, da bi film posnel z igralci, ki nimajo prizadetega sluha. Telesna govorica je pri slu{no prizadetih naravna in zelo individualna. Ljudje pri govoru uporabljajo samo obrazne mi{ice, slu{no prizadeti pa komunicirajo s celotnim telesom. Igralce za film sem iskal skorajda celo leto, ve~inoma s pomo~jo dru`abnih omre`ij. Za glavne vloge smo preu~ili vloge okoli tristotih kandidatov. Vendar nismo posneli niti enega samega poklicnega igralca. Vsi nastopajo~i so otroci z ulice. Mislim, da so do`iveli edinstveno `ivljenjsko izku{njo. Sam sem jo zagotovo."

(Miroslav Slabo{pitski)

"I have never considered the idea of making this film with hearing actors. Body language is natural and very individual for deaf people. Because people who speak use only facial muscles when pronouncing words, while deaf people use the whole body to communicate. The casting of my movie lasted about a year, mainly through social networks. We have considered about 300 applicants for the leads. But we did not shoot a single professional. All of our artists are children from the streets. I think they gained some unique experience of a lifetime. I certainly did."

(Myroslav Slaboshpytskiy)

Miroslav Slabo{picki

filmografija/filmography

Rojen leta 1974 v Kijevu, Ukrajina. Na Dr`avnem in{titutu za film in gledali{~e v Kijevu je diplomiral iz filmske re`ije. Sprva je pisal scenarije za TV-filme, nato pa se je za~el ukvarjati tudi z re`ijo. Njegova kratka filma Diagnoz in Glukhota sta bila oba nominirana za berlinskega zlatega medveda, kratki film Jaderni vidhodi pa je bil leta 2012 nagrajen s srebrnim leopardom na filmskem festivalu v Locarnu.

2006 2009 2010 2012 2014

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2014 (velika nagrada Tedna kritike/Critics Week Grand Prize)

prodaja/world sales Alpha violet 14 rue Soleillet, BL64 75020 Paris, France E info�alphaviolet.com

Incident (kratki/short) Diagnoz (Diagnosis) (kratki/short) Glukhota (Deafness) (kratki/short) Jaderni vidhodi (Nuclear Waste) (kratki/short) Plemja (The Tribe/Pleme)

distribucija/distribution Cenex d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Born in 1974 in Kiev, Ukraine. He graduated from the Kiev State Institute of Theatre and Arts, majoring in feature film directing. He has worked as a script writer on numerous TV films and later on started making his own films. His shorts, Diagnosis and Deafness, have been nominated for the Berlin Film Festival Golden Bear Award. At the 2012 Locarno Film Festival, Myroslav Slaboshpytskiy won the Silver Leopard for his short film Nuclear Waste.

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Perspektive Perspectives

Mange tes morts Eat Your Bones Po`ri svoje prednike Francija France 2014

Jean-Charles Hue re`ija/directed by Jean-Charles Hue scenarij/screenplay Jean Charles Hue, Salvatore Lista fotografija/cinematography Jonathan Ricquebourg glasba/music Vincent-Marie Bouvot monta`a/editing Isabelle Proust

igrajo/cast Frédéric Dorkel, Jason François (Jason Dorkel), Mickaël Dauber (Mickaël Dorkel), Moise Dorkel, Joseph Dorkel, Philippe Martin (Tintin) producent/producer Thierry Lounas produkcija/production Capricci Films 3 rue de Clermont 44000 Nantes, France E contact�capricci.fr format/format DCP, barvni/colour dol`ina/running time 94' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2014 – [tirinajst dni re`iserjev/Directors’ Fortnight

prodaja/world sales Capricci Films 3 rue de Clermont 44000 Nantes, France E contact�capricci.fr

Triler s pridihom dokumentarnega filma orisuje resni~no `ivljenje Romov na severu Francije in je v celoti posnet s tamkaj{njimi natur{~iki.

A thriller shot in semi-documentary style, Eat Your Bones chronicles the goings-on in a Roma community in the North of France starring local non-professional actors.

Osemnajstletni Jason Dorkel pripada skupnosti jeni{kih Romov, nomadskemu ljudstvu s severa Francije. Med praznovanjem krsta se po petnajstih letih iz je~e vrne njegov polbrat Fred. Oba se skupaj z nasilnim, vzkipljivim bratom Michaelom in z njunim bratrancem, sicer kr{~anskim aktivistom Moisom, odpravita na lov za po{iljko rabljenega bakra. Zaradi Fredove nespretnosti se stvari na poti zapletejo, k ~emur pripomorejo tudi nenehna medsebojna nesoglasja, ki njihovo dru`enje zapeljejo na pot nepredvidljivega nasilja ...

Eighteen-year-old Jason Dorkel belongs to a community of Yeniche gypsies, a nomad people from Northern France. He is about to celebrate his baptism when his half-brother Fred returns after fifteen years in prison. Together with their brother, the violent, hot-headed Michael and their Christian activist cousin, Moise, they set off on a binge in search of a cargo of copper.

Their plans are gradually thwarted by Fred's ineptness and their own constant infighting, leading to a denouement that heads straight into thriller territory.

"Mange tes morts (Po`ri svoje mrtve) je najhuj{a `aljivka, ki jo lahko izre~e{ Romu. V na{em svetu zanjo ni primerjave. Ko je izre~ena, lahko vodi v razli~ne spore, ker pomeni, da si zapustil svoje prednike. /.../ Kdor po`re svojo besedo ali izbri{e spomin na prednike, ni vreden imena mo`. /.../ Pri nomadih, ki jih spremljam s filmsko kamero, obstaja dolo~ena bojevitost. Nikoli ne sme{ biti ovca. Nikoli ne sme{ kloniti. Kot vedno pravi Fred, bolje je biti klavec kot klavna `ival." (Jean-Charles Hue)

"Mange tes morts ('eat your dead') is the worst insult you can say to a Gypsy. There's no equivalent in the gadjo world. Once it's been uttered, it can lead to all kinds of drama because it implies that you've renounced your ancestors. /.../ Anyone who eats their words, or eats the memory of his ancestors, can't call himself a man. /.../ There's something about the travellers I've filmed that's always battling. To never be a sheep. To never give in. As Fred's always saying, it's better to be the butcher than the beef."

(Jean-Charles Hue)

Jean-Charles Hue

filmografija/filmography

Rojen leta 1968 v pari{ki ob~ini Eaubonne. Od 2003 naprej snema prigode dru`ine Dorkel iz skupnosti jeni{kih Romov, `ive~ih na severu Francije. Leta 2009 je posnel svoj dokumentaristi~ni prvenec Carne Viva, v katerem je raziskoval urbano mitologijo Tijuane. 2010 je posnel {e svoj igrani prvenec La BM du seigneur. Živi in dela v Parizu.

2006 2007 2008 2009 2010 2014

Born in 1968 in Eaubonne, a commune in the suburbs of Paris. Since 2003, Hue has been shooting the adventure of the Dorkels', a Yeniche family living in the North of France and belonging to the travelling community. In 2009, he directed his first documentary feature, Carne Viva, in which he explored Tijuana's urban mythology. His first fiction film, The Lord's Ride, was released in 2010. He is based in Paris.

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Pitbull Carnaval (kratki dokumentarni/documentary short) L'oeil de Fred (kratki dokumentarni/documentary short) Y'a plus d'os (kratki dokumentarni/documentary short) Carne Viva (dokumentarni/documentary) La BM du seigneur (The Lord's Ride) Mange tes morts (Eat Your Bones/Po`ri svoje prednike)

Perspektive Perspectives

Ein proletarisches Wintermärchen A Proletarian Winter's Tale Proletarska zimska pravljica Nem~ija Germany 2014

Julian Radlmaier

Shakespearjansko obarvana in prevratni{ko navdahnjena kritika neolibralnega zatiranja delavstva, tragikomedija o zarotni{tvu oblastnikov ter predvsem iskren poklon lenobi, ki v najbolj skrajnih oblikah postane oro`je dru`benega upora.

Trije mladi Gruzijci naj bi po~istili gra{~ino, kjer nem{ki proizvajalec oro`ja za izbrance pripravlja razstavo svoje umetni{ke zbirke.

Ko opravijo delo, se za~no poigravati z mislijo, da bi se tudi sami udele`ili sprejema. Toda predstavniki dru`bene elite jim dajo jasno in nedvoumno vedeti, da je delavski razred v njihovi dru`bi neza`elen in da je njegov prostor spodaj, v tema~nih kletnih prostorih. Pa vendar – `e prav baha{ko oblo`ene mize zapeljujejo in dra`ijo brbon~ice, predvsem pa kli~ejo k odlo~ni in brezkompromisni zavrnitvi krivi~nih in vsiljenih "pravil" razredne dru`be. Saj se je vendar tudi francoska revolucija za~ela zaradi "roglji~ka"!

"Morda je treba navidezno kompleksnost neoliberalne dru`be obravnavati z utopi~no naivnostjo. Z navidezno preprostostjo prvih filmov. S formalisti~no komedijo. S proletarsko zimsko pravljico."

(Julian Radlmaier)

re`ija/directed by Julian Radlmaier scenarij/screenplay Julian Radlmaier fotografija/cinematography Markus Koob monta`a/editing Julian Radlmaier igrajo/cast Natia Bakhtadze (Maka), Sandro Koberidze (Otar), Ilia Korkashvili (Shota), Lars Rudolph (Teltow), Willem Menne (ozkogledne`/smallminded person), Katja Weilandt (Jenny), Christoph Förster (bankir/ banker) producent/producer Kirill Krasovskiy produkcija/production Deutsche Film- und Fernsehakademie Berlin GmbH (DFFB) Potsdamer Str. 2, 10785 Berlin, Germany T +49 30 2575 91 52 format/format DCP, barvni/colour dol`ina/running time 63' festivali, nagrade (izbor)/ festivals, awards (selection) Rotterdam 2014, Khanty Mansiysk 2014, Basel 2014

A Shakespearian and revolutionary critique of the neoliberal oppression of the working classes, a tragicomedy about the conspiracy of the authorities and above all an honest homage to laziness, which, when taken to extremes, can become a tool for revolution.

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 ceremony and they are banished to the dark and dank basement.

Upstairs, 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?

"Perhaps, the seeming complexity of neoliberal society has to be tackled with a utopian naivety. With the seeming simplicity of early cinema. With a formalist comedy. With a proletarian winter's tale." (Julian Radlmaier)

Julian Radlmaier

filmografija/filmography

Rojen 1984 v Nürnbergu, Nem~ija. Po {tudiju teorije filma in umetnostne zgodovine (v Berlinu in Parizu) je kot asistent re`ije sodeloval z Wernerjem Schroeterjem, obenem pa tudi prevedel in uredil teoretska razmi{ljanja francoskega filozofa Jacquesa Rancièrja. Leta 2009 je na berlinski Akademiji za film in televizijo vpisal {e {tudij re`ije. Proletarska zimska pravljica je njegov celove~erni prvenec.

2010 The Tramp (kratki/short) 2011 Der Aufstand der Plebejer (kratki/short) 2013 Ein Gespenst geht um in Europa (A Spectre Is Haunting Europe) (kratki/short) 2014 Ein proletarisches Wintermärchen (A Proletarian Winter's Tale/ Proletarska zimska pravljica)

prodaja/world sales Deutsche Film- und Fernsehakademie Berlin GmbH (DFFB) Juli Schymik Potsdamer Str. 2, 10785 Berlin (Germany) E j.schymik�dffb.de

Born in 1984, in Nürnberg, Germany. Having graduated in film theory and art history in Berlin and Paris, he was the assistant director for Werner Schroeter and also worked as a translator and editor of theoretical writings by the French philosopher Jacques Rancière. In 2009 he took up the study of directing at the German Film and Television Academy in Berlin.

A Proletarian Winter’s Tale marks his debut feature.

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Perspektive Perspectives

La marche à suivre Guidelines Puberteta: navodila za uporabo Kanada Canada 2014

Jean-François Caissy re`ija/directed by Jean-François Caissy scenarij/screenplay Jean-François Caissy fotografija/cinematography Nicolas Canniccioni monta`a/editing Mathieu Bouchard-Malo

producentka/producer Johanne Bergeron produkcija/production National Film Board of Canada P.O. Box 6100 Station Centre-ville Montreal, Quebec, H3C 3H5, Canada E festivals�nfb.ca format/format DCP, barvni/colour dol`ina/running time 76' festivali, nagrade (izbor)/ festivals, awards (selection) Berlin 2014, IndieLisboa 2014

Dokumentaristi~ni portret generacije dijakov na srednji {oli v Kanadi, posnet v duhu institucionalnih {tudij Fredericka Wisemana.

A documentary portrayal of a generation of Canadian secondary school students, shot in the spirit of Frederick Wiseman’s studies of social institutions.

Dogajanje na srednji {oli zajema klju~ni ~as med otro{tvom in odraslostjo. Meje vseh vrst so na hudi preizku{nji: dijaki si v nekem trenutku ri{ejo tatuje po rokah, spet v drugem na skrivaj kadijo travo. Ta vidik njihovega vsakdana – kr{enje pravil, problemi z disciplino, medsebojni spori – pomeni osrednjo temo dolgih pogovorov med adolescenti in {olskimi socialnimi delavci. Šola tako ne opravlja le vloge izobra`evalne ustanove, temve~ postane tudi instrument, s katerim dru`ba udejanja odlo~ilen vpliv na svojo mladino. To je prostor, kjer mladi prejmejo moralne smernice za delovanje v dru`bi, v katero pravkar vstopajo.

A time between childhood and adulthood where boundaries are tested and overstepped. One day they’re still drawing tattoos on their arms with felt tips, the next smoking marihuana between lessons. This particular aspect of their daily reality – breaking rules, discipline problems at school and conflicts with other students – shines through in the long conversations conducted between the adolescents and their social workers. The school is less interesting in this context as an educational institution than as society’s last chance of having an impact on its young. This is where the moral guidelines for living together in society are laid out for them.

"Film ni portret skupine posameznikov. Je portret generacije, naslikan v izmenjavi zelo intimnih trenutkov, v medsebojnem stiku posameznikov, z drugimi, ve~jimi in brez besed, ki u~inkujejo kot zajem zraka. Iskal sem na~in za predstavitev najstni{tva, kako zelo hitro ujeti trenutke resnice, ne da bi ustvaril poseben odnos z mladimi. Ta sre~anja so mi to prilo`nost ponudila. Ker se spoprijemajo z `ivljenjskimi te`avami, hitro pozabijo na kamero."

(Jean-François Caissy)

prodaja/world sales National Film Board of Canada P.O. Box 6100 Station Centre-ville Montreal, Quebec, H3C 3H5, Canada E festivals�nfb.ca

Jean-François Caissy

filmografija/filmography

Rojen leta 1977 v vasici Saint-Omer v Québecu, fotografijo je {tudiral v tamkaj{njem Matanu. Svoje fotografije je predstavljal v {tevilnih galerijah in muzejih po svetu. Leta 2003 je ustanovil produkcijsko podjetje, pod katerim je leta 2005 produciral in re`iral svoj dokumentaristi~ni prvenec La saison des amours. Oba njegova naslednja filma, La belle visite in Puberteta: navodila za uporabo, sta se uvrstila v sklop Forum na Berlinalu.

2005 La saison des amours (Mating Season) (dokumentarni/documentary) 2010 La belle visite (Journey's End) (dokumentarni/documentary) 2014 La marche à suivre (Guidelines/Puberteta: navodila za uporabo)

Born in 1977, in the village of Saint-Omer in Québec, Caissy studied photography in Matane. His photos have been featured in various galleries and museums around the world. In 2003, he founded his own production company and in 2005 produced and directed his first documentary feature, Mating Season. His subsequent films, Journey's End and Guidelines, have both screened in the Berlin Film Festival's Forum section.

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"The film is not a portrait of a group of individuals. It is rather the portrait of a generation, through the alternation of very intimate moments, where one comes into contact with other individuals, and others, larger and speechless, which act as intakes of air.

I was looking for a way to capture adolescence, the moments of truth, very quickly, without having to create a special relationship with the youth. The encounters offered me this opportunity.

Because faced with life's difficulties, they readily forget the camera." (Jean-François Caissy)

Perspektive Perspectives

Blind Blind Slepa Eskil Vogt

Norve{ka, Nizozemska Norway, The Netherlands 2013 re`ija/directed by Eskil Vogt scenarij/screenplay Eskil Vogt fotografija/cinematography Thimios Bakatakis glasba/music Henk Hofstede monta`a/editing Jens Christian Fodstad

igrajo/cast Ellen Dorrit Petersen (Ingrid), Henrik Rafaelsen (Morten), Vera Vitali (Elin), Marius Kolbenstvedt (Einar) producenta/producers Hans-Jorgen Osnes, Sigve Endresen produkcija/production Motlys AS Sagveien 18 0459 Oslo, Norway E sigve�motlys.com & Lemming Film (The Netherlands) format/format DCP, barvni/colour dol`ina/running time 96'

Izviren, temen in duhovit celove~erni prvenec, v katerem se re`iser Eskil Vogt spra{uje, kak{en je pomen ~love{kega vida v vizualnem mediju.

An original, dark, and funny debut feature by Eskil Vogt, Blind is an experiment aimed at ascertaining the importance of sight for a visual medium.

Ingrid je slepa. Vse, kar ji preostane, sta poslu{anje radia in zvokov, ki jo obkro`ajo. Obhaja jo strah, da njen mo` Morten, medtem ko sedi ob njej na postelji, po spletnih klepetalnicah na skrivaj flirta z mladenkami. Einar ima nagnjenje do spletne pornografije in do `ensk z dolgimi lasmi, ampak je preve~ srame`ljiv, da bi kak{no ogovoril. Elin `ivi nasproti njega in nima nikogar, razen otroka, ki ve~ino ~asa pre`ivi pri o~etu. Ingridino `ivljenje je povezano z Einarjem in Elin. Povezujejo jih podobni strahovi in v nekem trenutku celo Ingridina slepota. Ingrid se zaveda Einarjevih in Elinih spolnih `elja in tudi Elin je seznanjena z Ingridinimi prednostmi. Ali pa sta tudi ona dva samo plod njene domi{ljije?

Ingrid is blind. She tends to sit at the window listening to the radio or to the sounds that surround her. She suspects husband Morten of chatting online with a mistress whilst sitting next to her in bed. Einar has a penchant for internet porn and women with long hair but he's too shy to approach anyone. Elin lives opposite him and has nobody to call her own except for her child, who spends most of the time with its father. Ingrid's life is connected to the lives of Einar and Elin. They seem to share some of her fears and at one point even her blindness. Ingrid is aware of Einar's and Elin's sexual desires and Elin is familiar with Ingrid's preferences. Or are these two just figments of Ingrid's imagination?

"Upam, da bo film podal veliko razli~nih vpogledov v ~love{ka bitja, {e zlasti v globine na{e notranjosti – vse ~udne, nespodobne, domi{ljijske misli, ki jih vsi imamo, pa jih le ste`ka delimo z drugimi." (Eskil Vogt)

"I hope the film will tell you a lot of different things about human beings, especially about their inner selves – all the strange, shameful, imaginative thoughts we all have, but which we often have a hard time sharing with others." (Eskil Vogt)

Eskil Vogt

filmografija/filmography

Rojen leta 1964 na Norve{kem. Diplomiral je iz re`ije na {oli La Fémis v Parizu. Posnel je vrsto kratkih filmov in prejel nominacijo za evropsko filmsko nagrado. Obenem se je uveljavil kot scenarist. Za Joachima Trierja je napisal scenarija za filma Reprise (2006) in Oslo, 31. avgusta (2011). Z njim sta se uvrstila v sklop Poseben pogled na filmskem festivalu v Cannesu.

1999 2002 2003 2004 2014

festivali, nagrade (izbor)/ festivals, awards (selection) Sundance 2014 (nagrada za scenarij/ Screenwriting Award), Berlin 2014

prodaja/world sales Versatile Films 135, Boulevard de Sébastopol 75002 Paris, France E pboye�versatile-films.com

Moments (kratki/short) Inferno (dokumentarni/documentary) Une étreinte (An Embrace) (kratki/short) Les étrangers (Strangers) (kratki/short) Blind (Slepa)

Born in Norway in 1964, Vogt graduated in directing from La Fémis in Paris and went on to direct a number of shorts, one of which was nominated for the European Film Award. Vogt has also had a successful screenwriting career, working with Joachim Trier on his films, including Reprise (2006) and Oslo, August 31st, a 2011 production selected for the Un certain Regard section of the Cannes Film Festival.

25

Perspektive Perspectives

Broj 55 Number 55 Številka 55 Hrva{ka Croatia 2014

Kristijan Mili} re`ija/directed by Kristijan Mili} scenarij/screenplay Ivan Pavli~i} fotografija/cinematography Mirko Piv~evi} glasba/music Andrija Mili} monta`a/editing Veljko Segari} igrajo/cast Goran Bogdan (Tomo), Alan Kati} (Miro), Marko Cindri} (Crni), Dra`en Mikuli} (Bo`o), Marinko Prga (Pero), Darko Milas (Djero), Jan Kereke{ (Kruno), Slaven Španovi} (Marko) producent/producer Stanislav Babi} produkcija/production HRT/Croatian Radiotelevision Prisavlje 3 10000 Zagreb, Croatia E produkcija�hrt.hr format/format DCP, barvni/colour dol`ina/running time 90' festivali, nagrade (izbor)/ festivals, awards (selection) Pulj/Pula 2014 (velika zlata arena/ Big Golden Arena, najbolj{i re`iser/ Best Director, najbolj{i scenarij/Best Screenplay, najbolj{a monta`a/Best Editing)

Veliki zmagovalec leto{njega puljskega filmskega festivala, nagrajen s kar osmimi zlatimi arenami, je pristen in obenem ~ustveno nabit prikaz resni~nega dogajanja med hrva{ko osamosvojitveno vojno.

An authentic and emotionally charged record of true events that took place during the Croatian War of Independence.

With as many as eight Golden Arena Awards, Number 55 is the runaway victor of this year's Pula Film Festival.

Jeseni leta 1991 se skupina hrva{kih vojakov v improviziranem oklepniku odpravi na patruljo. Kmalu padejo v zasedo, vozilo je uni~eno, vojaki pa se morajo zate~i v bli`njo hi{o. Obkoljeni vojaki se 24 ur upirajo srbskim enotam, obenem pa se jih njihovi soborci trudijo re{iti iz zasede …

In the autumn of 1991, a small group of Croatian soldiers go on patrol in an improvised armoured vehicle. Soon, they are ambushed, the vehicle gets destroyed and they are forced to hide in a nearby house. Their resistance to the rebel Serbs, Yugoslav Army and Serbian Special Forces lasts for 24 hours, while their fellow combatants are trying to get them out.

"Želeli smo, da bi film deloval nekoliko dokumentarno, saj smo ga zasnovali po resni~nih dogodkih iz leta 1991, kljub temu pa smo se hoteli izogniti vtisu televizijske reporta`e. Piv~evi} (direktor fotografije) je s pomo~jo lu~i `elel ustvariti sliko z navidezno napako, ki pa bi bila kljub temu videti zelo dobro. Prav zato ni ni~ preve~ poudarjeno ali izrazito v bli`njem posnetku, veliko stvari se dogaja nekako mimogrede, pomembna se nam je zdela spontanost, ki je obi~ajna v takih vojnih razmerah." (Kristijan Mili})

prodaja/world sales HRT/Croatian Radiotelevision Prisavlje 3 10000 Zagreb, Croatia E produkcija�hrt.hr

Kristijan Mili}

filmografija (izbor)/filmography (selection)

Rojen leta 1969 v Zagrebu. Na Akademiji dramskih umetnosti v Zagrebu je {tudiral filmsko in televizijsko re`ijo. Sprva je re`iral {tevilne kratke filme.

Leta 2007 je posnel svoj celove~erni prvenec Živi i mrtvi in zanj prejel kar osem zlatih aren na puljskem filmskem festivalu, pozneje pa je bil film nagrajen {e s sedmimi mednarodnimi nagradami.

2002 2007 2007 2010 2013 2014

Born in1969 in Zagreb, Mili} studied Film and TV Directing at the Academy of Dramatic Art in Zagreb. He first made several short films and in 2007 directed his first feature film, The Living and the Dead, which won as many as eight Golden Arenas at the Pula Film Festival, and subsequently seven international awards.

26

"Having based the film on true events that had occurred in 1991, we wanted it to have a documentary feel but still didn't wish it to resemble a TV news item. Through special light treatment, Piv~evi} (director of cinematography) aimed at creating an apparently defected picture, but one that would still look great.

That is why nothing is over-emphasised or pronounced in the close-up, many things unfold somehow incidentally; what we found important was the spontaneity that is characteristic for such wartime situations." (Kristijan Mili})

Sigurna ku}a (Safe House) (kratki/short) Zamka (Trap) (kratki/short) Živi i mrtvi (The Living and the Dead) Šampion (Champion) (kratki/short) Soba 3 (Room 3) (kratki/short) Broj 55 (Number 55/{tevilka 55)

Perspektive Perspectives

Casa Grande Casa Grande Velika hi{a Brazilija Brazil 2014

Fellipe Barbosa

re`ija/directed by Fellipe Barbosa scenarij/screenplay Karen Sztajnberg, Fellipe Barbosa fotografija/cinematography Pedro Sotero glasba/music Patrick Laplan, Victor Camelo monta`a/editing Nina Galanternick, Karen Sztajnberg igrajo/cast Thales Cavalcanti (Jean), Marcello Novaes (Hugo), Suzana Pires (Sonia), Clarissa Pinheiro (Rita), Bruna Amaya (Luiza), Alice Melo (Nathalie) producent/producer Iafa Britz produkcija/production Migdal Films Av. das Americas, 500 BI 21, Portaria C (Sala 323), Barra da Tijuca, RJ - 22640-904, Brazil E migdal�migdalfilmes.com.br format/format DCP, barvni/colour dol`ina/running time 117’

Prepri~ljivi prvenec brazilskega odkritja, ki se iz izrazito intimne, delno avtobiografske zgodbe o odra{~anju prelevi v kriti~no obravnavo razrednih razlik in rasizma sodobne brazilske dru`be.

17-letni Jean s star{i in mlaj{o sestro `ivi v elitnem predelu Ria, kjer mladi obiskujejo zasebne {ole, naokrog jih preva`ajo dru`inski vozniki, doma pa za red skrbijo hi{ne pomo~nice. Jean je v zadnjem letniku srednje {ole in moral bi se odlo~iti, kaj bo {tudiral. A kaj ko mu dekleta, piljenje zunanjega videza in divje no~no `ivljenje vzamejo toliko ~asa. Jean posku{a ube`ati tudi vse preve~ za{~itni{kim star{em, zato se mu {e sanja ne, da so se zna{li v resnih finan~nih te`avah. Nad dru`ino se za~no zbirati temni oblaki in Jean se mora kmalu sprijazniti z dejstvom, da mu zaradi o~etovega bankrota lagodno `ivljenje med dru`beno elito ne bo ve~ dosegljivo.

"Gre za izjemno oseben film, saj opisuje svet, v katerem sem odra{~al in iz katerega sem posku{al ube`ati. Moj poglavitni namen je bil povedati odli~no zgodbo, z osredoto~enostjo na like in razmerja med njimi, v okolju zelo specifi~nega in pristnega sveta. Poleg najstni{kih natur{~ikov sem sodeloval z zvezdniki limonad, katerih podoba se navezuje na like iz filma. Prizadeval sem si za naturalizem v igri in formalno strogost."

(Fellipe Barbosa)

festivali, nagrade (izbor)/ festivals, awards (selection) Rotterdam 2014, Sydney 2014, Tajpej/Taipei 2014, Giffoni 2014, Melbourne 2014

A convincing feature debut by Fellipe Barbosa, a Brazilian cinematic revelation, Casa Grande evolves from an expressly intimate, semi-autobiographical coming-of-age story into a critique of class distinctions and racism inherent in contemporary Brazilian society.

Seventeen year-old Jean lives with his parents and his younger sister in the elite district of Rio, among private schools, drivers and housekeepers. Jean is in his last year at secondary school and has to decide on what to study but is busy with girls, his appearance and nightlife. While Jean tries to escape from his over-protective parents, they keep their approaching bankruptcy secret. Above this well-organised and elitist world, dark clouds gather when it becomes apparent that Jean's dad, without informing his children, has used up nearly all the money.

"It's an extremely personal film, since it portrays the world in which I grew up and from which I tried to escape. My main intention was to tell a great story, focusing on characters and their relationships, set in a very specific and authentic universe.

I worked with non-professional teenage actors alongside soap opera stars, whose image connects with the characters in the film. Besides the naturalism in the performances, I strived for a formal rigour.” (Fellipe Barbosa)

Fellipe Barbosa

filmografija/filmography

Rojen leta 1981 v Riu de Janeiru, Brazilija. Študij filmske re`ije opravil na Univerzi Kolumbija v New Yorku. Posnel ve~ kratkih filmov, dva {e posebej uspe{na: La muerte es pequeña in Beijo de sal. Revija Filmmaker ga je leta 2007 razglasila za enega od petindvajsetih novih obrazov neodvisnega filma.

2011 je posnel celove~erni dokumentarec Laura, Velika hi{a pa je njegov celove~erni igrani prvenec.

2005 2007 2008 2011 2014

prodaja/world sales Visit Films 173 Richardson Street Brooklyn, NY 11222, USA E info�visitfilms.com

La muerte es pequeña (kratki/short) Beijo de sal/Salt Kiss (kratki/short) Canosaone (kratki/short) Laura (dokumentarni/documentary) Casa Grande (Velika hi{a)

Born in 1981, in Rio de Janeiro (Brazil), Barbosa studied film at Columbia University in New York. He directed several short films: two of them, La muerte es pequeña and Salt Kiss, are especially noteworthy. In 2007, the Filmmaker Magazine named him one of the 25 "new faces of independent film". In 2011, Barbosa directed a full-length documentary, Laura. Casa Grande is his first fiction feature as a director.

27

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Predpremiere Avantpremieres

Le grand soir Le grand soir Veliki ve~er 32 20.000 dni na Zemlji 20,000 Days on Earth Iain Forsyth, Jane Pollard 33 Alan Partridge: Alfa samec Alan Partridge: Alpha Papa Declan Lowney 34 Amaterji In Order of Disappearance Hans Petter Moland 35 Banda punc Girlhood Céline Sciamma 36 Birdman Birdman or (The Unexpected Virtue of Ignorance) Alejandro González Iñárritu 37 ^udesa The Wonders Alice Rohrwacher 38 Foxcatcher: Boj z norostjo Foxcatcher Bennett Miller 39 G. Turner Mr. Turner Mike Leigh 40 Gemma Bovery Gemma Bovery Anne Fontaine 41 Golob je sedel na veji in razmi{ljal o `ivljenju A Pigeon Sat on a Branch Reflecting on Existence Roy Andersson 42 Gozdovi so {e vedno zeleni The Woods Are Still Green Marko Naber{nik 43 Jauja: Raj na zemlji Jauja Lisandro Alonso 44 Leviatan Leviathan Andrej Zvjagincev 45 Ljubezen je popolni zlo~in Love Is the Perfect Crime Arnaud Larrieu, Jean-Marie Larrieu 46 Mamica Mommy Xavier Dolan 47 Oblaki nad Sils Mario Clouds of Sils Maria Olivier Assayas 48 Pasolini Pasolini Abel Ferrara 49 Phoenix Phoenix Christian Petzold 50 Poti k zvezdam Maps to the Stars David Cronenberg 51 Ugrabitev Michela Houellebecqa The Kidnapping of Michel Houellebecq Guillaume Nicloux 52 Vi{ja sila Force Majeure Ruben Östlund 53 Zgodbe o konjih in ljudeh Of Horses and Men Benedikt Erlingsson 54 Zimsko spanje Winter Sleep Nuri Bilge Ceylan

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Predpremiere Avantpremieres

20,000 Days on Earth 20,000 Days on Earth 20.000 dni na Zemlji Velika Britanija Great Britain 2014

Iain Forsyth, Jane Pollard re`ija/directed by Iain Forsyth, Jane Pollard scenarij/screenplay Iain Forsyth, Jane Pollard, Nick Cave fotografija/cinematography Erik Wilson glasba/music Nick Cave, Warren Ellis monta`a/editing Jonathan Amos igrajo/cast Nick Cave, Susie Bick, Warren Ellis, Kylie Minogue, Blixa Bargeld, Arthur Cave, Earl Cave, Kirk Lake, Darian Leader, Lizzie Phillips, Ray Winstone producenta/producers James Wilson, Dan Bowen produkcija/production JW Films 21 Goodge Street London W1T 2PJ, UK & Pulse Films (UK) & Corniche Pictures (UK) & BFI (UK) & Film4 (UK) format/format DCP, barvni/colour dol`ina/running time 95'

Dvajsettiso~i dan v `ivljenju Nicka Cava – od jutranjega zvoka budilke do sprehoda po pla`i po ve~ernem koncertu.

Celove~erni dokumentarni prvenec britanskih re`iserjev Iaina Forsytha in Jane Pollard v nami{ljenem dnevu ori{e `ivljenjsko zgodbo avstralskega glasbenika Nicka Cava. Filmska pripoved razlaga Cavov pogled na svet in njegovo filozofijo, ki jo prena{a na glasbeno ustvarjanje. Dramatizirani prizori se vra~ajo v glasbenikovo otro{tvo, njegovi glasbeni sopotniki, kot sta Blixa Bargeld in Kylie Minogue, pa se spominjajo minulih sodelovanj.

Kombinacija igranih in dokumentarnih posnetkov na vsakem koraku bri{e mejo med umi{ljenim in resni~nim ter med zasebnim in javnim. Dvajset tiso~ dni na Zemlji ni toliko klasi~ni dokumentarec kot portret nebrzdane ustvarjalnosti.

festivali, nagrade (izbor)/ festivals, awards (selection) Sundance 2014, Berlin 2014, Seattle 2014, Sydney 2014, Karlovi Vari/ Karlovy Vary 2014

"Nikomur izmed nas ni bila zares v{e~ tradicionalna oblika glasbenega dokumentarca. Misel, da opazovanje Bona med pomivanjem posode in spremljanjem otrok v {olo nekako razkrije 'resnico' o tem umetniku. Vsem se je zdelo, da kakovosten rockovski zvezdnik v resnici postane umetnost, ki jo je ustvaril."

(Iain Forsyth)

prodaja/world sales Hanway Films 24 Hanway Street London, W1T 1UH, UK E info�hanwayfilms.com distribucija/distribution Cenex d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

In their cinematic debut, British filmmaking duo Jane Pollard and Iain Forsyth capture the life story of the renowned Australian musician, Nick Cave, in one fictional day. The narrative delves into Cave's worldview and the philosophy that he applies to his songwriting. Dramatised scenes depict a conversation with a therapist about his childhood. Fellow musicians like Blixa Bargeld and Kylie Minogue reminisce with Cave about their collaborations. The alternation of dramatised and documentary footage blurs the boundaries between fiction and reality, private and public. Rather than a classic documentary, 20,000 Days on Earth is a poetic portrait of a restless creativity.

"None of us really liked the traditional form of music documentary. The idea that if you see Bono washing the dishes and taking the kids to school, that somehow there's a 'truth' you're learning about the artist. What we all felt was that if a rock star is any good, then they become the thing they've created."

(Iain Forsyth)

Iain Forsyth, Jane Pollard

skupna filmografija/joint filmography

Iain Forsyth rojen leta 1973 v Manchestru, Jane Pollard pa 1972 v Newcastlu. Med letoma 1992 in 1995 sta oba {tudirala na Kolid`u Goldsmiths v Londonu. Od takrat delata skupaj. Uveljavila sta se z inovativnim performansom A Rock 'n' Roll Suicide, ki temelji na Bowiejevem liku Ziggyja Stardusta, skupaj pa sta posnela tudi vrsto kratkih filmov.

2005 2008 2009 2011

Iain Forsyth was born in Manchester, in 1973, and Jane Pollard in Newcastle, in 1972. Having studied at the Goldsmiths College in London between 1992 and 1995, the artists have been working together ever since. They asserted themselves with a live performance entitled A Rock 'n' Roll Suicide, which was based on David Bowie's legendary Ziggy Stardust character. Together, Forsyth and Pollard have also made a number of shorts.

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The 20,000th day in the life of Nick Cave – from the sound of his alarm clock in the morning to a nocturnal stroll along the beach after a gig.

Walking After Acconci: Redirected Approaches (kratki/short) Run For Me (dokumentarni/documentary) Radio Mania: An Abandoned Work (kratki/short) Do You Love Me Like I Love You (dokumentarna serija/ documentary series) 2013 Jumpers: What Must I Do to Be Saved (kratki/short) 2014 20,000 Days on Earth (20.000 dni na Zemlji) (dokumentarni/ documentary)

Predpremiere Avantpremieres

Alan Partridge: Alpha Papa Alan Partridge: Alpha Papa Alan Partridge: Alfa samec Declan Lowney

Velika Britanija, Francija Great Britain, France 2013

Izmi{ljen radijski lik DJ Alan Partridge, ikona angle{kega radijskega humorja, po dvajsetih letih najde pot tudi na filmska platna.

The story of an invented radio character and the icon of British radio humour, DJ Alan Partridge, has after twenty years finally been adapted for the screen.

Lik Alana Gordona Partridgea sta leta 1991 ustvarila Armando Iannucci in Steve Coogan, ki ga je vselej interpretiral, v tej filmski razli~ici pa tudi utelesil. Alan Partridge dela za majhno radijsko postajo, ki postane `rtev prevzema velike brezdu{ne korporacije.

Alanov sodelavec Pat je prepri~an, da bosta oba kaj kmalu ostala na cesti, vendar Partridge ohrani povsem mirno kri. Ko pa izve, da se novi nadrejeni odlo~ajo med njim in Patom, se za prijateljevim hrbtom nemudoma skrivaj snide z njimi in jih prepri~a, naj raje odslovijo Pata, kar tudi storijo. A Pat se {e isti ve~er ma{~uje: celotno radijsko postajo vzame za talca in zahteva svojo pravico.

The character of Alan Gordon Partridge was created in 1991 by Armando Iannucci and Steve Coogan, who has always portrayed the character and also played the lead role in the cinematic adaptation. The small radio station Alan Partridge works for is being taken over by a soulless corporation. His mate Pat is convinced they’ll lose their jobs, but Partridge is unfazed. That quickly changes when he inadvertently discovers the bigwigs are making a cut, and the choice is between him and Pat. Partridge secretly goes behind his pal's back, convincing the bosses to sack Pat – advice they end up taking. Later that night, Pat gets his revenge by taking the station hostage.

"Partridge ima sposobnost izre~i tisto, kar si vsi mislimo, pa tega ne izre~emo, ker bi bilo narobe, `aljivo ali neolikano. On to preprosto izusti. Nima samocenzure. V njem ni zavor, ki nas vse obvladujejo. In to je res u`itek gledati, ko ve{, da bo nekdo ustrelil kozla. Vendar se z njim istovetimo, saj pogosto mislimo enako."

(Declan Lowney)

festivali, nagrade (izbor)/ festivals, awards (selection) New York 2013, Chicago 2013, Rotterdam 2013, Jameson Empire Awards (najbolj{a komedija/Best Comedy)

"Partridge has this ability to say what we're all thinking of saying, but we don't say it because it would be the wrong thing to say, or it would be offensive to say it, or rude to say it. He just comes out with this shit. He doesn't have that edit button. He doesn’t have the pause control that we all have in our brain. And that’s really enjoyable to watch, knowing someone's going to put their foot in it. But we identify with him, because we often think the same thing." (Declan Lowney)

Declan Lowney

filmografija (izbor)/filmography (selection)

Rojen leta 1960 v Dublinu na Irskem. Njegova filmografija obsega ve~ kot {tirideset re`ij in scenarijev; med njimi izstopajo predvsem kultne televizijske serije (O~e Ted, Sre~a, Little Britain). Ob re`iji tv-filma Mr. Stink je bil nominiran za osrednjo britansko filmsko nagrado bafta, Alan Partridge: Alfa samec pa je po mnenju {tevilnih kritikov najbolj{a komedija leta 2013.

1992 Time Will Tell (dokumentarni/documentary) 1993 Curious: The Velvet Underground in Europe (dokumentarni/ documentary) 1995–96 Father Ted (O~e Ted) (TV-serija/TV series) 2000 Wild About Harry 2001–03 Happiness (Sre~a) (TV-serija/TV Series) 2005 Little Britain (TV-serija/TV Series) 2012 Mr. Stink (TV-film/TV Movie) 2013 Alan Partridge: Alpha Papa (Alan Partridge: Alfa samec)

Born in 1960 in Dublin, Ireland, Lowney has directed or written over forty works, among which most noteworthy are episodes for award-winning British shows including Father Ted, Happiness and Little Britain. Lowney was nominated for a BAFTA Award in 2012 for his work on Mr. Stink. Alan Partridge: Alpha Papa has been selected as best comedy at the 2013 cinema critics' poll.

re`ija/directed by Declan Lowney scenarij/screenplay Peter Baynham, Steve Coogan, Neil Gibbons, Rob Gibbons, Armando Iannucci, Patrick Marber fotografija/cinematography Ben Smithard glasba/music Ilan Eshkeri monta`a/editing Mark Everson igrajo/cast Steve Coogan (Alan Partridge), Felicity Montagu (Lynn Benfield), Simon Greenall (Michael the Geordie), Colm Meaney (Pat Farrell), Anna Maxwell Martin (CC Janet Whitehead), Darren Boyd (Martin Fitch), Nigel Lindsay (Jason Cresswell), Simon Delaney (Don), Monica Dolan (Angela Ashbourne) producenta/producers Kevin Loader, Henry Normal produkcija/production Baby Cow Productions 33 Foley Street London W1W 7TL, UK E info�babycow.co.uk format/format DCP, barvni/colour dol`ina/running time 90’

prodaja/world sales The Festival Agency SARL 14 rue des jeuneurs 75002 Paris, France E info�thefestivalagency.com distribucija/distribution Cinemania Roj~eva 1 1000 Ljubljana E info�cinemania-group.si

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Predpremiere Avantpremieres

Kraftidioten In Order of Disappearance Amaterji Norve{ka, [vedska, Danska Norway, Sweden, Denmark 2014

Hans Petter Moland re`ija/directed by Hans Petter Moland scenarij/screenplay Kim Fupz Aakeson fotografija/cinematography Philip Ogaard glasba/music Brian Batz, Kaspar Kaae, Kare Vestrheim monta`a/editing Jens Christian Fodstad igrajo/cast Stellan Skarsgard (Nils), Kristofer Hivju (Strike), Bruno Ganz (Papa), Birgitte Hjort Sorensen, Pal Sverre Hagen (Greven), Jakob Oftebro (Aron Horowitz), Peter Andersson (Wingman), Tobias Santelmann (Finn), Sergej Trifunovi} (Neboj{a), Anders Baasmo Christiansen (Geir), David Sakurai (Kinamann), Stig Henrik Hoff (policist/police officer), Goran Navojec (Stojan) producenta/producers Finn Gjerdrum, Stein B. Kvae produkcija/production Paradox Nedre Gate 7 0551 Oslo, Norway E linda�paradox.no & Zentropa International (Sweden) & Zentropa Entertainment (Denmark) format/format DCP, barvni/colour dol`ina/running time 116'

Me{anica skandinavskega krimi~a in ~rne komedije, v kateri poni`en delavec po sinovi smrti osebno obra~una z norve{kim podzemljem.

Norve{ka pozimi. Delavni, a introvertirani Nils dela kot voznik velikega pluga, s katerim ~isti ceste in gorske prelaze negostoljubne zimske pokrajine. Za svoje delo je pravkar osvojil naziv me{~ana leta, a obenem je izvedel tudi, da je njegov sin umrl zaradi prevelikega odmerka heroina. Ker ne verjame uradni razlagi sinove smrti, se odpravi osebno poiskat domnevne morilce. Presenetljiv potek dogodkov iz njega naredi neusmiljenega junaka podzemlja, ~igar identitete nih~e ne pozna.

Na svojem pohodu se sre~a z miselnostjo {vedskih, norve{kih in srbskih gangsterjev, zasne`ena norve{ka pokrajina pa postane adut, s katerim stvari obrne v svoj prid.

festivali, nagrade (izbor)/ festivals, awards (selection) Berlin 2014, Tribeca 2014, Seattle 2014, Sydney 2014

"Ma{~evanje je v filmih pogost motiv, vendar sem ga hotel raziskati, kot ga ljudje {e niso. /.../ Moj film je te`ko opredeliti, saj sem se hotel osvoboditi vsakr{nih `anrskih omejitev v trdnem prepri~anju, da je mogo~e tragedijo in komedijo absurda postaviti eno drugi ob bok." (Hans Petter Moland)

prodaja/world sales TrustNordisk Filmbyen 22 2650 Hvidovre, Denmark E info�trustnordisk.com distribucija/distribution Continental film d.o.o.

Stegne 3 1000 Ljubljana E manja.verbic�continentalfilm.si

Norway, winter. Introverted and hard-working Nils drives the powerful snow plough that keeps open the roads and mountain passes of an inhospitable frozen landscape. He's just been named citizen of the year for his efforts when he receives news that his son has died of a heroin overdose. Refusing to believe the official version of his son's death, he begins a covert search for the boy's alleged murderers. A surprising turn of events causes him to become a tough-as-nails and feared underworld hero – one whose identity nobody knows. On his exploits in the realm of gangsters Nils has to deal with the mentalities of the Swedish, Norwegian and Serb Mafiosi, but the endless wintry-white landscape is his trump card that he will use to his advantage.

"Revenge is not an uncommon theme in movies, but I wanted to explore it in a way that other people have not. /.../ It is difficult to categorize this film because I wanted to blow the doors off of any genre limitation out there in the firm belief it is possible to have tragedy and absurd comedy live side by side." (Hans Petter Moland)

Hans Petter Moland

filmografija/filmography

Rojen leta 1955 v Oslu, Norve{ka. [tudiral je film na Kolid`u Emerson v Bostonu. Kot re`iser dela `e ve~ kot dvajset let; celove~erni prvenec Secondloitnanten je posnel leta 1993. S filmom Kjaerlighetens kjotere si je leta 1995 prislu`il posebno omembo `irije na festivalu v San Sebastianu.

Amaterji je `e njegov tretji film, ki je tekmoval v uradnem programu Berlinala.

1993 1995 2000 2002 2002 2004 2006 2010 2012

Born in 1955 in Oslo, Norway, Moland studied film at Emerson College in Boston and has been working as a director for over 20 years. He made his first feature, The Last Lieutenant, in 1993. His 1995 feature, Zero Kevin, was awarded a special mention by the jury at San Sebastián. In Order of Disappearance is Moland's third film to have been selected for the competitive programme of the Berlin Film Festival.

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A blend of Scandinavian crime film and dark comedy, In Order of Disappearance features a humble worker who single-handedly takes vengeance on the Norwegian underground after his son’s death.

Secondloitnanten (The Last Lieutenant) Kjaerlighetens kjotere (Zero Kelvin) Aberdeen De beste gar forst (United We Stand) (kratki/short) Folk flest bor i Kina (segment) The Beautiful Country Gymnaslaerer Pedersen (Comrade Pedersen) En ganske snill mann (A Somewhat Gentle Man) Nar boblene brister (When Bubbles Burst) (dokumentarni/ documentary) 2014 Kraftidioten (In Order of Disappearance/Amaterji)

Predpremiere Avantpremieres

Bande de filles Girlhood Banda punc Francija France 2014

Céline Sciamma

Najstni{ka zgodba iz predmestja Pariza, s katero Céline Sciamma nadaljuje svoje raziskovanje spolne identitete v poznem otro{tvu.

Marieme je povpre~na, tiha najstnica, ki s star{i in sestro `ivi v eni revnej{ih sosesk v Parizu. Svojo prilo`nost do~aka, ko jo tamkaj{nja dekleta zvabijo v svojo tolpo, kar ji obeta dostop do prikupnih fantov. Marieme se takoj v`ivi v vlogo razgraja{kega dekleta, ki skupaj s prijateljicami postopa po nakupovalnih centrih in grozi konkuren~nim tolpam. Nekdaj tiha najstnica se tako odpravi na pot preobrazbe, v kateri postaja mlada `enska, polna uporni{kega duha in obenem odrasla oseba, ki povsem nadzoruje lastno usodo.

"Liki sami so zanetili projekt. Najstni{ka dekleta sem redno videvala v bli`ini pari{kega nakupovalnega sredi{~a Les Halles ali na metroju in v~asih na `elezni{ki postaji Gare du Nord: vedno v skupini, glasne, `ivahne, poplesujo~e. Hotela sem prodreti globlje v njihov svet, zato sem prebirala njihove bloge ter se navdu{ila nad njihovo estetiko, slogom in `ivljenjsko dr`o. Poleg neustavljive energije so njihovi `ivljenjepisi odra`ali vse teme v osr~ju mojega raziskovanja kot filmske ustvarjalke: oblikovanje `enske identitete v okviru dru`benega pritiska, omejitev in tabujev, pri katerih je klju~no vpra{anje poigravanje s podobo in identiteto." (Céline Sciamma)

re`ija/directed by Céline Sciamma scenarij/screenplay Céline Sciamma fotografija/cinematography Crystel Fournier glasba/music Para One monta`a/editing Julien Lacheray

igrajo/cast Karidja Touré (Marieme/Vic), Assa Sylla (Lady), Lindsay Karamoh (Adiatou), Marietou Touré (Fily), Idrissa Diabate (Ismaël), Simina Soumare (Bébé), Cyril Mendy (D`ibril /Djibril), Djibril Gueye (Abu/Abou) producenta/producers Bénédicte Couvreur, Rémi Burah produkcija/production Hold Up Films 22, rue Rambuteau 75003 Paris, France E infos�hold-up.com & Lilies Films (France) & ARTE France Cinéma (France) format/format DCP, barvni/colour dol`ina/running time 112'

In her take on Parisian suburban youth, Céline Sciamma continues her exploration of adolescent sexual identity.

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2014 – [tirinajst dni re`iserjev/Directors' Fortnight

Marieme is a reticent teenage girl who lives in a lower-class Paris neighbourhood with her parents and younger sister. The opportunity arrives for her to come out of her shell when a trio of local teens coaxes her into their gang, luring her with the promise of cute boys. Before long, Marieme has joined forces with the motley crew as they cruise shopping malls and threaten rival gangs on a freewheeling reign of terror. As she grows increasingly rebellious and assertive, the girl transforms from a subdued child to a young woman in control of her life.

"The characters themselves sparked the project. The teenage girls that I would regularly see hanging out in the vicinity of Paris' Les Halles shopping centre, or in the metro, sometimes in Gare du Nord train station: always in a gang, loud, lively, dancing.

Wanting to delve deeper, I sought out their blogs and came to be fascinated by their aesthetics, styles and poses. Beyond their irresistible energy, their profiles reflect all the themes that are at the heart of my ongoing work as a filmmaker: the construction of a feminine identity within the framework of social pressure, restrictions and taboos, in which the question of play on image and identity is central." (Céline Sciamma)

Céline Sciamma

filmografija/filmography

Rojena leta 1978, odra{~ala v predmestju Pariza. Po magisteriju iz francoske literature je {tudirala scenaristiko na filmski {oli La Femis. Njen prvi celove~erec Vodne lilije je bil predvajan na ve~ kot tridesetih festivalih po svetu ter osvojil nekaj nagrad, med njimi Louisa Delluca za najbolj{i prvi film.

Njen drugi film Pobalinka je bil {e bolj uspe{en, s filmom Banda punc pa se je prvi~ uvrstila v katerega od sklopov na canskem filmskem festivalu.

2007 2010 2011 2014

prodaja/world sales Films Distribution 34, rue du Louvre 75001 Paris, France E info�filmsdistribution.com

Naissance des pieuvres (Water Lilies/Vodne lilije) Pauline (kratki/short) Tomboy (Pobalinka) Bande de filles (Girlhood/Banda punc)

distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Born in 1978, Céline Sciamma grew up in suburban Paris. Having obtained a master's degree in French literature, Sciamma attended screenwriting courses at the French film school La Femis. Céline's first feature film, the critically acclaimed Water Lilies, was featured at more than 30 festivals worldwide and won the prestigious Louis Delluc Award. Her second feature film, Tomboy, was praised even more enthusiastically. Girlhood was the first of her films to be selected for the Cannes Film Festival.

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Predpremiere Avantpremieres

Birdman or (The Unexpected Virtue of Ignorance) Birdman or (The Unexpected Virtue of Ignorance) Birdman ZDA USA 2014

Alejandro González Iñárritu re`ija/directed by Alejandro González Iñárritu scenarij/screenplay Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Armando Bo fotografija/cinematography Emmanuel Lubezki glasba/music Antonio Sanchez monta`a/editing Douglas Crise, Stephen Mirrione igrajo/cast Michael Keaton (Riggan Thomson), Emma Stone (Sam), Naomi Watts (Lesley), Edward Norton (Mike Shiner), Zach Galifianakis (Brandon), Andrea Riseborough (Laura), Amy Ryan (Sylvia), Merritt Wever (Annie), Lindsay Duncan (Tabitha), Damian Young, Natalie Gold (Clara), Stefanie Bari (Sophie), Joel Garland (Jimmy) producenti/producers Alejandro González Iñárritu, John Lesher, Arnon Milchan, James W. Skotchdopole produkcija/production New Regency Pictures 10201 W. Pico Blvd., Bldg. 12 Los Angeles, CA 90035, USA E info�newregency.com & M Productions (USA) & Le Grisbi Productions (USA) format/format DCP, barvni/colour dol`ina/running time 119'

Prepri~ljiv re`ijski dose`ek mehi{kega cineasta Alejandra Gonzáleza Iñárrituja, v katerem breme zvezdni{tva zrcali resni~no izku{njo igralca Michaela Keatona.

Riggan Thomson je nekdanji hollywoodski zvezdnik, znan po filmski upodobitvi superjunaka Birdmana. S to~ke dale~ od vrhunca uspeha se sedaj posku{a vrniti na prizori{~e z ambiciozno broadwajsko predstavo. Upa, da se bo s to tvegano potezo uveljavil kot polnovredni umetnik. Kmalu pred premiero predstave pa se za~nejo kopi~iti te`ave, saj se eden izmed igralcev med vajami po{koduje v ~udni nesre~i. Namesto njega najamejo igralca Mika Shinerja, ki zagotavlja uspeh, a v projekt prinese kopico osebnih ekscentri~nosti. Bolj ko se bli`a premiera, bolj negotov je Riggan, ki je v projekt za povrh vlo`il vso svojo osebno in poklicno verodostojnost ...

festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2014, New York 2014

"Zanimalo me je raziskovanje bojev z egom, ideja, da gre vedno za iluzijo, pa ~e si {e tako uspe{en, po denarju ali slavi. Za~asno je. Ko se `ene{ za stvarmi, za katere meni{, da jih `eli{, in podeli{ ljudem mo~, da te ovrednotijo, kmalu potem ko jih kon~no dobi{, v tej sre~i zasledi{ minljivost." (Alejandro González Iñárritu)

prodaja/world sales Fox Searchlight 10201 West Pico Boulevard Building 38, 1st Floor Los Angeles, CA 90035, USA T 001 310 369 5971 distribucija/distribution Blitz film & video distribution d.o.o.

Dolenjska cesta 258 1291 [kofljica E marketing�blitz-film.com

Riggan Thomson, a one-time Hollywood star known for his Birdman character, hopes that by spearheading an ambitious new Broadway play he will revive his moribund career. In many ways, it is a deeply foolhardy move – but the former superhero has high hopes that this creative gambit will legitimise him as an artist. With the play’s opening night looming, Riggan's lead actor is injured by a freak accident during rehearsals and needs to be replaced quickly. Riggan reluctantly hires Mike Shiner – a loose cannon who is guaranteed to sell tickets but injects the play with his eccentricities. As he preps for the stage debut, Riggan is plagued by insecurities, as the project might erode his personal and professional credibility.

"I was interested in exploring the battles with the ego, the idea that no matter how successful you are, whether in money or recognition, it's always an illusion. It's temporary. When you are chasing the things you think you want and empower the people to validate you, when you finally get them, you soon find an impermanence in that joy." (Alejandro González Iñárritu)

Alejandro González Iñárritu

filmografija (izbor)/filmography (selection)

Rojen leta 1963 v Ciudadu de Mexicu. Tam je kot producent in did`ej delal za radijsko postajo WFM ter produciral glasbeno spremljavo za {est celove~ernih filmov. Leta 1991 je ustanovil lastno produkcijsko hi{o Zeta film, {tiri leta pozneje pa re`iral svoj prvi televizijski srednjemetra`ni film. S prvencem Pasja ljubezen je po`el veliko pozornosti kritikov in gledalcev, v naslednjem desetletju pa se je postopoma prebil med najvidnej{e re`iserje sveta.

1995 1996 2000 2003 2006 2010 2014

Born in 1963 in Mexico City, where he started his career as a DJ and producer at the Mexican radio station WFM and composed music for six Mexican feature films. In 1991 he set up Zeta Film, his own production house. Four years later he directed his first mid-length feature for television. While Love's a Bitch, his full-length debut feature, has won him international acclaim, his subsequent works earned him the reputation of one of the world's pre-eminent filmmakers.

36

An impressive cinematic tour-de-force by Mexican director Alejandro González Iñárritu whose exploration of the burden of celebrity is based on the real-life experience of actor Michael Keaton.

Detrás del dinero (kratki/short) El timbre (kratki/short) Amores perros (Love's a Bitch/Pasja ljubezen) 21 grams (21 gramov) Babel (Babilon) Biutiful (^u do vi to) Birdman or (The Unexpected Virtue of Ignorance) (Birdman)

Predpremiere Avantpremieres

Le meraviglie The Wonders ^udesa Italija, [vica, Nem~ija Italy, Switzerland, Germany 2014

Alice Rohrwacher

Dru`inska pripoved z idili~nega pode`elja na meji med Toskano in Umbrijo. Velika nagrada `irije na canskem filmskem festivalu.

A family tale unfolding in an idyllic countryside on the border between Tuscany and Umbria. Grand Prix at the Cannes Film Festival.

V dru`ini dvanajstletne Gelsomine vladajo posebna pravila.

Deklica kljub mladosti bdi nad celotno dru`ino, {e posebej nad tremi mlaj{imi sestrami. O~e Wolfgang si je vedno `elel mo{kega dedi~a, a tudi Gelsomina ima mo~an zna~aj, predvsem pa izrazit dar za ~ebelarstvo. Nekega dne na de`elo prispe televizijska oddaja z bogatimi nagradami v izboru za najbolj tradicionalno dru`ino. Gelsomina ho~e sodelovati na tekmovanju, o~eta pa medtem bolj skrbijo novi evropski zakoni, ki bi dru`ini utegnili prepre~iti nadaljnjo proizvodnjo medu. Po koncu tega izjemnega poletja za Gelsomino in njeno dru`ino ni ni~ ve~ kot prej.

Gelsomina's family functions according to very particular rules.

First of all, Gelsomina, at twelve years of age, practically runs the family. Her three younger sisters work under her watchful eye.

Gelsomina's father, Wolfgang, wanted a male heir, of course, but Gelsomina is strong and determined and what's more, she has a special talent for beekeeping. A TV show competition arrives from the city offering a cash prize for the Most Traditional Family.

Gelsomina wants to participate in the contest, but Wolfgang is tormented by the new European laws regarding farm produce that might compel them to cease production. Nothing will be the same at the end of this exceptional summer for Gelsomina and her family.

"To je bil prvi nagib, ki me je spodbudil k filmu ~udesa: te`ave, na katere pomisli{, ko pode`elje in majhne zaselke, ki ga poseljujejo, primerja{ s '~istimi' kraji, brez~asnimi in zaradi tega uporabnimi, ker se nikoli ne spremenijo. Ko pa jih vidi{ od znotraj (ali morda z obronkov), ti kraji niso tak{ni, ~istost pa je samo je~a, v katero so se zaprli, da bi v zameno prejeli vsakodnevni topli obrok."

(Alice Rohrwacher)

re`ija/directed by Alice Rohrwacher scenarij/screenplay Alice Rohrwacher fotografija/cinematography Hélène Louvart monta`a/editing Marco Spoletini igrajo/cast Alexandra Lungu (Gelsomina), Sam Louwick (Wolfgang), Alba Rohrwacher (Angelica), Sabine Timoteo (Cocò), Agnese Graziani (Marinella), Luis Huilca Logroño (Martin), Eva Morrow (Caterina), Maris Stella Morrow (Luna), Margarethe Tiesel (predstavnica "Drugega `ivljenja"/"Second Life" representative), Andre M. Hennicke (Adrian), Monica Bellucci (Milly Catena) producenti/producers Carlo Cresto-Dina, Karl "Baumi" Baumgartner, Tiziana Soudani, Michael Weber produkcija/production Tempesta Film via G. Carducci, 4 00187 Roma, Italy E info�tempestafilm.eu & RAI Cinema (Italy) & Amka Films Productions (Switzerland) & Pola Pandora Filmproduktion (Germany) format/format DCP, barvni/colour dol`ina/running time 111' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2014 (velika nagrada `irije/ Grand Prix), Karlovi Vari/Karlovy Vary 2014

"This was the first impulse that prompted me to work on The Wonders: the difficulties that one thinks when you think of the countryside, or of the small towns that make it up, as 'pure' places, outside of time, and thus usable because they can never change. But seen from within (or maybe seen from the sidelines), these places are not like that and purity is only a prison to which they have confined themselves in order to have in exchange a warm meal per day.” (Alice Rohrwacher)

Alice Rohrwacher

filmografija/filmography

Rojena leta 1981 v mestu Fiesole, Italija. [tudirala je v Torinu in Lizboni.

Sprva je delala kot glasbenica v gledali{~u ter kot monta`erka in re`iserka dokumentarnih filmov. Njen celove~erni prvenec Corpo celeste je bil premierno prikazan v sklopu {tirinajst dni re`iserjev na filmskem festivalu v Cannesu, nato pa med drugimi {e na festivalih v Sundanceu, Londonu, Riu in Tokiu.

2011 Corpo celeste 2014 La meraviglie (The Wonders/^udesa)

prodaja/world sales The Match Factory GmbH Balthasarstraße 79–81 50670 Cologne, Germany E info�matchfactory.de distribucija/distribution Cenex d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Born in 1981 in Fiesole (Italy), Rohrwacher studied in Turin and Lisbon.

She initially worked as performing musician for theatre and as editor and director in documentary filmmaking. Her first feature, Corpo Celeste, which premiered in Cannes within the scope of the Directors' Fortnight, was among others selected for the Sundance, London, Rio and Tokyo film festivals.

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Predpremiere Avantpremieres

Foxcatcher Foxcatcher Foxcatcher: Boj z norostjo ZDA USA 2014

Bennett Miller re`ija/directed by Bennett Miller scenarij/screenplay E. Max Frye, Dan Futterman fotografija/cinematography Greig Fraser glasba/music Mychael Danna, Rob Simonsen monta`a/editing Jay Cassidy, Stuart Levy, Conor O'Neill igrajo/cast Channing Tatum (Mark Schultz), Mark Ruffalo (David Schultz), Steve Carell (John du Pont), Anthony Michael Hall (Jack), Sienna Miller (Nancy Schultz), Vanessa Redgrave (Jean du Pont), Guy Boyd (Henry Beck), Stephanie Garvin (gost/ guest), Mark Schultz (sodnik/official), Dave Bennett (re`iser/filmmaker) Roger Callard (pilot), Brett Rice (Fred Cole), Corey Jantzen (CJ) producenti/producers Megan Ellison, Bennett Miller, Jon Kilik, Anthony Bregman produkcija/production Annapurna Pictures 9280 Nightingale Dr Los Angeles, CA 90069-1118, USA E info�annapurnapics.com & Likely Story (USA) & Media Rights Capital (USA) format/format DCP, barvni/colour dol`ina/running time 130' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2014 (najbolj{i re`iser/Best Director)

prodaja/world sales Annapurna International 9280 Nightingale Dr Los Angeles, CA 90069-1118, USA E info�annapurnapics.com distribucija/distribution Continental film d.o.o.

Stegne 3 1000 Ljubljana E manja.verbic�continentalfilm.si

Po resni~nih dogodkih posneta zgodba o odnosu med ekscentri~nim multimilijonarjem in rokoborcema, ki stopita pod njegovo okrilje.

Based on true events, Foxcatcher tells the dark story of the relationship between an eccentric multimillionaire and his two wrestling protégés.

Mark Schultz je rokoborski prvak, ki nikoli ni izstopil iz sence svojega starej{ega brata Dava. Prilo`nost za~uti, ko ga bogat dedi~ kemijskega podjetja DuPont povabi na svoje posestvo, da bi ga tam osebno treniral v novi dvorani. Du Ponta pri tem `enejo skrivni motivi, {e posebej dokazovanje svoji aristokratski materi, sloviti vzrediteljici konjev. Njegov zna~aj se za~ne ob dolgotrajnih treningih spreminjati, kar vpliva na Markovo krhko psiholo{ko ravnovesje, zato du Pont na posestvo povabi {e rokobor~evega brata. Ko du Pont spozna, da so na svetu stvari, ki jih denar ne more kupiti, za~ne odnos med njim in rokoborcema drseti v brezno, iz katerega ni vrnitve ...

Champion wrestler Mark Schultz has never stepped out of the shadow of his older brother, Dave. When invited by a wealthy heir, John du Pont, to move on to his estate and train at his new training facility, Schultz jumps at the opportunity. Driven by hidden needs, du Pont sees backing Schultz's bid for Gold as an opportunity to gain the respect of his aristocratic, horse-breeding mother. But du Pont's personality gradually turns, his erratic behaviour begins to erode the athlete's shaky self-esteem.

Du Pont becomes fixated on Dave and when he realises that there are things even his money cannot buy the trio is propelled towards an unforeseeable tragedy.

"Ustvarjanje tak{nega filma, ki ni vnaprej za~rtan, natan~no opredeljen projekt, preprost kot pobarvanka ali risanje po {tevilkah, zahteva brezpogojno zaupanje producentov in igralcev.

Podobno, kot bi ustvarjal dokumentarec, pri katerem ne ve{ natanko, kak{no obliko bo na koncu prevzel, vendar je edini na~in, da film postane to, kar mora, da se ga loti{ z nedolo~nostjo."

(Bennett Miller)

"Making a film like this, which is not a predetermined, connectthe-dots, colour-within-the-lines kind of thing, requires a leap of faith on the part of the producers and the actors. It’s almost like going into a documentary, where you don't know exactly what form it will take when it's finished, but the only way for the film to become what it needs to become is to go into it with a question mark." (Bennett Miller)

Bennett Miller

filmografija/filmography

Rojen leta 1966 v New Yorku, ZDA. @e od otro{tva prijateljuje s scenaristom Danom Futtermanom in pokojnim igralcem Philipom Seymourjem Hoffmanom. Njegov drugi celove~erec Capote je osvojil pet nominacij za oskarja, vklju~no s tisto za najbolj{o re`ijo. Zmagovalec iz leta 2011 je bil s {estimi nominacijami prav tako uspe{en.

1998 2005 2011 2012 2014

Born in 1966 in New York, Miller has known writer Dan Futterman and deceased actor Philip Seymour Hoffman since their childhood. His second feature film, Capote, was nominated in five Academy Award categories, including the Best Director Award. In 2011, the equally successful Moneyball received six Academy Award nominations.

38

The Cruise (dokumentarni/documentary) Capote Moneyball (Zmagovalec) The Question (kratki dokumentarni/documentary short) Foxcatcher (Foxcatcher: Boj z norostjo)

Predpremiere Avantpremieres

Mr. Turner Mr. Turner G. Turner Velika Britanija, Nem~ija, Francija Great Britain, Germany, France 2014

Mike Leigh

Biografski film o slikarju Josephu M. W. Turnerju je igralcu Timothyju Spallu prinesel nagrado za najbolj{ega igralca na festivalu v Cannesu.

The biographical film based on the life of an illustrious British painter, Joseph M. W. Turner, earned the lead actor Timothy Spall the Best Actor Award at the Cannes Film Festival.

Film raziskuje zadnje obdobje v `ivljenju slikarja Josepha Mallorda Williama Turnerja. Begajo ga izumi njegovega ~asa – znanost, fotografija, `eleznica, ki mo~no vplivajo na njegovo pojmovanje umetnosti. Po o~etovi smrti se slikar mo~no pretresen preseli h gospe Booth, vdovi in gospodarici hi{e ob morju. A tam `ivi dvojno, saj ji ne izda svoje prave identitete. Sre~uje se tudi z nekdanjo ljubico Sarah Danby, s katero ima odrasli h~eri, ki pa ju vztrajno zanika. Njegovo dru`enje s takratno aristokracijo, obiski bordela in nenavadni slikarski podvigi izrisujejo zna~aj navdihnjenega genija, a tudi ~uda{kega ekscentrika, ki ga briljantno upodobi igralec Timothy Spall.

Mr. Turner explores the last quarter century of the life of Joseph Mallord William Turner, a painter fascinated by the inventions of his time – science, photography, railroad – that have a profound impact on his understanding of art. Affected by the death of his father, Turner takes up with a widow, Mrs Booth, a seaside landlady. Eventually, he leads a double existence, living incognito with Mrs Booth in Chelsea, and plagued occasionally by an ex-lover, Sarah Danby, by whom he has two illegitimate adult daughters, whose existence he invariably denies. Enjoying the hospitality of aristocracy, visiting brothels and engaging in unusual painting exploits, the great Turner was an inspired genius as well as a single-minded eccentric, whose brilliance has been vividly portrayed by Timothy Spall.

"Bil je velikan med umetniki, popolnoma brezkompromisen in osredoto~en na svoje poslanstvo, izjemno plodovit, z revolucionarnim pristopom, mojstrski v svojem izraznem sredstvu, jasnovidne vizije. Vendar je bil Turner kot oseba ekscentri~en, anarhi~en, ranljiv, nepopoln, samosvoj in ob~asno neotesan. Znal je biti sebi~en in neiskren, stiska{ki, vendar radodaren, v njem sta se skrivali velika strast in pesni{kost."

(Mike Leigh)

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2014 (najbolj{i igralec/Best Actor)

"He was a giant among artists, single-minded and uncompromising, extraordinarily prolific, revolutionary in his approach, consummate at his craft, clairvoyant in his vision. Yet Turner the man was eccentric, anarchic, vulnerable, imperfect, erratic and sometimes uncouth. He could be selfish and disingenuous, mean yet generous, and he was capable of great passion and poetry." (Mike Leigh)

Mike Leigh

filmografija (izbor)/filmography (selection)

Rojen leta 1943 v Salfordu pri Manchestru. [tudiral je na Kraljevi akademiji dramskih umetnosti, na Umetnostnem kolid`u v Camberwellu, na Osrednji umetnostni {oli v Londonu in na Londonski filmski {oli, ki jo od leta 2000 naprej tudi vodi. Je filmski in gledali{ki re`iser, scenarist in dramatik ter ena najpomembnej{ih osebnosti britanske kinematografije.

1977 1982 1990 1993 1996 1997 1999 2002 2004 2008 2010 2014

Born in Salford near Manchester in 1943, Leigh trained as an actor at the Royal Academy of Dramatic Art, the Camberwell College of Arts, and the Central Art Schools. This was followed by studies at the London Film School, which he has headed since 2000. A director and screenwriter, as well as a playwright and stage director, Leigh is a major figure of British cinema.

re`ija/directed by Mike Leigh scenarij/screenplay Mike Leigh fotografija/cinematography Dick Pope glasba/music Gary Yershon monta`a/editing Jon Gregory igrajo/cast Timothy Spall (J.M.W. Turner), Paul Jesson (William Turner), Dorothy Atkinson (Hannah Danby), Marion Bailey (Sophia Booth), Karl Johnson (g./Mr. Booth), Ruth Sheen (Sarah Danby), Sandy Foster (Evelina), Amy Dawson (Georgiana), Lesley Manville (Mary Somerville), Martin Savage (Benjamin Robert Haydon), Richard Bremmer (George Jones), Niall Buggy (John Carew) producenti/producers Georgina Lowe, Michel Saint-Jean, Malte Grunert produkcija/production Thin Man Films 9 Greek Street London W1D 4DQ, UK E info�thinmanfilms.co.uk & Xofa Productions (UK) & Lipsync Productions (UK) & Diaphana (France) & France 3 Cinéma (France) & Amusement Park Films (Germany) format/format DCP, barvni/colour dol`ina/running time 149'

prodaja/world sales Sunray Films 12 Sunray Avenue Herne Hill London SE24 9PY, UK E cq�sunrayfilms.co.uk

Abigail's Party (TV film) Home Sweet Home (TV film) Life Is Sweet (@ivljenje je sladko) Naked (Goli) Secrets & Lies (Skrivnosti in la`i) Career Girls (Karieristke) Topsy-Turvy (Narobe svet) All or Nothing (Vse ali ni~) Vera Drake (Vera Drake) Happy-Go-Lucky (Kar brez skrbi) Another Year ([e eno leto) Mr. Turner (G. Turner)

distribucija/distribution Continental film d.o.o.

Stegne 3 1000 Ljubljana E manja.verbic�continentalfilm.si

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Gemma Bovery Gemma Bovery Gemma Bovery Francija France 2014

Anne Fontaine re`ija/directed by Anne Fontaine scenarij/screenplay Anne Fontaine, Pascal Bonitzer, Posy Simmonds (avtorica predloge/ author of original work) fotografija/cinematography Christophe Beaucarne glasba/music Bruno Coulais monta`a/editing Annette Dutertre igrajo/cast Fabrice Luchini (Martin Joubert), Gemma Arterton (Gemma Bovery), Jason Flemyng (Charlie Bovery), Isabelle Candelier (Valérie Joubert), Niels Schneider (Hervé de Bressigny), Mel Raido (Patrick), Elsa Zylberstein (Wizzy), Pip Torrens (Rankin), Kacey Mottet Klein (Julien Joubert) producenta/producers Matthieu Tarot, Philippe Carcassonne produkcija/production Albertine Productions 13, rue Yves Toudic 75010 Paris, France E info�albertineproductions.com & Cine� 16 rue de la Paix 75002 Paris, France E s.boulet�cine-at.com format/format DCP, barvni/colour dol`ina/running time 99'

Zabavna, domiselna pretopitev ve~ne klasike romanti~nega hrepenenja, Flaubertove Gospe Bovary, v sedanji ~as s stasito Gemmo Arterton v vlogi strastne mladenke, naveli~ane dolgo~asnega zakona.

Nekdanji pari{ki boemski bur`uj Martin je zdaj (bolj ali manj po lastni volji) va{ki pek v pode`elski Normandiji. Od njegovih mladostnih ambicij sta ostali le bogata domi{ljija in strast do dobre literature – predvsem izpod peresa Gustava Flauberta. Ni si te`ko zamisliti, v kak{no ~ustveno stanje ga pahne naklju~je, da se prav v njegovo sose{~ino priseli mlad angle{ki par z nenavadno doma~e zvene~imi imeni. Ne le, da se priseljenca imenujeta Charles in Gemma Bovery, tudi za njuno vedenje se zdi, da ga navdihujeta slavna Flaubertova junaka. Za ustvarjalca, ki neiz`ivet `di v peku Martinu, je prilo`nost (poleg testa) oblikovati usodo Flaubertovih junakov iz mesa in krvi preve~ mamljiva, da bi se ji lahko uprl. Toda ~edna Gemma ni brala klasikov in nima niti najmanj{e `elje po `ivljenju koga drugega.

festivali, nagrade Toronto 2014

"Dolo~eni prizori so popolnoma izmi{ljeni. Vendar menim, da je film zelo zvest tonu, humorju knjige Posy Simmonds, pravzaprav angle{kemu humorju. Je dokaj piker." (Anne Fontaine)

prodaja/world sales Gaumont 30, avenue Charles de Gaulle 92200 Neuilly-sur-Seine, France T +331 4 643 2000 distribucija/distribution Cenex d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Martin is a former Parisian bourgeois-bohemian, who has now become (mainly of his own volition) a baker in a Normandy village. All that remains of his youthful ambitions are a powerful imagination and a passion for great literature, in particular that of Gustave Flaubert. Imagine his emotional state when a young English couple, with strangely familiar names, take up residence in a small neighbouring farm. Not only are the newcomers called Gemma and Charles Bovery, but their behaviour seems to be inspired by Flaubert's heroes. For the creator slumbering within Martin, the opportunity to shape, apart from his daily bread, the destinies of flesh-and-blood characters is too good to miss. But pretty Gemma has not read the classics, and she fully intends living out her own life.

"There are scenes that are completely made up. But I think that the film is very faithful to the tone, to the humour of Posy Simmonds' book, to the English kind of humour actually. It's a pretty caustic humour." (Anne Fontaine)

Anne Fontaine

filmografija (izbor)/filmography (selection)

Rojena leta 1959 v Luksemburgu. Otro{tvo je pre`ivela v Lizboni, v najstni{kih letih pa se je preselila v Pariz, da bi se iz{olala za plesalko.

Filmsko pot je za~ela kot igralka (medtem je {tudirala tudi filozofijo), leta 1993 pa je posnela prvenec Les histoires d'amour finissent mal... en général, s katerim si je prislu`ila nagrado Jeana Vigoja. Danes velja za pomembno ime sodobnega francoskega filma.

1995 1997 1999 2001

Born in 1959 in Luxembourg, Fontaine spent her childhood in Lisbon.

In adolescence she moved to Paris and trained in dance. She began her cinematic career as an actress (while studying philosophy). Fontaine's first project as a director, Love Affairs Usually End Badly, won the 1993 Prix Jean Vigo. She is considered a prominent figure in contemporary French cinema.

40

Gustave Flaubert's novel of romantic yearning, Madame Bovary, is the inspiration for this imaginative recasting of a timeless masterpiece. Gemma Arterton glows as the title character – a passionate young woman whose dull married life steers her towards adultery.

2003 2005 2006 2008 2009 2011 2013 2014

Augustin Nettoyage à sec (Dry Cleaning/Suho ~i{~enje) Augustin, roi du kung-fu Comment j'ai tué mon père (How I Killed My Father/Kako sem ubil svojega o~eta) Nathalie...

Entre ses mains (In His Hands) Nouvelle chance La fille de Monaco (The Girl from Monaco) Coco avant Chanel (Coco Before Chanel/Coco Chanel) Mon pire cauchemar (My Worst Nightmare) Adore (Ob~udovani) Gemma Bovery

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En duva satt pa en gren och funderade pa tillvaron A Pigeon Sat on a Branch Reflecting on Existence Golob je sedel na veji in razmi{ljal o `ivljenju Roy Andersson

[vedska, Norve{ka, Francija, Nem~ija Sweden, Norway, France, Germany 2014

Tretji in zadnji film petnajst let nastajajo~e trilogije o ~love{ki biti je {vedskemu re`iserju Royu Anderssonu prinesel zlatega leva na bene{kem filmskem festivalu.

The third part of the cinematic trilogy on human existence that took fifteen years to complete earned its Swedish director Roy Andersson the Golden Lion Award at the Venice Film Festival.

Sam in Jonathan sta potujo~a prodajalca razli~nih zabavnih pripomo~kov, kot so vampirski zobje, smejalna naprava in groteskna obrazna maska. ^eprav se jima njuni domnevni prodajni hiti ne zdijo posebej sme{ni, ljudi vseeno prepri~ujeta, naj jih kupijo. Na brezciljnem popotovanju sre~ata kapitana ladje, ki je opustil `ivljenje na morju in postal brivec, u~iteljico flamenka, ki rada otipava svojega mladega u~enca, {epajo~o natakarico, ki namesto denarja od strank sprejema poljube, ter voja{ko brigado iz 18. stoletja, na ~elu katere je kralj Karel XII. Roy Andersson nam z omenjenimi liki posmehljivo dokazuje absurdnost ~lovekovega obstoja v prime`u zahodne civilizacije.

Sam and Jonathan are two travelling salesmen peddling novelty items, such as vampire teeth, laughing apparatuses and grotesque party masks. The two do not find their own products particularly amusing, but they do their best to convince others. Sam and Jonathan accompany us through a series of rich and surprising moments: the captain of the ferry abandoned life on the sea and now runs a hair salon, a female flamenco dancer reveals her affections by touching one of her male students, sailors and soldiers have no money and employ kisses as their currency to buy drinks at the Limping Lotta's pub and an 18th-century army of horses and footmen is spearheaded by King Charles XII. Through his cast of characters, Andersson sarcastically proves the absurdity of human existence in the clutches of Western civilisation.

"Menim, da vizualni portret ~love{kega bitja, najsi bo medij likoven ali filmski, pove ve~ kot besede. Zaradi tega mi je pri srcu Beckett – npr. njegovo delo ^akajo~ na Godota; tako je trivialno, lakoni~no, z liki, ki se napa~no razumejo. Vendar je tako resni~no. Moji prizori naj bi prikazali to napa~no razumevanje in napake ljudi, ki se sre~ujejo, vendar se v resnici ne pove`ejo, saj jih preganja ~as v njihovem iskanju tistega, kar se jim zdi pomembno."

(Roy Andersson)

festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2014 (zlati lev/ Golden Lion), Toronto 2014

"I think that the visual portrait of the human being, both in painting and in film, tells us more than words. That is also why I like Beckett – Waiting for Godot for example; it is so trivial, laconic, with these people misunderstanding each other. Yet it is so true. My scenes are supposed to show the misunderstandings and mistakes made by people who meet but do not really connect because they feel pressed for time in their pursuit of what seems important to them."

(Roy Andersson)

Roy Andersson

filmografija/filmography

Rojen leta 1943 v Göteborgu. Po uspe{nih filmih [vedska ljubezenska zgodba in Gilliap se je za~el oddaljevati od konvencij filmskega realizma. Ob snemanju ve~ kot {tiristotih oglasov je razvil samosvojo pripovedno formo, kombinacijo stati~nih prizorov in absurdnega humorja. To je nato uporabil pri filmski trilogiji Pesmi iz drugega nadstropja, Ti, ki `ivi{ in Golob je sedel na veji in razmi{ljal o `ivljenju.

1970 En Kärlekshistoria (A Swedish Love Story/[vedska ljubezenska zgodba) 1975 Giliap 1991 Härlig är jorden (World of Glory/Ljubka je Zemlja) (kratki/short) 2000 Sanger fran andra vaningen (Songs from the Second Floor/Pesmi iz drugega nadstropja) 2007 Du levande (You, the Living/Ti, ki `ivi{) 2014 En duva satt pa en gren och funderade pa tillvaron (A Pigeon Sat on a Branch Reflecting on Existence/Golob je sedel na veji in razmi{ljal o `ivljenju)

Born in Gothenburg in 1943. After the successful films A Swedish Love Story and Giliap he began to distance himself from realist conventions.

Through making more than 400 commercials he developed his own narrative form, a combination of static shots and absurdist humour. The latter was then applied to a trilogy of films, Songs from the Second Floor, You, the Living and A Pigeon Sat on a Branch.

re`ija/directed by Roy Andersson scenarij/screenplay Roy Andersson fotografija/cinematography István Borbás, Gergely Pálos glasba/music tradicionalna/traditional monta`a/editing Alexandra Strauss igrajo/cast Holger Andersson (Jonathan), Nils Westblom (Sam), Charlotta Larsson (Lotta), Viktor Gyllenberg (kralj Karel XII./King Charles XII), Lotti Törnros (u~iteljica flamenka/the flamenco teacher), Jonas Gerholm (osamljeni polkovnik/the lonely colonel), Ola Stensson (kapitan/the captain, brivec/barber) producentka/producer Pernilla Sandström produkcija/production Roy Andersson Filmproduktion AB Sibyllegatan 24 114 42 Stockholm, Sweden E studio24�royandersson.com & 4 1/2 Film (Norway) & Essential Filmproduktion GmbH (Germany) & Parisienne de Production (France) & Sveriges Television (Sweden) & Arte France Cinéma (France) & ZDF/Arte (Germany) format/format DCP, barvni/colour dol`ina/running time 100'

prodaja/world sales Coproduction Office 24, Rue Lamartine 75009 Paris, France E info�coproductionoffice.eu distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

41

Predpremiere Avantpremieres

Die Wälder sind noch grün The Woods Are Still Green Gozdovi so {e vedno zeleni Avstrija, Slovenija Austria, Slovenia 2014

Marko Naber{nik re`ija/directed by Marko Naber{nik scenarij/screenplay Marko Naber{nik, Robert Hofferer fotografija/cinematography Milo{ Srdi} glasba/music Michael Wollny monta`a/editing Jan Lov{e igrajo/cast Michael Kristof (Jakob Lindner), Simon [erbinek (Jan Kopetzky), Clemens Aap Lindenberg (general), Kristian Hodko (Karl Hafner) producent/producer Robert Hofferer produkcija/production Artdeluxe GmbH (Austria) E office�artdeluxe.at & Perfo d.o.o. (Slovenia) format/format DCP, barvni/colour dol`ina/running time 107’ festivali, nagrade (izbor)/ festivals, awards (selection) [anghaj/Shanghai 2014

Film Marka Naber{nika, posnet v avstrijski koprodukciji na resni~nih prizori{~ih prve svetovne vojne v Julijskih Alpah.

Prva svetovna vojna; avstro-ogrska monarhija na so{ki fronti bije bitko proti Kraljevini Italiji. Po italijanskem topnem napadu na postojanki visoko v gorah ostaneta `iva le ~e{ki stotnik Jan Kopetzky in vojak Jakob Lindner. Stotnik je hudo ranjen in mladi, neizku{eni vojak je bil na fronto vpoklican {ele pred kratkim.

Brez zalog hrane, vode in navodil poveljstva postane pre`ivetje brez izgube dostojanstva in ~love~nosti prava eksistencialna preizku{nja. Jakob ostane na stra`arskem prostoru z umirajo~im stotnikom. Njuna edina zveza z zunanjim svetom je voja{ki telefon.

"S producentom sva menila, da bi morala razviti zgodbo, ki bi opisala grozote vojne brez nazornih prikazov, velikih prizorov bitk in mno`i~nega umiranja. Zato sva se odlo~ila posneti more~o izku{njo vojakov, ki sama obti~ita v gorah Julijskih Alp. /.../ Sta topni{ka opazovalca, ki skozi daljnogled zaznavata ne~love{ko divjanje vojne. A ~eprav sta le pasivna opazovalca, kruta govorica oro`ja v njuni srci vseka globoke rane ter ju navda s strahom, ob~utki nemo~i, cinizmom, osamljenostjo, otopelostjo, jezo in razo~aranjem." (Marko Naber{nik)

distribucija/distribution Cenex d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

The First World War rages in Europe causing hellish destructions.

The Austro-Hungarian monarchy is fighting at the Central Powers southern front against the Kingdom of Italy. The Bohemian captain Jan Kopetzky and private Jakob Lindner are the sole survivors of an Italian artillery attack. The captain is seriously wounded and the young, inexperienced soldier was only recently drafted to the front. The strategically important observation point must not be abandoned. Trying to preserve their human dignity and compassion, and without food, water or instructions from the commander's office, the story of survival turns into a harrowing ordeal. Jacob remains on the post with the dying captain. Their only connection to the outside is the field telephone.

"The producer and I were of the opinion that a story should be developed to describe the horrors of war without explicit content, grand battles scenes or mass dying. That is why we decided to shoot the dismal experience of two soldiers stranded on their own in the Julian Alps. /.../ They are artillery observers, witnessing through a binoculars the inhuman ravages of war. But although only passive observers, the brutal language of weapons inflicts deep wounds on their hearts, in them evoking fear, feelings of powerlessness, cynicism, loneliness, apathy, anger and disillusionment." (Marko Naber{nik)

Marko Naber{nik

filmografija (izbor)/filmography (selection)

Rojen leta 1973 v Mariboru. Leta 2002 je na AGRFT v Ljubljani diplomiral iz filmske re`ije, 2010 pa kon~al {e magisterij. Njegov celove~erni prvenec Petelinji zajtrk je postal eden najbolj gledanih slovenskih filmov, njegov drugi celove~erec [anghaj pa je na festivalu v Montrealu prejel nagrado za najbolj{i scenarij. Naber{nik re`ira tudi tv-filme, serije in oddaje v `ivo ter predava na AGRFT.

1999 2000 2001 2004 2007 2011 2012 2014

Born in 1973 in Maribor, Slovenia, Naber{nik graduated in 2002 in film directing from the Academy of Theatre, Radio, Film and Television Ljubljana, where he also obtained a master’s degree in 2010. His debut feature, Rooster's Breakfast, is one of Slovenia's most popular films, and his second feature, Shanghai, won the Best Screenplay Award at the Montreal Film Festival. Naber{nik also directs TV films, series and live shows and is professor at the Academy of Theatre, Radio, Film and Television Ljubljana.

42

A Slovene-Austrian co-production, The Woods Are Still Green

by Marko Naber{nik was shot in the Julian Alps, the historic site of World War I.

Deseti planet (short documentary/kratki dokumentarni) Z ljubeznijo (short/kratki) Pavle (short/kratki) Izku{nja razlike (documentary/dokumentarni) Petelinji zajtrk (Rooster’s Breakfast) Trdoglavci (TV series/TV-serija) [anghaj Die Wälder sind noch grün (The Woods Are Still Green/Gozdovi so {e vedno zeleni)

Predpremiere Avantpremieres

Jauja Jauja Jauja: Raj na zemlji Lisandro Alonso

Argentina, Danska, Francija, Nem~ija, Mehika, ZDA, Nizozemska Argentina, Denmark, France, Germany, Mexico, USA, The Netherlands, 2014

Metafori~no iskanje obljubljene de`ele z Viggom Mortensenom, ki je poskrbel tudi za glasbeno podlago filma.

A metaphorical quest for a promised land starring Viggo Mortensen, who also wrote the movie's original music.

Po pripovedovanju prednikov je Jauja mitolo{ka de`ela obilja in sre~e. [tevilne ekspedicije so jo iskale, a vsi, ki so jo kdaj koli poskusili najti, so se na poti izgubili. V filmu spremljamo dogajanje ob voja{ki postojanki v Patagoniji leta 1882, med tako imenovanim "osvajanjem pu{~ave", gonjo proti prvotnemu prebivalstvu v regiji. Kapitan Gunnar Dinesen je semkaj pri{el slu`bovat s svojo petnajstletno h~erko Ingeborg. Najstnica je edina `enska dale~ naokrog, zato povzro~i nemir med mo{kimi.

Zaljubi se v mladega vojaka in neke no~i skupaj zbe`ita. Ko se kapitan zave, kaj se je zgodilo, se nemudoma odpravi na sovra`no ozemlje poiskat mladi par.

The Ancient Ones said that Jauja was a mythological land of abundance and happiness. Many expeditions tried to find the place to verify this but none of them has found the way. A remote military outpost in Patagonia, 1882, during the so-called "Conquest of the Desert", a genocidal campaign against the aboriginal population of the region. Captain Gunnar Dinesen has come from Denmark with his fifteen year-old daughter Ingeborg to take an engineering job with the army. Being the only female in the area, Ingeborg creates quite a stir among the men. She falls in love with a young soldier, and one night they run away together. When he wakes up, the Captain realises what has happened and decides to venture into enemy territory to find the young couple.

"Pred nekaj leti sem prejel e-sporo~ilo z novico, da je bila tesna prijateljica ubita v de`eli dale~ od domovine. /.../ Njena tragi~na usoda me je presunila, za~el sem razmi{ljati o tej zgodbi. Po njenem nasvetu ve~ pozornosti posve~am besedam in lastnim `eljam. Res je nenavadno, vendar ~utim, da se mi je ta film preprosto zgodil, svojo neresni~no obliko je zavzel kot sredstvo, s katerim bom la`je dojel svet in ~as, v katerih `ivimo, kako izginemo, da bi se nerazlo`ljivo, nadvse skrivnostno vnovi~ pojavili." (Lisandro Alonso)

re`ija/directed by Lisandro Alonso scenarij/screenplay Lisandro Alonso, Fabian Casas fotografija/cinematography Timo Salminen glasba/music Viggo Mortensen monta`a/editing Gonzalo del Val, Natalia López igrajo/cast Viggo Mortensen (Gunnar Dinesen), Ghita Nörby (`enska v jami/woman in the cave), Viilbjork Agger Malling (Ingeborg), Adrian Fondari (Pittaluga), Esteban Bigliardi (Angel Milkibar), Brian Patterson producenti/producers Lisandro Alonso, Viggo Mortensen, Ilse Hughan, Sylvie Pialat, Jaime Romandía, Andy Kleinman, Helle Ulsteen, Michael Weber, Ezequiel Borovinsky, Leandro Pugliese produkcija/production 4L Monroe 1220 1428 Buenos Aires, Argentina E lisandroalonso4l�gmail.com & Perceval Pictures (USA) & Fortuna Films (The Netherlands) & Les Films du Worso (France) & Mantarraya (Mexico) & Massive (USA) & Kamoli Films (Denmark) & The Match Factory (Germany) & Wanka (Argentina) & Bananeira Filmes (Brazil) format/format DCP, barvni/colour dol`ina/running time 108'

"A few years back I received an email telling me that a close friend had been assassinated in a land far away from her place of birth. /.../ I was devastated by what had happened to her and I began to think of this story. Following her advice, I have devoted more space to words, and to my own desires. Oddly enough, I feel that this film has come to me and taken its unreal form as a way of helping me grasp the world and time we live in, how we vanish in order to inexplicably return, in utterly mysterious ways."(Lisandro Alonso)

Lisandro Alonso

filmografija/filmography

Rojen leta 1975 v Buenos Airesu. Filmsko re`ijo je {tudiral na Universidad del Ciné. Poklicno pot je za~el kot asistent re`ije, leta 1995 je s Catriel Vildosola posnel kratki film Dos en la vereda. Njegov prvi celove~erec Svoboda je bil prikazan v sklopu Poseben pogled na filmskem festivalu v Cannesu, v isti sklop pa se je s filmom Jauja: Raj na zemlji uvrstil tudi letos.

1995 2001 2004 2006 2008 2014

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2014 (Poseben pogled/Un certain regard)

prodaja/world sales ND Mantarraya Sultepec 47 Col. H. Candesa 06170 Mexico City, Mexico E fm�mantarraya.com

Dos en la vereda (kratki/short) La libertad (Freedom/Svoboda) Los muertos Fantasma Liverpool Jauja (Jauja: Raj na zemlji)

distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Born in 1975 in Buenos Aires, Alonso studied film directing at the Universidad del Ciné. He started out on his career as an assistant director, and in 1995 together with Catriel Vildosola made the short Dos en la vereda.

Alonso's first feature film, Freedom, was screened at the Cannes Film Festival within the scope of the Un certain regard section, a distinction this year also achieved by Jauja.

43

Predpremiere Avantpremieres

Leviafan Leviathan Leviatan Rusija Russia 2014

Andrej Zvjagincev re`ija/directed by Andrej Zvjagincev scenarij/screenplay Oleg Negin, Andrej Zvjagincev fotografija/cinematography Mihail Kri{man glasba/music Philip Glass monta`a/editing Anna Mass igrajo/cast Aleksej Serebrijakov (Kolja), Elena Ljadova (Lilja), Vladimir Vdovi~enkov (Dmitri), Roman Madjanov (Vadim), Ana Ukolova (Angela), Aleksej Rozin (Pa{a), Sergej Pokodajev (Roma) producenta/producers Aleksander Rodnjanski, Sergej Melkumov produkcija/production Non-stop Production Office 503, 3d block 1 bld, Mosfilmovskaya Str. 119991, Moscow, Russia E office�nonstop-kino.ru format/format DCP, barvni/colour dol`ina/running time 140' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2014 (nagrada za najbolj{i scenarij/Best Screenplay), Karlovi Vari/Karlovy Vary 2014

Korupcija, nasilje in vodka v potokih: komi~no-cini~en vpogled v sprevr`eno delovanje institucij na ruskem pode`elju.

Corruption, violence and copious amounts of vodka: a comic and cynical take on the depraved dealings of the Russian countryside institutions.

Kolja `ivi v majhnem mestecu ob Barentsovem morju na severu Rusije in je lastnik avtomobilske delavnice. Njegovo podjetje se nahaja ob hi{i, v kateri `ivi s svojo mlado `eno Liljo in sinom iz prej{njega zakona. Hi{a z najlep{im razgledom v mestu mu pomeni vse, saj tu `ivi `e od rojstva. @upan mesta Vadim [elevjat mu ho~e zaradi idealne lege zemlji{~a posestvo zru{iti in zemljo vrniti v ob~insko last. Ker se Kolja trmasto upira ponujenemu denarju, `upan postaja vse bolj agresiven. Kolji je v veliko pomo~ dru`inski odvetnik Dmitri, a ko se pritiski od zunaj pove~ujejo, se za~ne krhati tudi nepopustljivost nekdaj enotne dru`ine.

Kolia lives in a small town near the Barents Sea, in North Russia.

He has his own auto-repair shop that stands right next to the house where he lives with his young wife Lilya and his son from a previous marriage. The beauty that has surrounded him from the day of his birth and his house that has the best view in town mean everything to him. Tempted by the ideal position of Kolia's land, Vadim Shelevyat, the Mayor, wants to demolish his business and the house. First he tries buying off Kolia, but Kolia cannot stand losing everything he has. So Shelevyat starts being more aggressive. Kolia solicits help from the family lawyer, Dmitri, but when pressure intensifies the once close-knit family starts to fall apart.

"Videnje dr`ave Thomasa Hobbsa je filozofov pogled na ~lovekovo pogodbo s hudi~em: vidi jo kot od ~loveka ustvarjeno po{ast za prepre~itev 'vojne vseh proti vsem', kot po{ast, ustvarjeno z razumsko voljo dose~i varnost v zameno za svobodo, ~lovekovo edino pravo lastnino. Podobno kot smo vsi od rojstva zaznamovani z izvirnim grehom, smo tudi rojeni v'dr`avi'.

Duhovna mo~ dr`ave nad ~lovekom je brezmejna."

(Andrej Zvjagincev)

prodaja/world sales Pyramide International 5, rue du Chevalier de Saint George 75008 Paris, France E lgarzon�pyramidefilms.com distribucija/distribution Cenex d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Andrej Zvjagincev

filmografija/filmography

Rojen leta 1964 v Novosibirsku, Sibirija. Na tamkaj{nji akademiji je diplomiral iz igre, nato pa {tudij nadaljeval na Ruski akademiji za gledali{ke umetnosti v Moskvi. Poleg igre se je ukvarjal tudi z re`ijo televizijskih nadaljevank, zaslovel pa je s filmom Vrnitev, ki mu je leta 2003 na bene{kem festivalu prinesel zlatega leva.

2000 2003 2007 2009 2011 2011 2014

Born in 1964 in Novosibirsk, Siberia, Zvyagintsev graduated from the Novosibirsk Drama School as an actor. He continued his studies at the Russian Academy of Theatre Arts in Moscow. Apart from acting, he also directed television series. He was brought to international fame with The Return, which won the Golden Lion Award at the 2003 Venice Film Festival.

44

"Thomas Hobbes' outlook on the state is that of a philosopher on man's deal with the devil: he sees it as a monster created by man to prevent 'the war of all against all', and by the understandable will to achieve security in exchange for freedom, man's sole true possession. Just as we are all, from birth, marked by the original sin, we are all born in a 'state'. The spiritual power of the state over man knows no limit." (Andrey Zvyagintsev)

^jornaja komnata (The Black Room) (TV-nadaljevanka/TV series) Vozvra{~enje (The Return/Vrnitev) Izgnanje (The Banishment/Izgnanje) Apocrypha (kratki/short) Elena Tyana (kratki/short) Leviafan (Leviathan/Leviatan)

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L’amour est un crime parfait Love Is the Perfect Crime Ljubezen je popolni zlo~in Francija, [vica France, Switzerland 2013

Arnaud Larrieu, Jean-Marie Larrieu

re`ija/directed by Arnaud Larrieu, Jean-Marie Larrieu scenarij/screenplay Arnaud Larrieu, Jean-Marie Larrieu fotografija/cinematography Guillaume Deffontaines glasba/music Caravaggio monta`a/editing Annette Dutertre igrajo/cast Mathieu Almaric (Marc), Karin Viard (Marianne), Sara Forestier (Annie), Maiwenn (Anna), Denis Podalydes (Richard), Marion Duval (Barbara) producenti/producers Francis Boespflug, Sidonie Dumas, Bruno Pésery produkcija/production Arena Films 20, rue Monsieur-le-Prince 75006 Paris, France E info�arenaetcompagnie.fr format/format DCP, barvni/colour dol`ina/running time 110' festivali/festivals Tokio/Tokyo 2013, Toronto 2013

V trilerju, nabitem s ~rnim humorjem, izvrstni Mathieu Amalric igra `enskarja, ki se po izginotju ene izmed njegovih ljubimk znajde v vrtincu nepri~akovanih dogodkov in {e mo~nej{ih strasti.

A thriller riddled with dark humour, Love Is the Perfect Crime stars the sensational Matthieu Amalric as a womanizer who is thrust into a whirlwind of unforeseen events and allconsuming passion after one of his lovers has gone missing.

Marc je predavatelj kreativnega pisanja na Univerzi v Lausanni.

Ve~ino ~asa razmi{lja o tem, kako bi med rjuhe spravil ~im ve~ privla~nih {tudentk. Po eni od strastnih no~i se njegova {tudentka Barbara ne vrne domov, zato za~ne policija preiskovati njeno izginotje. Sum pade na Marca, ki sicer prizna, da je imel z Barbaro razmerje, vendar pa trdi, da ne ve, kje bi lahko bila. Zaplet se {e poglobi, ko se na univerzitetnem kampusu pojavi Barbarina ma~eha, ki i{~e svojo pastorko, kmalu pa se tudi ona z Marcom zaplete v strastno ljubezensko razmerje.

Marc is a libidinous lecturer in creative writing at the Lausanne University who thinks nothing of sleeping with as many of his attractive young female students as possible. After one such night of passion, a student, Barbara, fails to return home and the police are called in to investigate her disappearance. Suspicion falls on Marc who admits to having an affair with the student but claims ignorance as to her whereabouts. The intrigue deepens when Barbara's stepmother appears on campus looking for her stepdaughter and she and Marc begin a torrid love affair.

"Film vedno izpostavi stali{~e lika in tu se pojavi senca dvoma: je to tisto, kar si `elimo, zakaj nosimo krivdo? Nikoli ne vemo, kaj se je v resnici zgodilo. Kot v `ivljenju, ko se mora{ ob usodnih dogodkih res poglobiti, da odkrije{ smisel. Kakor koli `e, rada imava mitologijo: bogovi in legende se napajajo iz resni~nosti, ta pa je toliko bolj razli~na in bogata zaradi dejstva, da ne gre za informativni program. Pripovedovati `eliva slojevite zgodbe."

(Jean-Marie Larrieu)

"The film always highlights the character's point of view and that is where the seeds of doubt are sown: is this what we want, why are we guilty? We never know what actually happened. As in life, when serious events occur, you have to dig really deep to be able to uncover the meaning. In any case, we like mythology: gods and legends are anchored in reality, that's what makes reality all the more different and all the richer, the fact that it's not a news programme. We try to tell stories with multiple layers."

(Jean-Marie Larrieu)

Jean-Marie, Arnaud Larrieu

filmografija/filmography

Rojena 1965 oz. 1966 v Lourdesu, Francija. @e kot najstnika sta z 8-milimetrsko kamero za~ela snemati filme, filmsko izobra`evanje pa sta nadaljevala v Parizu, kjer sta diplomirala iz filma in filozofije. Skupaj sta posnela {tevilne kratke in celove~erne filme ter dokumentarce, ki so bili uvr{~eni v programe {tevilnih filmskih festivalov po vsem svetu.

1992 1999 2000 2001 2003 2005 2005 2008 2009 2013

Jean-Marie and Arnaud Larrieu are brothers, born in 1965 and 1966, respectively, in Lourdes, France. In their teens, they made Super 8 movies and pursued their studies in Paris with a BA in philosophy, and a master's degree in cinema from the University of Paris. They have made a number of shorts as well as feature and documentary films that were screened at several international film festivals.

prodaja/world sales Gaumont S.A 30, avenue Charles de Gaulle 92200 Neuilly sur Seine, France E ycomte�gaumont.fr

Ce jour-là (dokumentarni/documentary) Fin d'été (Summer's End) La brèche de Roland (Roland’s Pass) Madonna à Lourdes (kratki/short) Un homme, un vrai (A Man, a Real One) Peindre ou faire l'amour (To Paint or Make Love) Les fenêtres sont ouvertes (dokumentarni/documentary) Le voyage aux Pyrénées (The Journey to the Pyrenees) Les derniers jours du monde (Happy End) L'amour est un crime parfait (Love Is a Perfect Crime/Ljubezen je popolni zlo~in)

distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

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Mommy Mommy Mamica Kanada Canada 2014

Xavier Dolan re`ija/directed by Xavier Dolan scenarij/screenplay Xavier Dolan fotografija/cinematography André Turpin glasba/music Noia monta`a/editing Xavier Dolan igrajo/cast Anne Dorval (Diane "Die" Després), Antoine-Olivier Pilon (Steve Després), Suzanne Clément (Kyla), Alexandre Goyette (Patrick), Patrick Huard (Paul Béliveau), Michèle Lituac (ravnateljica/principal), Viviane Pacal (Marthe), Nathalie Hamel-Roy (Natacha) producenta/producers Nancy Grant, Xavier Dolan produkcija/production Metafilms 1703, rue Sanguinet Montréal H2X 3G5, Canada E ngrant.metafilms�gmail.com format/format DCP, barvni/colour dol`ina/running time 134' festivali, nagrade (izbor)/festivals, awards (selection) Cannes 2014 (nagrada `irije/Jury Award), Sydney 2014, Karlovi Vari/ Karlovy Vary 2014

prodaja/world sales Séville International 455 St-Antoine O. Montréal H2Z 1J1, Canada E anickp�filmsseville.com distribucija/distribution Cinemania Roj~eva 1 1000 Ljubljana E info�cinemania-group.si

Film, ki je ob~instvo po svetu navdu{il z izjemno energijo igralske zasedbe in re`iserjevim drznim vizualnim poigravanjem.

Featuring an overwhelming cast and daring visual expression, Xavier Dolan's new film has enthralled the viewers all over the globe.

Die je bojevita mati samohranilka in vzgaja petnajstletnega Antoina, ki trpi za motnjo hiperaktivnosti in primanjkljajem pozornosti (ADHD), zato je Die vsak dan izpostavljena njegovim nepredvidljivim in spornim dejanjem. V predmestno sosesko se medtem priseli nova dru`ina. Antoine in Die se spoprijateljita z bojazljivo, jecljajo~o dru`insko mamo Kylo. Skupaj tvorijo nelo~ljiv prijateljski krog, znotraj katerega namesto poprej{njih te`av vznikne upanje na bolj{i jutri.

Die, a feisty widowed single mom finds herself burdened with the full-time custody of her 15-year-old son, Antoine, who suffers from attention deficit hyperactivity disorder or ADHD. As they try to make ends meet and struggle with their unpredictable ménage, newcomers move into the suburban neighbourhood.

They befriend the timid, stammering Kyla, the new girl across the street who offers Die help. A tight circle of friends, they find a new sense of balance together, and hope is regained.

"^e je ena sama tema, o kateri vem ve~ kot o kateri koli drugi, me brezpogojno navdihuje in mi je predvsem najljub{a, je to zagotovo moja mama. In ko re~em moja mama, mislim mamo nasploh, lik, ki ga predstavlja. /.../ Med ustvarjanjem filma Ubil sem svojo mamo sem imel ob~utek, da jo `elim kaznovati. Od tedaj je minilo samo pet let, sedaj mislim, da si s filmom Mamica prizadevam za njeno ma{~evanje." (Xavier Dolan)

"Should there be one, just one subject I'd know more than any other, one that would unconditionally inspire me, and that I love above all, it certainly would be my mother. And when I say my mother, I think I mean THE mother at large, the figure she represents. /.../ Back in the days of I Killed My Mother, I felt like I wanted to punish my mom. Only five years have passed ever since, and I believe that, through Mommy, I'm now seeking her revenge." (Xavier Dolan)

Xavier Dolan

filmografija/filmography

Rojen leta 1989 v Montrealu, Kanada. V reklamah, TV-serijah in filmih je za~el igrati `e pri {tirih letih. Pri dvajsetih je napisal, re`iral in produciral svoj prvenec Ubil sem svojo mamo ter zanj prejel nagrado v sklopu [tirinajst dni re`iserjev v Cannesu. Od tedaj se njegovi filmi redno uvr{~ajo v programe najve~jih svetovnih festivalov.

2009 2010 2012 2013 2013 2014

Born in 1989 in Montreal, Canada, Dolan starred in commercials, TV series and films at the early age of four. Aged twenty, he wrote, directed and produced his debut feature, I Killed My Mother that was awarded within the scope of the Directors' Fortnight at Cannes. Since then his films have regularly featured at major international film festivals.

46

J'ai tué ma mère (I Killed My Mother/Ubil sem svojo mamo) Les amours imaginaires (Heartbeats/Nami{ljene ljubezni) Laurence Anyways Tom à la ferme (Tom at the Farm) College Boy (glasbeni video/music video) Mommy (Mamica)

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Sils Maria Clouds of Sils Maria Oblaki nad Sils Mario Francija, [vica, Nem~ija France, Switzerland, Germany 2014

Olivier Assayas

Sils Maria, kraj ~ude`nih vremenskih pojavov, kjer je navdih neko~ na{el Nietzsche, sedaj pa ga tam i{~e igralka pred izzivom svoje uspe{ne poti.

Maria Enders, igralka na vrhuncu mednarodnega uspeha, sprejme vlogo v novi razli~ici predstave, s katero je zaslovela pred dvajsetimi leti. Takrat je Maria igrala vlogo mlade Sigrid, ki pripelje svojo {efinjo do samomora. Zdaj se mora v`iveti v ravno to vlogo starej{e `enske, zato se s svojo asistentko odpravi na intenzivne vaje v kraj Sils Maria v {vicarskih Alpah. Vlogo mlaj{ega dekleta v predstavi sedaj igra nadobudna hollywoodska starleta. Maria se prek nje znajde na drugi strani ogledala, v katerem uvidi neprijeten odsev mlaj{e sebe. "@elel sem posneti nekak{en portret igralke pri {tiridesetih. Zdelo se mi je bolj zanimivo, ~e bi ga umestil v gledali{ko okolje, saj se s tem znebi{ materialnih omejitev filmske umetnosti. Izpostavlja tisto drobno ~rto med resni~nostjo in domi{ljijo – igralci neprestano nihajo nekje vmes." (Olivier Assayas)

Sils Maria, a place of wondrous climate that used to invigorate Nietzsche now provides with inspiration an actress facing one of the most difficult challenges of her professional life.

At the peak of her international career, Maria Enders is asked to perform in a revival of the play that made her famous twenty years ago. But back then she played the role of Sigrid, an alluring young girl who drives her boss Helena to suicide. Now she is being asked to step into the other role, that of the older Helena.

She departs with her assistant to rehearse in Sils Maria; a remote region of the Swiss Alps. A young Hollywood starlet is to take on the role of Sigrid, and Maria finds herself on the other side of the mirror, face to face with an unsettling reflection of herself.

"I wanted to do a sort of portrait of an actress in her 40s, and I thought it would be more interesting to set it in the theatre, because it gets rid of the material constraints of cinema. It's about that very fine line between reality and imagination – actors are always somewhere in between." (Olivier Assayas)

Olivier Assayas

filmografija (izbor)/filmography (selection)

Rojen leta 1955 v Parizu kot sin znanega scenarista in re`iserja Jacquesa Rémyja. Potem ko je posnel nekaj kratkih filmov, je v za~etku osemdesetih let deloval kot ~lan uredni{tva revije Cahiers du cinéma. Leta 1986 je posnel svoj celove~erni prvenec Désordre. Je tudi avtor {tevilnih knjig o filmu, med njimi Conversations avec Bergman in Hong Kong cinéma.

1986 1989 1991 1993 1994 1996 1998

Born in 1955 in Paris, son of the famous screenwriter and director Jacques Rémy. After shooting a couple of short films, he worked as a member of the editing board of Cahiers du cinéma in the beginning of the 1980s. In 1986 he filmed his first feature, Disorder. He is also the author of several books about cinema, such as Conversations avec Bergman and Hong Kong Cinéma.

re`ija/directed by Olivier Assayas scenarij/screenplay Olivier Assayas fotografija/cinematography Yorick Le Saux monta`a/editing Marion Monnier igrajo/cast Juliette Binoche (Maria Enders), Kristen Stewart (Valentine), Chloë Grace Moretz (Jo-Ann Ellis), Lars Eidinger (Klaus Diesterweg), Johnny Flynn (Christopher Giles), Angela Winkler (Rosa Melchior), Hanns Zischler (Henryk Wald), Nora von Waldstätten (igralka/actress), Brady Corbet (Piers Roaldson), Aljoscha Stadelmann (Urs Kobler) producent/producer Charles Gillibert produkcija/production CG Cinéma 54, rue du Faubourg Saint-Honoré 75008 Paris, France E production�cgcinema.eu & Pallas Film (Germany) & CAB Productions (Switzerland) & Vortex Sutra (France) & arte France Cinéma (France) & ZDF/Arte (Germany) & Orange Studio (France) & Radio Télévision Suisse (Switzerland) & SRG SSR idée suisse (Switzerland) format/format DCP, barvni/colour dol`ina/running time 123'

2000 2004 2007 2010 2012 2014

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2014, München/Munich 2014 (najbolj{i mednarodni film/Best International Film)

prodaja/world sales mk2 Films 55, rue Traversière 75012 Paris, France E juliette.schrameck�mk2.com

Désordre (Disorder) L'enfant de l'hiver (Winter's Child) Paris s'éveille (Paris Awakens/Pariz se prebuja) Une nouvelle vie (A New Life) L'eau froide (Cold Water/Mrzla voda) Irma Vep Fin août, début septembre (Late August, Early September/ Konec avgusta, za~etek septembra) Les destinées sentimentales (Sentimental Destinies) Clean (^ista) Boarding Gate (Surova ljubezen) Carlos (mini serija/mini series) Après mai (Something in the Air/Nekaj je v zraku) Sils Maria (Clouds of Sils Maria/Oblaki nad Sils Mario)

distribucija/distribution Continental film d.o.o.

Stegne 3 1000 Ljubljana E manja.verbic�continentalfilm.si

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Pasolini Pasolini Pasolini

re`ija/directed by Abel Ferrara scenarij/screenplay Maurizio Braucci fotografija/cinematography Stefano Falivene monta`a/editing Fabio Nunziata igrajo/cast Willem Dafoe (Pier Paolo Pasolini), Maria de Medeiros (Laura Betti), Riccardo Scamarcio (Ninetto Davoli), Giada Colagrande (Graziella Chiarcossi), Ninetto Davoli (Epifanio), Valerio Mastandrea (Nico Naldini), Roberto Zibetti (Carlo), Adriana Asti (Susanna Pasolini), Andrea Bosca (Andrea Fago), Damiano Tamilia (Pino Pelosi), Luca Lionello (pripovedovalec/narrator), Salvatore Ruocco (politik/politician) producenti/producers Thierry Lounas, Conchita Airoldi, Joseph Rouschop produkcija/production Capricci Films 149, rue du Faubourg St-Denis 75010 Paris, France E contact�capricci.fr & Urania Pictures (Italy) & Tarantula (Belgium) & Dublin Films (France) & Arte France Cinéma (France) format/format DCP, barvni/colour dol`ina/running time 84' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2014, Toronto 2014, Deauville 2014, San Sebastian 2014, New York 2014, London 2014

Abel Ferrara

Italija, Francija, Belgija Italy, France, Belgium 2014

Vpogled v intelektualni in domi{ljijski univerzum Piera Paola Pasolinija skozi zaporedje dogodkov na zadnji dan njegovega `ivljenja.

An insight into the intellectual and imaginative universe of Pier Paolo Pasolini through a sequence of events on the last day of his life.

En dan, eno `ivljenje. Pono~i 2. novembra leta 1975 v Rimu umorijo velikega italijanskega pisca in re`iserja Piera Paola Pasolinija. Ta predstavlja simbol umetnika, ki se neustra{no bori proti politi~ni mo~i. Njegovo pisanje je {kandalozno, njegove filme preganjajo cenzorji, {tevilni ga obo`ujejo, mnogi sovra`ijo.

Pasolini zadnje ure `ivljenja pre`ivi z materjo in prijatelji, preden se z Alfo Romeo odpravi v ve~no mesto. Ob zori ga najdejo mrtvega na pla`i ob obronkih mesta v Ostii. Ustaljeni tandem re`iserja Abela Ferrare in igralca Willema Dafoeja zadnji dan Pasolinijevega `ivljenja uprizori z nenehnimi prehajanji med resni~nostjo in domi{ljijo ter med dejstvi in {pekulacijo.

One day, one life. On the night of 2 November 1975, the great Italian writer and filmmaker Pier Paolo Pasolini is murdered in Rome. Pasolini is the symbol of an art that’s fighting relentlessly against power. His writings are scandalous, his films are persecuted by the censors, many people love him and many hate him. On the day of his death, Pasolini spends his last hours with his mother and later on, with his friends, before finally going out into the night in his Alfa Romeo in search of adventure in the Eternal City. At dawn, Pasolini is found dead on a beach in Ostia on the outskirts of the city. In a film dreamlike and visionary, a blend of reality and imagination, Abel Ferrara reconstructs the last day in the life of this great poet with frequent collaborator Willem Dafoe as Pier Paolo Pasolini.

"Izhajamo iz velikega spo{tovanja. Cenimo njegovo delo, cenimo vse na njem. Je ikona, ki jo je nujno treba predstaviti na filmskem platnu. Njegova smrt leta 1975 je bila tudi nezasli{an trenutek, vse tisto govno, ki je obkro`alo uboj. ^e dobro premislim, smo se verjetno pripravljali na ta film od trenutka, ko smo izvedeli za njegovo smrt." (Abel Ferrara)

prodaja/world sales Funny Balloons 4 bis rue Saint Sauveur 75002 Paris, France E sales�funny-balloons.com distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Abel Ferrara

filmografija (izbor)/filmography (selection)

Rojen leta 1951 v Bronxu. Amaterske filme je na 8-milimetrsko kamero snemal `e kot najstnik. Njegovo portretiranje nasilne plati New Yorka se je nadaljevalo v prvih celove~ernih filmih, kot sta The Driller Killer in Ms. 45.

Z leti si je prislu`il status kultnega ustvarjalca, ki so mu na poklicni poti redno pomagali uveljavljeni igralci, kot so Christopher Walken, Harvey Keitel in v zadnjem ~asu Willem Dafoe.

1979 1981 1984 1987 1990 1992 1993 1995 1997 2001 2005 2011 2014 2014

Born in 1951 in the Bronx, Ferrara started making amateur films on Super 8 in his teens before making his debut with violent exploitation films such as Driller Killer and Ms.45. Good reviews for the latter helped create his cult reputation, leading to larger budgets, studio funding and 'name' actors, such as Christopher Walken, Harvey Keitel and, lately, Willem Dafoe.

48

"We're coming from a point of a lot of respect. We dig the guy's work, we dig everything about him. He's essential viewing. His death, in 1975, was also kind of a very outrageous moment, all the bullshit surrounding the killing. When it comes down to it, we were probably gearing up to make this movie from the moment we heard he was dead." (Abel Ferrara)

The Driller Killer Ms. 45 Fear City (New York, mesto strahu) China Girl (Dekle iz Kitajske ~etrti) King of New York (Kralj New Yorka) Bad Lieutenant (Pokvarjeni poro~nik) Body Snatchers (Tatovi teles) The Addiction (Odvisnost) The Blackout 'R Xmas (Krvavi bo`i~) Mary (Marija) 4:44 Last Day On Earth Welcome To New York (Dobrodo{li v New Yorku) Pasolini

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Phoenix Phoenix Phoenix Nem~ija Germany 2014

Christian Petzold

re`ija/directed by Christian Petzold scenarij/screenplay Christian Petzold fotografija/cinematography Hans Fromm monta`a/editing Bettina Böhler igrajo/cast Nina Hoss (Nelly Lenz), Ronald Zehrfeld (Johannes 'Johnny'), Nina Kunzendorf (Lene Winter), Michael Maertens (zdravnik/doctor), Imogen Kogge (Elisabeth), Kirsten Block, Uwe Preuss (lastnik kluba/club owner) producenta/producers Michael Weber, Florian Koerner von Gustorf produkcija/production Schramm Film Koerner & Weber Buelowstrasse 90 10783 Berlin, Germany E info�schrammfilm.de format/format DCP, barvni/colour dol`ina/running time 98'

Po Barbari se Petzold vra~a s {e eno dramo o odlo~ni `enski (in globoko razdvojeni dru`bi, ki ji pripada), ujeti med tragi~no preteklost in negotovo sedanjost.

Nelly Lenz je pre`ivela koncentracijsko tabori{~e, toda iz njega je pri{la z iznaka`enim obrazom. Zdaj je konec vojne in Nelly sanja le o tem, da bi bilo spet vse kot neko~. Ko s kirur{ko rekonstrukcijo dobi nov obraz, v Berlinu poi{~e svojega mo`a Johnnyja. Ta je sprva ne prepozna, a ker se mu zdi podobna njegovi `eni, za katero verjame, da je mrtva, prosi Nelly, ali bi mu lahko pomagala priti do `enine zajetne dedi{~ine. Nelly privoli in tako postane svoja lastna dvojnica – `eli namre~ izvedeti, ali jo je Johnny v resnici sploh kdaj ljubil ali pa jo je morda celo on izdal nacistom.

"V filmu Phoenix nisem `elel uporabiti zbitega, zatohlega zvoka, temve~ odprto okno, skozi katero se sli{ijo hrup in zvoki mesta, zaradi ~esar se zavemo, da se po katastrofi `ivljenje nadaljuje. Ker duh preneha biti duh, ko je obkro`en z `ivljenjem. ^e je vse okoli nas stra{ljivo, se strah razblini." (Christian Petzold)

Nelly Lenz is a concentration camp survivor who has been left severely injured with a disfigured face. The war has ended and all Nelly dreams about is getting her life back to normal. Following a facial re-construction surgery, Nelly returns to Berlin in search of her husband Johnny. Although Johnny does not recognise her, he approaches her with a proposal. Since she resembles his wife, whom he believes to be dead, he asks her to help him claim his wife's considerable inheritance. Nelly agrees, and becomes her own doppelganger – she needs to know if Johnny ever loved her, or if he betrayed her to the Nazis.

"I didn't want a tight, musty sound in Phoenix, but an open window through which the noise and the patter of the city could be heard, so that one realises that life goes on after the disaster.

Because a ghost is not a ghost when surrounded by life. If everything is spooky, nothing is spooky." (Christian Petzold)

Christian Petzold

filmografija/filmography

Rojen 1960 v Hildenu. Po {tudiju nem{kega jezika in literature ter dramatike se je vpisal na berlinsko Akademijo za film in televizijo. Med {tudijem je bil asistent pri H. Farockiju. Po {tudiju je sprva snemal TV-filme, za katere je prejel {tevilna priznanja, celove~erni prvenec Notranji mir pa je posnel leta 2001. V mednarodnem prostoru se je z deli, kot sta Gespenster in Yella, dokon~no uveljavil kot eden vidnej{ih predstavnikov mladega nem{kega filma.

1995 2001 2002 2003 2005 2007 2008 2010 2012 2014

Born in Hilden in 1960. He first studied German language and literature as well as drama, followed by studies at the German Film and Television Academy in Berlin, during which time he was assistant director to Harun Farocki. He started out in his own right directing award-winning TV films, and made his first feature film, The State I Am In, in 2001. He has attained international renown as one of the most prominent young German filmmakers with Ghosts and Yella.

festivali, nagrade (izbor)/ festivals, awards (selection) Toronto 2014

Following the success of his previous film, Barbara, Petzold returns with another story of a fiercely determined woman – and the deeply divided society to which she belongs – caught between a tragic past and an uncertain future.

prodaja/world sales The Match Factory Balthasarstrasse 79-81 50670 Köln, Germany E info�matchfactory.de

Cuba Libre Die innere Sicherheit (The State I Am In/Notranji mir) Toter Mann (Something to Remind Me/Mrtvec) Wolfsburg Gespenster (Ghosts) Yella Jerichow Dreileben (Beats Being Dead) Barbara Phoenix

distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

49

Predpremiere Avantpremieres

Maps to the Stars Maps to the Stars Poti k zvezdam Francija, Kanada, ZDA, Nem~ija France, Canada, USA, Germany 2014

David Cronenberg re`ija/directed by David Cronenberg scenarij/screenplay Bruce Wagner fotografija/cinematography Peter Suschitzky glasba/music Howard Shore monta`a/editing Ronald Sanders igrajo/cast Mia Wasikowska (Agatha Weiss), Julianne Moore (Havana Segrand), Robert Pattinson (Jerome Fontana), Evan Bird (Benjie Weiss), Sarah Gadon (Clarice Taggart), John Cusack (Dr. Stafford Weiss), Carrie Fisher (Carrie Fisher), Emilia McCarthy (Kayla), Olivia Williams (Christina Weiss), Niamh Wilson (Sam), Kiara Glasco (Cammy), Jayne Heitmeyer (Azita Wachtel), Amanda Brugel (Victoria) producenti/producers Martin Katz, Said Ben Said, Michel Merkt produkcija/production SBS Productions 29 rue Danielle Casanova 75001 Paris, France E contact�sbs-productions.com & Prospero Pictures (Canada) & Sentient Entertainment (USA) & Integral Film (Germany) format/format DCP, barvni/colour dol`ina/running time 111' festivali, nagrade (izbor)/festivals, awards (selection) Cannes 2014 (nagrada za najbolj{o igralko/Best Actress Award)

prodaja/world sales Entertainment One 45 Warren Street London W1T 6A, UK E eOneFilmsInternational�entone group.com distribucija/distribution Cinemania Roj~eva 1 1000 Ljubljana E info�cinemania-group.si

Komi~na satira losangele{ke filmske industrije, v kateri se David Cronenberg odkrito nor~uje iz nekaterih najvidnej{ih zvezdnikov dana{nje pop kulture.

David Cronenberg's comical satire on the motion picture capital of the world openly mocks some of the most prominent present-day pop culture icons.

Hollywood je svetovna filmska prestolnica z obljubami sre~e vsem, ki posku{ajo pose~i po zvezdah. Benjie ima komaj trinajst let in je `e slaven. Njegov o~e Stafford Weiss je uspe{en avtor in meditacijski guru. Ena od klientk, ki jim Stafford pomaga do osebne in poklicne sre~e, je lepa igralka Havana Segrand. Agatha, mlado dekle z iznaka`enim videzom, je Havanina nova asistentka, Jerome Fontana pa privla~en voznik, s katerim se spoprijatelji.

A zakaj je kljub vsej tej obetajo~i sre~i Hollywood tudi mesto osebnih slabosti, nevroz, incesta in ljubosumja? Mesto sanj v ljudeh prebuja duhove, iz njih izvablja skrite impulze in daje slutiti vonj po krvi.

Hollywood promises happiness in films to those who try to reach the stars. Benjie, 13 years old and already a star; his father, Sanford Weiss, a successful author and coach to the famous; his client, the beautiful Havana Segrand, whom he is helping to be fulfilled both as a woman and an actress. Agatha, a young facially disfigured woman, who becomes Havana's assistant, and Jerome Fontana, the attractive chauffeur with whom she links up. But why is it said that Hollywood is the town of vice and neuroses, incest and jealousy? The city of dreams makes ghosts come alive and above all promises an unleashing of impulses and the smell of blood.

"Hollywood vidim kot zelo gosto poseljen planet, z ogromnim te`nostnim poljem. Ljudje prihajajo z vsega sveta, sile privla~nosti jih pritegnejo v orbito, in ko so tam, ne morejo uiti hollywoodski te`nosti. Ujeti so. Veliko re`iserjev je, katerih poklicna pot je ugasnila v Hollywoodu, tudi `ivljenje {tevilnih ljudi ugasne tam.

Ne mine leto, da ne bi nekdo umrl zaradi prevelikega odmerka mamil ali avtomobilske nesre~e. /.../ V Hollywoodu je nekaj razkrojevalnega in uni~evalnega." (David Cronenberg)

"I see Hollywood as a very dense planet, with a huge gravitational field. People come from all over the world, they are drawn into the orbit, and once they are there, they can't escape the gravity of Hollywood. They are stuck. We know many directors whose career died in Hollywood and many people die in Hollywood.

There isn't a year without someone dying of an overdose or a car accident. /.../ There is something corrosive and destructive in Hollywood." (David Cronenberg)

David Cronenberg

filmografija (izbor)/filmography (selection)

Rojen leta 1943 v Torontu. Za film se je za~el zanimati med {tudijem literature na Univerzi v Torontu. Prve srednjemetra`ne filme je posnel ob koncu {estdesetih let, v njih je nakazal svojo obsedenost s ~love{kim telesom, spolom, virusi ipd., kar je zaznamovalo ve~ji del njegovega opusa. V sedemdesetih se je uveljavil kot komercialno uspe{en re`iser nizkoprora~unskih grozljivk z vzdevkom kralj veneri~nega hororja.

1969 1970 1977 1981 1983 1986 1988 1991 1996 2002 2005 2007 2011 2012 2014

Born in 1943 in Toronto, Cronenberg developed an interest in cinema as a student of literature at the University of Toronto. His first mid-length movies, made towards late sixties, already revealed his obsession with the human body, gender, viruses, etc., a propensity which was to mark the bulk of his oeuvre. In the seventies, he asserted himself as a commercially successfully director of low-budget horror films, and was nicknamed the King of Venereal Horror.

50

Stereo Crimes of the Future (Zlo~ini prihodnosti) Rabid (Besnilo) Scanners (Kontrolorji) Videodrome (Videodrom) The Fly (Muha) Dead Ringers (Zakleta dvoj~ka) Naked Lunch (Golo kosilo) Crash (Trk) Spider (Pajek) A History of Violence (Senca preteklosti) Eastern Promises (Smrtne obljube) A Dangerous Method (Nevarna metoda) Cosmopolis (Kozmopolis) Maps to the Stars (Poti k zvezdam)

Predpremiere Avantpremieres

L'enlèvement de Michel Houellebecq The Kidnapping of Michel Houellebecq Ugrabitev Michela Houellebecqa Francija France 2014

Guillaume Nicloux

re`ija/directed by Guillaume Nicloux scenarij/screenplay Guillaume Nicloux fotografija/cinematography Christophe Offenstein zvok/sound Olivier Dô-Hùu, Fanny Weinzaepflen monta`a/editing Guy Lecorne igrajo/cast Michel Houellebecq, Maria Bourjala (Fatima), Luc Schwarz (Luc), Mathieu Nicourt (Mathieu), Maxime Lefrancois (Max) producentka/producer Sylvie Pialat produkcija/production Les Films du Worso Paris, France E info�lesfilmsduworso.com format/format DCP, barvni/colour dol`ina/running time 92'

Igrivi dokumentarni triler "razkrije" resnico o nenavadnem izginotju enfant terribla sodobne francoske literature Michela Houellebecqa, ki v filmu s precej samoironije igra samega sebe.

A playful documentary thriller "exposes" the truth about the puzzling disappearance of enfant terrible of contemporary French literature, Michel Houellebecq, who plays himself with delicious self-irony.

Septembra leta 2011 je razvpiti francoski pisatelj Michel Houellebecq med promocijsko turnejo ob izidu romana Zemljevid in ozemlje nenadoma izginil. Za~ele so kro`iti govorice, da so ga ugrabili islamski skrajne`i, morda celo marsovci. Film nam kon~no razodene resnico o skrivnostnem pisateljevem izginotju: literarnega zvezdnika so ugrabili trije ~uda{ki "bodibilderji" in ga iztrgali iz njegovega hekti~nega vsakdana. Houellebecq se tako znajde sredi pode`elske idile, kjer se kon~no lahko sprosti, saj ga ugrabitelji za rojstni dan presenetijo s simpati~no Fatimo in, ker je znan veri`ni kadilec, tudi z dovolj{no koli~ino cigaret. Ostaja le ena neznanka: kdo bo pla~al odkupnino?

In September 2011, while supposedly on the promotional tour for his novel The Map and the Territory, the notorious writer Michel Houellebecq briefly disappeared off the face of the earth. Wild rumours began circulating that he’d been abducted by Al-Qaeda or extraterrestrials. This film now reveals what really happened: Three tough guys with bodybuilder physiques carried off the star intellectual, taking him out of the daily stress and bringing him to a beautiful rural idyll. It's Michel's birthday, which is celebrated with copious tobacco for the chain-smoking Houellebecq and a surprise named 'Fatima'. But the question remains: Who's to pay the ransom?

"Pravzaprav me ne zanima Michel Houellebecq, ampak Michel Thomas �njegovo pravo ime�. ^love{ko bitje, ne pisatelj. Avtor me nikakor ne zanima. Prikazati sem hotel Michelovo ~love~nost – njegove slabosti, njegov humor, njegovo zoprnost, vse tisto, kar ga dela ~love{kega, kar govori o osebi, ne pa o medijskem liku."

(Guillaume Nicloux)

"In fact it's not Michel Houellebecq who interests me, but rather Michel Thomas �his real name�. It's the human, not the writer.

I'm not interested at all in the writer. What I wanted to show is the humanity of Michel – his weakness, his humour, his nastiness, all that speaks of the human, not the media figure."

(Guillaume Nicloux)

Guillaume Nicloux

filmografija (izbor)/filmography (selection)

Rojen leta 1966 v kraju Melun, Francija. Sprva je delal kot gledali{ki igralec in re`iser. Leta 1987 je posnel svoj prvi kratki film L'orage, leta 1988 pa celove~erni prvenec La Piste aux étoiles. Deset let je pou~eval na pari{ki filmski {oli La Fémis, v zadnjem ~asu pa se ukvarja tudi s pisateljevanjem.

1987 1988 1992 1994 1998 2001 2003 2005 2007 2010 2012 2014

Born in Melun, France in 1966, Nicloux worked as a director and actor in theatre. He made his first short film, L'orage, in 1987 and his feature debut, La piste aux étoiles, in 1988. He lectured for ten years at the Parisian film school La Fémis and currently also works as a writer.

festivali, nagrade (izbor)/ festivals, awards (selection) Berlin 2014, Tribeca 2014 (posebna omemba `irije/Jury Special Mention)

prodaja/world sales Le Pacte Rue Darcet 5 75017 Paris, France E sales�le-pacte.com

L'orage (kratki/short) La piste aux étoiles La vie crevée Faut pas rire du bonheur (Happiness Is No Joke) Le poulpe (The Octopus) Une affaire privée (A Private Affair) Cette femme-là (Hanging Offense) Le concile de pierre (The Stone Council) La clef (The Key) Holiday La Religieuse L'enlèvement de Michel Houellebecq (The Kidnapping of Michel Houellebecq/Ugrabitev Michela Houellebecqa)

distribucija/distribution Demiurg Lome 3 5274 ^rni vrh E info�demiurg.si

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Predpremiere Avantpremieres

Turist Force Majeure Vi{ja sila [vedska Sweden 2014

Ruben Östlund re`ija/directed by Ruben Östlund scenarij/screenplay Ruben Östlund fotografija/cinematography Fredrik Wenzel glasba/music Ola Flottum monta`a/editing Ruben Östlund, Jacob Secher Schulsinger igrajo/cast Johannes Bah Kuhnke (Tomas), Lisa Loven Kongsli (Ebba), Clara Wettergren (Vera), Vincent Wettergren (Harry), Kristofer Hivju (Mats), Fanni Metelius (Fanni) producenti/producers Erik Hemmendorff, Marie Kjellson, Philippe Bober produkcija/production Plattform Produktion Vallgatan 9, 2 tr 411 16 Göteborg, Sweden E erik�plattformproduktion.se format/format DCP, barvni/colour dol`ina/running time 118’ festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2014 (nagrada `irije v sklopu Poseben pogled/Un Certain Regard Jury Prize)

Film v sredi{~e postavlja preprosto ugotovitev: nikoli ne moremo vedeti, kako bomo ravnali v kriznih razmerah, zavedamo pa se, da nas bodo drugi vedno ocenjevali prav na podlagi na{ega ravnanja.

Ebba in Tomas z otrokoma za nekaj dni odpotujeta na smu~arski oddih v francoske Alpe. Nekega dne dru`ino med kosilom v gorski ko~i prestra{i sne`ni plaz in idila se v trenutku sprevr`e v no~no moro. V ko~i zavlada preplah, Ebba na pomo~ kli~e Tomasa, da bi ji pomagal za{~ititi njune otroke. A Tomas se na njene obupane klice ne odzove; be`i in razmi{lja le o tem, kako bi sam odnesel celo ko`o. Izka`e se, da je {lo le za preplah, a Tomasov in Ebbin zakon nenadoma zaide v krizo.

prodaja/world sales coproduction office 24, rue Lamartine 75009 Paris, France E info�coproductionoffice.eu distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

52

Force Majeure foregrounds a simple truth: we can never foretell our reactions in a crisis but will certainly be evaluated on the basis of our conduct.

A Swedish family travels to the French Alps to enjoy a few days of skiing. The sun is shining and the slopes are spectacular but, during lunch at a mountainside restaurant, an avalanche turns everything upside down. With diners fleeing in all directions, mother Ebba calls for her husband Tomas as she tries to protect their children. Tomas, meanwhile, is running for his life… The anticipated disaster fails to occur, and yet the family's world has been shaken to its core, Tomas and Ebba's marriage now hanging in the balance.

"Izkazalo se je – o temi obstajajo znanstvene {tudije, da se po katastrofi, ugrabitvi letala ali brodolomu, veliko {tevilo pre`ivelih lo~i. Zdi se tudi, da v ve~ini primerov mo{ki ne ravnajo v skladu s pri~akovanimi kodeksi vite{tva. /.../ Kar je najverjetneje poglavitni razlog za razveze. Zaradi tega sem `elel raziskati uveljavljeno predstavo, da mora biti mo{ki za{~itnik svoje `ene in dru`ine, dru`beni kodeks, ki pravi, da se v nevarnosti ne sme umakniti."

(Ruben Östlund)

"It appears – there are scientific studies on the subject – that in the aftermath of a catastrophe, a hijack attack or a shipwreck, a large number of the survivors divorce. It also appears that, in many cases, men do not act according to the expected codes of chivalry. /.../ Which may be the chief cause for those divorces.

This made me want to talk about the received notion that a man is supposed to be the protector of his wife and family, the societal code that says he must not step back in the face of danger." (Ruben Östlund)

Ruben Östlund

filmografija/filmography

Glej str. 116/see page 116 (Posve~eno/Tribute).

Glej str. 116/see page 116 (Posve~eno/Tribute).

Predpremiere Avantpremieres

Of Horses and Men Of Horses and Men Zgodbe o konjih in ljudeh Benedikt Erlingsson

Islandija, Nem~ija Iceland, Germany 2013

Re`iser Erlingsson v celove~ernem prvencu predstavi odro~no islandsko vasico skozi o~i konjev, ki jih jezdijo tamkaj{nji prebivalci.

The debut feature by Benedikt Erlingsson is an affectionate portrait of a remote valley community as seen from the perspective of the horses.

V majhni skupnosti negostoljubne islandske doline so konji prav tako pomembni kot ljudje. Najmo~nej{i med njimi imajo prav toliko zna~aja in poguma kot njihovi gospodarji. Skupaj z njimi (in s pomo~jo kak{ne kapljice alkohola) prebivalci te ~udovite pokrajine kljubujejo hudemu mrazu in zdi se, da tudi njih same vodijo `ivalski instinkti. To pogosto privede do absurdnih in komi~nih dogodkov, v katerih jo v~asih slab{e odnese eden, drugi~ drugi.

Toda v sredi{~u tega filma ni tisto, kar ju lo~uje, temve~ kar imata skupnega – dejstvo, da oba ob~utita ostrino ljubezni in smrti, ki ju prina{a `ivljenje.

In an inhospitable valley in Iceland, horses are just as important to the community as people. The thickset, powerful Icelandic horses have as much character and courage as their masters.

Together with the animals, the villagers brave the icy conditions – thanks in part to the local heart-warming alcohol – in the gorgeous landscape. They, just like the horses, seem to live by their animal instincts. This leads to completely absurd scenes in this comic drama, in which sometimes horse and sometimes man comes off worse. Nonetheless, what connects man and beast is the fact that both suffer the slings and arrows of love and death alike.

"Ne gre za premo~rtno zgodbo. Upam, da angle{ki naslov Of Horses and Men (O konjih in mo`eh) gledalcu predstavi pravo stali{~e. Beseda, ki manjka, 'zgodbe', je klju~na. Seveda, povedati moramo tudi, da tukaj na severu `enske tudi spadajo k mo`em. Pomembno je poudariti, da med snemanjem konji niso bili zlorabljeni. Tako je objavljeno na koncu odjavne {pice, in je popolnoma resni~no." (Benedikt Erlingsson)

re`ija/directed by Benedikt Erlingsson scenarij/screenplay Benedikt Erlingsson fotografija/cinematography Bergsteinn Björgulfsson glasba/music David Thor Jonsson monta`a/editing David Alexander Corno igrajo/cast Ingvar E. Sigurdsson, Charlotte Boving, Steinn Armann Magnusson, Helgi Bjoernsson, Kristbjoerg Kjeld, Juan Camillo Roman Estrada, Halldora Geirhardsdottir, Atli Rafn Sigurdsson, Kjartan Ragnarsson, Maria Ellingsen, Vilborg Halldorsdottir, Erden Baater, Juris Zablockis, Ikor Lezhenko, Sigridur Maria Egilsdottir, Olafur Flosason, Erlingur Gislasson, Hallmar Sigurdsson producenta/producers Fridrik Thor Fridriksson, Christoph Thoke produkcija/production Leiknar Myndir Bjarkargata 6 101 Reykjavik, Iceland E f.thor�icecorp.is & Mogador Film (Germany) format/format DCP, barvni/colour dol`ina/running time 81' festivali, nagrade (izbor)/ festivals, awards (selection) San Sebastian 2013 (najbolj{i novi re`iser/Best New Director), Rotterdam 2014, Tokio/Tokyo 2014 (najbolj{i re`iser/Best Director), Sydney 2014, Karlovi Vari/Karlovy Vary 2014

"This is not a straightforward story. I hope that the English title Of Horses and Men gives the viewer the right point of view.

The word that is missing, 'stories', is the key. And of course it must be said that here in the north, women are also men. It is important to state that no horses were hurt in the making of this film. It says so at the end of the credits, and it is absolutely true."(Benedikt Erlingsson)

Benedikt Erlingsson

filmografija/filmography

Rojen leta 1969 v Reykjaviku, Islandija. Je eden najuspe{nej{ih islandskih gledali{kih re`iserjev minulega desetletja. Islandski tv-gledalci ga najbolje poznajo po vlogi v komi~ni seriji Blood Brothers, na velikem platnu pa je najbolj prepoznavno vlogo odigral v von Trierjevem filmu Glavni {ef (2007).

Zgodbe o konjih in ljudeh je njegov celove~erni prvenec in eden mednarodno najuspe{nej{ih islandskih filmov zadnjih let.

2007 Thanks (kratki/short) 2008 The Nail (kratki/short) 2013 Of Horses and Men (Zgodbe o konjih in ljudeh)

prodaja/world sales Film Sharks International Av. Diaz Velez 4323 1200 Buenos Aires, Argentina E guido_rud�filmsharks.com distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Born in 1969 in Reykjavik, Iceland, Erlingsson is one of Iceland's most successful theatre directors of the last decade. On Icelandic TV, he is best known for his role in the comedy series Blood Brothers. Benedikt has a prolific career as a film actor, most notably in Lars von Trier's The Boss of It All (2007). Benedikt's debut feature, Of Horses and Men, is one of the most successful films in the recent history of Icelandic cinema.

53

Predpremiere Avantpremieres

Kis uykusu Winter Sleep Zimsko spanje Tur~ija, Francija, Nem~ija Turkey, France, Germany 2014

Nuri Bilge Ceylan re`ija/directed by Nuri Bilge Ceylan scenarij/screenplay Ebru Ceylan, Nuri Bilge Ceylan fotografija/cinematography Gökhan Tiryaki monta`a/editing Nuri Bilge Ceylan, Bora Göksingöl igrajo/cast Haluk Bilginer (Aydin), Melisa Sözen (Nihal), Demet Akbag (Necla), Ayberk Pekcan (Hidayet), Serhat Kilic (Hamdi), Nejat Isler (Ismail), Tamer Levent (Suavi), Nadir Saribacak (Levent), Mehmet Ali Nuroglu (Timur), Emirhan Doruktutan (Ilyas), Ekrem Ilhan (Ekrem), Rabia Özel (Fatma), Fatma Deniz Yildiz (Sevda), Masaki Murao (japonski turist/Japanese male tourist), Junko Yokomizo (japonska turistka/ Japanese female tourist) producentka/producer Zeynep Ozbatur Atakan produkcija/production Zeyno Film Bakurt Sok. Ürgüp Palas Apt. 19/3 Cihangir, Beyoglu 34433 Istanbul, Turkey E info�zeynofilm.com & Memento Films Production (France) & Bredok Filmproduction (Germany) format/format DCP, barvni/colour dol`ina/running time 196' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2014 (zlata palma/Palme d’Or)

prodaja/world sales Memento Films International 9 Cité Paradis 75010 Paris, France E sales�memento-films.com distribucija/distribution Cenex d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Rahlo~utna {tudija ve~plastnosti ~love{kega zna~aja, navdihnjena s kratkimi zgodbami Antona Pavlovi~a ^ehova.

Prejemnik nagrade zlata palma 2014 v Cannesu.

A subtle study into the complexities of human nature, taking inspiration from the short stories by Anton Pavlovich Chekhov. Winner of the 2014 Palme d'Or Award at Cannes.

Aydin, nekdanji igralec, vodi majhen hotel v srednji Anatoliji.

Z mlado `eno Nihal ima burno zvezo, ni~ bolj umirjeno pa ni `ivljenje njegove sestre Necle, ki trpi zaradi nedavne lo~itve. Ko zapade prvi sneg, se hotel prelevi v zato~i{~e, a obenem tudi brezizhoden prostor, ki iz akterjev prikli~e spe~e sovra{tvo ...

Aydin, a former actor, runs a small hotel in central Anatolia with his young wife Nihal with whom he has a stormy relationship and his sister Necla who is suffering from her recent divorce. In winter, as the snow begins to fall, the hotel turns into a shelter but also an inescapable place that fuels their animosities.

"Te`ava s Hollywoodom je, da ob~instvo pri~akuje odgovore na dlani, kot tabletko. Ne pri~akuje samo, da bo razkrit storilec, temve~ tudi nagibi likov, kako in zakaj. Resni~no `ivljenje ni tak{no. Celo za najbolj{ega prijatelja ne vemo, kaj si v resnici misli. V filmih si `elimo ve~ kot v vsakdanjem `ivljenju, pri~akujemo, da se vse razjasni. To pomeni, da je take vrste kinematografija la`. Filmov tako ne morem ustvarjati."

(Nuri Bilge Ceylan)

"The problem with Hollywood is the audience expects to get the answers like a pill. They expect to know not just whodunit, but the motives of the characters, the how and why. Real life is not like that. Even our closest friend – we don't know what he really thinks. In films we want more than in real life, everything being made clear. That means this kind of cinema is a lie. I cannot make cinema that way." (Nuri Bilge Ceylan)

Nuri Bilge Ceylan

filmografija/filmography

Rojen leta 1959 v Istanbulu. Velja za eno najve~jih odkritij evropskega filma v drugi polovici devetdesetih let. S filmom Oddaljen je v Cannesu dosegel veliko nagrado. Tudi naslednji trije filmi v Cannesu niso ostali neopa`eni: Podnebje je osvojil nagrado FIPRESCI, Tri opice palmo za re`ijo, Bilo je neko~ v Anatoliji pa veliko nagrado. Z Zimskim spanjem je leta 2014 vendarle osvojil {e zlato palmo.

1995 1997 1999 2003 2006 2008 2011

Born in 1959 in Istanbul, Nuri Bilge Ceylan is considered one of the greatest European cinema revelations of the late 1990s. Distant won the Grand Prix at Cannes. The following three films also did not go unnoticed at the Cannes FF: Climates won the FIPRESCI Prize, Three Monkeys the Palme d'Or for Best Director, and Once Upon a Time in Anatolia the Grand Prix. In 2014, Winter Sleep has finally earned the director the coveted Palme d'Or Award.

54

Koza (Cocoon) (kratki/short) Kasaba (Small Town/Mestece) Mayis sikintisi (Clouds of May/Majski oblaki) Uzak (Distant/Oddaljen) Iklimler (Climates/Podnebje) Üc maymun (Three Monkeys/Tri opice) Bir zamanlar Anadolu’da (Once Upon a Time in Anatolia/Bilo je neko~ v Anatoliji) 2014 Kis uykusu (Winter Sleep/Zimsko spanje)

Kralji in kraljice Kings and Queens

Le grand soir Le grand soir Veliki ve~er 58 59 60 61 62 63 64 65 66 67 68 69 70 71

^arlijeva de`ela Charlie's Country Rolf de Heer Ljubosumje Jealousy Philippe Garrel Ljudje ptice Bird People Pascale Ferran Mali Quinquin Li'l Quinquin Bruno Dumont Najbolj iskani ~lovek A Most Wanted Man Anton Corbijn No~ne poti Night Moves Kelly Reichardt Odmevi preteklosti From what Is Before Lav Diaz Prihajamo v miru We Come as Friends Hubert Sauper Sol zemlje The Salt of the Earth Wim Wenders, Juliano Ribeiro Salgado Stratos Stratos Yannis Economides Te`ko je biti bog Hard to Be a God Aleksej German Timbuktu Timbuktu Abderrahmane Sissako V kleti In the Basement Ulrich Seidl Za kraljico in domovino Queen and Country John Boorman

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Charlie's Country Charlie's Country ^arlijeva de`ela Avstralija Australia 2014

Rolf de Heer re`ija/directed by Rolf de Heer scenarij/screenplay David Gulpilil, Rolf de Heer fotografija/cinematography Ian Jones glasba/music Graham Tardif monta`a/editing Tania Nehme igrajo/cast David Gulpilil (Charlie), Peter Djigirr (^rni Pete/Black Pete), Luke Ford (policist Luke/policeman Luke), Jennifer Budukpuduk Gaykamangu (Faith), Peter Minygululu (stari Lulu/ old Lulu) producenti/producers Nils Erik Nielsen, Peter Djigirr, Rolf de Heer produkcija/production Vertigo Productions PO Box 63, Dover 7116 Tasmania, Australia E vertigo�adelaide.on.net format/format HD, barvni/colour dol`ina/running time 108'

Avtorjevo tretje sodelovanje z aboriginsko filmsko legendo se udejanji v tej ~udoviti, trpki, a vseskozi tudi hudomu{ni pripovedi o kulturnem prepadu med belimi kolonialisti in avstralskimi staroselci v zgodbi, ki zajema tako iz intimne kot skupinske izku{nje, tako iz etnografije kot tudi poezije.

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2014 (najbolj{i igralec sklopa Poseben pogled/Un Certain Regard – Best Actor), Karlovi Vari/Karlovy Vary 2014, Jeruzalem/Jerusalem 2014, Nova Zelandija/New Zealand 2014

Charlie, avstralski staroselec, se stara in videti je, da vse te`je prena{a spremembe. [e posebej, ~e gre za tako radikalne in nesmiselne, kakr{ne odmaknjeni aboriginski skupnosti, v kateri `ivi, s svojimi zakoni posku{a vsiliti bela ve~ina. Toda ~eprav jim ti zakoni vsiljujejo spremembe, ki so povsem tuje njihovi kulturi, je o~itno, da ve~ine preostalih ~lanov skupnosti to ne moti in so se vladnim zakonom celo pripravljeni podrediti. Charlie je ogor~en in odlo~i se oditi, izseliti ter `iveti po starih, aboriginskih zakonih.

To pa spro`i niz dogodkov, ki mo~no vplivajo na njegovo nadaljnje `ivljenje in ga ~ez ~as, bogatej{ega za {tevilne izku{nje in bolj modrega, pripeljejo nazaj v skupnost.

prodaja/world sales Visit Films 173 Richardson Street Brooklyn, NY 11222, USA E info�visitfilms.com

Blackfella Charlie is getting older, and he's out of sorts. The radical intervention of the whites is making life more difficult on his remote community, what with the proper policing of whitefella laws that don't generally make much sense, and Charlie's kin and ken seeming more interested in going along with things than doing anything about it. Indignant, Charlie takes off, to live the old way, but in doing so sets off a chain of events in his life that has him return to his community chastened, and somewhat the wiser.

"Filmska zgodba se tesno navezuje na `ivljenje avstralskih staroselcev, aboriginov – na njihovo kulturo, na~in `ivljenja, zgodovino –, srce pa ji je dal moj prijatelj, David Gulpilil, ~lovek nemirnega duha. Tako se zgodba lika Charlieja za~ne z resni~no osebo Davidom." (Rolf de Heer)

"The story of Charlie's Country is rooted in the Aboriginal people of Australia – their culture, their way of life, their history – but the core of the film comes from my friend, David Gulpilil, a troubled soul. The story of Charlie the character starts with the story of David the person." (Rolf de Heer)

Rolf de Heer

filmografija (izbor)/filmography (selection)

Rojen leta 1951 na Nizozemskem, osem let pozneje se je dru`ina izselila v Avstralijo. Debitiral leta 1984, v mednarodnem prostoru pa se je uveljavil s filmom Bad Boy Bubby (velika nagrada `irije in FIPRESCI v Benetkah).

S filmoma The Quiet Room in Dance Me to My Song bil povabljen v tekmovalni sklop Cannesa, The Tracker in Ten Canoes je pa sta s {tevilnimi nagradami utrdila njegov mednarodni ugled.

1984 1988 1991 1993 1996 1998 2001 2002 2003 2006 2012 2013

Born in 1951 in Holland, Rolf immigrated to Australia with his family in 1959.

He made his first film in 1984 and asserted himself internationally with Bad Boy Bubby that won the Grand Special Jury Prize and FIPRESCI Prize at Venice. The Quiet Room (1996) and Dance Me to My Song (1998) were invited into Competition at Cannes. The award-winning The Tracker and Ten Canoes solidified his reputation as an internationally acclaimed filmmaker.

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The director's third collaboration with David Gulpilil, the Aboriginal cinematic legend, Charlie's Country finds expression in a marvellous and bitter yet unfailingly humorous tale about the cultural gap between white colonialists and Australian indigenous peoples, drawing on the intimate as well as collective experiences, on the ethnography as well as poetry.

Tail of a Tiger Incident at Raven’s Gate Dingo Bad Boy Bubby The Quiet Room Dance Me to My Song The Old Man Who Read Love Stories The Tracker Alexandra’s Project Ten Canoes The King is Dead Charlie’s Country (^arlijeva de`ela)

Kralji in kraljice Kings and Queens

La jalousie Jealousy Ljubosumje Francija France 2013

Philippe Garrel

Nova intimisti~na mojstrovina enega zadnjih sopotnikov novega vala, izpiljeno delo, ki se s svojo minimalisti~no zasnovo pribli`uje izrazni silovitosti nemega filma in v katerem avtor nadaljuje premislek njemu ljubih tem izgube, `alovanja in ljubezni kot izvira mladosti.

Louis, mo{ki pri tridesetih, se odlo~i, da bo zaradi Claudie, `enske, ki jo noro ljubi, zapustil Mathilde, mater njegovega otroka.

Louis in Claudia sta gledali{ka igralca. A medtem ko on kot po nizu dobiva ponudbe za vloge, ona, ~eprav je {e nedavno veljala za vzhajajo~o zvezdo, ne dobi ve~ niti najmanj{ih vlog. Negotova in nesre~na Claudia Louisa sicer ljubi, a neznosno jo je strah, da jo bo zapustil. Nekega ve~era spozna arhitekta, ki ji ponudi sodelovanje. Louis neskon~no ljubi Claudio, pa vendar je zdaj njega neznansko strah, da ga bo zapustila. Sredi vse te zme{njave je Charlotte, Louisova mala h~erka ...

A new intimistic bravado by one of the last proponents of the French Nouvelle Vague. An accomplished work of art whose minimalistic structure associates it with the eloquent expressiveness of the silent movies, Jealousy resumes the director's favourite issues of loss, mourning and love as a fountain of youth.

festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2013, New York 2013, Pusan/Busan 2013, Montreal 2013, Abu Dhabi 2013, Mumbaj/ Mumbai 2013, Talin/Tallin 2013, Rotterdam 2014, Istanbul 2014

30-year-old Louis decides to leave Mathilde, the mother of his child, for Claudia, the woman he is madly in love with. Louis and Claudia are theatre actors. While Louis gets one offer of work after another, Claudia who was once a rising star is not cast in a single role. The insecure and miserable Claudia does love Louis, but is gripped by fear of losing him. One night she meets an architect who offers to help her. Louis loves Claudia immensely, but it is he now that feels paralysing fear of losing her. Charlotte, Louis' young daughter, is a silent witness to this chaotic situation.

"Izhodi{~na ideja za film je bila, da moj sin Louis prevzame vlogo svojega deda, ko je bil ta pri tridesetih – torej iste starosti kot Louis danes –, pa ~eprav se film dogaja v sedanjosti. Zgodba pripoveduje o ljubezenskem razmerju, ki ga je moj o~e imel z neko `ensko. To sem ob~udoval in s tem nevede svoji zgledni materi, ki me je vzgajala povsem sama, vzbudil ljubosumje (v filmu sem lik male deklice)." (Philippe Garrel)

"The idea that underpins this film is that my son Louis plays his grandfather at 30 – the same age as Louis today – even though it is set in the present day. It tells of my father's love affair with a woman – and by admiring her I unwittingly made my exemplary mother jealous. And I was a child being raised by my mother (in the film, I am the little girl)." (Philippe Garrel)

Philippe Garrel

filmografija (izbor)/filmography (selection)

Rojen leta 1948 v Boulogne-Billancourtu, Francija. @e kot fant je posnel {tevilne kratke filme, avtorsko pa se je izoblikoval ob akterjih francoskega novega vala. Nase je opozoril `e s celove~ernim prvencem Marie pour memoire. Za L'enfant secret iz leta 1982 je prvi~ prejel nagrado Jeana Vigoja.

J'entends plus la guitar, eden vrhuncev njegovega opusa, mu je prinesel srebrnega leva, kar je ponovil leta 2005 s filmom Navadna ljubimca.

1967 1968 1970 1979 1988 1990 1993 1995 2001 2004 2005 2011 2013

Born in 1948 in Boulogne-Billancourt, France, Garrel made numerous shorts during his youth. A child of the Nouvelle Vague, he continued his path with Marie for Memory, his debut feature. In 1982 Garrel was awarded the Jean Vigo Prize for L'enfant secret. One of the highlights of his oeuvre, I Don't Hear the Guitar Anymore won the Silver Lion in Venice, an award he received a second time for Regular Lovers in 2005.

re`ija/directed by Philippe Garrel scenarij/screenplay Philippe Garrel, Caroline Deruas, Arlette Langmann, Marc Cholodenko fotografija/cinematography Willy Kurant glasba/music Jean-Louis Aubert monta`a/editing Yann Dedet nastopajo/with Louis Garrel (Louis), Anna Mouglalis (Claudia), Rebecca Convenant (Clothilde), Olga Milshtein (Charlotte), Esther Garrel (Esther), Manon Kneusé (Lucie), Jérôme Huguet (Antoine), Arthur Igual (Louisov prijatelj/Louis's friend), Eric Ruillat (Henri) producent/producer Said Ben Said produkcija/production SBS Production 29, rue Danielle Casanova 75001 Paris, France E contact�sbs-productions.com & Anna Sanders Films format/format DCP, ~b/b&w dol`ina/running time 77'

prodaja/world sales Wild Bunch Carole Baraton 99, rue de la Verrerie 75004 Paris, France E cbaraton�wildbunch.eu

Marie pour mémoire (Marie for Memory) Le révélateur La cicatrice intérieure (The Inner Scar) L'enfant secret Les baisers de secours (Emergency Kisses) J'entends plus la guitare (I Don't Hear the Guitar Anymore) La naissance de l'amour (The Birth of Love/Rojstvo ljubezni) Le coeur fantôme (The Phantom Heart) Sauvage innocence (Wild Innocence) Les amants réguliers (Regular Lovers/Navadna ljubimca) La frontière de l'aube (Frontier of the Dawn) Un été brûlant (That Summer/@go~e poletje) La jalousie (Jealousy/Ljubosumje)

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Kralji in kraljice Kings and Queens

Bird People Bird People Ljudje ptice Francija France 2014

Pascale Ferran re`ija/directed by Pascale Ferran scenarij/screenplay Guillaume Bréaud, Pascale Ferran fotografija/cinematography Julien Hirsch glasba/music Béatrice Thiriet monta`a/editing Mathilde Muyard igrajo/cast Josh Charles (Gary), Anaïs Demoustier (Audrey), Roschdy Zem (Simon), Camélia Jordana (Leila), Akela Sari (gospa Baccar/ Mme Baccar), Anne Azoulay (Melle Lhomond), Manuel Vallade (Boris), Hippolyte Girardot (Vengers), Genevieve Adams (Katlyn), Geoffrey Cantor (Allan), Clark Johnson (McCullan), Catherine Ferran (Nuala), Mathieu Amalric (pripovedovalec/ narrator) producent/producer Denis Freyd produkcija/production Archipel 35 52, rue Charlot 75003 Paris, France E archipel�archipel35.fr & France 2 Cinéma (France) & Titre et Structure Production (France) format/format DCP, barvni/colour dol`ina/running time 128'

Oris sodobne odtujenosti, posnet na najmanj romanti~nem delu najbolj romanti~nega mesta na svetu.

Hotel ob letali{~u Charles de Gaulle v Parizu. Tujca posku{ata najti smisel v `ivljenju. Gary Newman je ameri{ki in`enir pod izjemnim poklicnim in ~ustvenim pritiskom, ki se odlo~i, da bo povsem spremenil tok svojega obstoja. Mlada hotelska sobarica Audrey ob istem ~asu prav tako do`ivlja nadnaravno izku{njo `ivljenjske preobrazbe. Garyja nekaj pripravi do tega, da izpusti svoj let, pusti slu`bo, pokli~e odvetnika, `eni pa po{lje zgolj kratko sporo~ilo, v katerem pi{e: "Govoriti moram s tabo."

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2014, Karlovi Vari/Karlovy Vary 2014

"Pri ustvarjanju portreta sodobnega sveta sem se kot filmska umetnica nagibala h kola`u, skorajda prisiljena sem bila vanj zaradi modernega na~ina `ivljenja, na{ih dejavnosti. Pogosto se izgubimo v svojih mislih, sanjarjenju, nenadoma pa zazvoni mobilni telefon in nas po`ene v popolnoma druga~en ~as. V na{em umskem namizju se odprti vsi ti dokumenti, zato me je raziskovanje sodobnega `ivljenja pooblastilo za to drznost pri snovanju pripovedne zgradbe." (Pascale Ferran)

prodaja/world sales Films Distribution 34, rue du Louvre 75001 Paris, France E info�filmsdistribution.com

A hotel adjacent to Paris' Charles de Gaulle Airport. Two strangers try to make sense out of their lives: Gary Newman, an American engineer under great professional and emotional pressure who decides to radically change the course of his existence, and Audrey, a young hotel chambermaid who goes through a life-altering supernatural experience. But something compels Gary to skip his flight, and the next morning, he quits his job, calls his lawyer and writes his wife a concise e-mail – the subject: "Need to speak to you."

"In making a portrait of today's world, as an artist I was encouraged and almost forced to make a collage because of modern life, our activities. Often we are lost in our own thoughts daydreaming and suddenly out cell phone rings and we are propelled into a totally different time. We have all these files open into our mental desktop, so dealing with contemporary life authorised me this boldness in the construction of the narrative structure." (Pascale Ferran)

Pascale Ferran

filmografija (izbor)/filmography (selection)

Rojena 1960 v Parizu. Leta 1983 je prejela diplomo na In{titutu za vi{je filmske {tudije (IDHEC) in potem delala kot asistentka na televiziji. Med letoma 1979 in 1990 je posnela {est kratkih filmov, od katerih je posebej opazen ve~krat nagrajeni Le baiser. @e njen prvi celove~erni film Petits arrangements avec les morts je osvojil nagrado na filmskem festivalu v Cannesu.

1990 1994 1995 2006 2014

Born in 1960 in Paris. Having graduated in cinema studies from the IDHEC in 1983, Ferran worked as an assistant in television. She directed six short films between 1979 and 1990, most notably the award-winning The Kiss.

Her first feature film, Coming to Terms with the Dead, won the Caméra d'Or at the Cannes Film Festival.

60

A statement on present-day human alienation, set in the most romantic city on earth yet almost entirely confined to a totally unromantic venue.

Le baiser (The Kiss) (kratki/short) Petits arrangements avec les morts (Coming to Terms with the Dead) L'âge des possibles (The Age of Possibilities) Lady Chatterley Bird People (Ljudje ptice)

Kralji in kraljice Kings and Queens

P'tit Quinquin Li'l Quinquin Mali Quinquin Francija France 2014

Bruno Dumont

re`ija/directed by Bruno Dumont scenarij/screenplay Bruno Dumont fotografija/cinematography Guillaume Deffontaines zvok/sound Emmanuel Croset monta`a/editing Basile Belkhiri, Bruno Dumont igrajo/cast Alane Delhaye (Quinquin), Lucy Caron (Eve), Bernard Pruvost (policijski na~elnik van Der Weyden/ police officer Van Der Weyden), Philippe Jore (Carpentier) producenti/producers Jean Brehat, Rachid Bouchareb, Muriel Merlin produkcija/production 3B Productions 10 passage des taillandiers 75011 Paris, France E contact�3b-productions.com format/format DCP, barvni/colour dol`ina/running time 197'

Velikan sodobnega francoskega filma Bruno Dumont je letos presenetil z od{tekano in duhovito {tiridelno miniserijo Mali Quinquin, v kateri skozi o~i malega navihanca Quinquina opazujemo nenavadno policijsko preiskavo bizarnih umorov na francoskem pode`elju.

Ob severni obali Francije v bunkerju iz druge svetovne vojne odkrijejo truplo krave, napolnjeno s ~love{kimi ostanki. Primer raziskujeta policijski na~elnik van der Weyden in njegov sodelavec Carpentier; navihanec Quinquin, njegovo dekle Eve in njuni prijatelji pa budno spremljajo preiskavo ter si vmes privo{~ijo marsikak{no potegav{~ino. Miniserijo odlikujeta pisan nabor nenavadnih lokalnih likov ter zna~ilni dumontovski prikaz nasprotja med dobrim in zlim, ki odseva v zoperstavitvi nedol`nosti otro{ke igre ter nara{~ajo~ih nestrpnosti in pokvarjenosti, ki vladajo svetu odraslih.

"Zavedam se, da pogosto snemam tragi~ne filme, vendar so na snemanju tudi sme{ni trenutki, pa ~eprav jih ne prelijem na zaslon. Ljubim tragedijo, vendar tudi komedijo. /…/ Televizijska nadaljevanka ima {tiri dele, sodeloval pa sem z natur{~iki – eden od policistov je vrtnar, drugi brezposeln. Snemali smo v Calaisu, v njem nastopa veliko krajanov. Blizu je tradicionalni kriminalni nadaljevanki, vendar je bil moj namen poigravati se s kli{eji zvrsti."

(Bruno Dumont)

On the north French coast a dead cow is discovered in a WWII-era bunker, which seems to have been stuffed with human remains. The case, investigated by police inspector Van Der Weyden and his colleague Carpentier, is closely followed

by Quinquin, his girlfriend Eve and their friends, who keep pulling practical jokes. The series features a variegated cast of characters and quirky personalities as well as the typical Dumontian take on the good and evil, reflected in the dualism of innocent child's play and growing intolerance and depravation governing the adult world.

"I am aware that I often do tragic films but there are moments on the set that are funny even if I do not put them on screen. I love tragedy, but I do love comedy as well. /…/ The TV series is in four parts and I worked with non-professional actors – one of the cops is a gardener, another is someone on the dole. I shot it in Calais and lots of local people are in the cast. It is quite close to traditional cop series, but the idea is to play around with the clichés of the genre." (Bruno Dumont)

Bruno Dumont

filmografija/filmography

Rojen leta 1958 v mestu Bailleul, Francija. Filme je za~el snemati leta 1986.

Re`iral je {tevilne televizijske oglase, kratke filme in celove~erce. Za film Hadewijch je leta 2009 na mednarodnem festivalu v Torontu prejel nagrado filmskih kritikov FIPRESCI.

1997 1999 2003 2006 2009 2011 2013 2014

Born in 1958 in Bailleul, France, Dumont embarked on his filmmaking career in 1986. He has directed numerous TV commercials, shorts and feature films. His Hadewijch won the 2009 Prize of the International Critics FIPRESCI at the Toronto Film Festival.

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2014 –[tirinajst dni re`iserjev 2014/Directors' Fortnight

Bruno Dumont, a luminary of contemporary French cinema, has this year surprisingly come up with a screwball and wickedly funny four-episode miniseries, Li'l Quinquin, which follows an unorthodox police inquest of bizarre murders in the French countryside through the eyes of a young scoundrel, Quinquin.

prodaja/world sales NDM E fm�mantarraya.com

La vie de Jésus (The Life of Jesus/Jezusovo `ivljenje) L'humanité (Humanity/^love~nost) Twentynine Palms Flandres (Flanders) Hadewijch Hors Satan (Outside Satan) Camille Claudel 1915 (Camille Claudel) P'tit Quenqin (L'il Quinquin/Mali Quinquin) (TV-serija/TV series)

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Kralji in kraljice Kings and Queens

A Most Wanted Man A Most Wanted Man Najbolj iskani ~lovek Velika Britanija, ZDA, Nem~ija Great Britain, USA, Germany 2014

Anton Corbijn re`ija/directed by Anton Corbijn scenarij/screenplay Andrew Bovell, John le Carré (roman/novel) fotografija/cinematography Benoit Delhomme glasba/music Herbert Grönemeyer monta`a/editing Claire Simpson igrajo/cast Philip Seymour Hoffman (Günther Bachmann), Rachel McAdams (Annabel Richter), Willem Dafoe (Tommy Brue), Robin Wright (Martha Sullivan), Grigoriy Dobrygin (Isa Karpov), Homayoun Ershadi (Abdullah), Nina Hoss (Irna Frey), Franz Hartwig (Karl), Daniel Bruhl (Maximilian) producenti/producers Andrea Calderwood, Simon Cornwell, Stephen Cornwell, Gail Egan, Malte Grunert produkcija/production Ink Factory Films 73 Wells Street London W1T 3QG, UK E info�inkfactoryfilms.com & Potboiler Productions (UK) & Amusement Park Productions (USA) format/format DCP, barvni/colour dol`ina/running time 121' festivali, nagrade (izbor)/ festivals, awards (selection) Sundance 2014, Deauville 2014, Moskva/Moscow 2014

Predelava le Carrejevega vohunskega romana prika`e vpra{ljive metode preganjanja teroristov. Odli~ni Philip Seymour Hoffman v eni zadnjih vlog.

The screen adaptation of Le Carre’s spy novel addresses the questionable methods of terrorist elimination. The brilliant Philip Seymour Hoffman in one of his final roles.

V islamsko skupnost v Hamburgu se zate~e skrivnostni, izmu~eni, napol mrtvi mo{ki na begu. Isa Karpov je po rodu pol ^e~en in pol Rus. Ob pro{nji za pomo~ sku{a ugotoviti, kaj storiti z bogato, nezakonito pridobljeno dedi{~ino svojega ruskega o~eta. Marsikaj glede tega mo{kega vzbuja sum. Je res `rtev mu~enja ali le navaden tat ali pa, {e huje, islamski ekstremist na terorirsti~ni misiji? V tej intrigi se znajdeta tudi zasebni britanski bankir in zagnana mlada odvetnica, specializirana za ~lovekove pravice.

Nih~e od njih pa se ne zaveda, da jih vse skupaj vseskozi opazuje briljantni, iskrivi {ef tajne nem{ke vohunske enote, ki si prizadeva sestaviti vse kose sestavljanke, medtem ko ura neusmiljeno tiktaka.

A mysterious, tortured and near-dead man on the run arrives in Hamburg's Islamic community. Half-Chechen, half-Russian, Issa Karpov is desperate for help and looking to recover his late Russian father's ill-gotten fortune. Nothing about this young man seems to add up; is he a victim or a thief or, worse still, an extremist intent on destruction? Drawn into this web of intrigue are a private British banker and a young female lawyer determined to defend the defenceless. All the while, they are being watched by the brilliant, roguish chief of a covert German spy unit, who fights to put the pieces together as the clock ticks.

"^e se ozremo nazaj, smo imeli samo eno izbiro. O~itno je bilo, da bo Philip Seymour Hoffman najustreznej{a oseba za poustvaritev lika Johna le Carréja. Bachmanna sem si vedno predstavljal telesno in razumsko mo~nega z dolo~enimi vodstvenimi sposobnostmi. Ko sva s Philom gledala zgodnje posnetke na{ega filma, nisem mogel verjeti, da je tip ob meni tista oseba kot na platnu. Vera v resni~nost njegovega lika je bila popolna."

(Anton Corbijn)

prodaja/world sales FilmNation Entertainment 150 West 22nd Street, 9th Floor New York, NY 10011, USA E ssaldana�filmnation.com distribucija/distribution Blitz film & video distribution d.o.o.

Dolenjska cesta 258 1291 [kofljica E marketing�blitz-film.com

Anton Corbijn

filmografija/filmography

Rojen leta 1955 v Strijenu na Nizozemskem. @e v srednji {oli je ob ljubezni do glasbe spoznal tudi fotografijo in danes velja za enega najvplivnej{ih fotografov v svetu glasbe. Pozneje se je lotil tudi oblikovanja posterjev in ovitkov zgo{~enk, od leta 1990 pa je posnel pribli`no osemdeset glasbenih videospotov. Najbolj iskani ~lovek je njegov tretji celove~erec.

1994 2007 2010 2014

Born in 1955 in Strijen, The Netherlands, Corbijn's teenage love of music led into exploration of photography. He is nowadays considered to be one of the most influential photographers in the music world. He later began to design posters and CD covers, and has shot approx. 80 music videos since 1990.

A Most Wanted Man is his third feature film.

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"In retrospect, there was only one choice. It was obvious that Philip Seymour Hoffman would be the person to bring this John le Carré character to life. I always imagined Bachmann to have a strong physicality as well as intelligence and a certain kind of leadership. When Phil and I watched the film together in its early stages, I could not believe that the guy sitting next to me was the same person as the one on screen. The belief in the reality of his character was total." (Anton Corbijn)

Some Yo Yo Stuff (kratki/short) Control (Nadzor) The American (Ameri~an) A Most Wanted Man (Najbolj iskani ~lovek)

Kralji in kraljice Kings and Queens

Night Moves Night Moves No~ne poti ZDA USA 2013

Kelly Reichardt

Okoljevarstveni triler o posledicah politi~nega ekstremizma v zna~ilnem slogu re`iserke Kelly Reichardt, z edinstveno kombinacijo art filma in zvezdni{ke igralske zasedbe.

Harmon je nekdanji marinec, ki {e vedno hrepeni po avanturi in uni~evanju. Dena je odpadnica visoke dru`be z mo~nim odporom do prevladujo~e potro{ni{ke kulture, v katero je bila rojena. Josh je introvertirani delavec na organski kmetiji, vendar obenem tudi samovzgojeni ekolo{ki bojevnik. Skupaj se lotijo najbolj skrajnega politi~nega dejanja, kar si jih lahko zamislijo. Z eksplozivom razstrelijo sporni hidroelektri~ni jez, vir in simbol pregre{no potro{ne industrijske kulture, ki jo tako prezirajo. Vendar se pravi boj za~ne {ele, ko jih posledice dejanja pahnejo v vrtinec dvoma in paranoje.

"Besna sem zaradi vse izprijenosti v tej dr`avi. Korporacije so zmagale; to sem dojela. Posedujejo vse in si lastijo zrak, oceane, gozdove – vse je njihovo. Kakor koli `e. Polo`aj se zdi tako brezupen, da vsakogar, ki je {e voljan iti v boj za varovanje okolja, {tejem za junaka. Vesela sem, da obstajajo." (Kelly Reichardt)

re`ija/directed by Kelly Reichardt scenarij/screenplay Jonathan Raymond, Kelly Reichardt fotografija/cinematography Christopher Blauvelt glasba/music Jeff Grace monta`a/editing Kelly Reichardt

igrajo/cast Jesse Eisenberg (Josh), Dakota Fanning (Dena), Peter Sarsgaard (Harmon), Alia Shawkat (Surprise), Logan Miller (Dylan), Kai Lennox (Sean), Katherine Waterston (Anne), James Le Gros (prodajalec/ clerk), Traber Burns (Felix), Autumn Nidalmia (Mable), Barry Del Sherman (Corser), Jason Rojas (aktivist/ activist), Clara Mamet (re`iserka/ filmmaker) producenti/producers Neil Kopp, Anish Savjani, Chris Maybach, Saemi Kim, Rodrigo Teixeira produkcija/production Maybach Film 9461 Charleville Blvd. #377 Beverly Hills, CA 90212, USA E info�maybachfilm.com & RT Features (Brazil) & Film Science (USA) format/format DCP, barvni/colour dol`ina/running time 112'

An environmental-preservation thriller about the repercussions of political extremism in Kelly Reichardt's signature style, Night Moves features a unique combination of art film and stellar cast.

A former Marine, Harmon is eager for adventure, excited by the prospect of mayhem and destruction. Dena is a high-society dropout, sickened by the consumer economy into which she was born. And Josh, an organic farm worker, is a self-made militant, devoted to the protection of the Earth by any means necessary. The three radical environmentalists come together to execute the most intense protest of their lives: the explosion of a hydroelectric dam – the very source and symbol of the resourcedevouring industrial culture they despise. But the true struggle begins when their plot unravels into a journey of doubt, paranoia and unintended consequences.

festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2013, Toronto 2013, Deauville 2013 (velika nagrada/Grand Prix), Rio De Janeiro 2013, London 2013, New York 2014, Seattle 2014, Sydney 2014

"I'm mad about all the crap in this country. The corporations won; I get it. They own everything and they've got the air, the ocean, the forest—they've got it all. Whatever. It feels so much like a lost battle that anybody who can still get up every day and fight for an environmental cause to me is quite heroic. I'm glad they're there." (Kelly Reichardt)

Kelly Reichardt

filmografija/filmography

Rojena leta 1964 v Miamiju. Fotografija jo je za~ela zanimati `e v otro{tvu, ko si je od o~eta policista izposojala fotoaparat za slikanje prizori{~ kriminalnih dejanj. Obiskovala je {olo Muzeja umetnosti v Bostonu. Njen film Old Joy je bil prvi ameri{ki prejemnik tigra na rotterdamskem filmskem festivalu.

Njena zadnja filma Meek's Cutoff in No~ne poti sta se uvrstila v tekmovalni program bene{kega filmskega festivala.

1994 1999 2001 2006 2008 2010 2013

prodaja/world sales The Match Factory GmbH Balthasarstraße 79–81 50670 Cologne, Germany E info'matchfactory.de

River of Grass Ode Then a Year (kratki/short) Old Joy Wendy and Lucy (Wendy in Lucy) Meek’s Cutoff Night Moves (No~ne poti)

distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Born in 1964 in Miami, Reichardt has been interested in photography since a very young age. She started out by borrowing her father's camera, which he used for photographing crime scenes. Kelly attended the School of the Museum of Fine Arts in Boston, Massachusetts. Old Joy was the first American film to win the Tiger Award at the Rotterdam Film Festival.

Reichardt's last two films, Meek's Cutoff and Night Moves, screened in the Venice Film Festival's competitive programme.

63

Kralji in kraljice Kings and Queens

Mula sa kung ano ang noon From what Is Before Odmevi preteklosti Lav Diaz

Filipini The Philippines 2014

re`ija/directed by Lav Diaz scenarij/screenplay Lav Diaz fotografija/cinematography Lav Diaz zvok/sound Mark Locsin monta`a/editing Lav Diaz igrajo/cast Perry Dizon (Sito), Roeder (Tony), Hazel Orencio (Itang), Karenina Haniel (Joselina), Reynan Abcede (Hakob), Mailes Kanapi (Heding) producenta/producers Lav Diaz, Krzysztof Dabrowski produkcija/production Sine Olivia Pilipinas 1800 Marikina, The Philippines E sineoliviapilipinas�gmail.com format/format DCP, ~b/b&w dol`ina/running time 338' festivali, nagrade (izbor)/ festivals, awards (selection) Locarno 2014 (zlati leopard/Golden Leopard, nagrada FIPRESCI/ FIPRESCI Prize)

Ko je filipinski predsednik Ferdinand E. Marcos leta 1972 v de`eli razglasil izredne razmere, so se dogajale nadvse nenavadne re~i ... Nova mojstrovina Lava Diaza, v Locarnu nagrajena z zlatim leopardom.

V odmaknjeni vasici: iz bli`njega gozda se razlega nenavadno zavijanje, pojavljajo se trupla brutalno razkosanih krav, na nekem kri`i{~u najdejo mo{kega, izkrvavelega do smrti ... Filipinski predsednik Ferdinand E. Marcos septembra istega leta razglasi izredne razmere, in ko njegova vojska prodre v to "zakleto" vas, se zdi, kot da so odkrili zibelko uporni{kega gibanja.

"Razru{il sem hollywoodski sistem, da lahko ustvarjam svoje filme, da lahko predstavljam svojo kulturo. Da lahko osvobodim svoj film. Razru{iti moram sistem, ki je bil vsiljen. Ta zahteva dvourne filme, kraj{anje z monta`o, z manipulacijo ~asa. Tega ne `elim po~eti. Zato sem ustvaril lastno zgradbo, zasnoval lastno metodologijo. Del mojega filmskega ustvarjanja zaznamuje prav to. Ru{enje sistema." (Lav Diaz)

prodaja/world sales Sine Olivia Pilipinas 1800 Marikina, The Philippines E sineoliviapilipinas�gmail.com

The Philippines, 1972. Mysterious things are happening in a remote barrio. Wails are heard from the forest, cows are brutally hacked to death, a man is found bleeding at the crossroads and houses are burnt. In September of that same year, the Philippine President, Ferdinand E. Marcos, declared that the country was in a state of emergency and when the government troops entered this "possessed" village, it seemed that the cradle of resistance movement was uncovered.

"I destroyed the Hollywood system so that I can create my cinema, so that I can represent my culture. So that I can liberate my cinema. I need to destroy the system that has been imposed.

It has to be two hours, that you need a cut-to-cut to be able to cut the time, to manipulate time. I don't want to do that. So I needed to create my own framework, my own methodology. Part of that is about that. Destroying the system." (Lav Diaz)

Lav Diaz

filmografija (izbor)/filmography (selection)

Rojen leta 1958 v vasi Patu Paglas na Filipinih. [tudiral je na filmskem in{titutu Mowelfund (Quezon City). Danes velja za enega vodilnih in najbolj inovativnih filmskih ustvarjalcev svetovne kinematografije. V svojih filmih, ki jih redno uvr{~ajo na sporede najve~jih svetovnih filmskih festivalov, se ukvarja predvsem s socialnimi vpra{anji in politi~nimi boji, ki pretresajo njegovo domovino.

1998 Serafin Geronimo, kriminal ng Baryo Concepcion (The Criminal of Barrio Concepcion) 1999 Hubad sa ilalim ng buwan (Naked Under the Moon) 2002 Batang West Side 2002 Hesus rebolusyonaryo (Hesus the Revolutionary) 2004 Ebolusyon ng isang pamilyang pilipino (Evolution of a Filipino Family) 2006 Heremias (Jeremija) 2007 Kagadanan sa banwaan ning mga Engkanto (Death in the Land of Encantos/Smrt v provinci Engkanto) 2008 Melancholia 2011 Siglo ng pagluluwal (Century of Birthing) 2013 Norte hangganan ng kasaysayan (Norte, the End of History) 2014 Mula sa kung ano ang noon (From what Is Before/Odmevi preteklosti)

Born in 1958 in Patu Paglas in the Philippines, Diaz studied at the Mowelfund Film Institute (Quezon City). He is widely considered to be one of the foremost and most innovative global filmmakers. His films are about the social and political struggles of his motherland and, through these, he has garnered the admiration of the international festival circuit.

64

When in 1972 the Philippine President, Ferdinand E. Marcos, declared that the country was in a state of emergency, strange things started to take place in a tiny isolated village.

A new masterpiece by Filipino Lav Diaz, winner of the Golden Leopard at the Locarno Film Festival.

Kralji in kraljice Kings and Queens

We Come as Friends We Come as Friends Prihajamo v miru Francija, Avstrija France, Austria 2014

Hubert Sauper

re`ija/directed by Hubert Sauper scenarij/screenplay Hubert Sauper fotografija/cinematography Hubert Sauper, Barney Broomfield glasba/music Slim Twig monta`a/editing Hubert Sauper, Cathie Dambel, Denise Vindevogel producenti/producers Hubert Sauper, Gabriele Kranzelbinder produkcija/production KGP Kranzelbinder Gabriele Production GmbH Seidengasse 15/3/9 1070 Vienna, Austria E welcome�kgp.co.at format/format DCP, barvni/colour dol`ina/running time 110' festivali/festivals Berlin 2014 (nagrada za mir/Peace Film Prize), Sundance 2014

Re`iser Darwinove no~ne more v najnovej{em dokumentarnem filmu gledalca popelje na sodobno odisejado, skorajda domi{ljijsko potovanje v srce Afrike z improviziranim aluminijastim letalom.

In his latest documentary, the director of Darwin's Nightmare takes us on a modern odyssey, a dizzying, science fiction-like journey into the heart of Africa in his tiny, self-made flying machine.

Nekaj let po odcepitvi Ju`nega Sudana je ozemlje nekdaj najve~je afri{ke dr`ave ponovno postalo prizori{~e spopadov civilizacij ter vedno novih epizod krvavih vojn za ozemlje in dobrine.

Re`iser gledalca popelje na najbolj neverjetne kraje, kjer se prepletajo usode tamkaj{njih prebivalcev: kitajskih vrtalcev nafte, pripadnikov mirovnih sil Zdru`enih narodov, sudanskih vojnih mogotcev in celo ameri{kih evangeli~anskih misijonarjev.

At the moment when Sudan, the continent's biggest country, is being divided into two nations, an old 'civilising' pathology re-emerges – that of colonialism, clash of empires, and yet new episodes of bloody (and holy) wars over land and resources. The director leads us into most improbable locations and into people's thoughts and dreams: Chinese oil workers, UN peacekeepers, Sudanese warlords, and American Evangelist missionaries.

"Nekaj je zakodirano v na{ih celicah, skorajda, da smo mi, zahodnja{ka kultura, mi, Evropejci, izkoreninili civilizacije, po svetu pobili milijone ljudi. In medtem ko smo vsa ta stoletja uni~evali civilizacije, v Amerikah, v Afriki, Aziji, smo si vsaki~ izmislili kak{en izgovor, ki je na{a dejanja opravi~eval. In, seveda, kr{~anstvo je izgovor podprlo. Mi, Evropejci, smo vedno na{li opravi~ilo, da bi sami sebi potrdili svojo dobroto, medtem ko na drugi strani sveta pobijamo vse preostale ljudi." (Hubert Sauper)

"There's something kind of encrypted in our veins, almost, that we, the Western culture, we Europeans have been overthrowing civilisations, killing millions of people in the world. And as we did annihilate civilisations over the centuries, in the Americas, in Africa, in Asia, we always had to come up with a narrative that excuses our doing so. And of course the narrative was supported

by Christianity. We, the Europeans, we always had to come up with a way to explain to ourselves that we are actually good people while we are killing everyone else on the other side of the world." (Hubert Sauper)

Hubert Sauper

filmografija/filmography

Rojen leta 1966 v Kitzbühelu na Tirolskem. Na Dunaju in v Parizu je {tudiral filmsko re`ijo. Nekaj let je pre`ivel v Veliki Britaniji, Italiji in ZDA, od 1994 pa `ivi v Franciji. Posve~a se predvsem filmski pedagogiki in ustvarjanju dokumentarnih filmov. Za svoja dela je bil ve~krat nagrajen, njegov dokumentarec Darwinova no~na mora pa je bil nominiran tudi za oskarja.

1989 1990 1990 1993 1994

Born in 1966 in Kitzbühel, Tyrol, Sauper studied film directing in Vienna and Paris. He lived in Great Britain, Italy, the USA, and since 1994 in France.

Devoted mostly to making documentaries, Hubert also teaches film classes.

The last two documentaries he wrote and directed were awarded twelve international film prizes. Darwin's Nightmare was nominated for an Academy Award.

1998 2002 2004 2014

prodaja/world sales Le Pacte 5 rue Darcet 75017 Paris, France E sales�le-pacte.com

Era Max (kratki/short) Piraten in Österreich Der Blasi Ich habe die angenehme Aufgabe Also schlafwandle ich am hellichtem Tage (So I Sleepwalk in Broad Daylight) Kisangani Diary (dokumentarni/documentary) Seules avec nos histoires (Alone with our Stories) Darwin's Nightmare (Darwinova no~na mora) (dokumentarni/documentary) We Come as Friends (Prihajamo v miru) (dokumentarni/documentary)

distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

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Kralji in kraljice Kings and Queens

The Salt of the Earth The Salt of the Earth Sol zemlje Wim Wenders, Juliano Ribeiro Salgado

re`ija/directed by Wim Wenders, Juliano Ribeiro Salgado scenarij/screenplay Wim Wenders, Juliano Ribeiro Salgado, David Rosier fotografija/cinematography Hugo Barbier, Juliano Ribeiro Salgado glasba/music Laurent Petitgand monta`a/editing Maxine Goedicke, Rob Myers igrajo/cast Sebastião Salgado, Wim Wenders (pripovedovalec/narrator), Juliano Ribeiro Salgado (pripovedovalec/ narrator) producent/producer David Rosier produkcija/production Decia Films 37 rue de Charonne 75011 Paris, France E david�deciafilms.com & Amazonas images (Brazil) & Solares delle arti (Italy) format/format DCP, barvni/colour dol`ina/running time 109' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2014 – Poseben pogled/Un certain regard

Dokumentarni portret fotografa Sebastiaa Salgada, ki ga je zaznamovalo dolgoletno poro~anje s kriznih `ari{~, a je kljub vsem videnim tragedijam ponovno na{el upanje v svet, v katerem `ivimo.

The documentary portrait of photographer Sebastiao Salgado, whose body of work reflects an undiminished hope in human civilisation, is grounded in his longstanding career as a photojournalist.

Fotograf Sebastiao Salgado je zadnjih {tirideset let potoval po razli~nih celinah, kjer je sledil prelomnim dogodkom sodobne ~love{ke civilizacije. Bil je pri~a {tevilnim mednarodnim sporom, rev{~ini, izgnanstvu, vojnam. Njegove srce parajo~e fotografije s kriznih `ari{~ so zaokro`ile po vsem svetu, a Salgadu so obenem o~itali tudi izkori{~anje `rtev zavoljo lastne koristi. @ivljenje in delo fotografa nam v filmu razkrijeta njegov sin Juliano in Wim Wenders, tudi sam fotograf, filmar in velik ljubitelj ~rno-bele fotografije.

For the last forty years, the photographer Sebastiao Salgado has been travelling through the continents, in the footsteps of an ever-changing humanity. He has witnessed some of the major events of our recent history; international conflicts, starvation and exodus. Salgado's heart-wrenching photos of human tragedies have been featured globally, but Salgado has also been blamed for exploiting the victims for his own gains. Sebastiao Salgado's life and work are revealed to us by his son, Juliano, who accompanied him during his last travels, and by Wim Wenders, himself a photographer and great lover of black and white photography.

"Ko fotografira{ rev{~ino in trpljenje, mora{ portretirancem pustiti dolo~eno dostojanstvo in ne dovoliti, da bi zapadel v voajerizem.

Ni preprosto. To lahko dose`e{ samo, ~e z ljudmi pred kamero razvije{ dober odnos ter se resni~no poglobi{ v njihovo `ivljenje in polo`aj. To uspe le redkim fotografom. /.../ Menim, da je Sebastiao dopustil resni~no dostojanstvo vsem, ki se so zna{li pred njegovim objektivom. Njegovo fotografije ne govorijo o njem, temve~ o vseh teh ljudeh!" (Wim Wenders)

prodaja/world sales Le Pacte 5, rue Darcet 75017 Paris, France E c.neel�le-pacte.com distribucija/distribution Cenex d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

"When you photograph poverty and suffering, you have to give a certain dignity to your subject, and avoid slipping into voyeurism.

It's not easy. It can only be achieved on condition that you develop a good rapport with the people in front of the lens, and you really get inside their lives and their situation. Very few photographers manage this. /.../ I think that Sebastião offered real dignity to all those people who found themselves in front of his lens. His photographs aren't about him, but about all those people!" (Wim Wenders)

Wim Wenders, Juliano Ribeiro Salgado

filmografija (izbor)/filmography (selection)

W. W.: Rojen leta 1945 v Düsseldorfu. Avtor {tevilnih evropskih filmskih klasik, kot so Pariz, Teksas, Nebo nad Berlinom, Zgodba iz Lizbone, Buena Vista Social Club in Pina.

Born in 1945 in Düsseldorf, Wenders has made a number of films that are considered timeless European classics, such as Paris, Texas, Wings of Desire, Lisbon Story, Buena Vista Social Club and Pina.

W. W.: 1974 Alice in den Städten (Alice in the Cities/Alice v mestih) 1977 Der amerikanische Freund (The American Friend/Ameri{ki prijatelj) 1984 Paris, Texas (Pariz, Teksas) 1987 Der Himmel über Berlin (Wings of Desire/Nebo nad Berlinom) 1999 Buena Vista Social Club (dokumentarni/documentary) 2011 Pina 2014 The Salt of the Earth (Sol zemlje) J. R. S.: 2005 Paris la métisse 2009 Nauru, une île à la dérive (Nauru, an Island Adrift) (TV dokumentarni/ TV documentary) 2014 The Salt of the Earth (Sol zemlje)

J. R. S.: Rojen leta 1974 v Parizu. Avtor ve~ dokumentarnih filmov in televizijskih reporta`. Sin fotografa Sebastiaa Salgada, na katerega fotografskem delu film Sol zemlje temelji.

Born in 1974 in Paris. Maker of several documentaries and TV films. Son of photographer Sebastiao Salgado, on whose photographic project The Salt of the Earth is based.

66

Francija, Brazilija, Italija France, Brazil, Italy 2014

Kralji in kraljice Kings and Queens

To mikro psari Stratos Stratos Gr~ija, Nem~ija, Ciper Greece, Germany, Cyprus 2014

Yannis Economides

Propadajo~i svet brezciljne gr{ke dru`be v zgodbi o morilcu z dvojnim `ivljenjem izpod rok enega najvidnej{ih re`iserjev sodobnega gr{kega filma Yannisa Economidesa.

Stratos je povpre~en mo{ki, ki pono~i dela v pekarni, podnevi pa je profesionalni morilec. Ker mu je Leonidas v preteklosti re{il `ivljenje, Stratos zbira denar, da bi ga spravil iz zapora, saj je zanj to vpra{anje ~asti. Ob tem skrbi tudi za sosedovo h~er, osemletno Katerino, njeno mamo in strica. Ko vendarle zbere dovolj denarja za Leonidasovo izpustitev, se zgodi nepri~akovan obrat, v katerem je ogro`ena Katerinina varnost. Stratos je prisiljen ukrepati, pa ~etudi ga to vodi od enega hudodelstva do drugega ...

"Svet, ki ga opisujem v filmih, je vedno v krizi. Moji liki so do`ivljali krizo, veliko preden se je razpo~il gr{ki milni mehur~ek. Nisem preprosto odkril gr{ke dru`bene krize, ne tiste zahodnega sveta. To so teme, ki jih raziskujem `e vseskozi, vpra{anja ~love{kega polo`aja, ljubezni, sovra{tva, izdajstva, pohlepa, podlosti, identitete sodobnega Grka, njegovih pregreh, napak in pomanjkljivosti, teme, ki jih nenehno obravnavam." (Yannis Economides)

Yannis Economides, a pre-eminent figure of contemporary Greek cinema, explores the deteriorating and desolate world of the nihilistic Greek society through the double life of a contract killer.

By night, Stratos works in a bread factory but by day, he's a professional hit man. He needs the cash to free Leonidas from prison because he once saved Stratos' life when he was behind bars. For Stratos, this is simply a question of honour. He attentively looks after a neighbour’s child, eight-year-old Katerina, as well as her mother and an uncle. At last he has enough money for the prison break-out, but an unexpected turn of events takes place, one of them having to do with Katerina's safety. Stratos must act, even if this means stringing one wrongdoing after another.

festivali, nagrade (izbor)/ festivals, awards (selection) Berlin 2014, Karlovi Vari/Karlovy Vary 2014

"The world I describe in my films has always been in crisis. My characters were in crisis long before the Greek bubble even burst. I didn't just discover Greece's societal crisis, or the crisis of the Western World. The themes I've always explored, themes of the human condition, of love, hate, betrayal, money-grabbing, meanness, the identity of the neo-Greek, his vices, defects and shortcomings, they've always been what I dig into." (Yannis Economides)

Yannis Economides

filmografija/filmography

Rojen leta 1967 v kraju Limassol, Ciper. Po koncu {tudija filma v Atenah je sprva re`iral kratke filme in dokumentarce. Leta 2002 je posnel svoj prvi celove~erni film Sod smodnika, leta 2006 pa je bil njegov film I psyhi sto stoma uvr{~en v program canskega filmskega festivala.

1990 Kalimera nyhta (Good Morning Night) (kratki dokumentarni/ documentary short) 1994 Mono myrizontas giasemi (Just Feeling the Jasmine Scent) (kratki dokumentarni/documentary short) 1995 I zoi pou tha 'theles (The Life You’d Like) (dokumentarni/documentary) 2002 Spirtokouto (Matchbox/Sod smodnika) 2006 I psyhi sto stoma (Soul Kicking) 2010 Macherovgaltis (Knifer/Zahrbtne`) 2014 To mikro psari (Stratos)

Born in 1967 in Limassol, Cyprus. Having studied film in Athens, Economides first made shorts and documentaries. Matchbox, his feature film debut, was released in 2002, and Soul Kicking was selected for the 2006 Cannes Film Festival.

re`ija/directed by Yannis Economides scenarij/screenplay Yannis Economides, Christos V. Konstantakopoulos, Harry Lagoussis, Vangelis Mourikis, Xiros Thanos fotografija/cinematography Dimitris Katsaitis glasba/music Babis Papadopoulos monta`a/editing Yannis Chalkiadakis igrajo/cast Vangelis Mourikis (Stratos), Petros Zervos (Makis), Vicky Papadopoulou (Vicky), Yannis Tsortekis (Yorgos), Yorgos Yannopoulos (Petropoulos), Yannis Anastasakis (Maler), Polina Dellatola (Katerina), Sonia Theodoridou (Jenny), Maria Kallimani (gospa na pokopali{~u/lady at the cemetery), Popi Tsapanidou (Maria) producenti/producers Christos V. Konstantakopoulos, Panos Papahadzis, Michael Weber, Yannis Economides produkcija/production Faliro House Productions 8A Pentelis Street Palaio Faliro Athens 17564, Greece E christos�falirohouse.com & Argonauts Productions (Greece) & The Match Factory (Germany) & Yannis Economides Films (Cyprus) format/format DCP, barvni/colour dol`ina/running time 137'

prodaja/world sales The Match Factory GmbH Balthasarstraße 79–81 50670 Cologne, Germany E info�matchfactory.de distribucija/distribution Cenex d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

67

Kralji in kraljice Kings and Queens

Trudno bit bogom Hard to Be a God Te`ko je biti bog Rusija Russia 2013

Aleksej German re`ija/directed by Aleksej German scenarij/screenplay Arkadij in/and Boris Strugacki (roman/novel), Aleksej German, Svetlana Karmalita (adaptacija/ adaptation) fotografija/cinematography Vladimir Ilin, Jurij Klimenko glasba/music Viktor Lebedev monta`a/editing Irina Gorokovskaja, Marija Amosova igrajo/cast Leonid Jarmolnik (Don Rumata), Aleksandr ^utko (Don Reba), Jurij Tsurilo (Don Pampa), Evgenij Ger~akov (Budah), Natalija Moteva (Ari), Dmitrij Vladimirov (Don Ascarol), Laura Lauri, Aleksandr Ilin (Arata), Oleg Botin, Pjotr Merkurev, Juris Laucin{, Algimantas Maceina, Remigijus Bilinskas producenta/producers Viktor Izvekov, Ru{an Nasibulin produkcija/production Studio Sever (Russia) E sever�pief.sp.ru & Russia 1 TV (Russia) format/format DCP, ~b/b&w dol`ina/running time 170' festivali, nagrade (izbor)/ festivals, awards (selection) Rim/Rome 2013, Rotterdam 2014, Seattle 2014, Karlovi Vari/Karlovy Vary 2014

Epska predelava kultnega znanstvenofantasti~nega romana bratov Strugacki in obenem zadnji film ruskega re`iserja Alekseja Germana pred njegovo smrtjo leta 2013.

The epic adaptation of iconic sci-fi novel by brothers Boris and Arkady Strugatsky, Hard to Be a God is Russian director Alexei German's last film before his death in 2013.

Skupino znanstvenikov po{ljejo na planet Arkanar, kjer vlada represivna dru`bena ureditev. Tamkaj{nje prebivalstvo se spoprijema s prepovedmi, ki doletijo vsakogar, ki zna brati in pisati. Don Rumata mora najti enega izmed intelektualcev in ga re{iti pred tiranskim vladarjem Don Rebom. Re`iser Aleksej German je film Te`ko je biti bog na~rtoval od zgodnjih {estdesetih let minulega stoletja, kon~an pa je bil {ele leta 2000. Film je ustvarjal trinajst let, po njegovi smrti pa sta ga dokon~ala Svetlana Karmalita in re`iserjev sin Aleksej German ml.

A group of research scientists has been sent to the planet Arkanar, where a despotic regime rules. The local population is suffering a ban issued on anyone who knows how to read and write. Don Rumata has to find one of these people and rescue him from the hands of the tyrannical ruler, Don Reba. Hard to Be a God is a project that the Russian director Alexei German had been considering since the mid-1960s. In 2000, German began work on the epic project, which took thirteen years of hard work and was completed by Svetlana Karmalita and their son, Alexei A. German.

"Osupljivo je, kako nam iz rok polzi filmska umetnost, mi pa se tega sploh ne zavedamo. /.../ Te ravni ne morejo dose~i ne ruski ne ameri{ki sodobni filmi. Film je postal zvrst za nekoga, ki je preve~ zdolgo~asen, da bi prebral knjigo, zaradi ~esar mu vsebino knjige pripovedujejo igralci. Zato skorajda nikoli ne gledam sodobnih filmov. /.../ Filmska umetnost je bo`anska, vendar so jo sedaj prevzeli leni ljudje s praznimi o~mi, ki si jih neprestano zakrivajo." (Aleksej German)

prodaja/world sales Capricci Films 27 rue Adolphe Moitié F–44000 Nantes, France E contact�capricci.fr

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"It is amazing how we are losing the art of film without even realising it. /.../ Neither Russian nor American contemporary films can reach that level. Film has turned into something for people who are bored to read the book, and that is why the contents of the book are narrated to them by actors. That is why I almost never watch modern movies. /.../ Film is a divine art, which is now overtaken by lazy people with empty eyes which they are covering all the time with their hands." (Alexei German)

Aleksej German

filmografija/filmography

Rojen leta 1938 v Leningradu (danes Sankt Peterburg, Rusija). Velja za enega od velikanov ruskega filma, ki ga tudi na svetovni ravni uvr{~ajo med re`iserje, kot sta Stanley Kubrick in Terrence Malick. Njegov filmski opus zaradi pogoste cenzure v takratni Sovjetski zvezi obsega samo {est filmov.

Po dolgotrajnem, trinajstletnem ustvarjanju filma Te`ko je biti bog je leta 2013, pri {tiriinsedemdesetih letih, umrl v rojstnem Sankt Peterburgu.

1968 Sedmoj sputnik (The Seventh Companion/Sedmi sopotnik) 1971 Proverka na dorogakh (Trial on the Road/Preizku{nja na poti) 1977 Dvadtsat dnej bez vojni (Twenty Days Without War/Dvajset dni brez vojne) 1984 Moj drug Ivan Lap{in (My Friend Ivan Lapshin/Moj prijatelj Ivan Lap{in) 1998 Khrustaljov, ma{inu! (Khrustalyov, My Car!/Hrustaljov, moj avto!)

2013 Trudno bit bogom (Hard to Be a God/Te`ko je biti bog)

Born in Leningrad (present-day Sankt Petersburg, Russia) in 1938, Alexei German is considered one of the most important Russian filmmakers. The extraordinary artistic integrity of this filmmaker, equivalent to that of great masters such as Terrence Malick and Stanley Kubrick, and the incursions of Soviet censorship, which regularly barred the release of his films, limited German's production to six feature-length films. Having worked on Hard to Be a God for thirteen years, German passed away in 2013, aged 74, in his native Sankt Petersburg.

Kralji in kraljice Kings and Queens

Timbuktu Timbuktu Timbuktu Francija France 2014

Abderrahmane Sissako

Z opozarjanjem na tragi~no usodo obi~ajnih ljudi pod okrutnim d`ihadisti~nim re`imom v Maliju Timbuktu Abderrahmana Sissaka odpira o~i Zahodu.

Timbuktu v Maliju je v rokah verskih fundamentalistov. Ljudje so brez mo~i in pogosto trpijo zaradi strahot d`ihadisti~nega re`ima. Glasba, smeh, cigarete in nogomet so prepovedani. Nova, improvizirana sodi{~a vsak dan izrekajo tragi~ne in absurdne kazni. Kidane `ivi v miru z dru`ino zunaj mesta, vendar se njegov vsakdan obrne na glavo, ko ponesre~i umori Amadouja, ribi~a, ki je ubil njegovo kravo. Zdaj se mora tudi Kidane spoprijeti z nelogi~nimi zakoni tujih okupatorjev.

"V filmih bi rad izra`al nekaj takega kot upanje. Lahko prepoveste glasbo, vendar najsilovitej{o glasbo sli{imo v glavi. Lahko prepoveste nogomet, vendar ne morete prepre~iti koreografiranja nogometa v na{ih mislih. @enska v mojem filmu poje, medtem ko jo bi~ajo: to je mo~ `ivljenja." (Abderrahmane Sissako)

Bringing to attention the tragic plight of people living under the ruthless Jihadist regime in Mali, Timbuktu by Abderrahmane Sissako is as much eye-opening as it is thought-provoking.

Timbuktu, Mali, is governed by religious fundamentalists. The powerless people suffer from the regime of terror imposed by the Jihadists determined to control their faith. In town, music, laughter, cigarettes, even soccer have been banned. Every day, the new improvised courts issue tragic and absurd sentences.

Kidane lives peacefully in the dunes with his family. But their destiny changes when Kidane accidentally kills Amadou, the fisherman who has slaughtered his beloved cow. He now has to face the new laws of the foreign occupants.

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2014, Karlovi Vari/Karlovy Vary 2014

"I hope to have something like hope in my films. One can ban music, but the strongest music is what we hear in our head.

You can ban soccer, but you cannot prevent the choreography of soccer in our mind. The woman in my film who sings when she is whipped: that is the strength of life." (Abderrahmane Sissako)

Abderrahmane Sissako

filmografija/filmography

Rojen leta 1961 v Kiffi, Mavretanija, odra{~al v Maliju. ^ustvene in gmotne te`ave v mladosti so ga ponesle k literaturi in filmu. [tipendija mu je omogo~ila {tudij na Univerzi v Moskvi. Nase je opozoril s kratkim filmom Oktober, ki je osvojil {tevilne nagrade po vsem svetu. @e s prvim celove~ercem ^akajo~ na sre~o se je uvrstil v uradni program canskega filmskega festivala.

1989 Le jeu (The Game) (kratki/short) 1993 Oktyabr (October) (kratki/short) 1995 Le chameau et les bâtons flottants (The Camel and the Floating Sticks) (kratki/short) 1996 Sabrya (kratki/short) 1997 Rostov-Luanda (dokumentarni/documentary) 1998 La vie sur terre (Life on Earth/@ivljenje na Zemlji) 2002 Heremakono (Waiting for Happiness/^akajo~ na sre~o) 2006 Bamako 2007 8 (kratki/short) 2014 Timbuktu

Born in Kiffa, Mauritania, in 1961 and raised in Mali. The emotional and financial difficulties of his youth made him turn to literature and film. A study grant allowed him to attend the Institute of the University of Moscow. He asserted himself with his short film, October, which was shown at Locarno and went on to win several international prizes. Waiting for Happiness, his debut feature, was screened at the Cannes Film Festival.

re`ija/directed by Abderrahmane Sissako scenarij/screenplay Abderrahmane Sissako, Kessen Tall fotografija/cinematography Sofian El Fani glasba/music Amin Bouhafa monta`a/editing Nadia Ben Rachid igrajo/cast Ibrahim Ahmed aka Pino (Kidane), Toulou Kiki (Satima), Abel Jafri (Abdelkrim), Fatoumata Diawara (Fatou), Hichem Yacoubi (d`ihadist/ Jihadist), Kettly Noël (Zabou), Mehdi AG Mohamed (Issan), Layla Walet Mohamed (Toya), Adel Mahmoud Cherif (Imam), Salem Dendou (glavni d`ihadist/chief Jihadist) producenti/producers Sylvie Pialat, Rémi Burah, Etienne Comar produkcija/production Les Films du Worso 38, boulevard Raspail 75007 Paris, France E info�lesfilmsduworso.com & Dune Vision (France) & Arches Films (France) & ARTE France Cinéma (France) & Orange Studio (France) format/format DCP, barvni/colour dol`ina/running time 97'

prodaja/world sales Le Pacte 5, rue Darcet 75017 Paris, France E c.neel�le-pacte.com distribucija/distribution Cenex d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

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Kralji in kraljice Kings and Queens

Im Keller In the Basement V kleti Avstrija Austria 2014

Ulrich Seidl re`ija/directed by Ulrich Seidl scenarij/screenplay Veronika Franz, Ulrich Seidl fotografija/cinematography Martin Gschlacht monta`a/editing Christof Schertenleib, Andrea Wagner igrajo/cast Alessa Duchek, Gerald Duchek, Inge Ellinger, Manfred Ellinger, Walter Holzer, Cora Kitty, Alfreda Klebinger, Fritz Lang, Josef Ochs, Peter Vokurek producent/producer Ulrich Seidl produkcija/production Ulrich Seidl Film Produktion GmbH Wasserburgergasse 5/7 1090 Vienna, Austria E office�ulrichseidl.com format/format DCP, barvni/colour dol`ina/running time 85' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2014, London 2014

Ulrich Seidl je trilogijo Paradi` nasledil z dokumentarnim filmom o avstrijskih kleteh kot prostorih, v katerih ljudje pred svetom skrivajo svoj pravi obraz.

Ulrich Seidl followed his Paradise trilogy with a documentary on Austrian basements as places to hide one's true self from the world.

Ko je avstrijski re`iser Ulrich Seidl raziskoval domove Avstrijcev za film V kleti, je uvidel, da je imela ve~ina ljudi dnevno sobo urejeno po dru`beno sprejemljivih vzorcih, svoje prave strasti pa so medtem raje gojili v kleti, stran od pogledov okolice. V filmu tako spoznamo opernega pevca, ki v kleti prireja strelske vaje, prodajalko, ki se v kleti prelevi v pornografsko igralko, poro~enega mo{kega, ki v kleti sprejema goste in jim razkazuje zbirko nacisti~nih spominkov, mazohistko, ki v kleti u`iva v bi~anju, poro~en par, ki v kleti zbira naga~ene `ivali s popotovanj po Afriki, ter zakonca, ki v svoji rde~i kleti iz`ivljata sadomazohisti~ne nagone.

When filmmaker Ulrich Seidl researched Austrian homes for In the Basement, he realised that the living room was often only for show, and the people indulged their passions in the basement, far from public scrutiny. A man who wanted to be an opera singer now operates a basement shooting gallery. A young woman changes jobs, from supermarket cashier to porn actress. A married man receives guests in his basement. The rooms, filled with Nazi memorabilia, are particularly homey. A woman masochist allows herself to be whipped in the basement.

A married couple went hunting in Africa on vacation. The stuffed heads of the animals they have bagged adorn their basement walls. A woman and her spouse live in a sadomasochistic relationship.

"Avstrijci prosti ~as pogosto pre`ivljajo v kleti. /.../ Tam spodaj lahko iz`ivljajo svoje potrebe, konji~ke, strasti in obsedenosti.

Klet je prostor razvedrila in zasebnosti. Vendar {tevilnim ljudem pomeni tudi prostor nezavednega, tema~nega, strahu. Pri nekaterih to pojmovanje izhaja iz osebne izku{nje, pri drugih iz otro{kih spominov. Pravzaprav je klet skrivali{~e, to je od nekdaj bila, kraj skrivnega zlo~ina, zlorabe in posilstva, ujetni{tva, mu~enja in nasilja." (Ulrich Seidl)

prodaja/world sales Coproduction Office 24, Rue Lamartine 75009 Paris, France E info�coproductionoffice.eu distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Ulrich Seidl

filmografija (izbor)/filmography (selection)

Rojen leta 1952 na Dunaju. Avtor {tevilnih nagrajenih filmov in eden najvidnej{ih evropskih filmskih avtorjev. V zna~ilni kombinaciji humorja in ostrega dru`benega komentarja je posnel filme, kot so @ivalska ljubezen, Pasji dnevi in Uvoz/Izvoz. Svoje filme od leta 2003 snema pod lastno produkcijsko hi{o Ulrich Seidl Filmproduktion, pod katero je posnel tudi odmevno trilogijo filmov Paradi` (2012/13).

1990 Good News: Von Kolporteuren, toten Hunden und anderen Wienern (Good News) (dokumentarni/documentary) 1992 Mit Verlust ist zu rechnen (Losses To Be Expected) (dokumentarni/documentary) 1996 Tierische Liebe (Animal Love/@ivalska ljubezen) (dokumentarni/documentary) 2001 Hundstage (Dog Days/Pasji dnevi) 2003 Jesus, Du weisst (Jesus, You Know/Jezus, ti ve{) (dokumentarni/documentary) 2007 Import/Export (Uvoz/Izvoz) 2012 Paradies: Liebe (Paradise: Love/Paradi`: Ljubezen) 2012 Paradies: Glaube (Paradise: Faith/Paradi`: Vera) 2013 Paradies: Hoffnung (Paradise: Hope/Paradi`: Upanje) 2014 Im Keller (In the Basement/V kleti)

Born in 1952, in Vienna, Seidl has made numerous award-winning films and is considered to be one of the foremost European directors. Seidl's films, such as Animal Love, Dog Days and Import/Export, are strongly marked by his signature blend of humour and incisive social commentary. In 2003, he founded the Ulrich Seidl Filmproduktion, which also produced his resoundingly successful Paradise trilogy.

70

"Austrians often spend their free time in their basement. /.../ Down there, they can indulge their needs, hobbies, passions and obsessions. The basement is a locus of free time and the private. But for many people the basement is also a place of the unconscious, a place of darkness and a place of fear. For some people that grows out of personal experience, for others a childhood memory. In fact, the basement was and is a place of hiding, a place of secret crime, a place of abuse and rape, a place of captivity, torture and violence." (Ulrich Seidl)

Kralji in kraljice Kings and Queens

Queen and Country Queen and Country Za kraljico in domovino John Boorman

Irska, Velika Britanija Ireland, Great Britain 2014

Avtobiografski spomini britanskega re`iserja Johna Boormana o`ivijo v drami, ki pomeni kronolo{ko nadaljevanje njegovega klasi~nega filma Upanje in slava iz leta 1987.

British director John Boorman's personal memoirs breathe life into the drama that is the chronological sequel to his 1987 classic film, Hope and Glory.

Leto 1952. Osemnajstletni Bill Rohan ~aka, da ga pokli~ejo na dvoletno slu`enje voja{kega roka. Ko prispe v voja{ko tabori{~e, spozna potegav{~in polnega Percyja, s katerim jo zagodeta strogemu majorju Bradleyju. Medtem ko {tevilne nabornike po{iljajo v boj proti Kitajcem v Korejski vojni, Bill in Percy ostaneta v tabori{~u, kjer slu`ita kot in{truktorja mladim vojakom. Pritisk voja{kega treninga prekinejo redne ekskurzije v zunanji svet, kjer se Bill zaljubi v te`avno lepotico, Percy pa v Billovo sestro.

Stvarnost vojne pa udari z vso silo, ko se mladi vojaki, Billovi u~enci iz tabori{~a, za~nejo ranjeni vra~ati iz Koreje, kar razkrije vso razse`nost vojnega uni~enja.

1952. Bill Rohan is 18, waiting to be called up for two years' conscription in the army. In the boot camp he meets Percy, an amoral prankster, and together they plot the downfall of Sergeant Major Bradley. After basic training many conscripts are shipped out to fight the Chinese in the Korean War, but Bill and Percy are assigned to the claustrophobic confines of a prison-like training camp, where they act as instructors to the newer recruits. The pressure is briefly relieved by excursions into the outside world, where Bill seeks out and falls in love with a troubled beauty. The hard-headed Percy meanwhile falls for Bill's sister. The reality of war finally hits home when Bill is confronted with the shattered lives of wounded boys returning from Korea, including some of his former recruits.

"Film Upanje in slava je bil osnovan na mojih otro{kih spominih no~nega bombardiranja Londona v letih 1940–41 in kontrastnih idili~nih dni ob Temzi, kamor smo z mamo pobegnili, ko je bila na{a hi{a poru{ena. Film Za kraljico in domovino se dogaja devet let pozneje, 1952, ko sem bil star osemnajst let in sem moral, kot vsak osemnajstletnik, slu`iti dveletno voja{ko obveznost. [tevilne like v zgodbi so navdihnili ljudje, ki sem jih tedaj spoznal, in ~lani moje dru`ine." (John Boorman)

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2014 – [tirinajst dni re`iserjev/Directors' Fortnight, New York 2014, London 2014

"Hope and Glory was based on my childhood memories of the London Blitz and the contrasting idyllic days spent on the River Thames that my mother fled to when our house was destroyed.

Queen and Country is set nine years on, in 1952, when I was eighteen and had to serve – as did every 18-year-old – two years' conscription in the military. Many of the characters in the story are inspired by the people I met at that time and my own family."

(John Boorman)

John Boorman

filmografija (izbor)/filmography (selection)

Rojen leta 1933 v Londonu. Obiskoval je katoli{ko {olo. Sprva je delal kot kritik za `enski ~asopis in za radio, nato se je zaposlil kot asistent na BBC v Bristolu. Najprej je snemal dokumentarce. Prijateljstvo z igralcem Leejem Marvinom ga je poneslo v Hollywood, kjer je posnel svoja prebojna filma Mrtva to~ka in Dvoboj na Pacifiku. Danes velja za enega najbolj priznanih britanskih filmarjev.

1965 1967 1968 1972 1974 1977 1981 1985 1987 1990 1995 2001 2014

Born in 1933 in London, Boorman attended Catholic school. Later, he worked as a critic for a women's journal and for a radio station until he entered the television business, working for the BBC in Bristol. He first made documentaries. His friendship with Lee Marvin allowed him to work in Hollywood, where he made his breakthrough films, Point Blank and Hell in the Pacific. He is considered to be one of the most prominent British filmmakers.

re`ija/directed by John Boorman scenarij/screenplay John Boorman fotografija/cinematography Seamus Deasy glasba/music Stephen McKeon monta`a/editing Ron Davis igrajo/cast Callum Turner (Bill Rohan), Caleb Landry Jones (Percy Hapgood), Pat Shortt (Redmond), David Thewlis (Bradley), Richard E. Grant (Major Cross), Vanessa Kirby (Dawn Rohan), Tamsin Egerton (Ophelia), Aimee-Ffion Edwards (Sophie Adams), Miriam Rizea (Peggy), Sinéad Cusack (Grace Rohan), David Hayman (Clive Rohan), John Standing (dedek George/grandfather George) producenta/producers Kieran Corrigan, John Boorman produkcija/production Merlin Films 33 Fitzwilliam Place Dublin 2, Ireland E info�merlin-films.com & Q and Country Limited (GB) format/format DCP, barvni/colour dol`ina/running time 115'

prodaja/world sales Le Pacte 5, rue Darcet 75017 Paris, France E c.neel�le-pacte.com

Catch Us If You Can Point Blank (^istina) Hell in the Pacific (Dvoboj na Pacifiku) Deliverance (Odre{itev) Zardoz Exorcist II: The Heretic (Izganjalec hudi~a 2: Heretik) Excalibur (Excalibur – me~ kralja Arturja) The Emerald Forest (Smaragdni gozd) Hope and Glory (Upanje in slava) Where the Heart Is (Tam, kjer je srce) Beyond Rangoon (Rangun) The Tailor of Panama (Kroja~ iz Paname) Queen and Country (Za kraljico in domovino)

distribucija/distribution Cenex d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

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Panorama svetovnega filma Panorama of World Cinema

Le grand soir Le grand soir Veliki ve~er 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96

Tiso~ sonc A Thousand Suns Mati Diop Atlantik Atlantic Mati Diop Barbari Barbarians Ivan Iki} Betlehem Bethlehem Yuval Adler Brezpogojna ljubezen Labour of Love Aditya Vikram Sengupta Burgundski vojvoda The Duke of Burgundy Peter Strickland Dvojnik The Double Richard Ayoade Fair Play Fair Play Andrea Sedlรก~kovรก Kosec The Reaper Zvonimir Juri} Ljubezen je ~udna re~ Love Is Strange Ira Sachs Ljubezen na prvi pretep Love at First Fight Thomas Cailley Ne zapu{~aj me Ne me quitte pas Sabine Lubbe Bakker, Niels van Koevorden Nikogar{nji otrok No One's Child Vuk R{umovi} Omar Omar Hany Abu-Assad Otok ljubezni Love Island Jasmila @bani} Palo Alto Palo Alto Gia Coppola Prosti pad Free Fall Gyorgy Palfi Rde~a amnezija Red Amnesia Xiaoshuai Wang Svojeglavi Philip Listen Up Philip Alex Ross Perry @urerka Party Girl Marie Amachoukeli-Barsacq, Claire Burger, Samuel Theis Pogled ti{ine The Look of Silence Joshua Oppenheimer

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Mille soleils A Thousand Suns Tiso~ sonc Francija France 2013

Mati Diop re`ija/directed by Mati Diop scenarij/screenplay Mati Diop fotografija/cinematography Héléne Louvart, Mati Diop monta`a/editing Nicolas Milteau nastopijo/cast Wasis Diop, Magaye Niang, Ben D. Beye, Joe Ouakam, Aissatou Niang, Djily Bagdad producentka/producer Corinne Castel produkcija/production Anna Sanders Films 8 rue Saint-Bon 75004 Paris, France E asf�annasandersfilms.com format/format DV, barvni/colour dol`ina/running time 45' festivali, nagrade (izbor)/ festivals, awards (selection) Montreal 2013 (nagrada za najbolj{i film tekmovalnega programa/Award for Best Film in the International Competition), Marseille 2013 (velika nagrada/Grand Prix), Toronto 2013, Zagreb 2013, BFI London 2013, IndieLisboa 2014, Rotterdam 2014

prodaja/world sales Consortium E mx.heylens�gmail.com

^arobno lep "dokumentarni" potret igralca Magayeja Nianga, v katerem se resni~nost in domi{ljija vseskozi prepletata.

Avtori~in dar enemu najpomembnej{ih afri{kih cineastov Djibrilu Diopu Mambétyju in njegovi klasiki Touki Bouki.

A magical "documentary" portrayal of actor Magaye Niang, A Thousand Suns fuses reality and fiction, paying homage to a pre-eminent African filmmaker, Djibril Diop Mambéty, and his film classic, Touki Bouki.

Portret Magayeja Nianga, neprofesionalnega igralca, ki mu je Djibril Diop Mambéty leta 1973 namenil glavno vlogo v svojem prelomnem filmu Touki Bouki, je geografsko razpet med Dakarjem in Aljasko, ~asovno pa skozi 40-letno obdobje od 1973 do 2013. Avtorica se namre~ usmeri k tistemu "potem", k usodi, ki je Niango ~akala po premierni projekciji filma, ko se je vrnil na kmetijo ter sta nastopila streznitev in spoznanje nuje po slovesu od preteklosti. V teh prostorsko-~asovnih koordinatah se za~no resni~ni dogodki neopazno zlivati z domi{ljijo in nami{ljenim, za~ne se zgodba o dru`ini, izgnanstvu in filmu, zgodba, ki se napaja tako v sferi intimnega kot tudi mitolo{kega.

A portrait of Magaye Niang, the nonprofessional actor who played the lead in the African film classic Touki Bouki, which was directed by Diop's uncle, Djibril Diop Mambéty. The story follows Niang from Dakar to Alaska, from the screening of that 1973 film to 2013. The focus is directed towards the "sequel" to the all-time-high, to Niang's return to his farm in Senegal and the disillusionment as the old man comes to terms with the vanished past he longs for. Within this timeframe and geographical location reality starts imperceptibly blending with fiction and imagination, and the story of family, exile and cinema begins to unfold, a story that stems from intimacy as well as myth.

"Projekt Tiso~ sonc je pri{el od dale~ in se porodil iz samoopazovalnega prespra{evanja, razmi{ljanja o tem, kak{no vlogo pravzaprav ima film v `ivljenju mene in moje dru`ine, od kod izvira moja strastna `elja po snemanju filmov, prav tako pa tudi iz premisleka o mojem odnosu do Afrike. Opozoriti moram, da je Tiso~ sonc igrano delo. V njem ni ni~ resni~nega in ni~ la`nega. Osrednja tema sta trenje ter neprestano prehajanje resni~nosti v mit in nazaj." (Mati Diop)

"A Thousand Suns is a project that came from far away, born of an introspective quest, from questions about the importance of cinema in my life and that of my family, about the origins of my desire to make films, and also from my relationship with Africa. It bears reminding that A Thousand Suns is a fiction. Nothing is true and nothing is false in my film. The friction and two-way shuttling between reality and myth is the main subject of my film."

(Mati Diop)

Mati Diop

filmografija (izbor)/filmography (selection)

Rojena leta 1982 v Parizu. Ne~akinja senegalskega re`iserja Djibrila Diopa Mambétyja. Med {tudijem umetnosti (La Fresnoy in Le Pavillon pod okriljem Palais de Tokyo) je posnela prva videodela ter pozneje tudi kratke in srednjemetra`ne filme. Za te je prejela ve~ nagrad, npr. v Rotterdamu tigra za Atlantik in za Big in Vietnam. Nastopa tudi kot igralka. Leta 2014 se s filmom Tiso~ sonc vra~a v Rotterdam.

2004 2009 2011 2012 2013

Born in 1982 in France, filmmaker and actress Diop is the niece of the great Senegalese film director Djibril Diop Mambéty. While studying art at Le Fresnoy and Le Pavillon (Palais de Tokyo), she directed her first video works and later on her short- and mid-length films. Diop has won several awards for her shorts, among others two Tiger Awards in Rotterdam: in 2010 for Atlantics and in 2012 for Big in Vietnam. In 2014, A Thousand Suns was selected for the Rotterdam FF.

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Last Night (kratki/short) Atlantiques (Atlantics/Atlantik) (kratki/short) Big in Vietnam (kratki/short) Snow Canon (kratki/short) Mille soleils (A Thousand Suns/Tiso~ sonc) (srednjemetra`ni/ mid-lenght)

Panorama svetovnega filma Panorama of World Cinema

Atlantiques Atlantic Atlantik Francija France 2009

Mati Diop

re`ija/directed by Mati Diop scenarij/screenplay Mati Diop fotografija/cinematography Mati Diop glasba/music Bent monta`a/editing Nicolas Milteau nastopajo/cast Serigne Seck, Alpha Diop, Cheikh M’Baye, Ouli Seck, Asta M'Boup producenti/producers Frédéric Papon, Corinne Castel, Bertrand Scalabre produkcija/production Le Fresnoy – Studio national des arts contemporains 22 rue du Fresnoy, BP 80179 59202 Tourcoing cedex, France E communication�lefresnoy.net & Anna Sanders Films format/format DV, barvni/colour dol`ina/running time 15'

V briljantni miniaturi o osebni, intimni izku{nji se domiselno prepletata dialog s tradicijo afri{kega filma in premislek aktualnega trenutka afri{ke dru`bene stvarnosti.

Ko pade mrak, manj{a skupina mladeni~ev, starih okrog dvajset let, sede k ognju. Serigne, ki prihaja iz okolice Dakarja, za~ne prijateljem pripovedovati o svoji ~ezatlantski odisejadi, ki jo je opravil kot slepi potnik. Kmalu postane o~itno, da {e zdale~ ni osamljen v tej nerazumni obsedenosti z `eljo premagati ocean in stopiti na obalo "obljubljene de`ele", saj prijatelji kot za~arani sledijo njegovi pripovedi, pre`eti z melanholijo in trpkostjo izku{nje neuspeha, a tudi z nepopustljivostjo in odlo~enostjo, da poskusijo znova. To je pripoved o mladih ljudeh, za katere je potovanje postalo na~in `ivljenja.

festivali, nagrade (izbor)/ festivals, awards (selection) Rio de Janeiro 2009, Rotterdam 2010 (nagrada tiger za kratki film/ Tiger Award for Shorts), IndieLisboa 2010, São Paulo 2010, Leipzig 2010, BFI London 2012, Viennale 2012

A brilliant miniature imaginatively blending dialogue and the African cinematic tradition through the story of a personal, intimate experience, offering an insight into the current African social reality.

In the falling dusk, a group of 20-something youngsters sit by the campfire. A boy from Dakar named Serigne tells his two friends the story of his Atlantic voyage as a stowaway. Not only he, but everyone in his surroundings seems to be continually obsessed by the idea of trying to cross the sea, by desire to escape their economic realities in Africa and the siren call of a prosperous Europe. His words reverberate like a melancholy poem, imbued by the bitter experience of failure as well as resoluteness and determination to try again. A story about young people for whom travel becomes a way of life.

"K problemu emigracije nisem hotela pristopiti kot h klasi~ni tematsko zastavljeni obravnavi, temve~ sem se odlo~ila, da premislek o njem podam prek osebne izku{nje, nekak{nega potovanja v ~asu. Izogibati se posku{am tistemu, kar je vse preve~ samoumevno, kar je vpisano v tradicijo. Tako sem podoben pristop izbrala tudi glede forme – je nekje vmes med dokumentarnim, fikcijo in eksperimentom." (Mati Diop)

"I chose not to treat immigration as a subject but as an individual and sensitive experience, as a kind of time travel. I'm trying to avoid choices that are too obvious, too traditional. So I opted for the same approach also for the form – it is something between documentary, fiction and experiment." (Mati Diop)

Mati Diop

filmografija/filmography

Glej stran 76/ see page 76.

Glej stran 76/ see page 76.

prodaja/world sales Consortium E mx.heylens�gmail.com

77

Panorama svetovnega filma Panorama of World Cinema

Varvari Barbarians Barbari Ivan Iki}

re`ija/directed by Ivan Iki} scenarij/screenplay Ivan Iki} fotografija/cinematography Milo{ Ja}imovi} monta`a/editing Dragan von Petrovi} igrajo/cast @eljko Markovi} (Luka), Nenad Petrovi} (Flash), Jasna Đuri~i} (Lukova mama/Luka's mother), Marija Raki} (Stefana), Marina Vodeni~ar (socialna delavka/social worker), Aco ]irovi} (Tihomir), Aleksandar Pituli} (Pituli}), Lidija Popovi} (Nina), Mirko Vlahovi} (Lukov o~e/Luka's father) producent/producer Milan Stojanovi} produkcija/production SENSE Production De~anska 5 11000 Belgrade, Serbia E milan�senseproduction.rs & Restart (Slovenia) Rimska cesta 9 1000 Ljubljana, Slovenija E info�restart.si & OR (Montenegro) & Refresh (Bosnia & Herzegovina) format/format DCP, barvni/colour dol`ina/running time 87' festivali, nagrade (izbor)/ festivals, awards (selection) Karlovi Vari/Karlovy Vary 2014 (posebna omemba v sklopu East of West/East of West Award – special mention), Motovun 2014, Pali} 2014

Srbija, Slovenija, ^rna gora, Bosna in Hercegovina Serbia, Slovenia, Montenegro, Bosnia and Herzegovina 2014

No~, ko je gorel Beograd: travmati~na dru`inska zgodba v prime`u mno`i~nih politi~nih protestov v Srbiji.

The night Belgrade was on fire: a traumatic story about a family in the clutches of mass political protests in Serbia.

Leto 2008. Kosovo razglasi neodvisnost, srbska vlada pa oznani mno`i~ne proteste. Luka, problemati~en najstnik na pragu odraslosti, `ivi v Mladenovcu, propadlem industrijskem mestu na obrobju Beograda. Z najbolj{im prijateljem Flashem je vodja navija~ev doma~ega nogometnega kluba. Med nenapovedanim obiskom socialnega delavca Luka izve za dru`insko skrivnost, da je njegov o~e, za katerega je verjel, da je izginil v spopadih na Kosovu, v resnici `iv, in ga za~ne iskati. Ko Luka zlomi nogo najbolj{emu nogometa{u lokalnega kluba, mora zbe`ati iz mesta.

It is the year 2008. Kosovo declares independence and Serbian government announces mass protests. Luka, a troubled teenager on the verge of adulthood, lives in Mladenovac, a ruined ex-industrial town on the brinks of Belgrade, where, with his best friend Flash, he is a leader of local football club fans.

During an unannounced visit by the social worker, Luka is faced with a family secret that his father, who was believed to have disappeared in Kosovo conflicts, is in fact alive and asking for him. When Luka loses his temper and breaks the leg of the local club's top player, he is under pursuit from people seeking revenge.

"Neki dogodek se mi je globoko vtisnil v spomin. No~, ko je gorel Beograd. Ulice je prekrivalo razbito steklo. Mladi ljudje so uni~evali in za`igali ... Mladi ljudje so Beograd morda prvi~ obiskali. Tisto no~ sta vladala gnev in nasilje. Eksplodirala je anarhija, ki jo je povzro~ilo dolgoletno nezadovoljstvo ... `elel sem se vrniti v to no~ in ustvariti film o {e eni generaciji, ki se je izgubila v prahu srbske tranzicije." (Ivan Iki})

prodaja/world sales Wide Management 9, rue Bleue 75009 Paris, France E infos�widemanagement.com distribucija/distribution Restart Rimska cesta 9 1000 Ljubljana E info�restart.si

Ivan Iki}

filmografija/filmography

Rojen leta 1982 v Beogradu. Diplomiral je iz filmske in televizijske re`ije na Fakulteti dramskih umetnosti v Beogradu ter bil najbolj{i {tudent svoje generacije. Posnel je vrsto oglasov ter kratkih igranih in dokumentarnih filmov. Barbari so njegov prvi celove~erni igrani film.

2010 Tarot Srbija (dokumentarni/documentary) 2014 Varvari (Barbarians/Barbari)

Born in 1982 in Belgrade, Iki} graduated in film and TV directing from the Faculty of Drama Arts in Belgrade as best student in his generation. He has directed several commercials as well as short fiction and documentary films.

Barbarians is his first fiction feature.

78

"One event left a significant mark in my memory. That night Belgrade burned. The streets were flooded with broken glass.

Young people were destroying and burning... Young people that may have visited Belgrade for the first time. Rage and violence triumphed that night. Anarchy caused by a dissatisfaction brewing for years exploded... My wish was to return to this night and make a film about yet another generation lost in the dust of Serbia's transition." (Ivan Iki})

Panorama svetovnega filma Panorama of World Cinema

Beit-Lehem Bethlehem Betlehem Yuval Adler

Izrael, Nem~ija, Belgija Israel, Germany, Belgium 2013

Eleganten, napet in bistroumen politi~ni triler v ospredje postavi ~ustvene stiske in moralne dileme kot posledice ve~nih trenj med Izraelci in Palestinci.

The elegant, gripping and lucid political thriller spotlights the emotional turmoil and moral dilemmas caused by the unending conflict between the Israelis and Palestinians.

Sanfur je mlaj{i brat razvpitega palestinskega upornika Ibrahima.

Ko mu je bilo petnajst let, ga je Razi, pripadnik izraelske tajne slu`be, odlo~en, da Ibrahimu stopi na prste, rekrutiral za svojega ovaduha. Razi je v Sanfurja vlo`il ogromno truda in z njim navezal skoraj o~etovski odnos. Sanfurju, ki je vedno `ivel v bratovi senci, je Razijeva pozornost vedno godila, zdaj, pri sedemnajstih, pa se znajde razpet med Razijevimi zahtevami in lojalnostjo bratu. Ko izraelska tajna slu`ba izve, kako zelo je Sanfur vpleten v bratove dejavnosti, Razija obto`ijo, da je prekora~il profesionalne meje, in od njega zahtevajo, da v na~rtovanem poskusu atentata na Ibrahima `rtvuje Sanfurja. Med pripravami na voja{ko akcijo bosta morala tako Razi kot Sanfur sprejeti odlo~itve, ki bodo za vedno spremenile njuno `ivljenje.

Sanfur is the younger brother of Ibrahim, a highly wanted Palestinian militant. Razi, an Israeli Secret Service officer, determined to capture Ibrahim, recruited Sanfur when he was just 15, investing all his energy in the kid and developing a very intimate, almost fatherly relationship with him. Sanfur, who has always lived in his brother’s shadow, thrives on Razi's attention.

Now 17, he struggles to navigate between Razi's demands and his loyalty to his brother. When the Israeli Secret Service discovers how deeply involved Sanfur is in his brother’s activities, Razi is accused of crossing professional lines and ordered to sacrifice Sanfur in an upcoming attempt to assassinate Ibrahim.

As preparations for the military strike are underway both Razi and Sanfur are forced to make choices that will irreversibly change their lives.

"Neki izraelski tajni agent mi je neko~ povedal: 'Klju~ do pridobivanja ovaduhov in stika z njimi niso nasilje, zastra{evanje ali denar; klju~ je razvoj intimnega razmerja z njimi, na zelo ~love{ki ravni. Ni samo ovaduh zmeden glede svoje identitete in lojalnosti. Tudi agentu – in {e zlasti tistim dobrim – se pogosto zgodi, da se meje med obojim zabri{ejo.'" (Yuval Adler)

re`ija/directed by Yuval Adler scenarij/screenplay Yuval Adler, Ali Wakad fotografija/cinematography Yaron Scharf glasba/music Yishai Adar monta`a/editing Ron Omer igrajo/cast Tsahi Halevy (Razi), Shadi Mar’i (Sanfur), Hitham Omari (Badawi), Michal Shtamler (Einat), Tarek Kopti (Abu Ibrahim), George Iskandar (Nasser), Yossi Eini (Levi), Efrat Shnap (Maya), Karem Shakur (Abu Mussa), Ibrahim Sakala (Tyson) producenti/producers Sébastien Delloye, Diana Elbaum, Sonja Ewers, Osnat HandelsmanKeren, Steve Hudson, Talia Kleinhendler produkcija/production Gringo films GmbH Neue Maastrichter Straße 12–14 50672 Cologne, Germany E mail�gringo-films.com & Entre Chien et Loup (Belgium) & Pie Films (Israel) format/format DCP, barvni/colour dol`ina/running time 99' festivali, nagrade (izbor)/festivals, awards (selection) Benetke/Venice – Bene{ki dnevi/ Venice Days 2013 (najbolj{i film/ Best Film), nagrade izraelske filmske akademije/Awards of the Israeli Film Academy (najbolj{i film/Best Film, najbolj{i re`iser/Best Director, najbolj{i scenarij/Best Screenplay), Toronto 2013

"An Israeli secret service agent once told me: 'The key to recruiting and running informants is not violence, or intimidation, or money; the key is to develop an intimate relationship with the informant, on a very human level. It’s not just the informant who is confused about his identity and loyalties. The agent, too – and especially the good ones – often experience a blurring of the lines.'" (Yuval Adler)

Yuval Adler

filmografija/filmography

Rojen leta 1969 v Herzliji v Izraelu. Na Univerzi v Tel Avivu je {tudiral matematiko, nato pa je na Univerzi Kolumbija v New Yorku doktoriral iz filozofije. Na Kolumbiji se je izobra`eval tudi iz kiparstva in fotografije ter sodeloval pri {tevilnih odmevnih umetni{kih dogodkih, pozneje pa se je popolnoma posvetil filmski scenaristiki in re`iji. Betlehem je njegov celove~erni prvenec.

2006 Seduction (kratki/short) 2013 Beit-Lehem (Bethlehem/Betlehem)

prodaja/world sales WestEnd Films 5-7 Hillgate Street London, W8 7SP, UK E info�westendfilms.com distribucija/distribution Blitz film & video distribution d.o.o.

Dolenjska cesta 258 1291 [kofljica E andreja.purger�blitz-film.com

Born in Herzliya, Israel, Adler studied mathematics at the Tel Aviv University and later moved to New York, where he received a PhD in Philosophy from Columbia University. He also studied sculpture and photography at Columbia and participated in various high-profile art shows before switching to writing and directing films full-time. Bethlehem is his first feature film.

79

Panorama svetovnega filma Panorama of World Cinema

Asha jaoar majhe Labour of Love Brezpogojna ljubezen Indija India 2014

Aditya Vikram Sengupta re`ija/directed by Aditya Vikram Sengupta scenarij/screenplay Aditya Vikram Sengupta fotografija/cinematography Mahendra Shetty, Aditya Vikram Sengupta glasba/music Alokananda Dasgupta monta`a/editing Aditya Vikram Sengupta, Sanjay Shah igrajo/cast Ritwick Chakraborty (mo{ki/man), Basabdutta Chatterjee (`enska/ woman) producenti/producers Jonaki Bhattacharya, Sanjay Shah, Aditya Vikram Sengupta produkcija/production For Films (India) format/format DCP, barvni/colour dol`ina/running time 84' festivali, nagrade (izbor)/ festivals, awards (selection) Bene{ki dnevi/Venice Days 2014 (najbolj{i re`iser/Best Director)

Liri~na, redkobesedna zgodba o paru, ki svoje skupnosti ne more `iveti druga~e kot skozi drobna vsakdanja dejanja pozornosti.

A cinematically sublime story, mostly devoid of dialogues, about a couple who have no choice but to show each other affection through a series of acts of love.

Zgodba je postavljena med razpadajo~e uli~ice Kalkute, v poglabljajo~o se recesijo. Mo{ki je v svojem majhnem stanovanju, opremljenem z viktorijanskim pohi{tvom, zaposlen z vsakdanjimi opravili. Zunanji svet pronica v notranjost le skozi glasove z ulice in poglede skozi zastrto okno. Zdi se, da je sam, a s~asoma ugotovimo, da v stanovanju `ivi tudi `enska. Ker delata v razli~nih izmenah, sta, ~eprav ju ve`e iskrena ljubezen, resni~no skupaj le v sanjah, v vsakdanjem `ivljenju pa ju povezujejo le predmeti, ki jih uporabljata.

A simple tale set within the crumbling back lanes of Kolkata, in the depths of a recession. A man carries out his domestic routine in his small apartment, surrounded by Victorian furniture. The world he experiences from his window is comprised of street sounds and obscured views. But as the story unfurls we realise that he is not the only one who inhabits this apartment. A woman also lives there, but the couple co-exist on opposing work shifts.

Their love strongly binds them, but they are only truly together in the forests of their dreams and in real life they are connected only through the ordinary objects they use.

"Film Brezpogojna ljubezen se dogaja na ozadju zaostrujo~e se recesije, ki je Indijo zajela pred nekaj leti. Na tiso~e ljudi je slu`bo izgubilo brez vnaprej{njega opozorila. Tovarne so se zaprle in predilnice ustavile proizvodnjo. Ker se glavna junaka spoprijemata z negotovostjo ob izgubi zaposlitve, sta pod neprestanim pritiskom, kako pre`iveti. Vendar tudi v teh te`avnih razmerah se zdi, da ju preveva vedrina, njuno vedenje pa izra`a nenavadno, pomirjujo~o umirjenost." (Aditya Vikram Sengupta)

prodaja/world sales Salaam Cinema 9 Manav Mandir 34 Worli Hill Rd Mumbai, India, 400018 E sanjai.shah�gmail.com

Aditya Vikram Sengupta

filmografija/filmography

Rojen leta 1983 v Kalkuti, Indija. Na Univerzi v Kalkuti je {tudiral knji`evnost, potem pa se je na Dr`avnem in{titutu za oblikovanje specializiral za grafi~no oblikovanje, ob tem pa je {tudiral {e film in animacijo. Njegovi kratki filmi so bili prikazani na razli~nih mednarodnih festivalih, njegove slike pa so bile razstavljene v razli~nih galerijah po Indiji. Brezpogojna ljubezen je njegov celove~erni prvenec.

2004 2006 2006 2007 2014

Born in 1983 in Kolkata, India. He studied literature at the Kolkata University before specialising in Graphic Design at the National Institute of Design. He went on to study animation and film. His shorts have screened at various international festivals, while his paintings have been showcased in galleries across India. Labour of Love marks his debut feature.

80

"Labour of Love is set against the backdrop of a spiralling recession that hit India a few years back. Thousands of people lost their jobs without notice. Factories shut down and mills were locked. Faced with the uncertainty of losing their own jobs, the film's two central characters are under constant pressure to sustain their livelihood. But even in the face of adversity, they seem to possess a serene power and their demeanour helps display a strange, comforting calmness." (Aditya Vikram Sengupta)

Chhaaya (kratki/short) Dheel (Kite Flying) (kratki animirani/animation short) A Song of Innocence (kratki animirani/animation short) Cigarettes Kill (kratki animirani/animation short) Asha jaoar majhe (Labour of Love/Brezpogojna ljubezen)

Panorama svetovnega filma Panorama of World Cinema

The Duke of Burgundy The Duke of Burgundy Burgundski vojvoda Velika Britanija Great Britain 2014

Peter Strickland

Film, naslovljen po redki vrsti metulja, ponuja nov izlet re`iserja Petra Stricklanda na temno stran ~love{kega vedenja.

Taking its title from a rare species of butterfly, The Duke of Burgundy by director Peter Strickland is another excursion into the dark realms of human behaviour.

Film sledi intimnemu razmerju med premo`no amatersko metuljarko Cynthio in njeno hi{no gospodinjo Evelyn. Ko Cynthijine zahteve za~enjajo dobivati sadomazohisti~ni prizven, Evelyn ni ve~ toliko njena slu`abnica kot domala spolna su`nja, ki se predaja Cynthijinemu vse bolj skrajnemu poni`evanju.

S filmom, ki prehaja od komi~nega k nadrealisti~nemu, re`iser Peter Strickland ponovno poka`e svoj razko{ni dar za posredovanje bogatih ~utnih filmskih izku{enj, ki se tukaj za povrh pona{a {e z izvrstno, gotsko fotografijo in zapeljujo~o glasbeno podlago.

The film chronicles an intimate relationship between wealthy amateur lepidopterist Cynthia and her newly hired housekeeper, Evelyn. As Cynthia's demands begin to betray a sadomasochistic streak, Evelyn becomes less a domestic servant than an outright sex slave, submitting to her progressively extreme humiliations.

By turns kinky, dryly comic, and compellingly surreal, and boasting gorgeous, gothic cinematography and an enveloping soundscape, the film is a richly immersive sensory experience.

"Ker sem si med snemanjem filma Kriki groze v zvo~nem studiu zadal po{kodbe bobni~ev, sem si `elel ustvariti nekaj ne`nega in tihega, vendar obenem precej intenzivnega. Gre za preprosto ljubezensko zgodbo o predanem paru, katerega intimne potrebe so redkokdaj skladne." (Peter Strickland)

festivali, nagrade (izbor)/ festivals, awards (selection) Toronto 2014, London 2014

"After damaging my eardrums with too many screams during the Berberian sound mix, I wanted to make something tender and quiet, but also quite intense. It's a simple love story about a devoted couple whose intimate needs are rarely in harmony."

(Peter Strickland)

Peter Strickland

filmografija/filmography

Rojen leta 1973 v Readingu v Veliki Britaniji. 1992 je za amatersko gledali{ko skupino priredil Kafkovo Preobrazbo. Posnel je veliko kratkih filmov. Leta 1996 je s prijatelji ustanovil umetni{ki projekt The Sonic Catering Band, ki je zaslovel z body popom, zvo~no poezijo in entomolo{ko-akusti~nimi odkloni.

Njegov celove~erni prvenec Katalin Varga je v Berlinu osvojil srebrnega medveda.

1992 1993 1994 1994 1996 2004 2009 2012 2014 2014

Born in 1973 in Reading, UK. In 1992 he adapted Kafka's Metamorphosis for an amateur theatre group and has since made numerous short films.

In 1996, Strickland and some friends founded an art project, The Sonic Catering Band, which found expression in body pop, sound poetry and other entomological-acoustic excursions. His debut feature, Katalin Varga, received the Silver Bear Award at the Berlin FF.

re`ija/directed by Peter Strickland scenarij/screenplay Peter Strickland fotografija/cinematography Nicholas D. Knowland glasba/music Cat's Eyes monta`a/editing Matyas Fekete igrajo/cast Sidse Babett Knudsen (Cynthia), Chiara D'Anna (Evelyn), Monica Swinn (Lorna), Eugenia Caruso (dr.

Fraxini), Kata Bartsch (dr. Lurida), Fatma Mohamed (tesarka/carpenter), Eszter Tompa (dr. Viridana), Zita Kraszkó (dr. Schuller) producent/producer Andrew Starke produkcija/production Rook Films Cima Dorada Verriotts Lane, Bridport Dorset DT6 6DU, GB E info�rookfilms.co.uk & Film4 (Great Britain) format/format DCP, barvni/colour dol`ina/running time 101'

prodaja/world sales Protagonist Pictures 4th Floor, Waverley House 7–12 Noel Street London W1F 8GQ, GB E info�protagonistpictures.com

Rising Within the Realms of Sleep (kratki/short) Between God and Inspiration Lie Heaven and Hell (kratki/short) Relapse (kratki/short) Fallout (kratki/short) Bubblegum (kratki/short) A Metaphysical Education (kratki/short) Katalin Varga Berberian Sound Studio (Kriki groze v zvo~nem studiu) Björk: Biophilia Live (dokumentarni/documentary) The Duke of Burgundy (Burgundski vojvoda)

distribucija/distribution Cenex d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

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Panorama svetovnega filma Panorama of World Cinema

The Double The Double Dvojnik Velika Britanija Great Britain 2013

Richard Ayoade re`ija/directed by Richard Ayoade scenarij/screenplay Richard Ayoade, Avi Korine, Fjodor M. Dostojevski (povest/novella) fotografija/cinematography Erik Wilson glasba/music Andrew Hewitt monta`a/editing Chris Dickens, Nick Fenton igrajo/cast Jesse Eisenberg (Simon/James), Mia Wasikowska (Hannah), Wallace Shawn (gospod/Mr. Papadopoulos), Noah Taylor (Harris), James Fox (polkovnik/the colonel), Cathy Moriarty (Kiki) producenta/producers Robin Fox, Amina Dasmal produkcija/production Alcove Entertainement St Georges House 15 Hanover Square London W1S 1HS, UK E info�alcoveentertainment.com format/format DCP, barvni/colour dol`ina/running time 93' festivali, nagrade (izbor)/ festivals, awards (selection) Toronto 2013, Sundance 2013

prodaja/world sales Protagonist Pictures Ltd 42–48 Great Portland Street London W1W 7NB, UK E info�protagonistpictures.com distribucija/distribution Cinemania Roj~eva 1 1000 Ljubljana E info�cinemania-group.si

Po literarni predlogi Dostojevskega posneta ~rna komedija je srhljiva, a bistroumna parabola o sodobnem svetu, ki posameznikom s tehnologijo omogo~a ustvarjenje ve~ razli~nih identitet.

A black comedy based on a novella by Fyodor Dostoevsky, The Double is a thrilling yet lucid parable on contemporaneity whose cutting-edge technology enables people to create a myriad of identities.

Simon James je srame`ljiv uradnik. Sodelavci v slu`bi se zanj ne menijo kaj prida, njegova mati ga zani~uje, njegova simpatija Hannah pa ga vztrajno ignorira. Ko se `e zdi, da huje sploh ne bi moglo biti, se slu`benemu kolektivu pridru`i nov sodelavec po imenu James Simon, ki je – poleg tega, da je Simonov fizi~ni dvojnik – tudi njegovo popolno nasprotje: je samozavesten, karizmati~en, predvsem pa velik zapeljivec. Na Simonovo grozo za~ne James postopoma prevzemati Simonovo `ivljenje …

Simon James is a timid office clerk. He is overlooked by his boss and colleagues, scorned by his mother, and ignored by Hannah, the lovely girl he pines for. Undermined and undervalued everywhere he turns, it seems that his life couldn't get any worse until the arrival of James Simon, his new co-worker.

James is both Simon's exact physical double and his opposite: confident, charismatic and seductive with women. To Simon's horror, James slowly starts taking over his life.

"Da. Ljudje Dostojevskega ne berejo samo zato, ker bi bil predpisan, kot ribje olje. Je izjemno priljubljen pisec, njegova dela se ne zdijo zastarana. Menim, da je to dokaz genialnega avtorja.

Zanimali so ga notranji ~love{ki vzgibi in ti se v sedanjosti niso spremenili – nekako je nasprotje tistega, za kar si prizadevajo filmi, dra`enje `iv~nih celic. Zato so njegove knjige popolnoma sodobne, zadevajo sodobne teme. Humor je sodoben."

(Richard Ayoade)

"Yes. People don't merely read Dostoevsky because he's like cod liver oil or something. He’s an incredibly popular writer, and his work doesn't feel like it's aged. I think that's a feature of a genius writer. He was interested in what makes people tick, and that's the same as it ever was – in some ways, he's the opposite of what films seem to be interested in, which is just stimulating your neural sensors. So his books feel completely contemporary, the concerns feel contemporary. The humour feels contemporary." (Richard Ayoade)

Richard Ayoade

filmografija/filmography

Rojen leta 1977 v Londonu. Na Univerzi v Cambridgeu je {tudiral pravo.

Najprej je pisal televizijske scenarije in re`iral glasbene videospote, med drugim tudi za skupine Arctic Monkeys in Yeah Yeah Yeahs. Leta 2008 je re`iral tudi koncertni film skupine Arctic Monkeys, Arctic Monkeys at the Apollo. Dvojnik je njegov drugi celove~erec.

2004 2008 2010 2013

Born in 1977 in London, Ayoade studied law at the University of Cambridge.

He has written TV scripts and directed music videos, among others for the Arctic Monkeys and Yeah Yeah Yeahs. In 2008, he directed a live Arctic Monkeys DVD, At the Apollo. The Double marks his second feature.

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AD/BC: A Rock Opera (TV-film/TV movie) Arctic Monkeys at the Apollo (dokumentarni/documentary) Submarine (Podmornica) The Double (Dvojnik)

Panorama svetovnega filma Panorama of World Cinema

Fair Play Fair Play Fair Play ^e{ka, Slova{ka, Nem~ija Czech Republic, Slovak Republic, Germany 2014

Andrea Sedlá~ková

[portna drama problematizira dopin{ki program komunisti~nega re`ima na ^e{koslova{kem.

A sports drama addressing the issue of the doping scheme ran by the Czech Republic's communist regime.

Siva osemdeseta. Najstnica Anna je vrhunska sprinterka in njen trener verjame, da bi se ji lahko uspelo kvalificirati celo za olimpijske igre. Tudi Annina mama v njen uspeh polaga velike upe – v njem vidi prilo`nost za h~erino `ivljenje onstran `elezne zavese. Tega si tako zelo `eli, da brez pomislekov podpre dopin{ki program, ki ga komunisti~ni re`im preizku{a na njeni h~erki, pa ~eprav je o~itno, da ne brez posledic za njeno zdravje.

Czechoslovakia, the gray 1980s. Teenage Anna is a top sprinter and her trainer thinks she can go all the way to the Olympics.

Her mother is also pinning her hopes on Anna's success, seeing it as an opportunity for her daughter to live in the free world beyond the Iron Curtain. This vision is so strong that she willingly supports the doping programme the communist regime is testing on her daughter – although her health will clearly suffer.

"Ne gre zgolj za film o uporabi prepovedanih po`ivil. Odstira tudi teme, kot so svoboda, etika, meje, ki se jih ne sme prekora~iti, razmerje med materjo in h~erjo, komunisti~na dru`ba."

(Andrea Sedlá~ková)

"It´s not only a film about doping. It is about freedom, ethics, lines that mustn't be crossed, about a mother-daughter relationship, about the communist society." (Andrea Sedlá~ková)

Andrea Sedlá~ková

filmografija (izbor)/filmography (selection)

Rojena leta 1967 v Pragi. Na pra{ki FAMU je {tudirala scenaristiko, nato pa je emigrirala v Francijo ter na pari{ki La Femis nadaljevala {tudij monta`e in re`ije. Za ~e{ko televizijo je snemala dokumentarce in TV-filme, v Franciji pa je delala predvsem kot monta`erka. Danes `ivi med ^e{ko in Francijo, Fair Play pa je njen tretji celove~erec.

2000 2000 2002 2003 2006 2008 2010 2014

Born in 1967 in Prague, Sedlá~ková studied screenwriting at Prague's Film Academy (FAMU), and continued her training in editing and direction after immigrating to France at La Fémis in Paris. For the Czech television she has shot documentaries and TV movies. During her time in France she has been engaged mainly as an editor. She resides in both France and the Czech Republic. Fair Play marks her third feature film.

re`ija/directed by Andrea Sedlá~ková scenarij/screenplay Andrea Sedlá~ková fotografija/cinematography Jan Baset Strite`sky glasba/music David Solar, Miro @birka monta`a/editing Jakub Hejna igrajo/cast Judit Bárdos (Anna), Anna Geislerová (Irena), Eva Josefíková (Marina), Roman Luknár (Bohdan), Roman Zach (Kriz), Vlastina Svatkova (sestra/nurse), Igor Bares (Novotný), Sára Polyaková (atletinja/athlete), Ondrej Novák (Tomás) producenta/producers Katerina ^erná, Pavel Strnad produkcija/production Negativ, s.r.o Ostrovni 30 110 00 Praha 1, Czech Republic E office�negativ.cz & Arina (Slovakia) & Departures Film (Germany) format/format DCP, barvni/colour dol`ina/running time 100' festivali, nagrade (izbor)/ festivals, awards (selection) Karlovi Vari/Karlovy Vary 2014

prodaja/world sales Intramovies SRL Via E. Manfredi 15 00197 Rome, Italy E paola.corvino�intramovies.com

Obeti a vrazi (Victims and Murderers) Ze `ivota pubescentky (TV-film/TV movie) Musím te svést (Seducer) Muj otec a ostatní mu`i (TV-film/TV movie) Krásný ~as (TV-film/TV movie) Opravdová láska (TV-film/TV movie) Rytmus v patách (TV-film/TV movie) Fair Play

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Panorama svetovnega filma Panorama of World Cinema

Kosac The Reaper Kosec Zvonimir Juri}

Hrva{ka, Slovenija Croatia, Slovenia 2014

re`ija/directed by Zvonimir Juri} scenarij/screenplay Zvonimir Juri}, Jelena Paljan fotografija/cinematography Branko Linta glasba/music Jura Ferina, Pavao Miholjevi} monta`a/editing Dubravka Turi}, Tomislav Pavlic igrajo/cast Mirjana Karanovi} (Mirjana), Ivo Gregurevi} (Ivo), Igor Kova~ (Josip), Nikola Ristanovski (Kre{o), Zlatko Buri} Ki}o (Rodi}), Dado ]osi} (Dado) producentka/producer Ankica Juri} Tili} produkcija/production Kinorama [ulekova 29, 10000 Zagreb, Croatia E ankica�kinorama.hr & Forum Ljubljana (Slo.) format/format DCP, barvni/colour dol`ina/running time 98' festivali, nagrade (izbor)/ festivals, awards (selection) Pulj/Pula 2014 (zlata arena za najbolj{o fotografijo, najbolj{o glavno mo{ko vlogo, najboj{o stransko mo{ko vlogo/Golden Arena for Best Photography, Best Male Leading Role, Best Male Supporting Role), oktavijan za najbolj{i film/Oktavian Prize for Best Film

prodaja/world sales Kinorama [ulekova 29, 10000 Zagreb, Croatia E ankica�kinorama.hr distribucija/distribution Forum Ljubljana Kersnikova 4 1000 Ljubljana E eva.rohrman�mail.ljudmila.org

Tri zgodbe, ki se dogodijo v eni sami no~i, postopno odstrejo tema~no sliko `ivljenja glavnega junaka Iva in njegovega doma~ega kraja, ki je, tako kot glavni junak s svojim zlo~inom, ostal zaznamovan s preteklostjo.

The three stories unfolding over a single night gradually unveil the dark side of life of the protagonist Ivo and his home town, which has been permanently scarred by the past just like the main character by his crime.

Ivo je zaposlen v kmetijsko-industrijskem kombinatu. Pred ve~ leti je bil obto`en posilstva, od takrat se ga krajani izogibajo, zato vselej, ko je mogo~e, dela v no~ni izmeni. Neke no~i sre~a Mirjano, ki je na samotni cesti ostala brez bencina, Josipa, ki dela na ~rpalki, in lokalnega policista Kre{a. Njihove usode se prepletejo in po~asi se razkrije podoba Ivovega `ivljenja in njegovega doma~ega kraja, ki se ne more otresti posledic nedavne vojne, prav tako kot se Ivo ne more otresti posledic svojega zlo~ina.

A worker in an agro industrial conglomerate, Ivo was many years ago convicted of rape and since then he both avoids and is avoided by his fellow citizens. In the night when he meets Mirjana, a woman who runs out of gas on a deserted road, Josip, the man who works at the gas station, and Kre{o, a local policeman, Ivo's destiny will entwine with theirs and gradually reveal the gloomy picture of his life, and the whole region he lives in, which has remained forever stuck and trapped by the war the same way Ivo is trapped by his past deed.

"Mislim, da mi v hrva{ki kinematografiji pripada polo`aj nekak{ne frikovske ~rne ovce. Sicer ne bi rad dvigal prahu okrog tega in sku{al vsega mitologizirati, ampak v meni zagotovo ti~i neki odpadnik, ki razmi{lja druga~e." (Zvonimir Juri})

"I believe that in the Croatian cinematic circles I am considered to be a freaky black sheep. Far from wanting to cause a stir and mythologising the whole matter, it needs to be pointed out that there is definitely an outsider inside of me, one with a highly individual mind." (Zvonimir Juri})

Zvonimir Juri}

filmografija (izbor)/filmography (selection)

Rojen leta 1971 v Osijeku, Hrva{ka. Diplomiral je na Akademiji za dramske umetnosti v Zagrebu. Filmsko pot je za~el s {tevilnimi, ve~krat nagrajenimi dokumentarnimi filmi. Za celove~erni film ^rnci sta s sore`iserjem Goranom Devi}em prejela vodomca na festivalu Liffe, njegov zadnji celove~erec Kosec pa je bil letos v Pulju nagrajen s kar temi zlatimi arenami.

1995 Nebo ispod Osjeka (The Skies Below Osijek) (dokumentarni/ documentary) 2001 Crnci su izdr`ali, a ja? (The Blacks Resisted, Can I?) (dokumentarni/ documentary) 2003 Onaj koji }e ostati neprimje}en (The One Who Will Stay Unnoticed) 2004 Sex, pi}e i krvoproli}e (Sex, Booze, Short Fuse) (omnibus Zagreba~ke pri~e/omnibus Zagreb Stories) 2009 Crnci (The Blacks/^rnci) 2013 Pragovi (Thresholds) (kratki/short) 2013 Bijela (White) (kratki/short) 2014 Kosac (The Reaper/Kosec)

Born in 1971 in Osijek, Croatia, Juri} graduated from the Zagreb Academy of Dramatic Art. He embarked on his filmmaking career with numerous award-winning documentary films. Together with Goran Devi}, he co-wrote and co-directed the feature film The Blacks, which won the Kingfisher Award at Liffe. The Reaper, Juri}'s last feature film, won as many as three Golden Arenas at the 2014 Pula Film Festival.

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Panorama svetovnega filma Panorama of World Cinema

Love Is Strange Love Is Strange Ljubezen je ~udna re~ ZDA, Gr~ija USA, Greece 2014

Ira Sachs

John Lithgow in Alfred Molina v vlogi gejevskega para, ki se po poroki zaradi obkro`ajo~e homofobije znajde pred hudo `ivljenjsko preizku{njo.

John Lithgow and Alfred Molina play a newlywed gay couple whose relationship is put to a severe test in the wake of homophobia.

Ko v New Yorku leta 2011 legalizirajo istospolne poroke, se Ben in George odlo~ita, da se po 39 letih skupnega `ivljenja poro~ita. Kmalu potem Georgea odpustijo z njegovega delovnega mesta glasbenega u~itelja na katoli{ki {oli, zaradi tega pa izgubi tudi stanovanje v Chelseaju. George se naseli pri policijskem gejevskem paru, Bena pa sprejmejo pri ne~akovi dru`ini v Brooklynu. Spremenjene bivalne okoli{~ine prinesejo nove pritiske na njuno razmerje. To je zgodba o te`avah gejevske skupnosti, ki jo je re`iser Ira Sachs prelevil v lahkotno, ne`no in splo{no {tudijo nekega ljubezenskega razmerja.

When same-sex marriage is legalised in New York in 2011, Ben and George decide to marry after 39 years together. Shortly after this, George, who works as a music teacher at a Catholic school, is dismissed without notice and they lose their apartment in Chelsea. George finds a place to stay with a gay couple who are both police officers and Ben is taken in by his nephew's family in Brooklyn. These new living arrangements put a constant strain on their relationship. Director Ira Sachs turns a story about the predicaments faced by the gay community into a light-hearted, sensitive and universal study of partnership.

"Vsako `ivljenjsko zgodbo Newyor~anov ali prebivalcev katerega koli mesta je mogo~e prikazati kot 'nepremi~ninsko zgodbo', ker je nepremi~nina druga beseda za dom in tega vedno opredeljujemo po posameznikovem gmotnem polo`aju in njegovem polo`aju v dru`bi. Sam po sebi nisem marksist, vendar na dolo~en lik vedno gledam skozi prizmo ekonomije, bivalno okolje – oziroma okolje, ki si ga ne more privo{~iti – pa je prav tako odli~en na~in za opisovanje osebe v dolo~enem svetu in zgodbi." (Ira Sachs)

"Every life lived in New York, or any city for that matter, can be told as a 'real estate story,' because real estate is another word for home, and home is always defined by one's economy, and one’s place in a culture. I am not a Marxist, per se, but I do look at character always through the lens of economics, and where one lives – or where one can't live – is as good a way as any of describing a person in the world, and in a story." (Ira Sachs)

Ira Sachs

filmografija/filmography

Rojen leta 1965 v Memphisu, ZDA. Diplomiral je iz literature in filma na Univerzi Yale in u~i film na Univerzi Kolumbija v New Yorku. Njegovi filmi ve~inoma obravnavajo gejevsko problematiko, zato velja za enega klju~nih ustvarjalcev newyor{ke gejevske skupnosti.

1993 1996 1996 2002 2005 2007 2010 2012 2014

Born in 1965 in Memphis, Tennessee, Sachs graduated in literature and film theory from Yale University. He teaches at the Columbia University School of Film. His movies generally treating gay topics, Sachs is one of the seminal figures of New York's artistic queer community.

re`ija/directed by Ira Sachs scenarij/screenplay Ira Sachs, Mauricio Zacharias fotografija/cinematography Christos Voudouris monta`a/editing Affonso Goncalves, Michael Taylor igrajo/cast John Lithgow (Ben), Alfred Molina (George), Marisa Tomei (Kate), Cheyenne Jackson (Ted), Darren E. Burrows (Elliot), Charlie Tahan (Joey), Christian Coulson (Ian), Harriet Sansom Harris (Honey), Sebastian La Cause (Marco), John Cullum (o~e Raymond/father Raymond), Manny Perez (Roberto), Adriane Lenox (ravnateljica/principal), Olya Zueva (Eugenia), Christina Kirk (Mindy) producenti/producers Lars Knudsen, Jay Van Hoy, Lucas Joaquin, Jayne Baron Sherman, Ira Sachs produkcija/production Parts and Labor Films 177 N 10th St Brooklyn, New York, USA & Faliro House (Greece) & Mutressa Movies (USA) format/format DCP, barvni/colour dol`ina/running time 98' festivali, nagrade (izbor)/ festivals, awards (selection) Sundance 2014, Berlin 2014, Tribeca 2014, Sydney 2014, Los Angeles 2014, Karlovi Vari/Karlovy Vary 2014

prodaja/world sales Fortissimo Films Van Diemenstraat 100 1013 CN, Amsterdam, The Netherlands E info�fortissimo.nl

Lady (kratki/short) The Delta Boy-Girl, Boy-Girl Underground Zero (omnibus) Forty Shades of Blue Married Life Last Address (kratki dokumentarni/documentary short) Keep the Lights On Love Is Strange (Ljubezen je ~udna re~)

distribucija/distribution Cenex d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

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Panorama svetovnega filma Panorama of World Cinema

Les combattants Love at First Fight Ljubezen na prvi pretep Francija France 2014

Thomas Cailley re`ija/directed by Thomas Cailley scenarij/screenplay Thomas Cailley, Claude Le Pape fotografija/cinematography David Cailley glasba/music Lionel Flairs, Benoit Rault, Philippe Deshaies monta`a/editing Lilian Corbeille igrajo/cast Adèle Haenel (Madeleine Beaulieu), Kévin Azais (Arnaud Labrède), Antoine Laurent (Manu Labrède), Brigitte Roüan (Hélène Labrède), William Lebghil (Xavier), Thibaut Berducat (Victor), Nicolas Wanczycki (polkovnik Schlieffer/lieutenant Schlieffer), Frédéric Pellegeay (izvedenec za rekrutacijo/recruiter), Steve Tientcheu (narednik Ruiz/ sergeant Ruiz), Maxime Mège (Adrien) producent/producer Pierre Guyard produkcija/production Nord-Ouest Films 41 rue de la Tour d’Auvergne 75009 Paris, France E contact�nord-ouest.fr & Appaloosa Distribution (France) format/format DCP, barvni/colour dol`ina/running time 98' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2014 – [tirinajst dni re`iserjev/Directors’ Fortnight

Na divjem jugozahodu Francije vznikne najstni{ka ljubezen, ki ne`no romantiko zamenja za komi~ne priprave na konec sveta.

Teenage love blossoms in the wild South West France that replaces tender romance with comical training in preparation for the apocalypse.

Arnaudovo dru`enje s prijatelji nakazuje, da bo tudi to zgolj {e eno obi~ajno in mirno poletje. Potem pa nekega dne naleti na Madeleine, lepo, a sila nepredvidljivo dekle, ki se pripravlja na sodni dan, zato se ukvarja z intenzivno fizi~no vadbo in se `eli priklju~iti vojski. To tudi stori, skupaj z Arnaudom, ki je navdu{en nad njeno pojavo in se ji zato pridru`i na dvotedenskem treningu.

Kako dale~ ji je pripravljen slediti? Gre za ljubezensko zgodbo. Ali pa za zgodbo o pre`ivetju. Verjetno kar oboje.

Between his friends and the family business, Arnaud's summer looks set to be a peaceful one. Until he runs into Madeleine, as beautiful as she is brusque, a concrete block of tensed muscles.

Braving the end of the world, she trains herself intensely and aspires to join the army. And she does – with Arnaud, clearly smitten by this human tornado, joining her on a two-week training session. Given she hasn't asked him for anything, just how far will he go along with her? It's a love story. Or a story of survival. Or both.

"Odra{~al sem v francoski Akvitaniji in `e dolgo sem si `elel snemati v pokrajini Landes, z njenimi brezmejnimi gozdovi in jezeri. /.../ To druga~e mirno pokrajino pogosto prizadenejo naravne katastrofe, kot so zimska neurja in poletni po`ari. /.../ To vrsto trka, navzkri`je dveh nasprotujo~ih si elementov, sem si predstavljal za Arnauda in Madeleine. Iz tega izhodi{~a sem si zamislil pot teh diametralno nasprotnih si likov, ki se sre~ata in premakneta mejnike mogo~ega." (Thomas Cailley)

prodaja/world sales Bac Films 88, rue de la Folie Méricourt 75011 Paris, France E g.sousa�bacfilms.fr distribucija/distribution Cenex d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Thomas Cailley

filmografija/filmography

Po politi~nih vedah je {tudiral scenaristiko na {oli Fémis v Parizu. Leta 2010 je posnel kratki prvenec Paris Shanghai in z njim osvojil vrsto nagrad na mednarodnih festivalih. Ljubezen na prvi pretep je njegov celove~erni prvenec, s katerim je leta 2014 v Cannesu dosegel vse glavne nagrade v sklopu [tirinajst dni re`iserjev.

2011 Paris Shanghai (kratki/short) 2014 Les combattants (Love at First Fight/Ljubezen na prvi pretep)

After studying political science, Cailley pursued studies of scriptwriting at La Fémis (Paris). In 2010, he made his first work, Paris Shanghai, a short film that won awards at numerous festivals. Love at First Fight marks Cailley's feature debut that screened within the scope of Cannes 2014 Directors' Fortnight and bagged all the major awards.

86

"I grew up in Aquitaine (France), and I had wanted to film in the Landes region, with its huge forests and lakes, for a long time. /.../ This otherwise peaceful countryside is often stricken by disaster in the form of winter storms and summer fires. /.../ This kind of collision, the clash of two opposing elements, is what I envisioned for Arnaud and Madeleine. From there, I imagined the journey of these two diametrically opposed characters, who would come together and push the boundaries of possibility."

(Thomas Cailley)

Panorama svetovnega filma Panorama of World Cinema

Ne me quitte pas Don't Leave Me Ne zapu{~aj me Sabine Lubbe Bakker, Niels van Koevorden

Nizozemska, Belgija The Netherlands, Belgium 2013 re`ija/directed by Sabine Lubbe Bakker, Niels van Koevorden scenarij/screenplay Sabine Lubbe Bakker, Niels van Koevorden fotografija/cinematography Niels van Koevorden monta`a/editing Sabine Lubbe Bakker, Niels van Koevorden producent/producer Pieter van Huystee produkcija/production Pieter van Huystee Film Noordermarkt 37–39 1015 NA Amsterdam, The Netherlands E info�pvhfilm.n format/format DCP, barvni/colour dol`ina/running time 106'

Pretresljiv in pristen portret mo{kih, ki se zate~eta "na konec sveta". Tam se z veliko pikrega humorja in ob velikih koli~inah alkohola po~asi, a neizogibno bli`ata samouni~enju.

V valonskih gozdovih, nekje na robu Belgije, sku{ata mo{ka odmisliti svoje tegobe. Bob in Marcel po~asi izginjata iz lastnih `ivljenj, pri tem pa {e vedno ohranjata smisel za humor. Medtem ko so njuni sorodniki in prijatelji obremenjeni s svojimi te`avami, prijatelja razmi{ljata o skupnem samomoru pod najlep{im drevesom v gozdu.

"O teh mo`eh smo morali razmi{ljati druga~e, kot obi~ajno razmi{ljamo o ljudeh, ker sta brezobzirna, neprestano pijana, brezbri`na, ni jima mar za `ivljenjske uspehe, ne `elita napredovati, sta tak{na, kot sta in ve~ od tega od njiju ne moremo pri~akovati. Mislim, da nam je bilo to tudi zelo v{e~. Ob~utek ima{, da jima `eli{ pomagati. Vsi `ivimo v mestih, kjer je tempo zelo pospe{en, `elimo biti uspe{ni in `elimo si tega in tega, tadva pa si `elita samo svobode, `elita popivati in po~eti, kar ho~eta.

To tudi pomeni, da se `elita vsake toliko uni~iti, `elita voziti pod vplivom alkohola, vendar je tak{en njun na~in bivanja." (Sabine Lubbe Bakker)

festivali, nagrade (izbor)/ festivals, awards (selection) Mednarodni festival dokumentarnega filma v Amsterdamu/International Documentary Film Festival Amsterdam 2013, Münchenski mednarodni festival dokumentarnega filma/ Munich International Documentary Festival 2014, Little Rock 2014

A heart-rending and authentic portrayal of two men seeking refuge at "the end of the world" where they slowly but inevitably drift into self-destruction with wry humour and copious quantities of alcohol.

In the woods of Wallonia, somewhere at the end of Belgium, two men try to laugh away their sorrows. Bob and Marcel are keeping their sense of humour while slowly disappearing from life. While their friends and family continue their lives, the two friends plan a joint-suicide under the most beautiful tree they've found in the forest.

"We had to think about these people in a different way than you normally think about people, because they are ruthless, they are drunk all the time, they don't care, they don't care about success in life, they don't want to move up, they are the way they are and this is what you get and that's it. I think this is also what we liked very much. You feel like you want to help them. We are all living in these cities where everything has a very fast pace and we want to be successful and this and this and this, and they want to be free and they want to drink and they want to do whatever they want. And so it means also they want to destroy themselves every now and then, they want to drive drunk, but it’s the way it is." (Sabine Lubbe Bakker)

Sabine Lubbe Bakker, Niels van Koevorden

filmografija/filmography

S. L. B.: Rojena leta 1978 v Antwerpnu, Belgija. Med {tudijem politologije je za leto dni odpotovala v Damask, kjer je posnela svoje prve dokumentarne filme. Ne zapu{~aj me je njen drugi celove~erni dokumentarec.

Born in 1978 in Antwerp, Belgium. While studying political sciences, she lived and worked in Damascus for about one year where she made her first short documentaries. Ne me quitte pas is her second full-length documentary.

2010 Winterslaap in Lukomir (Lukomir – Six Months Off) (dokumentarni kratki/ documentary short) 2012 Ik stond erbij (By Her Side) (kratki dokumentarni/documentary short) 2013 The Making of 'Boven is het Stil' (The Making of 'It's All so quiet') (TV dokumentarni/TV documentary) 2013 Ne me quitte pas (Don't Leave Me/Ne zapu{~aj me)

prodaja/world sales Pieter van Huystee Film Noordermarkt 37–39 1015 NA Amsterdam The Netherlands E curien�pvhfilm.nl

N. v. K.: Rojen leta 1984 v kraju Tiel na Nizozemskem. Diplomiral je na nizozemski filmski akademiji v Amsterdamu. Za kratke filme je bil ve~krat nagrajen.

Born in 1984 in Tiel, The Netherlands, he graduated from the Dutch Film Academy in Amsterdam. Niels van Koevorden’s shorts have earned him a number of awards.

87

Panorama svetovnega filma Panorama of World Cinema

Ni~ije dete No One’s Child Nikogar{nji otrok Vuk R{umovi}

re`ija/directed by Vuk R{umovi} scenarij/screenplay Vuk R{umovi} fotografija/cinematography Damjan Radovanovi} glasba/music Jura Ferina, Pavao Miholjevi} monta`a/editing Mirko Bojovi} igrajo/cast Denis Muri} (Pu}ke), Pavle ^emeriki} (@ika), Isidora Jankovi} (Alisa), Milo{ Timotijevi} (Ilke), Tihomir Stani}, Borka Tomovi}, Goran [u{ljik, Zinaida Dedakin, Branka [eli}, Mihailo Lapto{evi}, Draginja Voganjac, Marija Opsenica, Ljuba Todorovi}, Bora Neni} producent/producer Miroslav Mogorovi} produkcija/production Art & Popcorn Motion Picture Company Decanska 12 11000 Belgrade, Serbia E info�artandpopcorn.com & BaBoon Production (Serbia) & Kinorama (Croatia) & Radio-Televizija Srbije (Serbia) format/format DCP, barvni/colour dol`ina/running time 95' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2014 (nagradi ob~instva in dru{tva kritikov FEDEORA v sklopu Teden kritike/ Audience Award and FEDEORA Award in the Critics' Week section)

prodaja/world sales Soul Food Pariske komune 13 11000 Belgrade, Serbia E sonja.topalovic�soulfoodfilms. com distribucija/distribution Cenex d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Filmski debi Vuka R{umovi}a je srbsko-bosenska razli~ica legende o vol~jem de~ku, posneta po resni~nih dogodkih.

The cinematic debut by Vuk R{umovi} is a Serbian-Bosnian version of the wolf-child legend based on a true story.

Leta 1988 lovci globoko v bosenskih gorah ujamejo divjega otroka, ki `ivi med volkovi. Fant {ibkega zdravja nima identitete, zato ga poimenujejo Haris in ga po{ljejo v siroti{nico v Beograd.

Tam se spoprijatelji s svojim skrbnikom Ilkejem in z de~kom @iko, ki mora kmalu oditi, a Harisu obljubi, da se bo vrnil. Haris za~ne medtem obiskovati {olo in se sku{a udoma~iti v novem okolju.

Ko se leta 1992 za~ne vojna vihra, srbske oblasti Harisa po{ljejo nazaj v Bosno …

In 1988, hunters capture a feral boy living among wolves deep in the Bosnian mountains. Without identity, the boy is given the name Haris, and is immediately sent to the orphanage in Belgrade. There, Haris makes friends with his caregiver, Ilke, and another boy, @ika. But @ika has to leave with his father. As he waits for @ika to fulfil his promise and come back, Haris starts attending school and becomes a socialised young man. In 1992, when the war erupts, Haris is sent back to Bosnia.

"Za mojega junaka so ljudje – ljudje. Ne razume, da je nekdo musliman, Srb, Hrvat. Ni mu jasno, zakaj se ljudje pobijajo ...

Zame je to – protivojna poanta. Navsezadnje o tem govori tudi njegova usoda. Dobil je naklju~no muslimansko ime, ~eprav njegovo poreklo ni bilo znano. (...) @elel sem, sam da bi imela zgodba univerzalno razse`nost, da bi se lahko zgodila kjer koli, ne samo v Srbiji." (Vuk R{umovi})

"People are simply people to my hero. He does not comprehend that someone is a Muslim, a Serbian, a Croat. He does not know why people are killing each other... To me, this is – an anti-war statement. After all, this is what his destiny also discloses. He was given a random Muslim name, although his descent was unknown. (...) I wanted the story to have a universal dimension, to seem as if it could have happened anywhere, not just in Serbia." (Vuk R{umovi})

Vuk R{umovi}

filmografija/filmography

Rojen leta 1975 v Beogradu. Vzporedno je {tudiral analiti~no psihologijo in scenaristiko na Fakulteti dramskih umetnosti v Beogradu. Pisal je scenarije za dokumentarne, animirane, kratke filme in TV-serije. Dela tudi kot dramaturg v ve~ srbskih gledali{~ih. Leta 2007 je ustanovil filmsko produkcijsko podjetje BaBoon Production, ki je realiziralo ve~ kratkih in dokumentarnih filmov. Nikogar{nji otrok je njegov celove~erni prvenec.

2014 Ni~ije dete (No One's Child/Nikogar{nji otrok)

Born in Belgrade in 1975. He concurrently studied writing for film, theatre, TV and radio at the Faculty of Drama Arts in Belgrade as well as analytical psychology. He wrote screenplays for documentaries, fiction series, animation and short feature films. He has also worked as a dramaturge in major Serbian theatres. In 2007, he established BaBoon Production, a film production company that produced several short films and documentaries.

No One's Child is his directorial debut.

88

Srbija, Hrva{ka Serbia, Croatia 2014

Panorama svetovnega filma Panorama of World Cinema

Omar Omar Omar Palestina Palestine 2013

Hany Abu-Assad

re`ija/directed by Hany Abu-Assad scenarij/screenplay Hany Abu-Assad fotografija/cinematography Ehab Assal monta`a/editing Martin Brinkler, Eyas Salman igrajo/cast Adam Bakri (Omar), Leem Lubany (Nadia), Waleed F. Zuaiter (agent Rami), Samer Bisharat (Amjad), Eyad Hourani (Tarek), Mousa Habib Allah (lastnik {ivalnice/sewing shop manager), Doraid Liddawi (vojak/ soldier), Adi Krayim (vojak 1/soldier 1), Foad Abed-Eihadi (vojak 2/soldier 2), Essam Abu Aabed (Omarjev {ef/ Omar's boss), Anna Maria Hawa (Omarjeva sestra/Omar’s sister) producenti/producers Hany Abu-Assad, Waleed F. Zuaiter, David Gerson produkcija/production ZBROS (Palestine) format/format DCP, barvni/colour dol`ina/running time 97'

Po veliki uspe{nici Raj na zemlji nam palestinski re`iser Hany Abu-Assad ponuja {e eno pere~o zgodbo s palestinskoizraelske meje, ki mu je letos ponovno prinesla nominacijo za oskarja.

After the hugely successful Paradise Now, Omar is Hany AbuAssad's another poignant story about the Israeli-Palestinian issue that earned the Palestinian director his second Academy Award nomination.

Omar je vajen izmikanja metkom ob vsakodnevnem pre~kanju zidu med Palestino in Izraelom, ko obiskuje svojo ljubezen Nadio.

Toda okupirana Palestina ne pozna jasnih meja med ljubeznijo in vojno: na drugi strani zidu postane rahlo~uten pek Omar gore~ borec za svobodo, ki se mora spoprijeti z bole~imi odlo~itvami glede odraslosti in `ivljenja nasploh. Ko Omarja med enim izmed uporov ujamejo, se spusti v lov z voja{ko policijo. V trdne odnose s prijatelji iz otro{tva se prikradeta sum in izdajstvo, Omarjeva ~ustva pa s tem hitro postanejo razdvojena kot palestinsko ozemlje. Obenem postane tudi jasno, da vse to po~ne iz ljubezni do Nadie.

Omar is accustomed to dodging surveillance bullets to cross the separation wall to visit his secret love Nadia. But occupied Palestine knows neither simple love nor clear-cut war. On the other side of the wall, the sensitive young baker Omar becomes a freedom fighter who must face painful choices about life and manhood. When Omar is captured after a deadly act of resistance, he falls into a cat-and-mouse game with the military police. Suspicion and betrayal jeopardize his long-time trust with accomplices and childhood friends. Omar's feelings quickly become as torn apart as the Palestinian landscape. But it’s soon evident that everything he does is for his love of Nadia.

"Izolacijski zid je razmejil palestinska mesta, lo~il vasi in begunska tabori{~a ter ustvaril okraje, v katerih `ive Palestinci. V {tevilnih primerih ni jasno, kaj je zavzeto. Na primer, v Jeruzalemu sta zavzeti obe strani. Moj namen je bil ustvariti virtualno palestinsko mesto, v katerem zid samo naklju~no kri`a mesto, vas in begunsko tabori{~e, brez razlik med obema stranema."

(Hany Abu-Assad)

"The Isolation Wall has divided Palestinian cities from themselves, divided villages, refugee camps, and created cantons where Palestinians live. In many places it isn't clear what is and isn't occupied. For instance, both sides are occupied in Jerusalem. My intention was to create a virtual Palestinian city where the wall is just randomly crossing the city, village and refugee camp with no differences between the two sides." (Hany Abu-Assad)

Hany Abu-Assad

filmografija/filmography

Rojen v Nazaretu leta 1961. V Amsterdamu je {tudiral tehni~no in`enirstvo, delal je kot letalski in`enir, pozneje pa za~el producirati televizijske oddaje o priseljencih. V vseh svojih delih obravnava ve~kulturno so`itje, tako v Evropi kot na Bli`njem vzhodu. Zaslovel je s filmom Raj na zemlji, ki mu je prinesel zlati globus za najbolj{i tujejezi~ni film in nominacijo za oskarja v isti kategoriji.

1998 2000 2002 2002 2005 2011 2013

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2013 (nagrada `irije v sklopu Poseben pogled/Un certain regard Special Jury Prize), Karlovi Vari/ Karlovy Vary 2013, New York 2013, London 2013, Oskarji/Academy Awards 2014 (nominacija za najbolj{i tujejezi~ni film/Best Foreign Language Film Nominee)

prodaja/world sales The Match Factory GmbH Balthasarstraße 79–81 50670 Cologne, Germany E info�matchfactory.de

Het 14e kippetje (The 14th Chick) Nazareth 2000 (dokumentarni/documentary) Ford Transit (dokumentarni/documentary) Al Qods Fee Yom Akhar (Rana’s Wedding) Paradise Now (Raj na zemlji) The Courier Omar

distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Born in Nazareth in 1961, Abu-Assad studied technical engineering in Amsterdam, worked as an aircraft engineer, and later on produced TV shows about immigrants. All of his works examine the issues of multicultural coexistence, be it in Europe or the Middle East. He was brought to international fame with Paradise Now that won the Golden Globe Award for Best Foreign Language Film and was nominated for the Academy Award in the same category.

89

Panorama svetovnega filma Panorama of World Cinema

Love Island Love Island Otok ljubezni Jasmila @bani}

re`ija/directed by Jasmila @bani} scenarij/screenplay Aleksandar Hemon, Jasmila @bani} fotografija/cinematography Christine A. Maier glasba/music Balz Bachmann monta`a/editing Isabel Meier igrajo/cast Ariane Labed (Liliane), Ermin Bravo (Grebo), Ada Condeescu (Flora), Franco Nero (Marquis Polesini), Leon Lu~ev (Stipica), Branka Petri} Fehmiu (gospa Henzl/Madame Henzl), Lee Delong (Cruella), Bojana Gregori} Vejzovi} (Nina), Nadija Huseti} (Lucija), Aleks Rako{ (Adam) producenta/producers Damir Ibrahimovi}, Leon Lu~ev produkcija/production @iva Produkcija Heinzelova 47 10000 Zagreb, Croatia E ziva.produkcija�gmail.com & Deblokada (Bosnia and Herzegovina) & Komplizen Film (Germany) & Okofilm (Switzerland) format/format DCP, barvni/colour dol`ina/running time 86' festivali, nagrade (izbor)/ festivals, awards (selection) Locarno 2014, Sarajevo 2014

prodaja/world sales The Match Factory GmbH Balthasarstraße 79–81 50670 Cologne, Germany E info�matchfactory.de

Hrva{ka, Bosna in Hercegovina, Nem~ija, [vica Croatia, Bosnia and Herzegovina, Germany, Switzerland 2014

Jasmila @bani} se od povojnih tem obra~a k humornemu portretu sodobnih razmerij na po~itni{ki kulisi otoka Sv. Nikola pri Pore~u.

Summer fun at an Adriatic seaside resort and a bold humorous look at modern relationships from Jasmila @bani}, an incisive chronicler of the post-war traumas.

Grebo in njegova nose~a `ena Liliane se odpravita na zaslu`en dopust v priljubljeno jadransko letovi{~e. Zdi se, da bi na tak{nih idili~nih po~itnicah te`ko {lo kaj narobe. Toda na ve~erni zabavi Grebo o~ara navzo~e ob~instvo, kar njegovo francosko soprogo spomni na sarajevskega rockerja, v katerega se je zaljubila. Ko mlada zakonca spoznata {e privla~no Floro, postane jasno, da je njun zakon postavljen na preizku{njo. Minulih skrivnosti na otoku ljubezni pa~ ni mogo~e skriti.

Grebo and his pregnant wife Liliane are taking a well-deserved vacation at a popular Adriatic seaside resort. What could possibly go wrong on such an idyllic holiday? At open-mike night, Grebo seduces the resort crowd and reminds his loving French wife of the Sarajevo rocker she fell in love with. But the evening's big surpise is the young couple’s meeting with mysterious Flora. The charismatic young woman will soon put their young marriage to the test. Past secrets cannot stay hidden for long on Love Island.

"@ivljenje v Bosni me je ~ustveno zaznamovalo s stra{nim obdobjem povojne dru`bene stvarnosti. Dotaknilo se me je globoko, intimno. Vendar se `ivljenje tu v Sarajevu ne vrti samo okoli `alosti in vojne. Moj vsakdan je poln ljubezni in humorja, ~utim, da sem lahko soudele`ena tudi radosti. /.../ Mislim, da je ~as za ta film idealen. Bolj kot kdaj koli prej je treba podajati idejo o solidarnosti, ki jo film predstavlja. Otok ljubezni ni bil posnet samo v razvedrilo, za pobeg od neusmiljene realnosti. Je videnje druga~ne resni~nosti in poskus zavedanja, da je ta utopija tudi lahko del resni~nosti.« (Jasmila @bani})

"Living in Bosnia I have been emotionally involved with the horrible times of post war society. It touched me deeply, personally. But, at the same time, life here in Sarajevo is not only about sadness and war. My everyday life is full of love and humor and I feel I can share joy, too. /.../ I think the timing for this film is perfect. Now, more than ever, we need to share the film's idea of solidarity. Love Island is not intended to be solely an entertaining attempt to escape hard reality. It’s a vision of a different reality and an attempt at awareness that this utopia can be reality too."

(Jasmila @bani})

Jasmila `bani}

filmografija (izbor)/filmography (selection)

Rojena leta 1974 v Sarajevu. Diplomirala je iz re`ije na tamkaj{nji Akademiji dramskih umetnosti, pred filmskim uspehom pa je delala tudi kot lutkarka in klovnesa. Njen prvenec Grbavica je leta 2006 prejel zlatega medveda na filmskem festivalu v Berlinu. S svojimi video deli je gostovala v {tevilnih galerijah po vsem svetu. Otok ljubezni je njen ~etrti celove~erni film.

2006 2009 2013 2014

Born in 1974 in Sarajevo, @bani} graduated in directing from the Sarajevo Academy of Dramatic Arts, and worked as a puppeteer and clown before embarking on her filmmaking career. Her feature debut, Grbavica, received the Golden Bear Award at the 2006 Berlin Film Festival. Her videos have been showcased at numerous galleries across the world. Love Island is her third feature film.

90

Grbavica Na putu (On the Path/Na poti) For Those Who Can Tell No Tales Love Island (Otok ljubezni)

Panorama svetovnega filma Panorama of World Cinema

Palo Alto Palo Alto Palo Alto ZDA USA 2013

Gia Coppola

Po kratkih zgodbah Jamesa Franca posneti prvenec Gie Coppole. Razumevajo~ pogled na zapletene vezi, privzdignjena ~ustva ter romanti~ne vzpone in padce mladostni{tva.

An astonishing debut feature by Gia Coppola, Palo Alto deftly captures the complicated ties, heightened emotions, and romantic highs and lows of adolescence. Based on short stories by James Franco.

Ob~utljiva, srame`ljiva April je razredna devica, razpeta med nespodobno spogledovanje s svojim trenerjem nogometa, gospodom B, in zatreskanost v ljubeznivega zadetka Teddyja.

Emily pa, na drugi strani, ponuja spolne usluge vsakemu fantu, ki ji prekri`a pot – vklju~no s Teddyjem in njegovim najbolj{im prijateljem Fredom, hiperaktivcem brez dlake na jeziku in ob~utka za kakr{ne koli meje. April in Teddy si med eno in drugo {olsko zabavo trudita izpovedati medsebojno naklonjenost, medtem pa Fredova nara{~ajo~a brezglavost prera{~a v popoln kaos.

Shy, sensitive April is the class virgin, torn between an illicit flirtation with her soccer coach, Mr. B, and an unrequited crush on sweet stoner Teddy. Emily, meanwhile, offers sexual favours to every boy to cross her path – including both Teddy and his best friend Fred, a live wire without filters or boundaries. As one high school party bleeds into the next, and April and Teddy struggle to admit their mutual affection, Fred's escalating recklessness starts to spiral into chaos.

"@e dolgo nisem prebrala ali zasledila ~esar koli o najstnikih, kar bi mi bilo v{e~ ali bi zvenelo pristno. Ko sem prebrala zbirko zgodb Palo Alto, so se mi zdeli razli~ni najstni{ki liki iskreni in resni~ni, izra`ali so vso brezciljnost in ranljivost mladosti: sme{ni dialogi, zatajena zaljubljenost, neumne napake." (Gia Coppola)

"It had been a long time since I had read or seen anything about teenagers that I liked or felt was realistic. When I read Palo Alto Stories, the different teenage voices felt honest and true, conveying the aimlessness and vulnerability of being young: the funny conversations, pent-up crushes, the dumb mistakes."

(Gia Coppola)

Gia Coppola

filmografija/filmography

Rojena leta 1987 v Los Angelesu. Je vnukinja Francisa Forda Coppole. Leta 2009 je na Akademiji Bard diplomirala iz likovne umetnosti in fotografije. Po {tudiju je za~ela re`irati modne videe za Elle Kitajska in Vogue Japonska, posnela pa je tudi kratki film Writer's Block. Palo Alto je njen celove~erni prvenec.

2012 Writer's Block (kratki/short) 2013 Palo Alto

re`ija/directed by Gia Coppola scenarij/screenplay Gia Coppola, James Franco (kratke zgodbe/short stories) fotografija/cinematography Autumn Durald glasba/music Devonte Hynes, Robert Coppola Schwartzman monta`a/editing Leo Scott igrajo/cast Emma Roberts (April), Jack Kilmer (Teddy), James Franco (g./Mr. B), Nat Wolff (Fred), Olivia Crocicchia (Chrissy), Claudia Levy (Shauna), Val Kilmer (Stewart), Jacqui Getty (Jane), Andrew Lutheran (Ivan) producenti/producers Vince Jolivette, Miles Levy, Sebastian Pardo, Adriana Rotaru produkcija/production Rabbit Bandini Productions 3500 W. Olive Ave Suite 1470 Burbank, CA 91505, USA E Miles�JamesLevyManagement. com format/format DCP, barvni/colour dol`ina/running time 100' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2013, Telluride 2013, Toronto 2013, Tribeca 2014

prodaja/world sales The Festival Agency 44 rue de Cléry F – 75002 Paris, France E ed�thefestivalagency.com

Born in Los Angeles in 1987, Gia is a granddaughter of Francis Ford Coppola.

After graduating in 2009 with a Bachelor of Fine Arts in Photography from the Bard Academy, she started directing fashion videos for Elle China and Vogue Japan and also made a short film, Writer’s Block. Palo Alto is her debut feature.

91

Panorama svetovnega filma Panorama of World Cinema

Szabadesés Free Fall Prosti pad Mad`arska, Francija, Ju`na Koreja Hungary, France, South Korea 2014

György Pálfi re`ija/directed by György Pálfi scenarij/screenplay Zsófia Ruttkay, György Pálfi glasba/music Amon Tobin monta`a/editing Réka Lemhényi igrajo/cast Piroska Molnár (tetka/auntie), Miklós Benedek (stric/uncle), Tamás Jordán (u~itelj/master), Ferenc Lakos ({tudent/student), Linda Rubesch ({tudentka/student), Lilla Gogolák ({tudentka/student), Krisztina Jankovics ({tudentka/student), Edit Kocsisné Birkás ({tudentka/student), Géza Kiss ({tudent/student) producent/producer Ferenc Pusztai produkcija/production KMH Film Késmárk utca 24.

H-1158 Budapest, Hungary E pusztai�kmh.hu format/format DCP, barvni/colour, dol`ina/running time 89' festivali/festivals Karlovi Vari/Karlovy Vary 2014 (najbolj{i re`iser/Best Director, posebna nagrada `irije/Special Jury Prize)

Skok s strehe zanikrnega stanovanjskega bloka v Budimpe{ti odstre duhovit in nadrealisti~en kola` utrinkov iz nenavadnega `ivljenja navadnih ljudi.

The leap off the roof of a dilapidated block of flats in Budapest triggers a kaleidoscope of humorous and surrealistic insights into the ordinary lives of ordinary people.

"Kak{en ~aj bi? Metinega imava," vpra{a starej{a `enska svojega brezvoljnega mo`a. Nato se vzpne na streho stanovanjskega bloka, v katerem `ivita, nekaj ~asa zre v ve~erno nebo nad Budimpe{to in ... sko~i. Med padanjem ujame utrinke iz `ivljenja nekaterih prebivalcev bloka, v katerih re`iser s slikovitimi prizori, pestro paleto nenavadnih zna~ajev in s poigravanjem razli~nih `anrov vedno znova postavlja pod vpra{aj pojem "normalnosti" v dana{njem svetu.

"What tea do you want? We've got some mint tea," an old woman mutters to her apathetic husband, with whom she shares her cluttered home. She then goes up to the roof of her apartment block, from where she surveys the evening skyline over Budapest. And she jumps. We catch a fleeting glimpse of the other flats as the woman plunges past their windows, a picturesque cast of characters and settings, putting a name to the "diagnosis" that shapes their inhabitants and addressing the issue of present-day "normalcy".

"Absurd, groteska in humor se mi zdijo zelo pomembni. Ob~instvu sem moral pokazati mo~ne vizualne prvine. V Prostem padu se nih~e ne `eli ukvarjati z vpra{anjem, zakaj to po~nemo, kaj pa scenarij, kako so liki zasnovani in v katero smer se bodo razvijali.

Zato sem lahko ustvaril eksperimentalni film o dekonstrukciji obi~ajne zgradbe igranega celove~erca." (György Pálfi)

prodaja/world sales KMH Film Késmárk utca 24.

H-1158 Budapest, Hungary E pusztai�kmh.hu

György Pálfi

filmografija/filmography

Rojen leta 1974 v Budimpe{ti, Mad`arska. Filmsko re`ijo je {tudiral na Akademiji za film in televizijo v Budimpe{ti. Za celove~erni prvenec Hukkle je prejel nagrado Evropske filmske akademije, kmalu zatem pa je posnel kontroverzno Teksidermijo, ki je dolgo odmevala med filmsko javnostjo.

Njegovi filmi se redno pojavljajo na najpomembnej{ih mednarodnih filmskih festivalih, zanje pa je prejel tudi {tevilne ugledne nagrade.

1997 2002 2006 2009 2009 2012

Born in 1974 in Budapest, Pálfi studied film directing at the Budapest Theatre and Film Academy. He drew international attention with his feature debut Hukkle, honoured with a European Film Award. His second feature, Taxidermia, quickly became known for its kinkiness and violence. His awardwinning films are regularly screened at major international film festivals.

92

"For me, I think the absurd, the grotesque and the humour is very important. I had to show the audience strong visual elements. In the Free Fall, nobody wants to ask why you do this, what about the script, where your characters are or where they are going. So I could make an experimental film about how we can destroy the normal feature film structure." (György Pálfi)

A hal (kratki/short) Hukkle Taxidermia (Taxidermia/Taksidermija) Nem vagyok a barátod (I Am Not Your Friend) Nem leszek a barátod (dokumentarni/documentary) Final Cut: Hölgyeim és uraim (Final Cut: Ladies and Gentlemen/ Zadnji rez: Dame in gospodje) 2014 Szabadesés (Free Fall/Prosti pad)

Panorama svetovnega filma Panorama of World Cinema

Chuang ru zhe Red Amnesia Rde~a amnezija Kitajska China 2014

Xiaoshuai Wang

re`ija/directed by Xiaoshuai Wang scenarij/screenplay Xiaoshuai Wang, Lei Fang, Fei Li fotografija/cinematography Di Wu glasba/music Umeit monta`a/editing Hongyu Yang igrajo/cast Zhong Lü (mati/mother, Deng), Liu Shi (fant/the boy), Yuanzheng Feng (starej{i sin/elder son, Jun), Hao Qin (mlaj{i sin/younger son, Bing), Amanda Qin (snaha/daughter-inlaw, Lu) producent/producer Xuan Liu produkcija/production Dongchun Films (China) format/format DCP, barvni/colour dol`ina/running time 115' festivali, nagrade (izbor)/festivals, awards (selection) Benetke/Venice 2014, Toronto 2014

@ivljenje upokojenke zmotijo srhljivi vdori v njeno zasebnost, ki za~nejo odpirati zamol~ano poglavje iz kitajske politi~ne preteklosti.

The life of a retiree is disturbed by eerie invasions into her privacy that gradually unveil the undisclosed chapter in Chinese political history.

Deng je trmasta ovdovela upokojenka, ki svoje dni pre`ivlja v skrbi za odrasla sinova in ostarelo mater, ~eprav jo dru`ina prepri~uje, naj zaradi starosti upo~asni svoj ritem. Njen vsakdan za~nejo motiti anonimni telefonski klici, ki jih sprva pripi{ejo njeni domi{ljiji. Ko pa se vdori v njeno `ivljenje stopnjujejo, si njena dru`ina za~ne postavljati logi~no vpra{anje: kdo bi lahko sploh imel karkoli proti nemo~ni starki? Zdi se, da niti duh njenega mo`a ne pozna odgovora ...

Deng is a stubborn retired widow who spends her days caring about her two grown up sons and her elderly mother, despite her family efforts to stop her. But her daily routine starts derailing when she keeps receiving anonymous calls that her family believe she has imagined. But when invasions into her life escalate, the family start asking the logical questions: Who could have anything against a helpless old woman? Even her husband’s ghost doesn’t seem to know.

"Moja prva zamisel je bil film o `enski, ki je neprestano v pogonu. /.../ Ugotovil sem, da je to pogost pojav na Kitajskem, zato sem za~el raziskovati razloge. Dana{nji sedemdesetletniki so odrasli okoli leta 1949, po ustanovitvi Ljudske republike Kitajske. Vzgojila so jih razli~na politi~na gibanja, ki jih je dr`ava pre{la. In izkusili so vse. Od tedaj do danes so jim dodobra oprali mo`gane in postali so neob~utljivi. To je razlog za praznino njihovega obstoja. V filmu sem `elel, da starka ugotovi, kaj se pravzaprav dogaja.« (Xiaoshuai Wang)

"The first idea that I had was to make a film about a woman always on the move. /.../ I found that this was a popular phenomenon in China, so I started to explore the causes. People aged 70 today grew up around 1949, after the establishment of the People's Republic of China. They have been educated by the different political movements, which our country went through.

And they have gone through them all. From then till now, they have been completely brainwashed and became insensitive.

That's the reason for the emptiness of their existence. In the film, I wanted the old lady to realise what is actually going on."

(Xiaoshuai Wang)

Xiaoshuai Wang

filmografija (izbor)/filmography (selection)

Rojen leta 1966 v [anghaju. Diplomiral je na filmski akademiji v Pekingu. Pri sedemindvajsetih je posnel prvenec Dongchun de rizi, ki je bil dobro sprejet, a so ga oblasti kmalu prepovedale. Leta 1996 je film Jidu hanleng zaradi prepovedi proti neodvisnim filmarjem posnel pod psevdonimom Wu Ming, kar po kitajsko pomeni "brez imena". Rde~a amnezija je njegov dvanajsti film, premierno je bil predstavljen na filmskem festivalu v Benetkah.

1993 1994 1996 1998 1999 2001 2003 2005 2007 2010 2011 2014

Born in 1966 in Shanghai. Graduated from the Beijing Film Academy. Wrote and directed his first feature, The Days, at the age of 27. Acclaimed at first, the film was soon blacklisted and its distribution banned in China. Filmed Frozen anonymously, under the pseudonym Wu Ming (which means "No Name" in Chinese). Red Amnesia, Xiaoshuai Wang's twelfth film, premiered in competition in Venice.

prodaja/world sales Chinese Shadows E chineseshadows�gmail.com

Dongchun de rizi (The Days) Da youxi (Suicides) Jidu hanleng (Frozen) Biandan, guniang (So Close To Paradise) Meng huan tian yuan (Suburban Dreams) Shiqi sui de dan che (Beijing Bicycle/Pekin{ko kolo) Er di (Drifters) Qing hong (Shanghai Dreams/[anghajske sanje) Zuo you (In Love We Trust) Rizhao Chongqing (Chongqing Blues) Wo 11 (11 Flowers) Chuang ru zhe (Red Amnesia/Rde~a amnezija)

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Panorama svetovnega filma Panorama of World Cinema

Listen Up Philip Listen Up Philip Svojeglavi Philip ZDA USA 2014

Alex Ross Perry re`ija/directed by Alex Ross Perry scenarij/screenplay Alex Ross Perry fotografija/cinematography Sean Price Williams glasba/music Keegan DeWitt monta`a/editing Robert Greene igrajo/cast Krysten Ritter (Melanie Zimmerman), Elisabeth Moss (Ashley Kane), Jason Schwartzman (Philip Lewis Friedman), Jess Weixler (Holly), Jonathan Pryce (Ike Zimmerman), Dree Hemingway (Emily), Kate Lyn Sheil (Nancy), Joséphine de La Baume (Yvette Dussart), Eric Bogosian (pripovedovalec/narrator), Daniel London (Seth), Brandy Burre (Flo), Joanne Tucker (Eve) producenti/producers Joshua Blum, Toby Halbrooks, James M. Johnston, David Lowery, Katie Stern produkcija/production Washington Square Films 310 Bowery, 2nd Floor New York NY 10012, USA E production�wsfilms.com & Sailor Bear (USA) format/format DCP, barvni/colour dol`ina/running time 108' festivali, nagrade (izbor)/ festivals, awards (selection) Sundance 2014, Locarno 2014

Kompleksna komedija o `ivljenju Newyor~anov preigrava teme umetni{kih ambicij, mladostni{ke drznosti in ob`alovanja v srednjih letih.

Peeking into the lives of New Yorkers, the complex comedy tackles the issues of artistic ambition, youthful arrogance and middle-aged regrets.

Medtem ko Philip ~aka na objavo svojega drugega romana, za katerega verjame, da mu je uspeh zagotovljen, v njem divja jeza. Ob~utek ima, da ga iz mesta, kamor se je priselil in ga vzel za svoje, izrinjajo stalen pritisk mno`ice ljudi in hrupa, na~eto razmerje s punco, fotografinjo Ashley, in njegovo lastno ignoriranje knji`ne promocije. Ko mu njegov idol Ike Zimmerman, ki ga je navdu{il Philipov prvenec, za zato~i{~e ponudi svojo poletno rezidenco, Philip kon~no najde mir in ti{ino, da se lahko osredoto~i na najljub{e – samega sebe.

Anger rages in Philip as he awaits the publication of his sure-tosucceed second novel. He feels pushed out of his adopted home city by the constant crowds and noise, a deteriorating relationship with his photographer girlfriend Ashley, and his own indifference to promoting the novel. When Philip's idol, Ike Zimmerman, offers his isolated summer home as a refuge, he finally gets the peace and quiet to focus on his favourite subject – himself.

"Eden prvih motivov, za katere sem `elel, da so v filmu osrednji, sta bila ob~udovanje in malikovanje idola. Opazujemo, kako Phillip, ne da bi se sploh zavedal, postane po{ast, kakr{na je Ike. Philip samo vidi po{ast kot tega karizmati~nega tipa z lepo pode`elsko hi{o in vsem tem uspehom, in to je vse, ~esar si `eli. `elel sem prikazati tisto slepo ambicijo, ki se je ljudje ne znajo otresti. Ko so dele`ni slave, jih popolnoma obsede in v mislih imajo samo {e kon~ni dobitek." (Alex Ross Perry)

prodaja/world sales The Match Factory Eduard-Schmid-Strasse 13 81541 München, Germany E info�matchfactory.de

Alex Ross Perry

filmografija/filmography

Rojen leta 1984 v kraju Bryn Mawr, Pensilvanija. Kon~al je Umetni{ko {olo Tisch na newyor{ki univerzi. Njegov prvenec Impolex je bil leta 2009 premierno prikazan na filmskem festivalu CineVegas. Svojeglavi Philip je njegov tretji celove~erec.

2009 2011 2013 2014

Born in Bryn Mawr, Pennsylvania, in 1984. He attended the Tisch School of the Arts at the New York University. His debut feature film, Impolex, premiered at the CineVegas Film Festival in 2009. Listen Up Philip is his third film.

94

"One of the first things I wanted to build the movie around was this sense of hero worship and idolatry. You see Phillip sort of become the monster Ike is and he doesn't even realize it. Philip just sees the monster as this cool guy with the nice country house and all this success and that's all he wants. I wanted to show the sort of blind ambition that people are incapable of shutting off. When they get the glory that’s all they see and keep all eyes on the prize." (Alex Ross Perry)

Impolex The Color Wheel (Obarvani volan) The Sixth Year (segment) Listen Up Philip (Svojeglavi Philip)

Panorama svetovnega filma Panorama of World Cinema

Party Girl Party Girl @urerka Marie Amachoukeli-Barsacq, Claire Burger, Samuel Theis Francija France 2014

@enska v zrelih letih se spoprijema z bole~ino staranja, strahom pred samoto in zavedanjem, da se zabava po~asi kon~uje.

A portrait of a woman of a certain age, addressing the pain of ageing, the fear of loneliness, and the realisation that the party’s almost over.

Angelique ima {estdeset let, a {e vedno `ivi za nenehne no~ne zabave. V{e~ so ji mo{ki, ki jih pono~i zapija v kabaretu ob francosko-nem{ki meji. S~asoma je njenih gostov vse manj, a njena stalna stranka Michael je {e vedno zaljubljen vanjo. Nekega dne jo vpra{a za roko. Angelique je ob bli`ajo~i se jeseni `ivljenja postavljena pred veliko odlo~itev.

Angelique is a 60-year-old bar hostess. She still likes to party, she still likes men. At night, she makes them drink, in a cabaret by the French-German border. As time goes by, clients become rare.

But Michel, her regular client, is still in love with her. One day, he asks Angelique to marry him. In the twilight of her life, Angelique has to reach a crucial decision.

"Vse se je za~elo z resni~nim dogodkom: Angéliquino neobi~ajno poroko pred nekaj leti. Pri skorajda {estdesetih je njena odlo~itev za zakon marsikoga zbegala. Kot bi {lo za konec potovanja `enske, ki je poznala samo no~no `ivljenje in se je v zrelih letih odlo~ila za umiritev. Zdelo se nam je, da je dogodek resni~no vreden filmskega prikaza. /.../ Gre za romanti~no komedijo, dru`beno dramo, portret, igrani dokumentarec, kajne? Vsaj `elimo si, da bil vse to." (Marie Amachoukeli-Barsacq, Claire Burger, Samuel Theis)

"It all started with a real-life event: Angélique's atypical wedding a few years ago. At almost sixty years of age, her getting married raised some questions. It was like a conclusion to the journey of a woman who has only known night-life and who resolves to settle down late in the day. We thought that this situation really called for a film. /.../ It’s a romantic comedy, a social drama, a portrait, a fictional documentary, isn't it? At least, we'd like it to be." (Marie Amachoukeli-Barsacq, Claire Burger, Samuel Theis)

Marie Amachoukeli-Barsacq, Claire Burger, Samuel Theis

skupna filmografija/joint filmography

M. A. B.: Rojena leta 1979 v Parizu. Avtorica ve~ kratkih filmov. @urerka je njen prvi celove~erec.

Born in 1979 in Paris, Amachoukeli-Barsacq has directed several shorts.

Party Girl marks her debut feature.

2014 Party Girl (@urerka)

re`ija/directed by Marie Amachoukeli-Barsacq, Claire Burger, Samuel Theis scenarij/screenplay Marie Amachoukeli-Barsacq, Claire Burger, Samuel Theis fotografija/cinematography Julien Poupard glasba/music Nicolas Weil, Sylvain Ohrel, Alexandre Lier monta`a/editing Frédéric Baillehaiche igrajo/cast Sonia Theis-Litzemburger (Angélique), Joseph Bour (Michel), Mario Theis (Mario), Samuel Theis (Samuel), Séverine Litzenburger (Séverine), Cynthia Litzenburger (Cynthia), Chantal Dechuet (gospa Dechuet/Mme. Dechuet), Alyssia Litzenburger (Alyssia), Nathanael Litzenburger (Nathanael), Meresia Litzenburger (Meresia), Sébastien Roussel (Sébastien), Vincenza Vespa (Enza) producenta/producers Denis Carot, Marie Masmonteil produkcija/production Elzévir Films 21, rue Faidherbe 75011 Paris, France E denis.carot�elzevirfilms.fr & Centre National du Cinéma et de l'Image Animée (France) & CANAL+ (France) format/format DCP, barvni/colour dol`ina/running time 95' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2014 (zlata kamera za najbolj{i prvenec/Camera d’Or)

prodaja/world sales Pyramide International 5, rue du Chevalier de Saint George 75008 Paris, France E lgarzon�pyramidefilms.com distribucija/distribution Cenex d.o.o.

Prelo`nikova 1 3212 Vojnik W cenex�siol.net

C. B.: Rojena leta 1978. Avtorica ve~ kratkih filmov. @urerka je njen prvi celove~erec.

Born in 1978, Burger has directed several shorts. Party Girl marks her debut feature.

S. T.: Rojen leta 1978 v Forbachu (Francija). Za sabo ima bogato igralsko kariero na televiziji. @urerka je njegov prvi celove~erec.

Born in 1978 in Forbach (France), Theis has pursued a successful career as a TV actor. Party Girl marks his debut feature.

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Panorama svetovnega filma Panorama of World Cinema

The Look of Silence The Look of Silence Pogled ti{ine Joshua Oppenheimer

re`ija/directed by Joshua Oppenheimer scenarij/screenplay Joshua Oppenheimer fotografija/cinematography Lars Skree monta`a/editing Niels Pagh Andersen igrajo/cast Adi Rukun, izvr{ilci indonezijskega genocida in njihove dru`ine/ perpetrators of the Indonesian genocide and their families producent/producer Signe Byrge Sorensen produkcija/production Final Cut for Real Forbindelsesvej 7 DK-2100 Copenhagen, Denmark E byrge�final-cut.dk & Making Movies Oy (Finland) & Piraya Film (Norway) & Spring Films (GB) & anonymous (Indonesia) format/format DCP, barvni/colour dol`ina/running time 99' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2014 (velika nagrada `irije/Grand Jury Prize, nagradi FIPRESCI in FEDEORA/FIPRESCI and FEDEORA Prizes), Telluride 2014, Toronto 2014, New York 2014

Danska, Indonezija, Norve{ka, Finska, Velika Britanija Denmark, Indonesia, Norway, Finland, Great Britain 2014

Joshua Oppenheimer se po Teatru ubijanja ponovno vra~a na sled storilcem indonezijskega genocida, tokrat z vidika ene izmed `rtev.

After his 2012 documentary, The Act of Killing, Joshua Oppenheimer delves further into Indonesia's dark legacy, this time focusing on the perspective of victims.

Adi Rukun je indonezijski okulist, ki je podobno kot {tevilni prebivalci te dr`ave mo~no zaznamovan dru`insko tragedijo.

V {estdesetih letih prej{njega stoletja so namre~ tamkaj{nje oblasti med mno`i~nim pobijanjem komunistov okrutno ubile njegovega brata. S pomo~jo re`iserja Joshua Oppenheimerja se po desetletjih molka odpravi po vaseh, kjer `ivijo nekdanji storilci zlo~inov, in jih pod pretvezo okulisti~nih testov izpra{uje o njihovih dejanjih. Izka`e se, da v tem mu~nem soo~enju s preteklostjo ne zahteva toliko resnice same kot nekaj veliko bolj ~love{kega: kesanje.

The film's key figure is optometrist Adi, whose life has been strongly marked by a family tragedy. His older brother was savagely murdered five decades ago during the mass slaughter of communists. Together with director Joshua Oppenheimer, Adi decides to confront each of his brother's killers after ten years of silence. While conducting eye exams, he quizzes his patients about their memories of the violent era. Adi manages these painful encounters with dignity, not demanding to learn the truth as much as see a glitter of regret in the killers' eyes.

"Pogled ti{ine je, vsaj upam tako, pesnitev o ti{ini, porojeni iz terorja – pesnitev o nujnosti opustitve te ti{ine kot tudi o du{evnem pretresu, ki se za~ne ob njenem koncu. Morda je film spomenik ti{ini – opomnik, da ~eprav si `elimo nadaljevati `ivljenje, pogledati stran in razmi{ljati o drugih stvareh, ni~ ne more zaceliti tistega, kar je nepopravljivo po{kodovano. Ni~ ne obudi mrtvecev. Prenehati moramo, sprejeti, da so `ivljenja ugasnila, si prizadevati poslu{ati ti{ino, ki sledi." (Joshua Oppenheimer)

prodaja/world sales Cinephil Levontin Street 18 Tel Aviv 6511207, Israel E philippa�cinephil.co.il

Joshua Oppenheimer

filmografija/filmography

Rojen leta 1974 v Teksasu, ZDA. [tudiral je na presti`nih univerzah Harvard in Central Saint Martins v Londonu. V svojih dokumentarnih filmih `e ve~ kot desetletje raziskuje paramilitarne teroristi~ne skupine in njihove `rtve.

1997 1997 2001 2003 2007 2012 2014

Born in Texas, USA, in 1974, Oppenheimer was educated at the prestigious universities of Harvard and the Central Saint Martins, London. For over a decade, he has focused on militias, death squads and their victims in his documentary films.

distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

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"The Look of Silence, is, I hope, a poem about a silence borne of terror – a poem about the necessity of breaking that silence, but also about the trauma that comes when silence is broken. Maybe the film is a monument to silence – a reminder that although we want to move on, look away and think of other things, nothing will make whole what has been broken. Nothing will wake the dead. We must stop, acknowledge the lives destroyed, strain to listen to the silence that follows." (Joshua Oppenheimer)

These Places We've Learned to Call Home (kratki/short) The Entire History of the Luisiana Purchase Land of Enchantment The Globalization Tapes (dokumentarni/documentary) Show of Force (kratki/short) The Act of Killing (Teater ubijanja) (dokumentarni/documentary) The Look of Silence (Pogled ti{ine) (dokumentarni/documentary)

Ekstravaganca Extravaganza

Le grand soir Le grand soir Veliki ve~er 99 100 101 102 103

Groba monta`a Rough Cut Jamie Shovlin Jama In Darkness We Fall Alfredo Montero Naporen dan A Hard Day Kim Seong-hun Oto`no razdejanje Blue Ruin Jeremy Saulnier Veliki, zlobni volkovi Big Bad Wolves Aharon Keshales, Navot Papushado 104 It Follows Zlo za petami Jeremy Lovering

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Ekstravaganca Extravaganza

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Ekstravaganca Extravaganza

Rough Cut Rough Cut Groba monta`a Jamie Shovlin

Velika Britanija Great Britain 2013

Filmski prvenec londonskega umetnika Jamieja Shovlina raziskuje nastajanje eksploatacijskega filma iz sedemdesetih let, ki v resnici nikoli ni obstajal.

The debut feature by London-based artist Jamie Shovlin, Rough Cut explores the re-making of a 1970s exploitation film that never was.

Film Hiker Meat ([toparsko meso) je zna~ilna grozljivka iz sedemdesetih let. V njem povsem kli{ejsko v glavni vlogi nastopa {toparka, ob njej pa skupina najstnikov, ki eden za drugim izginjajo v skrivnostnih okoli{~inah. Za Hiker Meat obstajajo celoten scenarij, filmska glasba in celo ~isto pravi filmski napovednik – le da film nikoli ni zares obstajal. Jamie Shovlin je z Grobo monta`o posnel film v filmu, ki obenem dekonstruira in poveli~uje tradicijo eksploatacijskega filma.

At its dark heart is Hiker Meat, an archetypal 1970s slasher movie imagined by Shovlin, complete with hitchhiking heroine and a group of teens who disappear one by one. Having created a full screenplay, score and prototype for Hiker Meat, Shovlin filmed the full trailer of a non-existent movie. Rough Cut, a filmwithin-a-film, serves to both deconstruct and pay homage to the exploitation style.

"Pri eksploatacijskem filmu mi ni zares v{e~ njihova tematika, temve~ dejstvo, da se je v dolo~enem trenutku zbrala ekipa in ga posnela z zelo omejenimi sredstvi. Pri ustvarjanju filmskih del, kot sta The Sinful Dwarf (1973), stra{ni, stra{ni film, in Godmonster of Indian Flats (1973), jih je resni~no gnala kreativna te`nja. Noro je, vendar sem zares vesel, da obstajajo ljudje, ki si prizadevajo za tak{no umetnost." (Jamie Shovlin)

re`ija/directed by Jamie Shovlin scenarij/screenplay Mike Harte fotografija/cinematography John Grey glasba/music Euan Rodger monta`a/editing Adam Milburn, Jamie Shovlin igrajo/cast Agnes Aspen (Eva), Ashley Houston (Mike), Bob Young (Chuck), Jack Dearsley (Frank), Helen Batchelor (Anne), Aaron Cobham (Jessie), Adam Spencer (Clark), Hannah Dalby (Lauren), Alex Moran (Louis), Chris Paul Daniels (John), Amy Andrea Murray (Eve), Amanda Hennessey (mati/mother), Finlan Horsey (fant/ boy), Bren O'Callaghan (Octavian) producent/producer Bren O'Callaghan produkcija/production Cornerhouse Artist Film 70 Oxford Street Manchester, M1 5NH, UK E artistfilm�cornerhouse.org format/format DCP, barvni/colour dol`ina/running time 90' festivali, nagrade (izbor)/ festivals, awards (selection) Toronto 2013, Rotterdam 2014

"The thing I like about exploitation films is not really their subject matter, it's that at a certain point in time people got together and made them with extremely limited means. They actually had the drive to make The Sinful Dwarf (1973), a terrible, terrible film, or Godmonster of Indian Flats (1973). It's crazy but I'm really happy there are people that want to make things like that exist."

(Jamie Shovlin)

Jamie Shovlin

filmografija/filmography

Rojen leta 1978 v Leicestru, VB. [tudiral je slikarstvo na Kraljevem kolid`u za umetnost v Londonu, kjer tudi `ivi in dela. Razstavljal je v galerijah po vsej Evropi. Je tudi avtor ve~ ~lankov o umetnosti. Zanima ga napetost med resnico in domi{ljijo, med resni~nostjo in domiselnostjo ter med zgodovino in spominom.

2013 Rough Cut (Groba monta`a)

prodaja/world sales Cornerhouse Artist Film 70 Oxford Street Manchester, M1 5NH, UK E artistfilm�cornerhouse.org

Born in 1978 in Leicester, UK. Having studied painting at the Royal College of Art, London, Shovlin has exhibited throughout Europe and authored a number of articles on art. The London-based director is interested in the tension between truth and fiction, reality and invention, history and memory.

99

Ekstravaganca Extravaganza

La cueva In Darkness We Fall Jama [panija Spain 2014

Alfredo Montero re`ija/directed by Alfredo Montero scenarij/screenplay Javier Gullón, Alfredo Montero fotografija/cinematography Alfredo Montero glasba/music Carlos Goni monta`a/editing Alfredo Montero, Nacho Ruiz Capillas

igrajo/cast Marcos Ortiz, Marta Castellote, Jorge Páez, Eva Garcia, Xoel Fernández producenti/producers Juan Gordon, Alfredo Montero, Marcos Ortiz produkcija/production C/ Fernando VI, 17, 2º dcha 28.004 Madrid, Spain E morenafilms�morenafilms.com & Filmax International (Spain) format/format DCP, barvni/colour dol`ina/running time 80' festivali, nagrade (izbor)/ festivals, awards (selection) Rotterdam 2014, Malaga 2014 (nagradi za najbolj{o igralko in igralca/Best Actress and Actor Awards)

Treso~e se kamere, klavstrofobi~no ozra~je in kri~anje iz dna grla: napeta grozljivka v tradiciji sodobnega {panskega hororja.

Formentera, otok v {panskem Sredozemlju. Nebe{ke pe{~ene pla`e, kristalno ~isto morje, neokrnjena narava. Pet prijateljev za~enja po~itnice svojega `ivljenja, zapolnjene z nenehnim `uriranjem in adrenalinskimi dogodiv{~inami. Kmalu naletijo na skrito jamo, ki se jo `eljni dogodiv{~in takoj odpravijo raziskat.

Ko se prebijajo skozi {tevilne ozke prehode, se zavejo, da so se izgubili. Poti nazaj ne najdejo, zato se odlo~ijo preno~iti v jami in ponovno poskusiti zjutraj ...

"Hotel sem prikazati preprosto in realisti~no zgodbo o polo`aju, v katerem bi se lahko zna{el kdor koli izmed nas. V njej ni dobrih in slabih likov, samo obi~ajni ljudje, pritirani v skrajno ravnanje zaradi hude dehidracije, dezorientacije in teme, v kateri obti~ijo. [ele ko nam preti smrt, v nas vzniknejo najbolj divji in prvobitni nagibi."

(Alfredo Montero)

prodaja/world sales Filmax International C/ Miguel Hernández, 81–87 08908 L'Hospitalet(BCN), Spain E e.gutierrez�filmax.com

Shaky camera, claustrophobic atmosphere and shouting at the top of one's voice: In Darkness We Fall is a suspenseridden thriller that fits in well with the recent Spanish tradition of horror films.

Formentera; white-sand beaches, the crystal clear Mediterranean sea, unspoilt natural beauty and five friends looking forward to the holiday of their lives in this idyllic location. On their second day, the friends discover a hidden cave nestled into the side of a cliff and decide to explore it. Filled with excitement and adrenalin, the friends start to make their way through the countless passageways. Before long, they realise they are lost. They try for hours to find the way back to the surface, eventually deciding to spend the night inside the cave and start searching again the next day.

"The idea was to tell a simple and realistic tale of a situation that anyone could get into. There are no good guys and bad guys, just normal people who are driven to extreme measures due to severe dehydration, disorientation and the darkness they find themselves in. It is only when faced with impending death that our most wild and primal instincts are drawn out of us."

(Alfredo Montero)

Alfredo Montero

filmografija/filmography

Rojen na otoku Formentera pri Ibizi, [panija. Celove~erni prvenec Niñ�s o zlorabi otrok in pornografiji je posnel leta 2006. Film je bil nagrajen na festivalih v Montrealu in Malagi. Jama je njegov drugi celove~erni film, posnet na Monterovem rojstnem otoku. Film je bil premierno predstavljen letos na rotterdamskem filmskem festivalu.

2006 Niñ�s (Children) 2014 La cueva (In Darkness We Fall/Jama)

Born on the island of Formentera, Spain, Montero made his debut as a feature film director in 2006 with Children, a film about child abuse and pornography, which was awarded at the Malaga and the Montreal international film festivals. Shot on Montero’s native island, In Darkness We Fall marks his second feature film. It premiered at the 2014 Rotterdam Film Festival.

100

Ekstravaganca Extravaganza

Kkeut kka ji gan da A Hard Day Naporen dan Ju`na Koreja South Korea 2014

Kim Seong-hun

Vznemirljiv, srhljiv, napet ju`nokorejski neonoir, pome{an z obe{enja{kim humorjem in posejan z vrsto nepredvidljivih obratov.

Detektiv Ko Gun-soo je z maminega pogreba poklican na nujno slu`beno dol`nost. Medtem ko v temi drvi po mokri, spolzki cesti, se za las izogne begavemu psu ... in namesto njega podre pe{ca.

V paniki sprejme tragikomi~no odlo~itev: pe{~evo truplo skrije v mamino krsto. A ko `e misli, da je ta te`ki dan kon~no za njim, prejme anonimen klic. Glas na drugi strani slu{alke mu zagrozi, da bo razkril resnico o dogodku. Gun-soo je prisiljen opraviti {e ve~ drasti~nih ukrepov, da bi prikril posledice svoje nespametne odlo~itve, a vsaki~, ko razre{i en del zagate, naleti na nekaj {e ve~jega in tema~nej{ega ter potone {e malo globlje v brezno kriminala.

re`ija/directed by Kim Seong-hun scenarij/screenplay Kim Seong-hun fotografija/cinematography Kim Tae-sung glasba/music Mok Young-jin monta`a/editing Kim Chang-ju igrajo/cast Seon-gyun Lee (Go Geon-soo), Jin-woong Jo, Lee Sun Gyun (Ko Gun-su), Man-shik Jeong, Cho JinWoong (Park Chang-min), Dong Mi Shin, Jeong-geun Sin producenta/producers Cha Ji-hyun, Billy Acumen produkcija/production AD406 (Korea) E chak2500�naver.com & Dasepo Club co. Ltd. 3F, Baeatti Bldg.

382–2, Seogyo-dong, Mapo-gu Seoul 121–839, Korea E ulikeme�empas.com format/format DCP, barvni/colour dol`ina/running time 111'

A thrilling, chilling South Korean neo-noir, peppered with ingenious twists and macabre comedy.

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2014, Bergen 2014, Toronto 2014

Called away from his mother's funeral on police business, Detective Ko Gun-soo speeds along a wet highway, barely managing to avoid hitting a passing beagle – and smashing into a human being instead. Panicked, Gun-soo makes a grievously questionable decision, hiding the pedestrian's corpse in his mother's casket. But just when Gun-soo thinks his hard day has drawn to a close, an anonymous phone call threatens to reveal the truth about what happened. Gun-soo is forced to take more drastic measures, only to find out that he's hit upon something bigger and darker than everything that came before, setting in motion a string of events that will push him deeper and deeper into a swamp of criminal activity.

"Svoj film bi lahko primerjal s kosom mesa. V njem je vedno nekaj naravne ma{~obe, zaradi ~esar ga je la`je prebaviti in je vizualno privla~nej{i. Mislim, da je za gledalca bolje, ~e so v filmu dva ali trije humorni prizori, ki film naredijo lahkotnej{i." (Kim Seong-hun)

"I could compare my movie to a piece of meat. You know there is always a bit of natural fat inside which makes it easier to digest and visually more beautiful. I think it is much better for the viewer to have two or three great scenes dotted with humour to lighten up the film." (Kim Seong-hun)

Kim Seong-hun

filmografija/filmography

Rojen v Ju`ni Koreji. Delo pri filmu je za~el kot asistent re`ije in scenarist. Prvi film, pod katerega se je podpisal kot scenarist in re`iser, je Aejeonggyeolpibi du namjaege michineun yeonghyang, Naporen dan pa ja njegov drugi celove~erec.

2006 Aejeonggyeolpibi du namjaege michineun yeonghyang (How the Lack of Love Affects Two Men) 2014 Kkeut kka ji gan da (A Hard Day/Naporen dan)

prodaja/world sales Showbox/Mediaplex, Inc. 3F, Mediaplex 174–15, Dogok-dong, Gangnam-gu Seoul 135–504, Korea E sales�showbox.co.kr

Born in South Korea, Kim Seong-hun started out in features as an assistant director and writer. His made his debut as writer-director with How the Lack of Love Affects Two Men. A Hard Day is his second feature film.

101

Ekstravaganca Extravaganza

Blue Ruin Blue Ruin Oto`no razdejanje ZDA, Francija USA, France 2013

Jeremy Saulnier re`ija/directed by Jeremy Saulnier scenarij/screenplay Jeremy Saulnier fotografija/cinematography Jeremy Saulnier glasba/music Brooke Blair, Will Blair monta`a/editing Julia Bloch igrajo/cast Macon Blair (Dwight), Devin Ratray (Ben Gaffney), Amy Hargreaves (Sam), Kevin Kolack (Teddy Cleland), Eve Plumb (Kris Cleland), David W. Thompson (William), Brent Werzner (Carl Cleland), Stacy Rock (Hope Cleland), Sidné Anderson (Eddy), Bonnie Johnson (Margaret), Ydaiber Orozco (Amanda) producenti/producers Anish Savjani, Richard Peete, Vincent Savino produkcija/production Film Science 181 N. 11th Street Suite 303 11211 Brooklyn, NY, USA E anish�filmscience.com & Neighborhood Watch (USA) & The Lab of Madness (USA) & Paradise City (France) format/format DCP, barvni/colour dol`ina/running time 90' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2013 ([tirinajst dni re`iserjev/Directors' Fortnight, nagrada FIPRESCI/FIPRESCI Prize), Gijon 2013 (nagrada za najbolj{ega re`iserja/Best Director Award), Locarno 2013, Deauville 2013, Toronto 2013, Rotterdam 2014, Sundance 2014

prodaja/world sales Memento Films International 9 Cité Paradis 75010 Paris, France E sales�memento-films.com

Klasi~na ameri{ka zgodba o ma{~evanju, ki je osvojila nagrado kritikov fipresci v sklopu {tirinajst dni re`iserjev na canskem filmskem festivalu.

A classic American revenge story, Blue Ruin won the FIPRESCI International Critics Prize at the Cannes Film Festival where it screened in the Directors' Fortnight.

Mirno `ivljenje potepuha se obrne na glavo, ko mu sporo~ijo grozno novico o tragediji iz preteklosti. Nemudoma se odpravi v kraj, kjer je pre`ivel otro{tvo, da bi se ma{~eval za storjeno dejanje, vendar se izka`e za nespretnega morilca. Ko posku{a za{~ititi svojo odtujeno dru`ino, se zaplete v brutalen boj. Film je kot re`iser, scenarist in direktor fotografije posnel Jeremy Saulnier, ki je del sredstev zbral prek Kickstarterja.

A mysterious beach bum's quiet life is turned upside down by dreadful news regarding a past tragedy. He sets off for his childhood home to carry out an act of vengeance but proves an amateur assassin, finding himself in a brutal fight to protect his estranged family. Director, scriptwriter and cinematographer Saulnier funded production on the film through a successful Kickstarter campaign.

"Nisem nameraval filma uporabiti kot izrazno sredstvo za katero koli stran spornega vpra{anja o posedovanju oro`ja in njegovega nadzora v Ameriki. Resni~no sem ~rtal nekaj vrstic dialoga iz scenarija, ki so zaradi nedavnih tragi~nih dogodkov zvenele preve~ pridigarsko. O tem imam trdna prepri~anja, vendar nisem `elel, da bi odvra~ala pozornost od zgodbe. Ne skrivam tudi svoje privr`enosti `anrskim filmom in verjamem, da je filmsko nasilje samo po sebi umetni{ka zvrst. Na za~etku umetni{ke poti sem kot filmski masker ustvarjal posebne u~inke in znam ceniti tehni~ne vidike oblikovanja krvave~ih ran in ~revesja na filmu.

Nasilje v resni~nem `ivljenju? Ne toliko." (Jeremy Saulnier)

"I had no intention of making this film a mouthpiece for either side of the debate about gun control/rights in America. I actually removed several lines of dialogue from the film that seemed too preachy in light of recent tragic events. I have strong beliefs about the subject, but didn't want them to distract from the story.

I'm also an unabashed fan of genre films and believe cinematic violence is an art form unto itself. I was a special effects makeup artist early in my career and appreciate the technical aspect of creating on-screen blood and guts. Off-screen violence… not so much." (Jeremy Saulnier)

Jeremy Saulnier

filmografija/filmography

Rojen v Alexandrii (Virginia, ZDA). [tudiral je na Tischevi umetnostni akademiji Univerze v New Yorku. Leta 2004 je posnel nagrajeni kratki film Crabwalk, ve~krat nagrajen pa je bil tudi njegov celove~erni prvenec Murder Party. S filmom Oto`no razdejanje se je uvrstil v sklop [tirinajst dni re`iserjev na canskem festivalu. Snema tudi reklame za velike naro~nike, kot so Kraft, IBM, Viacom in NHL.

1998 2004 2007 2013

Born in Alexandria (Virginia, USA), Saulnier studied at NYU's Tisch School of the Arts. He directed the award-winning short Crabwalk and the cult horrorcomedy Murder Party, his debut feature. Blue Ruin was screened in the Directors' Fortnight section at Cannes. Between films, Jeremy shoots and directs spots for clients such as Kraft Foods, IBM, Viacom and the NHL.

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Ekstravaganca Extravaganza

Mi mefahed mezeev hara Big Bad Wolves Veliki, zlobni volkovi Izrael Israel 2013

Aharon Keshales, Navot Papushado

re`ija/directed by Aharon Keshales, Navot Papushado scenarij/screenplay Aharon Keshales, Navot Papushado fotografija/cinematography Giora Bajach glasba/music Haim Frank Ilfman monta`a/editing Asaf Korman igrajo/cast Lior Ashkenazi (Micki), Tzahi Grad (Gidi), Rotem Keinan (Dror), Dov Glickman (Yoram), Menashe Noy (Rami), Dvir Benedek (Tsvika) producenti/producers Leon Edery, Moshe Edery, Tamii Leon, Chilik Michaeli, Avraham Pirchi produkcija/production UCM – United Channels Movies 76, Yigal Alon St Tel Aviv 67067, Israel E info�ucm-film.com format/format DCP, barvni/colour dol`ina/running time 110'

Tragikomi~ni film o treh mo{kih, ki se jim poti prekri`ajo po vrsti nenavadnih in brutalnih umorov mladih deklic, je bil ve~krat nagrajen, Quentin Tarantino pa ga je celo razglasil za najbolj{i film leta 2013.

Vrsta umorov mladih deklic, ki so jih na{li razkosane in obglavljene, v dr`avi zaseje preplah. Osumljenca, vernega u~itelja Drora, spustijo na prostost zaradi napak v sodnem postopku. Toda ded ene od umorjenih deklic in njen o~e, uporni{ki policist Micki, se po`vi`gata na izid sodnega procesa. U~itelj Dror se tako znajde v kleti samotne gozdne ko~e, kjer ga besna mo{ka ne nameravata spustiti iz krempljev, vse dokler ne prizna krivde …

"Meniva, da je tematika ve~ine izraelskih filmov zelo more~a, politi~ne teme obravnavajo na na~in, ki spominja na u~no uro o izraelskih vojnah, spopadu s Palestino, ali spominu na holokavst, vedno nadvse resno. V~asih pomisli{, da si pri{el po lekcijo iz zgodovine. V kinu se ne zabavamo, neprestano jo~emo – tudi v resni~nem `ivljenju jokamo. Zato sva pomislila, da bi bilo lepo Izraelu podariti razvedrilni film." (Navot Papushado, Aharon Keshales)

A tragicomic story about three men whose paths cross following a series of unusual and brutal murders of young girls. The film that Quentin Tarantino proclaimed the finest cinematic production of 2013 has garnered a number of awards.

A series of murders of little girls, found beheaded, puts the whole country of Israel in a state of panic. The murder suspect, a religious teacher Dror, is set free because of a mistrial. But the last victim's grandfather and father, a rebellious policeman Micki, have no regard for the legal outcome of the trial, and in the cellar of an isolated wood cabin, they meet to take their vengeance on the suspect.

festivali, nagrade (izbor)/ festivals, awards (selection) nagrada Izraelske filmske akademije/ Award of the Israeli Film Academy 2013 (najbolj{a fotografija/Best Cinematography), Fantasia Film Festival 2013 (nagrada `irije/ Jury Prize, najbolj{i scenarij/Best Screenplay), Fantasporto 2014 (najbolj{a re`ija/Best Director, najbolj{i igralec/Best Actor), Tribeca 2013

"We both feel that most Israeli cinema is very heavy-handed and deals with political subject matter in a way that feels like they're trying to educate you about the wars of Israel, the conflict with the Palestinians, or the memory of the Holocaust, and it's always so serious. And sometimes you think, I didn't come here to be educated. We have no fun at the movies, we cry all the time – and we cry in reality too. And we thought, wouldn't it be nice to give Israel the gift of entertaining cinema?" (Navot Papushado, Aharon Keshales)

Aharon Keshales, Navot Papushado

filmografija/filmography

A. K.: Rojen leta 1976 v Izraelu. Diplomiral je na oddelku za film in televizijo Univerze v Tel Avivu. Je filmski re`iser, monta`er, scenarist, filmski kritik in univerzitetni predavatelj.

Born in 1976 in Israel, Keshales graduated in film and television from the Tel Aviv University. He is a director, editor, scriptwriter, film critic and university lecturer.

N. P.: Rojen leta 1980 v Izraelu. Je re`iser, monta`er in scenarist. Diplomiral je na oddelku za film in televizijo Univerze v Tel Avivu. Z Aharonom Keshalesom sta leta 2010 posnela film Kalevet, prvo grozljivko v zgodovini izraelskega filma, za katero sta bila ve~krat nagrajena.

Born in 1980 in Israel, Papushado is a director, editor and scriptwriter.

Graduated in film and television from the Tel Aviv University. Together with Aharon Keshales, Papushado made the award-winning Rabies, the first horror film in the history of Israeli cinema.

2010 Kalevet (Rabies) 2013 Big Bad Wolves (Veliki, zlobni volkovi)

prodaja/world sales 6sales Real Baja 18, 1˚ C, Majadahonda 28220 Madrid, Spain E info�6sales.es

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Ekstravaganca Extravaganza

It Follows It Follows Zlo za petami ZDA USA 2014

David Robert Mitchell re`ija/directed by David Robert Mitchell scenarij/screenplay David Robert Mitchell glasba/music Disasterpiece monta`a/editing Julio Perez Iv igrajo/cast Maika Monroe (Jay), Keir Gilchrist (Paul), Daniel Zovatto (Greg), Olivia Luccardi (Yara), Lili Sepe (Kelly), Jake Weary (Hugh) producent/producer David Kaplan produkcija/production Animal Kingdom 242 W 30th Street, Suite 602 New York, USA E dk�animalkingdomfilms.com format/format DCP, barvni/colour dol`ina/running time 94' festivali/festivals Cannes 2014 – Teden kritike/Critics’ Week, Toronto 2014

prodaja/world sales Visit Films 173 Richardson Street Brooklyn, NY 11222, USA E info�visitfilms.com

Film, poln suspenza in nepri~akovanih zasukov, ki se v ve~ pogledih spogleduje s klasikami srhljivke, je obenem tudi metafora skritih nevarnosti in strahov, s katerimi se sre~ujejo mladostniki ob prvih spolnih izku{njah.

Replete with suspense, unexpected twists and allusions to the classical horror films, It Follows is also a metaphor for the hidden dangers and fears that young people face during their first sexual experiences.

Devetnajstletna Jay bi morala jesen pre`ivljati v znamenju {ole, fantov in koncev tedna ob jezeru. Vendar jo po navidez nedol`ni prvi spolni izku{nji za~nejo preganjati ~udna videnja in nenehen ob~utek, da jo nekaj ali pa morda nekdo zasleduje. Jay in njeni najstni{ki prijatelji so se s tem bremenom prisiljeni spoprijeti in najti na~in, kako pobegniti po{astim, ki so jim ves ~as za petami.

For 19-year-old Jay, autumn should be about school, boys and weekends out at the lake. But after a seemingly innocent sexual encounter, she finds herself plagued by strange visions and the inescapable sense that someone, or something, is following her.

Faced with this burden, Jay and her teenage friends must find a way to escape the horrors that seem to be only a few steps behind.

"S spolnostjo, kot jo vidim in kot sem jo `elel podati v delu Zlo za petami, se za~ne preganjavica, vendar je tudi na~in pre`ivetja.

Torej ni tako preprosto kot uporaba spolnosti za po~astitev tistih starih grozljivk ali referenca nanje, na grozljivke, da se dobro razumemo, ob katerih sem odra{~al in jih obo`ujem. V mojem filmu je spolnost edini na~in pre`ivetja in to se mi je zdelo nekaj novega. V grozljivki tega doslej {e nisem zasledil."

(David Robert Mitchell)

"How I see it, and how I tried to convey it in It Follows, sex is the way the haunting starts but it's also the way to survive as well. So it's not as simple as using sex to honour or reference those older horror films, which, don't get me wrong, I grew up watching and love. In my film, sex is the only way you could survive, and that felt like something new. I've never seen that before in a horror film." (David Robert Mitchell)

David Robert Mitchell

filmografija/filmography

Rojen leta 1974 v zvezni dr`avi Michigan, ZDA. Po kon~ani srednji {oli je {tudiral film na Floridi. Kratke filme je za~el snemati `e v srednji {oli. Film Zlo za petami je njegov drugi celove~erec, ki je bil, prav tako kot njegov celove~erni prvenec The Myth of the American Sleepover, prikazan v sklopu canskega Tedna kritike.

2002 Virgin (kratki/short) 2005 The Myth of the American Sleepover 2014 It Follows (Zlo za petami)

Born in 1974, in Michigan, USA. After finishing high school, he enrolled in Florida State's graduate film programme. He had started making shorts in high school. It Follows, his second feature film, and The Myth of the American Sleepover, his debut full-length film, were selected for the Critics' Week section of the Cannes Film Festival.

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Program za otroke in mlade Programme for Young Audiences 107 Ga{per in Petra na zimskih po~itnicah Karsten og Petra pa vinterferie Arne Lindtner Naess 108 Je`ek in vran pri~arata bo`i~ Solan og Ludvig: Jul i Flaklypa Rasmus A. Sivertsen 109 De~ek in svet O Menino e o Mundo Alê Abreu 110 Mami, rad te imam Mammu, es tevi milu Janis Nords 111 Emil iz Lönneberge Emil & Ida i Lönneberga Alicja Björk 112 Raketa The Rocket Kim Mordaunt

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Karsten og Petra pa vinterferie Casper and Emma's Winter Vacation Ga{per in Petra na zimskih po~itnicah

za otroke od 4. leta for children aged 4+

Norve{ka Norway 2014

Arne Lindtner Naess

re`ija/directed by Arne Lindtner Naess scenarij/screenplay Alexander Eik fotografija/cinematography Dániel Garas glasba/music Lars Kilevold monta`a/editing Leif Axel Kjeldsen igrajo/cast Nora Amundsen (Petra/Emma), Elias Sovold-Simonsen (Ga{per/ Casper), Janne Formoe (Maria), Ivar Norve (Morfar), Hilde Lyran (Hilde), Markus Tonseth (Harald) producenta/producers Silje Hopland Eik, Tanya Badendyck produkcija/production Cinenord Kidstory AS Akersbakken 33 0172 Oslo, Norway E spillefilm�cinenord.no format/format DCP, barvni/colour dol`ina/running time 73’

Zgodba o prijateljstvu med petletnikoma, v kateri nastopajo tudi pli{aste igra~e. Ga{per in Petra se tokrat odpravita na zimske po~itnice k Petrinemu dedku, kjer ~ez dan veselo smu~ata, zve~er pa odideta spat v ~isto pravi ledeni iglu!

A story about friendship between two five-year-olds that also features talking soft toys. Casper and Emma are spending their winter holidays with Emma's grandpa, skiing merrily during the day and spending the night in a genuine igloo!

Druga zgodba malih junakov Ga{perja in Petre, ki sta tokrat na zimskih po~itnicah. Nekaj posebnega so, saj jima odrasli zgradijo ~isto pravi ledeni iglu, v katerem lahko tudi spita! Veliko se igrata na snegu in u`ivata kot `e dolgo ne – vse dokler se ne pojavi Peter. Zares je dober v smu~anju in Petri se zdi, da je dobila novega prijatelja. Ga{per ni tako spreten, zato izgublja Petrino pozornost, pa {e mami in o~i se kregata. Ga{per je v vedno ve~ji stiski. Kaj bo storil na{ veliki mali junak, da bo Petra spet njegova prijateljica in da se mami in o~i ne bi raz{la? Igrano-animirani film je narejen z izjemnim ob~utkom za najmlaj{e gledalce. ^eprav je film dalj{i, kot so jih vajeni, bodo zgodbi zlahka sledili.

Casper and Emma are back in this follow-up to last year's hit, this time on a skiing holiday. They’re having an extra special time, including a real-life igloo in which they get to spend the night! They're playing in the snow and having the time of their lives – until Peter shows up. He's very good at skiing and Emma considers him her new special friend. As Casper cannot demonstrate such sporting prowess, he's losing Emma's affection and, what's more, his parents are quarrelling on a daily basis. Casper is at a loss. Will he be able to overcome his fears in order to win Emma back and prevent his parents from divorcing?

A mixture of fiction and animation, the film displays great feel for the youngest audiences. Although with longer running time, the film keeps the children nailed to their seats.

"Sku{al sem ohraniti sorodno ozra~je, kot ga imajo knjige o Ga{perju in Petri. Vendar sem moral obdr`ati ravno pravo mero dramati~nosti." (Arne Lindtner Naess)

"I tried to create a similar atmosphere to the one prevailing in the books about Casper and Emma. Nevertheless, I had to maintain the right measure of dramatic tension." (Arne Lindtner Naess)

Arne Lindtner Naess

filmografija (izbor)/filmography (selection)

Rojen leta 1944. Po poklicu je igralec. Odigral je {tevilne vloge v filmskih in televizijskih produkcijah ter skoraj vseh norve{kih gledali{~ih. Od leta 1985 deluje tudi kot pisec, re`iser ter producent gledali{kih, filmskih in televizijskih del; danes velja za veterana norve{kega dru`inskega in otro{kega filma.

2000 2003 2004 2005 2006 2007 2008 2010 2011 2013

Born in 1944, Lindtner Naess trained as an actor and has performed at almost every theatre in Norway, in addition to numerous roles in film and television. Since 1985 he's also expanded to the roles of writer, director and creative producer for both stage and screen, and has established himself as a veteran of Norwegian family and children's cinema.

festivali, nagrade (izbor)/ festivals, awards (selection) TIFF Kids Toronto 2014, Pulj/Pula 2014

Vazelina hjulkalender (TV-serija/TV series) Olsenbanden jr. gar under vann Det gode selskap (TV-serija/TV series) Venner for livet Olsenbanden jr. pa Cirkus Olsenbanden Jr. Solvgruvens hemmelighet SOS Svartskjaer Olsenbanden Jr. og Mestertyvens skatt Blafjell 2 – Jakten pa det magiske horn Karsten og Petra blir bestevenner (Casper and Emma – Best Friends/ Ga{per in Petra – najbolj{a prijatelja) 2014 Karsten og Petra pa vinterferie (Casper and Emma’s Winter Vacation/ Ga{per in Petra na zimskih po~itnicah)

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E janko.cretnik�cenex.si

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Solan og Ludvig: Jul i Flaklypa The Christmas of Solan and Ludvig Je`ek in vran pri~arata bo`i~

za otroke od 5. leta for children aged 5+

Norve{ka Norway 2013

Rasmus A. Sivertsen re`ija/directed by Rasmus A. Sivertsen scenarij/screenplay Karsten Fullu fotografija/cinematography Morten Skallerud, Janne Hansen glasba/music Knut Avenstroup Hougen animacija/animation Matias Liebrecht, Fabrice Pieton producentka/producer Cornelia Boysen produkcija/production Maipo Film AS Molleparken 4 Oslo 0459, Norway E maipo�maipo.no format/format DCP, barvni/colour dol`ina/running time 72' festivali, nagrade (izbor)/festivals, awards (selection) ITFS Stuttgart 2014, Giffoni 2014

Bo`i~na lutkovna dogodiv{~ina, v kateri nastopajo izumitelj sne`nega stroja Reodor, je`ek Ludvik in vran Solan. Priprave na bo`i~ zmoti urednik lokalnega ~asopisa, ki uporabi njihov sne`ni stroj. Zapade preve~ snega in nekaj je treba ukreniti ...

Malce vzhodno od juga in malce zahodno od severa le`i norve{ka hribovska vasica Flaklypa. Tam `ivijo izumitelj Reodor, je`ek Ludvik in vran Solan. Pripravljajo se na bo`i~. Toda nekaj manjka … Sneg! Urednik lokalnega ~asopisa `eli priti do izumiteljevega sne`nega stroja, da bi kar sam pri~aral beli bo`i~. Tak{en stroj pa lahko v napa~nih rokah namesto bele zime, ki si jo Ludvik tako zelo `eli, pri~ara pravo katastrofo. Je`ek in vran morata najti izumitelja, ki je izginil v nepojasnjenih okoli{~inah.

"Hotel sem posneti bo`i~ni film po ~udoviti knjigi Kjella Aukrusta, prepolni topline in humorja. Edinstveni liki Kjella Aukrusta so odli~ni za ustvarjanje humorja, ki navdu{i otroke in odrasle. Glavni protagonist je ve~no zaskrbljeni je` Ludvig. Je pesimist, ki se boji vsakr{ne spremembe. Ko vasici Flaklypi preti stra{anska sne`na ujma, mora premagati lastne strahove in bojazni ter re{iti prijatelje, vasico – in bo`i~." (Rasmus A. Sivertsen)

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E janko.cretnik�cenex.si

A puppet Christmas adventure featuring the inventor of a snow cannon, Reodor, hedgehog Ludvik and raven Solan.

The Christmas spirit is dampened by the editor of the local newspaper, who seizes their snow machine. Outside a devastating snowstorm is raging and Ludvik and Solan have to take action.

Somewhat to the east of the south and a bit west of the north lies Flaklypa, a Norwegian mountain village. Here, the inventor Reodor, hedgehog Ludvik and raven Solan are preparing for Christmas but something important is missing. Snow! The editor of the local newspaper wants to get his hands on Reodor’s snow machine so that he can promise the people of Flaklypa a white Christmas. In the wrong hands, the snow machine, invented to fulfil Ludvig's dream of a winter wonderland, turns out to be a dangerous tool. Ludvig and Solan have to find Reodor who has disappeared under mysterious circumstances.

"I wanted to make a Christmas movie based on the wonderful work of Kjell Aukrust, told with both warmth and humour. Kjell Aukrust's unique characters are perfect for creating humour aimed at both children and grownups. As the film's main character we are introduced to the ever apprehensive hedgehog Ludvig.

Ludvig is a personal pessimist and afraid of changes in general.

When disaster is threatening to wipe out the entire village of Flaklypa, he has to challenge his own fears and anxieties to save his friends and the village – and Christmas." (Rasmus A. Sivertsen)

Rasmus A. Sivertsen

filmografija/filmography

Rojen leta 1972 v Varhaugu, Norve{ka. Je eden vodilnih norve{kih re`iserjev animiranih filmov, avtor {tevilnih animiranih celove~ercev in TV-serij. Kot partner produkcijske hi{e Qvisten Animation je zre`iral tudi ve~ kot dvesto oglasov.

1998 2002 2003 2007 2008 2009 2009 2011 2013 2013

Born in 1972 in Varhaug, Norway. With a number of animated features and TV- series to his name, Sivertsen is one of the leading animation directors in Norway. As a partner of Qvisten Animation, Sivertsen has directed more than 200 commercials.

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Lisa (TV-serija/TV series) Guggen – Du store gauda (kratki/short) Kaptein Sabeltann (sore`iser/co-director) Kutoppen (TV-serija/TV series) Kurt blir grusom Fanthomas (TV-serija/TV series) Pelle Politibil gar i vannet Monarkiet (TV-serija/TV series) Pelle Politibil pa sporet Solan og Ludvig – Jul i Flaklypa (The Christmas of Solan and Ludvig/ Je`ek in vran pri~arata bo`i~)

Kinobalon Kinobalon

O Menino e o Mundo The Boy and the World De~ek in svet

za otroke od 7. leta for children aged 7+

Brazilija Brazil 2013

Alê Abreu

re`ija/directed by Alê Abreu scenarij/screenplay Alê Abreu glasba/music Ruben Feffer, Gustavo Kurlat animacija/animation Alê Abreu, Bruno Coltro Ferrari idr. monta`a/editing Alê Abreu producentki/producers Fernanda Carvalho, Tita Tessler produkcija/production Filme de Papel (Brasil) E contato�filmedepapel.com.br format/format DCP, barvni/colour dol`ina/running time 80’

Igriva animirana koreografija barv in kompozicije ter likovno najbogatej{i kalejdoskop sveta v animiranem filmu doslej.

Igrivi in brezskrbni de~ek Cuca odra{~a na idili~nem brazilskem pode`elju, kjer se je ~as ustavil. Pravo nasprotje je mesto, kaoti~ni metropolis, kamor se mora s trebuhom za kruhom odpraviti njegov o~e, za njim pa tudi Cuca. V mestu opazuje dru`beni ustroj sveta, ki ga zaznamujejo medijsko manipuliranje, kontejnerji obla~il iz Azije, mehani~ne `ivali in mno`ica odpadkov. Življenje te~e povsem druga~e kot v pode`elskem svetu, ~igar idilo poudarjajo `ive barve in zvok flavte. Film je dar naravi in kritika sodobne dru`be – potro{ni{tva, medijev in industrializacije – z vidika de~ka, ki v svetu i{~e svoj prostor. Domi{ljijska podoba modernega sveta bo prevzela mlado in odraslo ob~instvo.

"V~asih imam ob~utek, da filmi najdejo nas in ne nasprotno. Cuca se je zna{el v mojem zvezku, ko sem delal neki drugi projekt, Canto Latino. Risba je izstopala po svoji izjemni preprostosti in zdelo se mi je, kot da mi maha. Bolj kot sam narisani lik me je prevzela `elja po razvijanju ne~esa tako preprosto oblikovanega.

Tako je Cuca dobil svoj `e dodelani kontekst, ozadje. Svoj vrt.

Vse, kar je {e manjkalo, je bila njegova zgodba znotraj tega univerzuma. Tako sem za~el pisati scenarij."

(Alê Abreu)

festivali, nagrade (izbor)/ festivals, awards (selection) Mednarodni festival animiranega filma Ottawa/Ottawa International Animation Festival 2013 (posebna nagrada `irije/Special Jury Prize), Annecy 2014 (najbolj{i celove~erec/ Best Feature, nagrada ob~instva/ Audience Award), Monstra Lizbona/ Lisbon 2014 (najbolj{i celove~erec/ Best Feature, nagrada ob~instva/ Audience Award)

A playful animated choreography of colour and composition and the most artistically elaborate kaleidoscope of the world we’ve ever witnessed in an animated film.

The good-natured and carefree Cuca is growing up in an idyllic Brazilian countryside where time seemed to have stopped. The chaotic metropolis is its polar opposite, the city to which his father leaves in search of work. Cuca ventures after him. In the city he observes the social structure of the world marred by media manipulation, Asian garment containers, mechanical animals and huge waste dumps. The life there is nothing like the countryside, whose tranquillity is emphasised by vivid colours and the sound of the flute. Homage to nature and a critique of contemporary society – consumerism, media and industrialisation – shown from the perspective of a boy searching for his place in the world. The imaginary outlook on present-day globalisation will captivate the young and the grown-up audiences alike.

"I sometimes get the feeling that the films find us and not vice versa. Cuca suddenly materialised in my notebook, as I was working on another project, Canto Latino. The drawing was special on account of its utter simplicity, and it seemed as if he was waiving at me. More than the drawn character himself, I was overcome by the desire to develop something of such minimalist design. Thus Cuca was placed into his context, the beforehand devised backdrop. His garden. All that was missing was his story inside this universe. And so I started on the script." (Alê Abreu)

Alê Abreu

filmografija/filmography

Rojen leta 1971 v São Paulu, Brazilija. Od otro{tva o~aran z risbo se je pri trinajstih sre~al {e z animacijo. Za~el je s kratkimi animiranimi filmi, nato pa leta 2008 posnel tudi znanstvenofantasti~ni film Garoto Cósmico. Sledil je kratki film Passo, nato pa se je lotil dela pri animiranem dokumentarcu Canto Latino o latinskoameri{kih protestnih pesmih. V teh zapiskih se je zna{el de~ek Cuca in spro`il `eljo po novem filmu De~ek in svet.

1993 1998 2007 2007 2009 2013

Sirius (kratki/short) Espantalho (kratki/short) Garoto cósmico Passo (kratki/short) Vivi viravento (kratki/short) O Menino e o Mundo (The Boy and the World/De~ek in svet)

distribucija/distribution Dru{tvo za o`ivljanje zgodbe 2 koluta Tugomerjeva 8 1000 Ljubljana E rok.govednik�animateka.si

Born in 1971 in Sao Paulo, Brazil. Fascinated by drawing since childhood, Abreu fell in love with animation at the age of thirteen. He first started making short animated films and in 2008 shot the sci-fi film, Garoto Cósmico. There followed a short film, Passo, as well as the animated documentary Canto Latino that centred on the Latin American protest songs.

Thus, the boy Cuca also came into being, who aroused in the director the desire to make The Boy and the World.

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Kinobalon Kinobalon

Mammu, es tevi milu Mother, I Love You Mami, rad te imam

za otroke in mlade od 10. leta for children and young people aged 10+

Latvija Latvia 2013

Janis Nords re`ija/directed by Janis Nords scenarij/screenplay Janis Nords fotografija/cinematography Tobias Datum glasba/music Zoe Keating monta`a/editing Tamara Meem igrajo/cast Kristofers Konovalovs (Raimonds), Vita Varpina (Raimondsova mama/ Raimonds' mother), Matiss Liv~ans (Peteris), Indra Brike (Peterisova mama/Peteris' mother) producenta/producers Alise Gelze, Gatis Smits produkcija/production Film Studio Tanka brvibas 179-4 LV1001 Riga, Latvia format/format DCP, barvni/colour dol`ina/running time 83' festivali, nagrade (izbor)/ festivals, awards (selection) Berlin 2013 (velika nagrada mednarodne `irije programa Generation Kplus/Grand Prix of the International Jury of the Generation Kplus programme), Los Angeles 2013 (najbolj{i celove~erec/Best Feature), Filmski festival za otroke in mladino Zlin/Zlin Film Festival for Children and Youth 2013 (najbolj{i evropski film/Best European Film)

Rahlo~uten portret 12-letnega fanta, ki se u~i prevzeti odgovornost za svoja dejanja in izkusi, da je za prijateljstvo potrebna iskrenost. Glavna nagrada `irije v Berlinu!

A sensitive portrayal of a 12-year-old boy learning to assume responsibility for his actions and realising that honesty is the best policy. Grand Jury Prize at the Berlin FF!

Raimonds naredi vse, kar je v njegovi mo~i, da bi bil v ponos strogi mami – celo saksofon igra v {olskem orkestru, namesto da bi se s skirojem zabaval v rolkarskem parku. Potem pa nekega dne iz {ole odide z obvestilom o neprimernem vedenju. Ko ga posku{a prikriti, se zaplete v vrtinec la`i, ki kmalu uide izpod nadzora. Pomo~ mu ponudi prijatelj Peteris. Njegova mama je ~istilka in Peteris priskrbi Raimondsu klju~e stanovanja, kjer naj bi Raimonds pre`ivel no~. Na `alost pa se pono~i vrne lastnik stanovanja s svojim dekletom, ki Raimondsu ukrade denar in saksofon. Fantu ne preostane drugega, kot da se poda v no~no Rigo, da bi dobil nazaj svoj in{trument. Ko Peterisa obto`ijo, da je vlomil v stanovanje, se mora Raimonds odlo~iti, ali naj re{i prijateljstvo ali svoj obraz pred materino klofuto. Odli~na, domi{ljena drama o koncu otro{tva.

Raimonds does what he can to make his strict mother proud – he even plays saxophone in the school band instead of riding his kickboard in a skate park. When he tries to cover up a bad note at school, a spiral of lies is started, which soon spins out of control. Thanks to his friend Peteris, whose mother is a cleaner, Raimonds gets hold of the keys to a fancy apartment and wants to spend the night there. Unfortunately, the owner comes back home with a girl, who not only robs Raimonds but also takes his saxophone. The boy has to venture into the night Riga to get his instrument back. When Peteris is accused of robbing the flat, Raimonds has to decide whether to save his friendship or his face in front of the mother. An excellent, thoughtful drama about coming of age.

"^eprav se Raimonds spoprijema z moralno dilemo – delovati nepo{teno in uiti kazni ali povedati resnico in se spoprijeti s posledicami – svojemu protagonistu nisem hotel dati lekcije o morali. Hotel sem samo upodobiti otroka, ki mu v najhuj{ih okoli{~inah in pred te`kimi odlo~itvami uspe ohraniti ~love~nost in poslu{ati svojo vest. Druga~e re~eno, otroka, ki je dosegel 'zrelost'." (Janis Nords) prodaja/world sales New Europe Film Sales Slowicza 12/2 05-075 Warsaw, Poland E jan�neweuropefilmsales.com

"Though Raimonds is faced with a moral dilemma – to act dishonestly and escape punishment or tell the truth and face backlash – I tried to avoid teaching my protagonist a moral lesson. Instead, I was looking to portray a child, who thrown into the wildest of circumstances and confronted with tough choices, manages to maintain humanity and gain conscience. In other words, a child who 'grows up'". (Janis Nords)

Janis Nords

filmografija/filmography

Potem ko je delal kot asistent re`ije pri snemanju ve~ latvijskih celove~ercev in televizijskih oglasov, je leta 2008 posnel svoj prvenec Amateur, ki je prejel nagrado za najbolj{i prvenec na Latvijskem nacionalnem filmskem festivalu.

Nato se je vpisal na {tudij filmske re`ije na britansko Nacionalno filmsko in televizijsko {olo. Mami, rad te imam je njegov drugi celove~erec.

2008 2010 2011 2013

After working extensively as assistant director on various Latvian features and TV commercials, Nords shot his feature debut, Amateur, in 2008. The film won Best Debut Award at the Latvian National Film Festival. He then studied film directing at National Film and Television School in Britain.

Mother, I Love You is Janis Nords' second feature.

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Amateur Freedom Day (kratki/short) Au Revoir Monkeys (kratki/short) Mammu, es tevi milu (Mother, I Love You/Mami, rad te imam)

Kinobalon Kinobalon

Emil & Ida i Lönneberga That Boy Emil Emil iz Lönneberge

za otroke od 4. leta for children aged 4+

Alicja Björk, Lasse Persson, Per Ahlin

Švedska Sweden 2013 re`ija/directed by Alicja Björk, Lasse Persson, Per Ahlin scenarij/screenplay Hans Ake Gabrielsson fotografija/cinematography Piotr Jaworski glasba/music Georg Riedel monta`a/editing Olle Tannergard producenti/producers Malini Ahlberg, Lars Blomgren, Clas Cederholm produkcija/production Filmlance International Box 27156 102 52 Stockholm, Sweden E filmlance�filmlance.se format/format DCP, barvni/colour dol`ina/running time 63' festivali, nagrade (izbor)/ festivals, awards (selection) Berlin Generation 2014, BUFF Malmö 2014

Emilu se nor~ije kar zgodijo, zanje pa je kaznovan tako, kot ima najraje – o~e ga za razmislek po{lje v vrtno uto, tam pa ima Emil na voljo ves svoj ~as za rezljanje lesenih figuric.

Filmska priredba zgodb Astrid Lindgren, osnovana na izvirnih knji`nih ilustracijah.

Sweet little Emil keeps getting into mischief and receiving his favourite punishment – being sent to the woodshed where he sits quietly and carves his wood figures. A new adaptation of Astrid Lindgren’s beloved tales, based on the book’s original illustrations.

"Eeeeeemil," vpije o~e po majhni kmetiji Ma~kovina z nogo, pri{~ipnjeno v past za podgane, z rokami, prekritimi z lepljivim papirjem za lovljenje muh, in z lasmi, polnimi testa. Pa smo spet tam – Emil spet zganja lumparije. Za kazen mora v vrtno uto. Toda za Emila to sploh ni nobena kazen. Nasprotno: zaklene se v uto in nemoteno rezlja lesene figurice, ki se jih je nabralo `e za celo zbirko. Njegova mlaj{a sestra Ida bi prav tako rada sedela v uti, a se za kaj takega vede ~isto preve~ lepo. Poleg tega se ni lahko kosati z Emilovo vrsto vragolij. Vse, kar si ta bistri de~ek `eli, je re{evati probleme, teh pa se loteva s ~isto svojo logiko. Nazadnje pa Idi vendarle uspe ujeti brata – s tem da razbije celo naro~je jajc.

'E-e-emil!’ shouts father across the small farm in Katthult, his toe caught painfully in a rat trap, his hands full of sticky flypaper and his hair full of dough. Here we go again: the boy is up to his old tricks and will have to be banished to the woodshed. Except that Emil doesn't see this as punishment – on the contrary: he locks the door from inside so that he can continue undisturbed to carve another of his wooden figures, of which he has a whole collection. His little sister Ida also wants to sit inside the shed, but she's too well-behaved. And it's not that easy to get up to Emi's kind of mischief. All this bright boy really wants to do is solve problems – something he goes about with his own refreshing logic. Eventually Ida manages to get on equal footing with her brother by smashing a load of eggs!

"Nekateri ilustratorji so popolnoma poistoveteni z zgodbami Astrid Lindgren. Björn Berg je tako Emila in njegov svet upodobil z nepozabnimi liki. Ne samo prebivalcev kmetije Ma~kovina v Lönnebergi, temve~ tudi ve~ drugih v srenji: Maja Robida, kmet Krakstorp, `upan in njegova `ena ter {tevilni drugi." (Per Ahlin)

"Some illustrators are completely associated with the stories of Astrid Lindgren, and when it comes to Emil and his world, Björn Berg has created some unforgettable characters. Not only the residents of Katthult farm in Lönneberga, but several others in the parish: Krösa-Maja, the Krakstorp farmer, the Dean and his wife, and many more." (Per Ahlin)

Per Ahlin, Alicja Jaworski Björk, Lasse Persson

filmografija (izbor)/filmography (selection)

P. A.: Rojen leta 1931 v Hoforsu na Švedskem. Velja za najbolj slavnega {vedskega avtorja risanih filmov. Je re`iser animiranih sekvenc v prvem {vedskem animiranem filmu.

Born in 1931 in Hofors, Sweden, Ahlin is Sweden's most famous animator. He directed the animated sequences of the first animated feature film in Sweden ever.

A. J. B.: Rojena leta 1955 v Var{avi. Študirala je arhitekturo in delala v animacijskem studiu. Po selitvi na Švedsko je postala sodelavka studia PennFilm.

Born in 1955, Warsaw, Björk studied architecture and trained at an animation studio. She later moved to Sweden where she worked at the PennFilm Studio.

L. P.: Rojen leta 1960 v Stockholmu. Študiral je dramatiko, gledali{~e, film in teologijo, potem pa ga je pot zanesla v industrijo animacije. Born in 1960 in Stockholm, Persson studied drama, theatre, film and theology before venturing into the animation industry.

P. A.: 1974 Dunderklumpen!

1989 Resan till Melonia (Voyage to Melonia) 2000 Hundhotellet (Dog Days) 2013 Emil & Ida i Lönneberga (That Boy Emil/Emil iz Lönneberge) A. J. B.: 2006 Lilla spöket Laban (TV-serija/TV series) 2012 Bara lite (kratki/short) 2012 Lilla Anna och Langa farbrorn L. P.: 2006 Lilla spöket Laban (TV-serija/TV series) 2007 Lilla spöket Laban – Spökdags (kratki/short) 2009 Lilla spöket Laban – Bullar och Bang (kratki/short) 2011 Var inte rädd Langa farbrorn (kratki/short)

prodaja/world sales Filmlance International Box 27156 102 52 Stockholm, Sweden E filmlance�filmlance.se

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Kinobalon Kinobalon za otroke in mlade od 9. leta for children and young people aged 9+

The Rocket The Rocket Raketa Kim Mordaunt

Avstralija, Tajska, Laos Australia, Thailand, Laos 2013

re`ija/directed by Kim Mordaunt scenarij/screenplay Kim Mordaunt fotografija/cinematography Andrew Commis monta`a/editing Nick Meyers glasba/music Caitlin Yeo igrajo/cast Sitthiphon Disamoe (Ahlo), Loungnam Kaosainam (Kia), Thep Phongam (Purple Bunsri), Yindi (Taitok), Sumrit Warin (Toma), Alice Keohavong (Mali) producentka/producer Sylvia Wilczynski produkcija/production Red Lamp Films 1/5a Denham Street Bondi Sydney, NSW 2026, Australia E sylvia�redlampfilms.com format/format DCP, barvni/colour dol`ina/running time 96' festivali, nagrade (izbor)/ festivals, awards (selection Berlinale 2013 (najbolj{i prvenec/ Best Debut, kristalni medved za najbolj{i film v sklopu Generation Kplus/Crystal Bear for Best Film in the Generation Kplus section), Cinekid 2013 (nagrada ob~instva/ Audience Award, najbolj{i mednarodni otro{ki film/Best International Children's Film), Sydney 2013 (nagrada ob~instva/ Audience Award)

prodaja/world sales Level K 3rd Floor,137B, Gl. Kongevej Frederiksberg, Copenhagen DK – 1850, Denmark E tineklint�levelk.dk

Napeta, a topla, globoko izpovedna zgodba o odlo~nosti de~ka, ki mu `ivljenje ne prizana{a. Film z neverjetnim vpogledom v obi~aje in praznovanja v srcu lao{kih gora odpira pogled v svet, ki ga {e nikoli nismo videli na velikem platnu.

A gripping but heart-warming, deeply expressive story about the determination of a young boy whom life hasn't treated kindly. With remarkable access to real rituals and festivities in the stunning mountains of Laos, The Rocket is a unique view into a world never seen on film before.

Desetletni Ahlo naj bi nosil prekletstvo, zato nanj pade krivda za vrsto nesre~, ki prizadenejo vas v lao{kih gorah. Ko njegova dru`ina izgubi dom in se je prisiljena seliti, Ahlo spozna nabrito siroto Kio in njenega ekscentri~nega strica Purpla, nekdanjega vojaka, velikega ob~udovalca Jamesa Browna. Ahlo v iskanju novega doma svojo dru`ino, Purpla in Kio vodi skozi de`elo, ki jo je prizadela vojna. Da bi dokazal, da ni preklet, zgradi ogromno eksplozivno raketo in se udele`i najbolj donosnega, a tudi nevarnega tekmovanja v de`eli: festivala raket. Eden redkih celove~ercev, posnet za mednarodni trg, v skrivnostni, malo znani dr`avi Laos, ki se je po koncu vietnamske vojne redko postavila svetu na ogled.

10-year-old Ahlo is believed to bring bad luck, and is blamed for a string of disasters. When his family lose their home and are forced to move, Ahlo meets the spirited orphan Kia and her eccentric uncle Purple: an ex-soldier with a fetish for James Brown. Ahlo leads his family, Purple and Kia through a land scarred by war in search of a new home. In a last plea to try and prove he’s not cursed, Ahlo builds a giant explosive rocket to enter the most lucrative but dangerous competition of the year: the Rocket Festival. One of the first feature films for international release set and shot in the intriguing and little-known country of Laos, rarely seen by the outside world since the end of the Vietnam War.

"Raketa je zgodba o iniciaciji v svet odraslosti, zgodba o de~kovem popotovanju skozi bridkost, krivdo in dvome vase ter spravo z o~etom – na ozadju brez~asnih in univerzalnih tem razselitve ljudi zaradi industrije in vojnih posledic."

(Kim Mordaunt)

"The Rocket is a rite of passage story of a boy's journey through grief, guilt and self-doubt, and his reconciliation with his father – set against the timely universal themes of the displacement of people by industry and the legacy of war." (Kim Mordaunt)

Kim Mordaunt

filmografija/filmography

Na Tehni~ni univerzi v Sydneyju je diplomiral iz filmske produkcije in na Londonski akademiji za glasbo in dramsko umetnost LAMDA iz igre.

Pou~eval je dramatiko in film v azijskih, arabskih in aborid`inskih skupnostih ter deloval kot mentor filmske prakse v centrih za begunce in zaporih.

Za razli~ne televizije je snemal dokumentarce in drame, Raketa pa je njegov celove~erni prvenec, ki je leta 2013 na festivalu v Berlinu prejel tri pomembne nagrade.

1997 1998 2001 2002 2005 2005 2007 2013

Kim Mourdant holds a film production degree from the University of Technology Sydney, as well as a diploma in acting from the London Academy of Music and Dramatic Art LAMDA. Kim has taught filmmaking and drama in Asian, Arabic and Australian Aboriginal communities, and been a filmmaking mentor in refugee centres and prisons. He has made TV documentaries and dramas. The Rocket, Mordaunt's debut feature, won 112 three major awards at the 2013 Berlin International Film Festival.

Survival Copyrites Speed City (kratki dokumentarni/documentary short) Mongrel's Ghost (kratki/short) Jammin' in the Middle E Secret Family Recipes (video) Bomb Harvest (dokumentarni/documentary) The Rocket (Raketa)

Posve~eno Tribute

Ruben Ă–stlund 116 Kitarski mongoloid Guitar Mongoloid 2004 117 Prizor iz `ivljenja {t. 6882 Autobiographical Scene Number 6882 2005 118 Nenamerno Involuntary 2008 119 Incident pred banko Incident by a Bank 2009 120 Igra Play 2011 52 Vi{ja sila Force Majeure 2014

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Posve~eno Tribute

glej str. 118/see page 118

glej str. 117/see page 117 glej str. 120/see page 120

glej str. 116/see page 116

glej str. 119/see page 119

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Posve~eno Tribute

Vzornikom naproti Catching up with One's Idols Matic Majcen [e zdale~ ni naklju~je, da je Ruben Östlund v uradni predstavitvi svoj novi film Vi{ja sila ozna~il za "observacijsko komedijo". Ne toliko zaradi besede "komedija", temve~ zaradi tiste prve oznake, "observacijska". Motiv opazovanja je namre~ klju~en element ustvarjanja tega 40-letnega {vedskega re`iserja in se vle~e `e od za~etka njegovega vzhajajo~ega filmskega opusa naprej.

Kot prvo, na ravni filmskih likov. Vzemimo Incident pred banko, Östlundov kratki film iz leta 2010, s katerim je napovedal svojo poznej{o mojstrovino Igra. Ko se pred nosom dveh mladeni~ev za~ne nepri~akovan dogodek, je edino, kar zmoreta storiti v tistem trenutku, to, da obnemita ter v neki gesti popolnega umskega avtomatizma iz `epa izvle~eta mobilni telefon in za~neta snemati. Ter seveda, da opazujeta in ostaneta kot vkopana v zemljo, medtem ko se pred njima dogaja travmati~ni incident, ki ga nikakor ne moreta dojeti kot resni~no, nasilja polno dejanje, temve~ domala kot medijski spektakel. V enem samem hipu sta bila postavljena v re`im podob, oropana zmo`nosti fizi~ne intervencije, razlika v dojemanju uli~nega in televizijskega dogodka je izginila. Potem je tu {e druga vrsta likov, ki jih v njegovih filmih prav tako gledamo `e vse od celove~ernega prvenca Kitarski mongoloid naprej. To so ljudje, ki vendarle zmorejo udejanjiti neki pribli`ek realne intervencije v dru`beni svet, a ne v smislu pozitivne akcije, temve~ privzamejo vlogo odtujenega utele{enja izprijenih gonov, ponotranjenih s samodestruktivno Jackass kulturo in s figuro odsotnega star{a: ljudje, la~ni adrenalina in mani~nega zabavlja{tva kot edinega sredstva za zapolnjevanje praznine sodobnega `ivljenja. Edino, kar takemu brez~utnemu tipu ~loveka preostane, je to, da svoj elitni polo`aj izrabi za izkori{~anje vseh tistih {ibkih posameznikov, ki se mu znajdejo na poti.

Ruben Östlund nam v svojih filmih govori, da smo to v resnici mi, gledalci. Pogled, v katerega nas usmerja prek klasi~ne uporabe potujitvenega u~inka, je podvojen pogled lika anemi~nega gledalca, ujetega v oblastni re`im tehnologije zabave in spektakla televizijskih podob, to pa je tista alegori~na to~ka, v kateri se zahodna dru`ba {ibi pod pritiskom morale oropanih subjektov.

Seveda to zveni {e kako znano. Vse te nastavke bi lahko zlahka uporabili tudi za neko drugo linijo filmov, tisto, namre~, ki sega od Bennyjevega videa, Funny Games do Skrito: ni dvoma, da Östlundovi filmi izdajajo nekoga, ki je {tudiozno gledal Michaela Hanekeja ter se je nekako na{el na istem motivi~nem in slogovnem teritoriju. A o~itnim vplivom navkljub prav leto 2014 pomeni pomembno to~ko v uspehu Rubena Östlunda, kajti Vi{ja sila kot njegov najnovej{i film uvaja vrsto sprememb v njegovem opusu. Film je, kot vsa njegova dela, nastal po resni~nih prigodah in, pri~akovano – po opazovanjih. Konkretno, nastal je na podlagi anekdote {vedskega para, ki je bil med po~itnicami v Latinski Ameriki pri~a streljanju in, kot v kak{ni {ali, je mo` zbe`al in pustil `eno na kraju dogajanja. Ko se je Östlund z brskanjem po znanstveni literaturi poglobil v mo{ko psihologijo, je pri{el do spoznanja, da se to dogaja pogosteje, kot bi si mislili. Bolj pomembne pa so slogovne spremembe v filmu: re`iser se je za~el osvobajati "hanekejevskega" stati~nega kadra v bolj klasi~en na~in kadra in protikadra, ve~jo vlogo pa je prenesel na dialo{ko komiko, ki izhaja iz poglobljenih karakterizacij likov. Vse to pelje Östlundov avtorski podpis nekam stran od njegovih najo~itnej{ih vzornikov, ki sedaj dajejo pot vzniku ne~esa izvirnej{ega, a ni~ manj ostrega in neposrednega. Prav zaradi tega je na dlani tisto najpomembnej{e vpra{anje: ~e smo lahko Rubena Östlunda `e v senci njegovih vzornikov ozna~evali za prebojnega mladega filmskega avtorja, kaj {ele prina{a prihodnost, v kateri bo, upajmo, na{el popolnoma svoj avtorski glas? Naj o prihodnjih obetih govori zase tisto, kar nam je ta kriti~ni opazovalec dru`benih anomalij ponudil do sedaj.

It is no coincidence that Ruben Östlund designated his new film, Force Majeure, as an "observational comedy". Not so much for the term "comedy", but mostly on account of the adjective "observational". The motif of observation is namely the crucial artistic element of this 40-year-old Swedish director, which has marked his promising cinematic oeuvre since the very beginning.

Firstly, as regards the cinematic characters. Take, for example, Incident by a Bank, Östlund's short film from 2010, which heralded his subsequent masterpiece, Play. When an unexpected event unfolds before the two young witnesses, they are completely stunned and, in a gesture of total mental automatism, only capable of pulling mobile phones from their pockets and starting to shoot the scene. And, naturally, of observing and being paralysed with terror, while a traumatic incident takes place in front of their eyes, which they cannot, by any means, perceive as a real-life and incredibly violent event but almost as a media spectacle.

In a single instant, the two were subjected to the regime of images, bereft of any possibility of physical intervention, with the difference in perception of a street event or a televised one being erased. Then there's another type of characters that have featured in his films ever since his full-length debut, The Guitar Mongoloid.

These people are still capable of realising a certain approximation of real intervention in the social world, although not in the sense of positive action, but by assuming the role of an alienated embodiment of depraved instincts, internalised by the selfdestructive Jackass culture and the absent parent figure: people craving adrenalin and manic entertainment as the sole means of fulfilling the emptiness of contemporary existence. The only thing this insensitive type of person can do is to use his elite position in exploiting the weak individuals who happen to cross his path.

What Ruben Östlund's films are telling us is that these people actually represent ourselves, the viewers. The view which he is steering us into through the classical employment of alienation effect is a duplicated view of the character of an anaemic spectator, caught into a domineering regime of the entertainment technology and spectacular television shows. This is precisely the allegoric point at which the Western society bends under the pressure of subjects who lack moral standards. This sounds ever so familiar. All these postulations could easily be used also for some other cinematic line, the one reaching from Benny's Video, Funny Games to Hidden: Östlund's films reflect the creativity of an artist who intently studied the works of Michael Haneke and somehow found himself on the same thematic and stylistic territory. Notwithstanding the marked influences, it is the year 2014 that represents a landmark in the career of Ruben Östlund, as his most recent film, Force Majeure, has introduced a series of changes into his oeuvre. Similarly to his previous works, the film is based on real-life events and, unsurprisingly, – on observations.

More specifically, on an anecdote of a Swedish couple who witnessed a shooting on their Latin American holidays, during which the husband, as if a character in a joke, ran away and left the wife to her own devices. When browsing through scientific literature to research male psychology Östlund realised that this happened more often than one would expect. Of profounder significance, though, are his stylistic changes: the director started to neglect the "Hanekesque" static take in favour of the more classical principle of cinematic take and anti-take, and placed more stress on the dialogue-based humour that is grounded in elaborate cast characterisations. All this leads Östlund's signature style away from his most obvious idols, now permitting an emergence of something more original, yet no less penetrating and direct.

And this brings us to the most relevant question: If Ruben Östlund was considered an up-and-coming filmmaker already when overshadowed by his idols then what will the future bring; hopefully, the development of an idiosyncratic, signature voice?

Let the past works of this critical observer of social anomalies themselves speak of the promising direction his career may follow.

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Gitarrmongot Guitar Mongoloid Kitarski mongoloid [vedska Sweden 2004

Ruben Östlund re`ija/directed by Ruben Östlund scenarij/screenplay Ruben Östlund fotografija/cinematography Tibor Gent glasba/music Erik Rutström, Ola Sandstig monta`a/editing Ebbe Rutström igrajo/cast Erik Rutström (Erik), Ola Sandstig (Ola), Britt-Marie Andersson (nevroti~na `enska/neurotic woman), Julia Persdotter (Olino dekle/Ola's girlfriend), P-A Emanuelsson, Anna Johansson, Mikael Allu, Bjarne Gunnarsson, Pär Berg, David Olandersson producenta/producers Kalle Boman, Anna Sohlman produkcija/production Hinden Länna-ateljéerna Östermalmsgatan 64 SE-114 46 Stockholm, Sweden E info�hinden.se format/format 35 mm, barvni/colour dol`ina/running time 89' festivali, nagrade (izbor)/ festivals, awards (selection) Moskva/Moscow 2005 (nagrada FIPRESCI/FIPRESCI Prize)

prodaja/world sales Triangle Art Film Production Filmhuset, Borgvägen 5 Box 27 007 102 51 Stockholm, Sweden E triangle�algonet.se

Mozaik zgodb o osamljenih ljudeh in nenadnih izbruhih nasilja je presunljiv in nevsakdanji filmski portret [vedske na pragu novega tiso~letja.

A mosaic of stories about loneliness and sudden outbursts of violence, a harrowing and unconventional cinematic portrayal of Sweden on the threshold of the new millennium.

Pred stati~no kamero potekajo {tevilni prizori iz vsakdana razli~nih ljudi: na strehi stanovanjskega bloka de~ek zvija antene in na televizijskih zaslonih gledalcev nastanejo motnje; `enska, ki zapu{~a stanovanje, ka`e znake kompulzivnega vedenja; mlad fant igra na kitaro in zraven na ves glas kri~i; skupina mladeni~ev sistemati~no uni~uje vsa kolesa, ki se znajdejo na njihovi poti; dva mo{ka v kuhinji pa sku{ata prepri~ati tretjega, naj sodeluje pri igri ruske rulete ...

In each sequence, the camera remains in a fixed position, recording quotidian events that unfold. On the roof of a block of flats, a young boy twists TV antennas so the viewers' reception goes fuzzy. A woman leaves her apartment, showing signs of compulsive behaviour. A boy plays his guitar, screaming the lyrics. Some young men destroy all the bicycles they can find.

Two men in a kitchen try to convince a third man to participate in a game of Russian roulette.

"V Kitarskem mongoloidu sem se ukvarjal s tematiko posameznikov, ki i{~ejo svoj prostor v dru`bi. Likov, ki se nikoli niso ozirali na to, kaj si o njih misli okolica. Obenem sem bil pri~a popolnoma druga~nim dogodkom, ljudem, ki bi storili kar koli, da se ne bi osme{ili. Kitarski mongoloid raziskuje tiste, ki jim je popolnoma vseeno, kaj bi si o njih lahko mislili drugi."

(Ruben Östlund)

"In The Guitar Mongoloid, I addressed the theme of individual people seeking their place in society. Characters who never took into account what their entourage might think of them. At the same time I witnessed totally opposite situations, people who would do anything not to lose face in front of other people. The Guitar Mongoloid examined those people who don't give a damn what others think of them." (Ruben Östlund)

Ruben Östlund

filmografija/filmography

Rojen leta 1974 na otoku Styrsö ([vedska). Film je {tudiral na Univerzi v Göteborgu. Za svoj prvenec je na filmskem festivalu v Moskvi leta 2005 prejel nagrado FIPRESCI, njegov drugi celove~erec Nenamerno pa je bil uvr{~en v program canskega filmskega festivala. Za njegove filme sta zna~ilna raziskovanje dinamike skupine in njen vpliv na vedenje posameznika.

2004 Gitarrmongot (The Guitar Mongoloid/Kitarski mongoloid) 2005 Scen nr: 6882 ur mitt liv (Autobiographical Scene Number 6882/ Avtobiografski prizor {tevilka 6882) (kratki/short) 2008 De ofrivilliga (Involuntary/Nenamerno) 2009 Händelse vid bank (Incident by a Bank/Incident pred banko) (kratki/short) 2011 Play (Igra) 2014 Turist (Force Majeure/Vi{ja sila)

Born in 1974 on the island of Styrsö (Sweden), Östlund studied film at the University of Gothenburg. His debut feature won the FIPRESCI Prize at the 2005 Moscow Film Festival, his second feature film, Involuntary, screened at the Cannes Film Festival. Östlund’s movies are characterised by the director's exploration of group dynamics and how they shape the behaviour of an individual.

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Scen nr: 6882 ur mitt liv Autobiographical Scene Number 6882 Prizor iz `ivljenja {t. 6882 [vedska Sweden 2005

Ruben Östlund

re`ija/directed by Ruben Östlund scenarij/screenplay Ruben Östlund, Erik Hemmendorff fotografija/cinematography Ruben Östlund glasba/music Franz Schubert monta`a/editing Ruben Östlund igrajo/cast Anette Anderson, Ingela Borgström, Martin Byström, Elin Gradin, Mats Lekander, Gunnar Nyström, Martin Zetterlund producent/producer Erik Hemmendorff produkcija/production Plattform Produktion Vallgatan 9, 2 tr 411 16 Göteborg, Sweden E erik�plattformproduktion.se format/format 35 mm, barvni/colour dol`ina/running time 9’

V tej pred{tudiji za celove~erni film Nenamerno se Östlund `e dotakne teme, ki v prihodnje mo~no zaznamuje njegov filmski opus: vpliva skupine na posameznika in posledic, ki jih prina{a konformisti~no vedenje.

In his cinematic study for Involuntary Östlund touched upon the theme that was to permanently mark his cinematic oeuvre: how group pressure influences an individual and the consequences that conformism can lead to.

Tridesetletni mo{ki na zahodni obali [vedskega skupaj s prijatelji pre`ivlja najkraj{o no~ v letu. Po nekaj popitih kozarcih druge prepri~a, naj gredo z njim na visok most, s katerega namerava sko~iti v morje.

A thirty-year-old man is celebrating Midsummer's eve together with friends on the west coast of Sweden. Helplessly inebriated, he makes his friends come and watch as he is going to jump into the sea from a very high bridge.

"Na za~etku me je zelo navdihnil dogodek, ki se je zgodil na [vedskem v 19. stoletju. In`enir po imenu Andreas je umrl med poskusom poleta s toplozra~nim balonom na severni te~aj.

Smrtno se je ponesre~ila celotna posadka, v njegovem dnevniku iz dni pred vzletom pa lahko preberete, da sploh ni verjel v ta projekt. Popolnoma prepri~an je bil, da bo poguben, vendar se je tako bal dru`benega posmeha, da je stopil v balon, in to pojmujem za vodilno temo filma. Tako se bojimo posmeha, da raje tvegamo `ivljenje." (Ruben Östlund)

"In the beginning, I was also very inspired by an event that took place in Sweden during the 1800s. It was an engineer called Andreas, and he died when he tried to fly a hot-air balloon to the North Pole. The whole crew died, and you can read in his diary in the days before lift-off that he didn’t believe in this project at all.

He was totally convinced that it was going to be a catastrophe, but he was so afraid of losing face socially that he stepped into the balloon, and this highlights the theme of the movie for me.

We are so afraid of losing face we are willing to risk our own lives." (Ruben Östlund)

Ruben Östlund

filmografija/filmography

Glej stran 116/see page 116.

Glej stran 116/see page 116.

festivali, nagrade (izbor)/ festivals, awards (selection) Edinburg/Edinbourgh 2005 (nagrada Evropske filmske akademije za najbolj{i kratki film/European Film Academy Award for Best Short Film), Hamburg 2005, Milano/ Milan 2005, Odense 2005 (posebna nagrada `irije/Jury Special Prize), Uppsala 2005

prodaja/world sales Plattform Produktion Vallgatan 9, 2 tr 411 16 Göteborg, Sweden E erik�plattformproduktion.se

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De ofrivilliga Involuntary Nenamerno [vedska Sweden 2008

Ruben Östlund re`ija/directed by Ruben Östlund scenarij/screenplay Ruben Östlund, Erik Hemmendorff fotografija/cinematography Marius Dybwad Brandrud zvok/sound Jan Alvemark monta`a/editing Ruben Östlund igrajo/cast Villmar Björkman (Villmar), Linnea Cart-Lamy (Linnea), Leif Edlund (Leif), Sara Eriksson (Sara), Lola Ewerlund (Lola), Hanna Lekander (Hanna), Olle Liljas (Olle), Maria Lundqvist (Maria), Cecilia Milocco (Cecilia), Simeon Nordius (Simeon), Henrik Vikman (Henrik), Vera Vitali (Vera) producent/producer Erik Hemmendorff produkcija/production Plattform Produktion Vallgatan 9, 2 tr 411 16 Göteborg, Sweden E erik�plattformproduktion.se format/format 35 mm, barvni/colour dol`ina/running time 98' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2008, Göteborg 2009, Mar del Plata (posebna nagrada `irije/ Special Jury Award), Miami 2008 (nagrada FIPRESCI/FIPRESCI Prize), Stockholm (nagrada ob~instva/ Audience Award, najbolj{i scenarij/ Best Screenplay)

prodaja/world sales Coproduction Office 24, rue Lamartine 75009 Paris, France E info�coproductionoffice.eu

Drugi film enfant terribla {vedske kinematografije ponuja duhovit in obenem provokativen pogled na sodobno {vedsko dru`bo in na absurdne dogodke, do katerih lahko konformizem privede posameznika, ~e ne zna v pravem trenutku postaviti meje.

The second film by the enfant terrible of the Swedish cinematography lends a humorous if poignant insight into contemporary Swedish society and the absurd situations a conformist can get into if unable to draw the line at the seminal moment.

V seriji petih, na prvi pogled nepovezanih zgodb re`iser humorno raziskuje razli~ne vidike vpliva skupine na posameznika: mo{kega srednjih let med zabavo v njegovem stanovanju po{koduje raketa, vendar no~e poiskati zdravni{ke pomo~i; voznik avtobusa mora ustaviti na po~ivali{~u za toliko ~asa, dokler potnica, ki je pokvarila zaveso na strani{~u, ne prizna krivde; mlad mo{ki je na sre~anju nekdanjih so{olcev pripravljen storiti vse, da le ne bi pokvaril zabave; pijani najstnici ena drugo spodbujata k spogledovanju in nadlegovanju srame`ljivega mladega mo{kega; osnovno{olska u~iteljica pa sku{a u~ence s pomo~jo eksperimenta nau~iti, naj ne podlegajo pritiskom okolice, vendar se zaradi tega sama znajde pod pritiskom kolegov …

The series of seemingly unrelated stories explores different perspectives on the power of a group over the individual: a man injured at his own party prefers to soldier on through the festivities rather than ruin the night for everyone else; a bus driver will not drive off the rest area until the passenger who broke the toilet curtain has accepted the blame; at a drunken reunion a young man exploits his mates' willingness to go with the flow to take advantage of another friend; a group of teenage girls pout, preen and flirt, pushing one another further in social and sexual games; and, a schoolteacher carries out a psychological experiment on her class to illustrate the power of peer pressure.

"Nenamerno mi pomeni dramati~en film o skupinskem vedenju, zares sem `elel poudariti lastnost, ki ljudi pomembno opredeljuje.

Smo ~redne `ivali, zato sem hotel prikazati razli~ne okoli{~ine, v katerih postopamo na dolo~en na~in, ker se pred drugimi bojimo osme{iti." (Ruben Östlund)

"For me, Involuntary is a dramatic film about group behaviour, and I really wanted to highlight something that is very fundamental about being a human being. We are herd animals, so I wanted to show different situations where we act in a certain way because we are afraid of losing face in front of each other." (Ruben Östlund)

Ruben Östlund

filmografija/filmography

Glej stran 116/see page 116.

Glej stran 116/see page 116.

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Händelse vid bank Incident by a Bank Incident pred banko [vedska Sweden 2009

Ruben Östlund

re`ija/directed by Ruben Östlund scenarij/screenplay Ruben Östlund fotografija/cinematography Marius Dybwad Brandrud zvok/sound Jan Alvemark monta`a/editing Ruben Östlund igrajo/cast Bahador Foladi, Ramtin Parvaneh (roparja/robbers), Leif Edlund, Rasmus Lindgren (varnostnika/ security guards), Lars Melin, Henrik Vikman (mo{ka na poti na sestanek/ men on their way to a meeting), Per Olof Albrektsson (starec/old man) producent/producer Erik Hemmendorff produkcija/production Plattform Produktion Vallgatan 9, 2 tr 411 16 Göteborg, Sweden E marie�plattformproduktion.se format/format 35 mm, barvni/colour dol`ina/running time 12'

Duhovita in podrobna filmska rekonstrukcija nenavadnega ban~nega ropa, ki se je zgodil v Stockholmu junija 2006.

Re`iserja je za film navdihnil resni~ni dogodek, ki mu je bil pri~a tudi sam. Nekega junijskega dne sta bila Östlund in njegov producent Erik Hammerdorff namenjena na {vedski filmski in{titut, ko je Erik nenadoma presene~eno vzkliknil: "Poglej, ta dva imata na sebi smu~arske maske!" Po nasprotni strani ceste sta se na motorju res pripeljala dva "smu~arja". Tako sta Östlund in Hammerdorff postala pri~i ropa, ki pa se je (za roparja) kon~al katastrofalno. "[e nikoli nisem bil pri~a poskusu ropa, vendar sem mislil, da bi si lahko predstavljal njegov potek. Seveda sem si to podobo izoblikoval na podlagi hollywoodskih filmov. Ti so mi pomenili referenco, h kateri bi se lahko zatekel, ~e bi v resni~nem `ivljenju videl ban~ni rop. Potem ko sem v `ivo izkusil ta incident (rop v Stockholmu), sem ugotovil, da hollywoodski prikazi v resnici niso pravilni. Incident pred banko sem posnel, da bi dopolnil neprave prikaze ropov, ki jih v hollywoodskih akcijskih filmih videvamo skorajda vsak dan." (Ruben Östlund)

An in-depth and funny cinematic reconstruction of an unusual bank robbery that took place in Stockholm in June 2006.

The director based his film on a real-life event that he had witnessed himself. One day in June Östlund and his producer, Erik Hemmendorff, were on the way to the Swedish Film Institute. Suddenly, Östlund heard Eric say, "Hey, aren't those guys wearing ski masks?" He looked across the street and saw two guys on a scooter wearing ski masks. That is how Östlund and Hammerdorff became eyewitnesses to an attempted robbery that ended up being a disaster.

festivali, nagrade (izbor)/ festivals, awards (selection) Berlin 2010 (zlati medved za najbolj{i kratki film/Golden Bear for Best Short Film), Festival kratkega filma Aspen/Aspen Shortsfest 2010 (posebna nagrada `irije/Special Jury Award), Cork 2010 (nagrada za najbolj{i evropski kratki film/ Best European Short Film), Krakov/ Cracow 2010 (srebrni zmaj/Silver Dragon)

"I had never seen a robbery attempt before, but I thought I would have an idea what one looked like. Of course, I got those images from Hollywood movies. Those movies were a reference for me that I thought I could rely on if I saw a bank robbery in real life. After being a witness to this incident (bank robbery in Stockholm), I realised these Hollywood images were not quite correct in real life. Making Incident by a Bank is a way to correct the false images of robberies we see almost daily in action movies made in Hollywood." (Ruben Östlund)

Ruben Östlund

filmografija/filmography

Glej stran 116/see page 116.

Glej stran 116/see page 116.

prodaja/world sales Plattform Produktion Vallgatan 9, 2 tr 411 16 Göteborg, Sweden E marie�plattformproduktion.se

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Play Play Igra Ruben Östlund

[vedska, Francija, Danska Sweden, France, Denmark 2011

re`ija/directed by Ruben Östlund scenarij/screenplay Ruben Östlund fotografija/cinematography Marius Dybward Brandrud glasba/music Saunder Juurians, Danny Bensi monta`a/editing Ruben Östlund, Jacob Schulsinger igrajo/cast Anas Abirahman, Sebastian Blyckert, Yannick Diakité, Sebastian Hegmar, Abdiaziz Hilowle, Nana Manu, John Oritz, Kevin Vaz producent/producer Erik Hemendorff produkcija/production Platform Produktion Vallgatan 9d S-411 16 Gothenburg, Sweden E mail�platformproduktion.se format/format 35 mm, barvni/colour dol`ina/running time 118’ festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2011, Toronto 2011

[tudija najstni{kega nasilja, ki temelji na resni~nih dogodkih ter se nala{~ poigrava z gledal~evimi predsodki in prepri~anjem, da se stvari vedno kon~ajo slabo.

Based on true accounts, the study in teen violence consciously toys with the viewers' prejudices and the conviction that things always end badly.

Film, posnet na podlagi natan~nega opazovanja nasilja med najstniki. V centru Göteborga je skupina fantov, starih med dvanajst in {tirinajst let, med letoma 2006 in 2008 ob kar {tiridesetih razli~nih prilo`nostih oropala druge otroke. Storilci so uporabljali strategijo, ki so jo poimenovali "{tevilo malih bratov" ali "bratski trik". Zanjo sta bili bolj kot fizi~no nasilje zna~ilni igra vlog in uporaba `argona tolp.

An astute observation based on real cases of bullying. In central Gothenburg, Sweden, a group of boys, aged 12–14, robbed other children on about 40 occasions between 2006 and 2008.

The thieves used an elaborate scheme called the 'little brother number' or 'brother trick', involving advanced role-play and gang rhetoric rather than physical violence.

"Temnopolti fantje izkori{~ajo svoj videz, izrabijo podobo, ki jim jo je nadela dru`ba. Po nastopu jih boste videli mirno jesti v McDonaldsu kot povsem obi~ajne fante. Razlika med nami je, da je Panova vloga na voljo njim, meni pa ne. (Kadar se Pan nenadoma prika`e, navda ljudi s pani~nim strahom. Op. prev.)"

(Ruben Östlund)

prodaja/world sales Coproduction Office 24 rue Lamartine 75009 Paris, France E info�coproductionoffice.eu

"The black boys are using their look, they play on the image that society has already imposed on them. After their show, you can see them eating at McDonald's like anyone else. The difference between us is that the role of the pan flute player is available to them, not to me." (Ruben Östlund)

Ruben Östlund

filmografija/filmography

Glej stran 116/see page 116.

Glej stran 116/see page 116.

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Aleksej German Alexei German

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Preizku{nja na poti Trial on the Road 1971 Dvajset dni brez vojne Twenty Days Without War 1977 Moj prijatelj Ivan Lap{in My Friend Ivan Lapshin 1984 Hrustaljov, moj avto! Khrustalyov, My Car! 1998 Te`ko je biti bog Hard to Be a God 2013

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Aleksej German Alexei German Simon Popek Kot mladeni~ je sanjal o poklicu zdravnika, kon~al je kot filmski re`iser. ^e se navedeni opis zdi krut, je to z razlogom; eden najbolj inovativnih, nekonvencionalnih in ikonoklasti~nih avtorjev, kar jih je naplavila neskon~na sovjetska (~e ne kar svetovna) kinematografija, je nazadnje posnel zgolj {est filmov, pa {e med temi prvega (Sedmi satelit, 1968) nikoli ni {tel za svojega, medtem ko je zadnji premiero do`ivel po njegovi smrti.

German je eden izmed nesre~nikov sovjetskega (in ruskega) filma; zaradi tak{nih ali druga~nih te`av je svoja dela pripravljal in snemal tudi po desetletje ali ve~, nakar mu jih je cenzura najve~krat bunkerirala. Dvajset dni brez vojne (1976) je bil umaknjen "samo" za nekaj let, medtem ko Preizku{nje na poti (1971) po kon~anju niso le prepovedali, temve~ skoraj uni~ili; prvi~ je bila predvajana {ele konec osemdesetih let, ob Perestrojki, podobno kot Moj prijatelj Ivan Lap{in (1984), v katerem ozra~je popolnoma prekrije zgodbo, bolj{evi{ki idealizem pa je predstavljen kot izgubljeni ideal.

Vsi Germanovi filmi razen zadnjega se dotikajo nekaterih klju~nih dogodkov sovjetske zgodovine. Sedmi satelit je postavljen v ~as revolucije in uvedbe "rde~ega terorja", Preizku{nja na poti med nacisti~no okupacijo sovjetskega severozahoda, Dvajset dni brez vojne v obdobje po stalingrajski bitki, Ivan Lap{in v ~as Stalinovih ~istk v tridesetih letih in Hrustaljov, moj avto (1998) v leto 1953, ko je Stalin v svoji da~i umrl. Kljub zgodovinsko pomembnim, celo prelomnim dogodkom pa Germanovi filmi {e zdale~ ne ponujajo (soc)realisti~ne rekapitulacije. Re`iserjeva edinstvenost je prav v negiranju ustaljenih vzorcev in ustvarjanju edinstvenega, neoprijemljivega sveta, v uveljavljanju lastnih pravil, ki niso nasprotovala le uradni partijski estetiki, temve~ tudi tradicionalnim pravilom filmskega jezika.

Germanov slog je – milo re~eno – nekonvencionalen, stranski liki npr. nemalokrat rinejo v ospredje in prevzamejo pobudo pred glavnimi. Gre za zna~ilno re`iserjevo metodo, po kateri se po "te`i" nepri~akovano ne izmenjujejo le liki, temve~ tudi prvi in drugi plan ali osrednje in stranske pripovedi. Hierarhija se v Germanovih filmih neprestano ru{i; ruski filmski zgodovinar Anton Dolin ugotavlja, da revolucionarna maksima "tisti, ki je bil nepomemben, bo odslej pomemben" pri Germanu dobi povsem novo razse`nost. Trivialni detajli v njegovih filmih neredko dobijo nepredstavljiv pomen; dober primer je Hrustaljov, v njem oseba, po kateri je poimenovan film, ni le nepomembna, temve~ se v filmu sploh ne pojavi!

Svojih filmov German ni poseljeval z antijunaki, temve~ z nejunaki, njegova metoda "negiranja likov" dose`e vrhunec v neponovljivem Hrustaljovu, mojstrovini, ki jo je nemogo~e klasificirati in v kateri ni ne osrednjega junaka ne konkretne zgodbe. Fragmentiranje pripovedi sega `e v ~as Preizku{nje na poti, pristop pa je radikaliziral v Dvajsetih dneh brez vojne, v katerem zapleta v klasi~nem smislu sploh ni; to je vojni film, v katerem je vojna odsotna.

Anton Dolin re`iserju pripisuje tudi iznajdbo osebnega `anra, "filma spominjanja". V njem nedolo~ljivost meje med sanjami in resni~nostjo, pomembnim in nepomembnim, simbolnim in naklju~nim postane osnova za dialog med ob~instvom, katerega zavest o dogajanju na platnu je vedno omejena, in avtorjem, ~igar znanje je vedno obse`nej{e.

Prav poudarjanje nepomembnih detajlov je bilo vzvod za prve spore z vodilnimi v sovjetski kinematografiji, saj je bilo negiranje hierarhije vodilnih (ali herojskih) likov v nasprotju s paradigmo partijskega filma. [ele njegov zadnji film Te`ko je biti Bog lahko dojemamo kot pripoved, v kateri osrednji dogodek ni potisnjen v ozadje, {e ve~, lahko bi rekli, da ekranizacija romana bratov Strugacki opisuje juna{ko dejanje … ki ga German, zvest samemu sebi, nazadnje seveda ni prikazal.

Je bil ruski hiperrealist z ambicijo po dokumentarni avtenti~nosti utele{enja uporni{kega duha? Te`ko bi rekli, kljub te`avam s cenzuro in prikazovanjem svojih filmov nikoli ni postal disident, njegovi filmi prav tako nikdar niso slavili posameznikov, ki so nasprotovali sovjetskemu re`imu. Bil je tragi~en lik nekega ~asa in ustvarjalec, zvest svojim na~elom. Pred leti je v intervjuju priznal, da se ima za "neuresni~enega, pravzaprav neuspe{nega in nesre~nega ~loveka".

As a young man, Alexei German wanted to become a doctor, but ended up a film director. If the expression seems cruel, it's cruel for a reason; one of the most innovative, unconventional and iconoclastic authors ever yielded by the immense Soviet (if not global) cinematography ultimately made only six films, of which German disowned his first one (The Seventh Companion, 1968) and did not live long enough to witness the premiere of his last one.

German is one of those unfortunate figures of the Soviet (and Russian) cinema; it was for various reasons that production of his works would take a decade or even more, and then the Soviet censorship would regularly bar the release of his films. Twenty Days without War (1976) was banned for "only" a few years, while Trial on the Road (1971) was not only barred but also nearly destroyed; it was released for the first time in late 1980s, at the time of the Perestroika, just like My Friend Ivan Lapshin (1984), a film whose atmosphere completely overrides the narrative and that represents the Bolshevist idealism as a lost ideal.

All of German's films, except for his final one, touch upon a pivotal event in Soviet history. The Seventh Companion is set during the Revolution and the establishment of the "Red Terror", Trial on the Road during the Nazi occupation of the Soviet northwest, Twenty Days without War takes place after the Battle of Stalingrad, My Friend Ivan Lapshin chronicles Stalin's purges in 1930s and Khrustalyov, My Car! (1998) shows Stalin's demise in his dacha in 1953. Although these are historic and even landmark events, German's films refrain from offering a (socially) realistic recapitulation. The director's uniqueness lies precisely in the negation of the traditional patterns and in creating an unequalled, ungraspable universe, in formulating his own principles that contradicted not only the official Soviet aesthetics but also the established rules of cinematic idiom.

German's style is – to put it mildly – unconventional, his supporting characters, for example, more often than not tend to occupy the forefront and take initiative over the principal ones. Applying his signature method, the filmmaker switches primary and secondary characters, foreground and background, main action and subplot.

The hierarchy in German's films is all but abolished; a Russian film historian, Anton Dolin, maintains that the revolutionary maxim “He who was nothing will become everything” acquires an entirely new dimension with German. Trivial details are at the very core of German's films; a fine example is Khrustalyov, in which the title character is not only insignificant but also absent!

German's protagonists are not anti-heroes, rather, they're nonheroes, his method of “character negation” reaches its extreme in the unparalleled Khrustalyov, a masterpiece that defies classification and lacks both a principle character as well as a concrete storyline.

Whereas the story fragmentation can be traced back to Trial on the Road, the technique was radicalised in Twenty Days without War, a film devoid of a classical plot; a war film without a war.

For Anton Dolin, German is the sole practitioner of a genre of his own invention: “film recollection.” Here, the vagueness of boundaries between dream and reality, between the meaningful and the meaningless, between the symbolic and the accidental becomes the basis for a dialogue between the viewer, whose knowledge of what's happening on the screen is always limited, and the filmmaker, whose knowledge is always extensive.

It is the foregrounding of the insignificant details that induced first conflicts with the Soviet cinema authorities, his scrapping of the character (or hero) hierarchy deemed necessary to the Party cinema. It is only Hard to Be a God, his last film, that can be considered to have a narrative in which the principal event is not pushed to the sidelines, far from it, one could say that the screen adaptation of the novel by brothers Strugatsky depicts a heroic deed… which German, in line with his cinematic creed, refrains from showing.

Was the Russian hyperrealist, who aspired towards documentary authenticity, an embodiment of rebellious spirit? It’s hard to say, despite the censorship and barred release of his films he did not turn into a dissident, and his films never glorified opponents of the Soviet regime. German was a tragic figure of an era, a filmmaker of idiosyncratic artistic principles. In an interview, years back, he confessed that he believed himself to be “an unfulfilled, actually 123 unsuccessful and unhappy person.”

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Proverka na dorogah Trial on the Road Preizku{nja na poti Aleksej German

re`ija/directed by Aleksej German scenarij/screenplay Jurij German (zgodbe/stories), Edvard Volodarski fotografija/cinematography B. Aleksandrovski, Lev Kolganov, Jakov Sklianski glasba/music Isaak [varc monta`a/editing Ana Babu{kina igrajo/cast Rolan Bjikov (Ivan Egorovi~ Lokotkov), Anatolij Solonitsin (Igor Leonidovi~ Petu{kov), Vladimir Zamanski (Aleksander Ivanovi~ Lazarev), Oleg Borisov (Viktor Mihajlovi~ Solomin), Fjodor Odinokov (Erofei~), Anda Zaice (Inga), Genadi D`ud`ajev (Dimitri Mit’ka), Maja Bulgakova (obupana `enska/unhopeful woman), Nikolaj Burljajev (mladi policist/young policeman) produkcija/production Lenfilm Studio (Soviet Union) format/format 35 mm, ~b/b&w dol`ina/running time 96'

Samostojni prvenec Alekseja Germana, ki so ga sovjetske oblasti ob izidu leta 1971 nemudoma prepovedale, izid pa je zato do~akal {ele petnajst let pozneje.

German's first solo directing effort scandalised Soviet authorities and was in 1971 withheld from release for 15 years.

Preizku{nja na poti temelji na resni~ni zgodbi, ki jo je re`iserju izpri~al njegov o~e, pisatelj Jurij German. Lazarev je mlaj{i narednik v Rde~i armadi, ki je dezertiral v nem{ko vojsko.

Ko se pozneje ponovno pridru`i Sovjetom, ga vsi gledajo s sumni~avostjo, zato mora nenehno dokazovati svoj patriotizem prek vrste nevarnih voja{kih misij. Aleksej German v filmu razbija raz{irjene mite o boji{~ih Vzhodne fronte ter v iskanju humanizma bri{e navidez jasno mejo med junaki in izdajalci.

Inspired by a real case documented by German's father, Trial on the Road tells the story of Lazarev, a Junior Sergeant in the Red Army who defected to the Nazis and, as the film begins, has switched sides yet again. His loyalties questioned by all except for a benevolent Commander, Lazarev is forced to prove his patriotism via a series of increasingly perilous missions. At every turn, German cuts through the popular myths of WWII valour to show us a bitterly ironic battlefield where distinctions like "hero" and "traitor" cease to have any real meaning.

"Preizku{nja na poti je nedvomno eden od velikih sovjetskih poststalinisti~nih vojnih filmov, ki z zdru`evanjem slogov, spodbijanjem mitov in splo{no dvoumnostjo napoveduje Germanova poznej{a dela, {e zlasti film Moj prijatelj Ivan Lap{in.

Kot je poudaril Tony Wood: 'Vsi Germanovi filmi se osredinjajo na trenutke, v katerih se prepletata, celo nevarno spajata zgodovina in mitologija. Svoje filme je opisal kot antipoto~nje, usmerjene proti toku: razbijajo ustaljena prepri~anja in spodkopavajo udobno resnico.'" (Pasquale Iannone, Senses of Cinema)

prodaja/world sales Lenfilm Studio 10, Kamennoostrovsky Ave 197101, St. Petersburg, Russia E info�lenfilm.ru

Sovjetska zveza Soviet Union 1971

"Undoubtedly one of the great post-Stalinist Soviet war films, Trial on the Road – in its blending of styles, its questioning of myths, its overall ambiguity – looks forward to German's later works, most notably My Friend Ivan Lapshin. As Tony Wood has pointed out, 'All German's films focus on moments in which history and myth have become entangled, if not dangerously indistinguishable. He has described his films as 'antipotochnye', 'against the current': disrupting certainties and undermining convenient truths.'" (Pasquale Iannone, Senses of Cinema)

Aleksej German

filmografija/filmography

Rojen leta 1938 v Leningradu (danes Sankt Peterburg), Rusija. Velja za enega od velikanov ruskega filma, ki ga tudi na svetovni ravni uvr{~ajo med re`iserje, kot sta Stanley Kubrick in Terrence Malick. Njegov filmski opus zaradi pogoste cenzure takratne Sovjetske zveze obsega samo {est filmov.

Po dolgotrajnem trinajstletnem ustvarjanju filma Te`ko je biti bog je leta 2013 pri {tiriinsedemdesetih letih umrl v rojstnem Sankt Peterburgu.

1968 Sedmoj sputnik (The Seventh Companion/Sedmi sopotnik) 1971 Proverka na dorogah (Trial on the Road/Preizku{nja na poti) 1977 Dvadtsat dnej bez vojni (Twenty Days Without War/Dvajset dni brez vojne) 1984 Moj drug Ivan Lap{in (My Friend Ivan Lapshin/Moj prijatelj Ivan Lap{in) 1998 Khrustaljov, ma{inu! (Khrustalyov, My Car!/Hrustaljov, moj avto!)

2013 Trudno bit bogom (Hard to Be a God/Te`ko je biti bog)

Born in 1938 in Leningrad (present-day Sankt Petersburg), German is a preeminent Russian filmmaker. The extraordinary artistic integrity of this director, equivalent to that of great masters such as Terrence Malick and Stanley Kubrick, and the incursions of Soviet censorship, which regularly barred the release of his films, limited German's production to six featurelength films. His epic project, Hard to Be a God, took thirteen years of hard work. Aleksei German died at the age of 74 in his native Sankt Petersburg.

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Dvadtsat dnej bez vojni Twenty Days Without War Dvajset dni brez vojne Aleksej German

Sovjetska zveza Soviet Union 1977 re`ija/directed by Aleksej German scenarij/screenplay Konstantin Simonov fotografija/cinematography Valerij Fedosov glasba/music Viktor Lavrov monta`a/editing Ye Makankova igrajo/cast Jurij Nikulin (Lopatin), Ljudmila Gur~enko (Nina), Aleksej Petrenko (pilot), Angelina Stepanova (gledali{ka umetni{ka vodja/ theatre artistic director), Jekaterina Vasiljeva (Rubcova), Nikolaj Grinko, Ljusjena Ov~inikova, Mihail Kononov (Rubcov), Lija Aked`akova, R. Sadikov (sekretar Centralnega komiteja/Central Committee secretary), Konstantin Simonov (pripovedovalec/narrator) produkcija/production Lenfilm Studio (Soviet Union) format/format 35 mm, ~b/b&w dol`ina/running time 101'

Film, posnet po avtobiografskih zgodbah slovitega sovjetskega pisatelja Konstantina Simonova, je pomagal o`iviti uspeh Alekseja Germana po prepovedi njegovega prvenca.

Twenty Days is based on autobiographical stories by celebrated novelist Konstantin Simonov, who helped to revive German's stalled career out of admiration for the director's long-banned debut feature.

Zima leta 1942. Major Lopatin se odpravi na dvajsetdnevni izhod iz sovjetske vojske, da bi v rojstnem Ta{kentu `eni padlega kolega sporo~il novico o njegovi smrti. Na ulicah tako poznanega doma~ega kraja se zaplete v spogledovanje s privla~no {iviljo.

Ta dela v kostumskem oddelku filmskega projekta, ki ga pravkar snemajo po predlogi Lopatinovih objavljenih vojnih spominov.

S tem "filmom v filmu" je Aleksej German podal piker komentar svojega lastnega polo`aja v sovjetski filmski industriji, obenem pa je z njim posnel dar vsem tistim, ki so v vojnem ~asu ostali v doma~ih krajih in so namesto fizi~nih utrpeli predvsem ~ustvene bole~ine.

It is the winter of 1942. Lopatin, a Soviet Army Major, takes a twenty-day furlough to deliver the news of a fallen comrade to the dead man's wife in his own home town of Tashkent.

While he is back on those familiar streets, Lopatin begins a tentative courtship of a lonely seamstress working in the costume department on a feature film – a film based on Lopatin's published wartime memoirs. The movie within the movie offers German ample opportunity to comment on his own position within the Soviet film industry as well as pay tribute to those who remain on the home front in times of war, and how none of them escape without their own physical and emotional scars.

"Pet let po osupljivem prvencu Preizku{nja na poti se re`iser Aleksej German vra~a z navdu{ujo~o raziskavo razli~nega odnosa do vojne. /.../ Ta odli~na {tudija razli~nih dojemanj, v {tevilnih pogledih predhodnica ameri{kih vojnih filmov Oliverja Stona, je bila v Sovjetski zvezi dolga leta prepovedana." (Robert Firsching, All Movie Guide)

"Five years after his intriguing debut, Trial on the Road, director Alexei German returned with this fascinating examination of differing attitudes toward war. /.../ In many ways a precursor to the American war films of Oliver Stone, this excellent study of varying perceptions was banned in the Soviet Union for several years." (Robert Firsching, AllMovie Guide)

Aleksej German

filmografija/filmography

Glej stran 124/see page 124.

Glej stran 124/see page 124.

prodaja/world sales Lenfilm Studio 10, Kamennoostrovsky Ave 197101, St. Petersburg, Russia E info�lenfilm.ru

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Moj drug Ivan Lap{in My Friend Ivan Lapshin Moj prijatelj Ivan Lap{in Aleksej German

re`ija/directed by Aleksej German scenarij/screenplay Jurij German (roman/novel), Edvard Volodarski fotografija/cinematography Valerij Fedosov glasba/music Arkadij Gagula{vili monta`a/editing Leda Semjonova igrajo/cast Andrej Boltnev (Ivan Lap{in), Nina Ruslanova (Nata{a Adasova), Andrej Mironov (Kanin), Aleksej @arkov (Oko{kin), Zinajda Adamovi~ (Patrikejevna), Aleksander Filipenko (Zanadvorov), Jurij Kuznetsov (vi{ji in{pektor/superintendent), Valerij Filonov (Pobu`inski), Anatoli Slivnikov (Bi~kov), Andrej Dudarenko (Ka{in), Semjon Farada, Nina Usatova, Valerij Kuzin (pripovedovalec/narrator) produkcija/production Lenfilm Studio (Soviet Union) format/format 35 mm, barvni, ~b/colour, b&w dol`ina/running time 100' festivali, nagrade (izbor)/ festivals, awards (selection) Locarno 1986 (nagrada Ernest Artaria/Ernest Artaria Award)

[e ena v vrsti prepovedanih mojstrovin Alekseja Germana, ki so jo kritiki v anketi leta 1987 razglasili za najbolj{i ruski film vseh ~asov.

Another banned masterpiece by Alexei German, voted the greatest Russian film ever made in a 1987 Russian critics' poll.

Moj prijatelj Ivan Lap{in podobno kot Germanov prvenec Preizku{nja na poti temelji na avtobiografskih zgodbah re`iserjevega o~eta, pisatelja Jurija Germana. Film je portret `ivljenja v pode`elskem sovjetskem mestecu leta 1935, ko se je kult Stalinove osebnosti za`rl v vsakdanjik obi~ajnih ljudi. Lap{in je policijski in{pektor, ki neuspe{no dvori igralki na turneji v mestu, obenem pa stopi na sled podzemni tolpi gangsterjev. Kot obi~ajno v Germanovih filmih je namesto pripovedi tudi tu v ospredju ozra~je, v katerem re`iser mojstrsko prika`e kolektivisti~ni idealizem in Stalinovo strahovladje na vrhuncu mo~i.

Similarly to Trial on the Road, German's debut feature, My Friend Ivan Lapshin is based on autobiographical stories written by the director's father, author Yuri German. The film takes place in a provincial town in 1935, at a time when the cult of Stalin’s personality has invaded the lives of ordinary people. Police inspector Lapshin unsuccessfully woos a touring actress and more successfully tracks down a criminal gang trafficking in human flesh. As usual in German's films, the central plot is less important than the ambience – a mood of bustling collectivist idealism shadowed by the great Stalinist terror that would soon descend.

"Gre za zgodbo o tridesetih letih dvajsetega stoletja. /.../ V dr`avi se pove~a represija. [tevilni kmetje so prisiljeni svoja domovanja in posest prepustiti dr`avi in oditi. Partija je razpadala. Videnje vasi, celoten sistem je razpadal. Ideja o revoluciji se je krhala.

Kru{ila so se moralna na~ela. /.../ Vendar, ali so obstajali kak{ni dobri ljudje? Da, so. Dobri ljudje z moralnimi na~eli? Da, so.

Ljudje, ki so sku{ali `iveti skladno z resnico. Da, so. /.../ @eleli smo prikazati `ivljenje in nekatere stvari, ki so ljudi pozneje vodile v smrt." (Aleksej German)

prodaja/world sales Lenfilm Studio 10, Kamennoostrovsky Ave 197101, St. Petersburg, Russia E info�lenfilm.ru

Sovjetska zveza Soviet Union 1984

"This is a story about the 1930s. /.../ A lot of repression took place. Many peasants were forced to leave their residence and their property to the State and go away. The Party was being destroyed. The village, the whole system was being destroyed.

The idea of the revolution was being destroyed. And all the moral principles were being destroyed. /.../ But were there any good people? Yes, there were. Good people with moral principles? Yes, there were. People who tried to live in line with the truth. Yes, there were. /.../ We wanted to show life and some of the things that brought the people to death later." (Alexei German)

Aleksej German

filmografija/filmography

Glej stran 124/see page 124.

Glej stran 124/see page 124.

Via Ajaccio, 20 00198 Rome, Italy

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Khrustaljov, ma{inu!

Khrustalyov, My Car! Hrustaljov, moj avto!

Aleksej German

Halucinatorna satira o zadnjih dneh Stalinovega re`ima je Germanovo najbolj skrajno in provokativno filmsko delo.

Smo v letu 1953, v ~asu velikega vznemirjenja v Sovjetski zvezi. Velikemu Stalinu te~ejo zadnje ure `ivljenja. Oblasti lovijo judovske zdravnike z obto`bami o domnevni na~rtni zastrupitvi sovjetskih voditeljev, med obto`enimi je tudi Klenski, bolni{ni~ni direktor in nevrokirurg. Policija ga ulovi in po{lje v gulag, a Klenski se pozneje proti vsem pri~akovanjem vrne. [e ve~, zdravnik je celo pri~a Stalinovim zadnjim trenutkom, ki so v Germanovi filmski razli~ici globoko {pekulativni, a tudi nepozabni.

"Hrustaljov, moj avto! je film o ekstravagancah mo~i. Eno minuto Klenskemu sestra izvaja felacijo, naslednji trenutek ga posiljujejo zaporniki, sekunde zatem pa je rehabilitiran in pozvan k negi velikega vodje. Stalinova strahovita mo~ je vsemogo~na, njegovo telo pa je razpadlo in njegovo ~revesje raztegnjeno. /.../ Gre za ostro obsodbo stalinizma in nasilja, ki ga je raz{irjal po dru`bi, v kateri mo` potol~e drugega, preden njega samega v neskon~nem, zaudarjajo~em ciklu napade tretji." (Greg Dolgopolov, Senses of Cinema)

Rusija, Francija Russia, France 1998

A hallucinatory satire on the crazed final days of Stalin's regime. Arguably German's most extreme and wildly provocative film.

The year is 1953, a time of maximum unease in the USSR, as Stalin lies dying and Jewish doctors are being purged for an alleged plot to poison Soviet leaders. Among those under suspicion is the dynamic Surgeon General Klensky, who presides over a hospital. The film follows Klensky on a frantic journey to the end of the night and beyond, as he is hounded by the police, hustled off to a gulag, and then yanked back to witness a farfetched but unforgettable version of Stalin's demise.

"Khrustalyov, My Car! is a film about the vagaries of power. One minute Klensky is given fellatio by a nurse, the next he is being raped by prisoners, and then moments later he is rehabilitated and summoned to tend to the Great Leader. Stalin's almighty power is omnipotent but his body is crumpled and his gut extended. /.../ This is a vicious denunciation of Stalinism and the violence that it propagated throughout society, where one man bashes another before being himself brutalised by a third in an endless, fetid cycle." (Greg Dolgopolov, Senses of Cinema)

re`ija/directed by Aleksej German scenarij/screenplay Joseph Brodsky (zgodba/story), Aleksej German, Svetlana Karmalita, Pekka Lehto fotografija/cinematography Vladimir Ilin glasba/music Andrej Petrov monta`a/editing Irina Gorokovskaja igrajo/cast Jurij Tsurilo (Klenski), Nina Ruslanova (`ena/wife), Mihail Dementjev (sin/ son), Aleksandr Ba{irov (idiot), Natalja Lvova, Dima Davidov, Sergej Dja~kov, Jüri Jarvet Jr., Ivan Matskevi~, Viktor Mihajlov (generalov voznik/general's driver), Paulina Mjasnikova (generalova mati/general's mother), Nijole Narmontaite (Sonja), Olga Samo{ina, Tamara Serkova, Genrietta Janovskaja producenti/producers Aleksandr Golutva, Armen Medvedev, Guy Séligmann produkcija/production Lenfilm Studio 10, Kamennoostrovsky Ave 197101, St. Petersburg, Russia E info�lenfilm.ru & Canal+ (France) & Centre National de la Cinématographie (CNC) (France) & Goskino (Russia) & La sept cinéma (France) & Orimi (Russia) & Petroagroprombank (Russia) & Sodaperaga Productions (France) & VGTRK (Russia) format/format 35 mm, ~b/b&w dol`ina/running time 137' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 1998, New York 1998

Aleksej German

filmografija/filmography

Glej stran 124/see page 124.

Glej stran 124/see page 124.

prodaja/world sales Pyramide International 5 rue du Chevalier de Saint-George F 75008 Paris, France E ilaria�pyramidefilms.com

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Veliko platno Big Screen 132 133 134 135 136 137 138 139 140 141 142 143

Italijanski slamnik The Italian Straw Hat René Clair ^arovnik iz Oza The Wizard of Oz Victor Fleming Rde~i ~eveljci The Red Shoes Michael Powell, Emeric Pressburger Teodora, bizantinska cesarica Theodora, Slave Empress Riccardo Freda Lawrence Arabski Lawrence of Arabia David Lean Potnica Passenger Andrzej Munk Playtime Playtime Jacques Tati Centralna regija La région centrale Michael Snow Francoska zveza The French Connection William Friedkin Satantango Satantango Béla Tarr Peta stopnja Level Five Chris Marker Socializem Socialism Peter von Bagh

V spomin Petru von Baghu (1943–2014) "… ~ista ljubezen do filma mora biti srž iniciativ, kot so filmski festivali."

Peter von Bagh In memory of Peter von Bagh (1943–2014) "…there should be an absolute love of cinema at the centre of an enterprise like film festivals." Peter von Bagh

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Filmi, ki jih no~ete videti nikjer drugje kot v kinodvorani Films You Wouldn't Want To See Anywhere Else Than In A Movie Theatre Ma{a Pe~e Retrospektiva Filmi, ki jih no~ete videti nikjer drugje kot v kinodvorani zaokroža Leto kina – Kinodvor 90, leto praznovanja kina in filma, s katerim v sezoni 2013/14 obhajamo 90-letnico delovanja kinematografa na Kolodvorski 13, dana{njega mestnega kina Kinodvor. Celoletni projekt, zasnovan kot odprta platforma, ki v javnosti {iri zavest o pomenu kina, se je za~el lanskega oktobra z mednarodno konferenco Mesto kina, posve~eno razmisleku o vlogi in pomenu sodobnega kinematografa. Z retrospektivo, ki je nastala v sodelovanju s Slovensko kinoteko (ob praznovanju 50-letnice njene dvorane) in festivalom Liffe (ki letos slavi ~etrt stoletja), pa se vra~amo k filmu – to je k filmu v kinu.

Ob zavedanju, da si vse ve~ filmov ogledamo onkraj kinodvorane, na malih zaslonih doma~ih ra~unalnikov in televizorjev, na miniaturnih zaslonih množice drugih elektronskih naprav, se poraja neizogibno vpra{anje, ali filmi {e potrebujejo kino, da bi se v polnosti manifestirali – in predvsem zakaj? Ali obstajajo argumenti "za" ohranjanje kinematografske izku{nje, "za" kino? Kje in kak{no je danes prese~i{~e filmske in kinematografske kulture? V želji, da bi odgovorili na nekatera od teh vpra{anj ali ponudili vsaj izhodi{~e in osnovo za razmislek ter praznovanje kina in filma danes in v prihodnje, smo k sodelovanju povabili imeniten in raznovrsten izbor mednarodnih poznavalcev in ljubiteljev filma – filmskih kritikov, kuratorjev, selektorjev filmskih festivalov, teoretikov in zgodovinarjev – ter jih vpra{ali, katerih filmov no~ejo videti drugje kot v kinu. Njihove misli objavljamo v zborniku Filmi, ki jih no~ete videti nikjer drugje kot v kinodvorani, ki je med festivalom na voljo obiskovalcem. Izbor njihovih "filmov za kino" je snov te retrospektive.

Nismo jih poprosili za "top listo" najljub{ih ali najve~jih filmov vseh ~asov. Prej kot iz~rpna akademska razprava nas je zanimal njihov osebni, angažirani pogled. Prosili smo jih, naj razmi{ljajo o sodobnih razmerah in dana{njem pomenu kina, ~etudi bi izbrali filme iz bližnje in daljne preteklosti. In velikodu{no so se odzvali. Peter von Bagh, Raymond Bellour, Paolo Cherchi Usai, Ian Christie, Mark Cosgrove, Koen Van Daele, Christine Dollhofer, Chris Fujiwara, Donatello Fumarola, Bruce Goldstein, Olaf Möller, Michael Pattison, Simon Popek, Paul C. Spehr, Andrej [prah, Gerwin Tamsma, Kenneth Turan, Tanja Vrvilo in Neil Young.

Kot je bilo pri~akovati, je njihov filmski okus raznovrsten. Njihov filmski kredo je precej bolj enoten, pa ~eprav v~asih bolj, v~asih manj radikalen. "Edini avtenti~ni prostor filma je Kino! Vse druge prikazovalne oblike so zgolj približki, nadomestila, zamenjave, informacije, ilustracije ..." ([prah) "^e resni~no ljubite filmsko umetnost, potem filma, ki bi ga raje videli drugje kot v kinu, {e niso posneli." (Turan) "Kot bi ne obstajalo ne{teto razlogov, da se odpravi{ v kino!" (Möller) "Toda ali obstaja film, za katerega bi se bila pripravljena radikalno prikraj{ati, ki ga ne bi gledala nikjer, ~e ga ne bi mogla videti v kinu? Odgovor je preprost: ne. Vsak film, ki ga želim videti, bi pogledala – na kateremkoli dostopnem formatu in v kakr{nikoli obliki …" (Vrvilo) "Ni pomembno, kako se zaljubi{ v film.

Pomembno je, da je ta ljubezen iskrena." (Cherchi Usai) "Pravi" film daje kinodvorani njen raison d'être. Prava kinodvorana (primerno opremljena, z izku{eno, skrbno in strokovno ekipo) daje filmu "brez{ivni dispozitiv: ti{ino, temo, distanco, ob~instvo, projekcijo". (Bellour) Ta odnos vzajemnosti in soodvisnosti, to strastno in zvesto ljubezensko razmerje med filmom in kinodvorano sta jedro in fokus te retrospektive. Vabljeni v Kino.

The retrospective of Films You Wouldn't Want To See Anywhere Else Than In A Movie Theatre brings to a close "Leto kina – Kinodvor 90, A Year of Celebrating Cinemas and Cinema", marking the 90th anniversary of the movie theatre on Kolodvorska 13, today's Kinodvor City Cinema. Envisioned as an open platform bringing the role of cinemas to public attention, the yearlong project commenced in October 2013 with an international conference on the role and meaning of the contemporary movie theatre entitled "The Place of the Cinema".

With the retrospective, organized in cooperation with the Slovenian Cinematheque (celebrating its 50th jubilee) and Liffe (reaching its quarter century milestone) we shift our attention back to film – in the cinema.

Considering the fact that we see a growing amount of films outside the movie theatre, on the small screens of TV sets and home computers, on the minuscule screens of countless other electronic devices, we inevitably ask ourselves: Do films still need cinemas to fully manifest themselves – and, above all, why?

Can we build a case "for" cinema today? To what extent do film culture and cinema culture still overlap? To answer some of these questions or at least provide a point of departure for (re)thinking and celebrating cinemas and cinema, today and in future, we invited a varied selection of prominent international experts and enthusiast in the field of cinema – film critics, curators, festival programmers, theoreticians and historians – and asked them which films they simply wouldn't want to see anywhere else except in a cinema. Their thoughts, memoirs and points of view are published in Films You Wouldn't Want To See Anywhere Else Than In A Movie Theatre, available in English and Slovene during the 25th Liffe. A selection of their chosen "movies for the movies" is showcased in this retrospective.

We asked neither for their top film favourites nor a list of the all-time greats. Instead of elaborate essays, we wished to learn of their personal convictions. We asked them to focus on the meaning of cinemas today, even if they should choose films of recent or distant past. They generously responded. Peter von Bagh, Raymond Bellour, Paolo Cherchi Usai, Ian Christie, Mark Cosgrove, Koen Van Daele, Christine Dollhofer, Chris Fujiwara, Donatello Fumarola, Bruce Goldstein, Olaf Möller, Michael Pattison, Simon Popek, Paul C. Spehr, Andrej [prah, Gerwin Tamsma, Kenneth Turan, Tanja Vrvilo, and Neil Young.

They differ greatly in cinematic taste. And are very like-minded, albeit more or less radical, in their cinematic creed. "The only authentic space of film is a Cinema! All other exhibition modes are mere approximations, substitutions, replacements..." ([prah) "If you truly love cinema, the film hasn't been made that you’d rather see anywhere except inside a movie theatre." (Turan) "As if there weren't myriads of reasons to go to the movies!”

(Möller) "But is there a film I would radically deprive myself of by not watching it if it cannot be in a cinema? In short, no. I would watch any film that I wish to see in any available format and in any form…" (Vrvilo) "It doesn't matter how you become engaged with cinema, as long as the engagement is genuine." (Cherchi Usai) The "right" film provides the cinema with its raison d'être. The proper theatre (well-equipped and run by attentive, skilled and experienced professionals) offers film a "dispositif which is 'all of a piece': silence, darkness, distance, audience, projection."

(Bellour) This relation of reciprocity and mutual dependence, this passionate and faithful love affair between film and cinema is the sum and substance of our retrospective. Welcome to Cinema.

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Un chapeau de paille d'Italie The Italian Straw Hat Italijanski slamnik Francija, Nem~ija France, Germany 1928

René Clair re`ija/directed by René Clair scenarij/screenplay René Clair (po dramskem besedilu/ based on a play by/ Eugèna Labicha in Marca Michela) fotografija/cinematography Maurice Desfassiaux, Nikolas Roudakoff glasba/music Georges Delerue (1952), Benedict Mason (1983) montaža/editing René Clair igrajo/cast Albert Préjean (Fadinard, ženin), Olga Tschechowa (Anais de Beauperthuis), Geymond Vital (poro~nik Tavernier/Lt. Tavernier), Paul Ollivier (stric Vézinet/uncle Vézinet), Alex Allin (Félix), Jim Gérald (Beauperthuis) producent/producer Alexandre Kamenka produkcija/production Films Albatros (France) format/format 35 mm, ~b, nemi/b&w, silent dolžina/running time 84'

Ena najbolj duhovitih in domiselnih komedij nravi svojega ~asa, spretno za~injena s {~epcem Lubitschevega pridiha, v kateri se razigrani Clair neusmiljeno loti dlakocepstva in ujetosti v družbene norme ter pravil tedanjega francoskega me{~anstva.

One of the funniest and most inventive comedies of manners, imaginatively spiced with the “Lubitsch touch”, in which the playful Clair ruthlessly ridicules pedantry and slavish observance of social norms and rules of the then French bourgeoisie.

Fadinard se s konjem brezskrbno odpravi na svojo poroko. Zaradi veselega dogodka je malce vznemirjen in raztresen, zato ne opazi, da je njegov konj, ko sta se zaustavila, da bi ta pomulil listje z bližnjega grmi~ka, pograbil tudi slamnati klobuk. Bolj kot nad prekrasnim primerkom tedanje visoke pari{ke mode je konj navdu{en nad uporabljenim gradivom – slamo. Manj navdu{ena je seveda lastnica klobuka, mlada in lepa žena, ki si je za tistim grmi~kom privo{~ila manj{i skok ~ez plot. ^e se domov vrne brez klobuka, bo mož to gotovo opazil. Brez klobuka preprosto ne bo {lo, zato mora Fadinard nujno poiskati primerno zamenjavo.

Riding to his wedding, Fadinard, somewhat excited and absentminded on account of the big day, fails to notice that his horse has eaten a lady’s hat on a bush by the roadside. More than the prime specimen of Parisian haute couture, the horse seems keen on the material – straw. The owner, a young and beautiful woman, is naturally less keen; namely, the lady was hidden behind the bush with her lover. Because she is married, she cannot return home hatless without being compromised.

Fadinard has to replace the hat with one exactly like it. In an elaborate sequence of complications, he tries to find a hat while keeping to his wedding schedule.

"Trenutki Clairovega nadrealizma se za~nejo takrat, ko si Jules predstavlja, kako mu besni poro~nik Tavernier uni~uje dom.

Julesu, s tem pa tudi ob~instvu, je ta uni~ujo~a vihra podana prek podob naokoli lete~ega pohi{tva, posnetih z domiselnim stoptrikom, ter posamezni subjektivni pogledi in premiki kamere med poro~nim plesom. V Clairovi upodobitvi Julesovega pogovora z gospodom Beauperthuisom, njegovega pripovedovanja o dogodkih tistega dne, pa lahko vidimo ni~ manj kot nadrealisti~no parodijo igralskih interpretacij, zna~ilnih za obdobje nemega filma – in to celi dve desetletji pred vsemi drugimi." (Carl Bennett)

"Moments of Clair surrealism enter as Jules imagines his home being destroyed by the angry Lieutenant Tavernier. With visions of stop-action animated furniture flowing out of his house and some subjective camera movement during his wedding dance, Jules (and the audience) envisions impending doom. Also, Jules’s recounting of the day’s events to Monsieur de Beauperthuis is a surrealist parody of silent film acting two decades earlier."

(Carl Bennett)

René Clair

filmografija (izbor)/filmography (selection)

Rojen 1898 v Parizu, umrl 1981. Uveljavil se je že v dvajsetih letih, predvsem z avantgardnimi projekti, a tudi s komedijami. Ob vpeljavi zvoka v film je bil skepti~en, a prav on je obveljal za enega najbolj inovativnih pri njegovi uporabi. V zgodnjih zvo~nih filmih, kot sta Pod strehami Pariza in Ho~emo svobodo, prikazuje idealizirano podobo Pariza in življenje tamkaj{njega delavstva. Je eden prvih, ki so se v filmskem svetu opredelili za avtorja.

1924 1924 1926 1928 1930 1931 1942 1944 1947 1955 1957 1965

Born in 1898 in Paris, died in 1981, Clair established his reputation already in the 1920s, especially with his avant-garde projects as well as comedies.

Although initially sceptical about the introduction of sound to films, Clair went on to make some of the most innovative early sound films in France.

His early sound films, such as Under the Roofs of Paris and Freedom for Us, present a nostalgic view of Paris and the French working classes. Clair was one of the first French filmmakers to assume the full role of an auteur.

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Entr'acte Paris qui dort (While Paris Sleeps/Ko Pariz spi) Le voyage imaginaire (The Imaginary Voyage) Un chapeau de paille d’Italie (The Italian Straw Hat/Italijanski slamnik) Sous les toits de Paris (Under the Roofs of Paris/Pod strehami Pariza) A Nous la Liberté (Freedom for Us/Ho~emo svobodo) I Married a Witch (Oženil sem se s ~arovnico) It Happened Tomorrow Le silence est d’or (Silence Is Golden/Molk je zlato) Les grandes manoeuvres (The Grand Manoeuvre) Porte des Lilas (The Gates of Paris) Les fêtes galantes (The Lace Wars)

Retrospektiva Retrospective

The Wizard of Oz The Wizard of Oz ^arovnik iz Oza ZDA USA 1939

Victor Fleming

Film Victorja Fleminga tudi petinsedemdeset let po premieri ostaja najbolj priljubljena filmska verzija ^arovnika iz Oza, po zaslugi katere gledalci po svetu {e danes prepevajo Over the Rainbow.

Seventy-five years after its release, the film by Victor Fleming continues to hold its title of the most popular cinematic adaptation of The Wizard of Oz, still inspiring the viewers across the world to sing along to Over the Rainbow.

Doroteja je deklica iz Kansasa, ki jo pri begu s psi~kom Totom ujame tornado in ju skupaj odnese v ~arobno deželo Oz. Tam si nemudoma prizadeva najti pot za vrnitev domov, zato se po Rumeni ope~nati cesti odpravi v Smaragdno mesto, iskat ~arovnika iz Oza, ki naj bi ji pri tem pomagal. Dobra vila s severa ji za za{~ito podari ~arobne rde~e ~evelj~ke. Dorothy na poti sre~a Stra{ilo, ki si želi imeti možgane, Plo~evinka, ki si želi imeti srce, in Leva, ki si želi biti bolj pogumen. Kljub vsej pomo~i Dorothy spozna, da ima mo~ za vrnitev domov povsem v svojih rokah.

Dorothy runs away from her Kansas home after her dog, Toto.

Caught up in a tornado, Dorothy and Toto are transported to the magical land of Oz. Longing to return home, Dorothy sets off along the Yellow Brick Road to the Emerald City in search of the Wizard of Oz, hopeful that he might help her find her way.

Dorothy is guided by the Good Witch of the North, who presents her with enchanted ruby slippers for protection. Along the way, Dorothy encounters a Scarecrow who wishes to have a brain, a Tin Man in need of a heart and a cowardly Lion looking for courage. Ultimately, Dorothy realises that she herself has the power to get home.

"Delo nadvse osupljivega ikonografskega, mitolo{kega, kreativnega in preprostega ~ustvenega pomena, /.../ žlahtni stari film, ki popolnoma upravi~i svoj sloves klasi~ne mojstrovine."

(Todd McCarthy, Variety)

festivali, nagrade (izbor)/ festivals, awards (selection) oskarji/Academy Awards 1940 (najbolj{a pesem/Best Song, najbolj{a glasbena podlaga/Best Score, nominacija za najbolj{i film/ nomination for Best Picture)

"A work of almost staggering iconographic, mythological, creative and simple emotional meaning, /.../ this is one vintage film that fully lives up to its classic status." (Todd McCarthy, Variety)

Victor Fleming

filmografija (izbor)/filmography (selection)

Rojen leta 1889 v Kaliforniji. V filmski svet je kot kaskader vstopil leta 1910. Zanimala ga je kamera in kmalu je za~el delati kot snemalec pri filmih Douglasa Fairbanksa. S prvo uspe{nico Mož iz Virginie je med zvezde izstrelil Garyja Cooperja. Njegovi nedvomno najve~ji uspe{nici sta bili V vrtincu in ^arovnik iz Oza. Po neuspehu filma Ivana Orleanska je umrl leta 1949 v Arizoni.

1927 1929 1932 1933 1934 1937 1939 1939 1941 1943 1948

Born in 1889 in California, Fleming entered the film business as a stuntman in 1910. Interested in working on the other side of the camera, he got a job as a cameraman on many of the films of Douglas Fairbanks. His first big hit, The Virginian, was the movie that launched Gary Cooper's stellar career.

Fleming's indisputable highlights were Gone with the Wind and The Wizard of Oz. His career ended with Joan of Arc, which turned out to be a major critical and financial failure. He died in 1949 in Arizona.

re`ija/directed by Victor Fleming scenarij/screenplay L. Frank Baum (roman/novel), Noel Langley, Florence Ryerson, Edgar Allan Woolf fotografija/cinematography Harold Rosson glasba/music Harold Arlen montaža/editing Blanche Sewell igrajo/cast Judy Garland (Doroteja/Dorothy), Frank Morgan (profesor Marvel/ Professor Marvel, ~arovnik iz Oza/ Wizard of Oz, vratar/gatekeeper, voznik ko~ije/carriage driver, stražar/guard), Ray Bolger (Stra{ilo/ Scarecrow), Bert Lahr (Lev/Lion), Jack Haley (Plo~evinko/Tin Man), Billie Burke (Glinda), Terry (Toto) producent/producer Mervyn LeRoy produkcija/production Metro-Goldwyn-Mayer (MGM) (USA) & Loew's (USA) format/format 35 mm, ~b in barvni/b&w and colour dolžina/running time 102'

The Way of All Flesh (Usoda ~utnosti) The Virginian (Mož iz Virginie) Red Dust (Rde~i prah) Bombshell (Seks bomba) Treasure Island (Otok zakladov) Captains Courageous (Hrabri kapitani) The Wizard of Oz (^arovnik iz Oza) Gone with the Wind (V vrtincu) Dr. Jekyll and Mr. Hyde (Doktor Jekyll in gospod Hyde) A Guy Named Joe (Fant z imenom Joe) Joan of Arc (Ivana Orleanska)

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The Red Shoes The Red Shoes Rde~i ~eveljci Velika Britanija Great Britain 1948

Michael Powell, Emeric Pressburger re`ija/directed by Michael Powell, Emeric Pressburger scenarij/screenplay Hans Christian Andersen (pravljica/ fairy tale), Michael Powell, Emeric Pressburger fotografija/cinematography Jack Cardiff glasba/music Brian Easdale montaža/editing Reginald Mills igrajo/cast Moira Shearer (Vicky Page), Marius Goring (Julian Craster), Anton Walbrook (Boris Lermontov), Léonide Massine (Gri{a/Grischa Ljubov), Robert Helpmann (Ivan Boleslawsky), Albert Bassermann (Sergej/Sergei Ratov), Ludmilla Tchérina (Irina Boronskaja), Esmond Knight (Livingstone 'Livy' Montagne), Austin Trevor (profesor Palmer/professor Palmer), Jean Short (Terry) producenta/producers Michael Powell, Emeric Pressburger produkcija/production The Archers (GB) & Independent Producers (GB) format/format 35 mm, barvni/colour dolžina/running time 133' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 1948, oskarji/ Academy Awards 1949 (najbolj{a glasba/Best Music, najbolj{a scenografija/Best Art Direction), zlati globusi/Golden Globes 1949 (najbolj{a glasbena podlaga/Best Score)

Michael Powell in Emeric Pressburger sta izvirno pravljico Hansa Christiana Andersena prelevila v veli~asten plesni spektakel, zaznamovan z inovativno uporabo barv v dramatur{ke namene.

Karizmati~ni in avtoritativni vodja baletne hi{e Boris Lermontov pod svoje okrilje vzame mlado balerino Victorio Page, ki ve, da lahko samo pod njegovim vodstvom doseže svetovno slavo, a se obenem mora do popolnosti posvetiti treningu in u~itelju prise~i neomajno zvestobo. Victoria si vseeno kmalu prisluži gnev Lermontova, ko se zaljubi v Juliana Crasterja, skladatelja baleta Rde~i ~eveljci, ki ga pripravljajo v tej baletni hi{i. Vicky zapusti {olo in se poro~i s Crasterjem, a je {e naprej razpeta: na eni strani so brutalne zahteve Lermontova, na drugi vztrajni glas njenega srca ...

"Pred Rde~imi ~eveljci so že snemali filme s plesnimi to~kami.

Po njem je obstajal nov medij, ki je združeval ples, scenografijo in glasbo v sanjskem spektaklu. /.../ Film Rde~i ~eveljci je tako priložnost o zahtevah umetnosti kot tudi osupljiv prikaz filma kot celostnega spoja tradicionalnih umetni{kih zvrsti v novi sintezi."

(Ian Christie, The Criterion Collection)

The Red Shoes, Michael Powell and Emeric Pressburger's cinematic adaptation of Hans Christian Andersen's fairy tale, is cinema's quintessential dance spectacle, as well as one of the most glorious Technicolor feasts ever concocted for the screen.

Under the authoritarian rule of charismatic ballet impresario Boris Lermontov, his protégés realise the full promise of their talents.

Under his near-obsessive guidance, young ballerina Victoria Page is poised for superstardom but at a prize: utter devotion to her art and complete loyalty to Lermontov himself. She earns Lermontov's scorn when she falls in love with Julian Craster, composer of The Red Shoes, the ballet Lermontov is staging to showcase her talents. Vicky leaves the company and marries Craster, but still finds herself torn between Lermontov’s demands and those of her heart.

"Before The Red Shoes, there were films with dance numbers.

After it, there was a new medium which combined dance, design, and music in a dreamlike spectacle. /.../ The Red Shoes is a parable about the demands of art, as well as a stunning demonstration of cinema's claim to have united the traditional arts in a new synthesis." (Ian Christie, The Criterion Collection)

Michael Powell, Emeric Pressburger

filmografija (izbor)/filmography (selection)

Michael Powell (1905–90), angle{ki režiser, in Emeric Pressburger (1902–88), madžarski scenarist, ki je ob vzponu nacizma emigriral v London, sta se spoznala leta 1939 na snemanju filma Vohun v ~rnem. ^eprav sta bila zna~ajsko povsem razli~na, sta imela skupno vizijo ustvarjanja. Kot producenta, scenarista in režiserja sta pod okriljem podjetja The Archers v letih 1940–72 posnela devetnajst celove~ernih filmov.

1940 1941 1942 1943

English director Michael Powell (1905–1990) was introduced to Hungarian scriptwriter Emeric Pressburger (1902–1988), who fled to London when the Nazis occupied his country, in 1939 during the making of The Spy in Black.

Although totally dissimilar as regards their background and personality, they both soon recognised that they had a common attitude to film-making.

Working together as co-producers, writers and directors in a partnership they dubbed "The Archers", they made 19 feature films between 1940 and 1972.

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1944 1945 1946 1947 1948 1949 1950 1951 1972

Contraband (Tihotapci) 49th Parallel (Devetin{tirideseti vzporednik) One of Our Aircraft Is Missing (Pogre{amo letalo) The Life and Death of Colonel Blimp (Življenje in smrt polkovnika Blimpa) A Canterbury Tale (Canterburyjska zgodba) I Know Where I'm Going! (Vem, kam grem) A Matter of Life and Death (Stvar življenja in smrti) Black Narcissus (^rni narcis) The Red Shoes (Rde~i ~eveljci) The Small Back Room (Zadnja soba) Gone to Earth (V lisi~jem brlogu) The Tales of Hoffmann (Hoffmannove pripovedke) The Boy Who Turned Yellow

Retrospektiva Retrospective

Teodora imperatrice di Bisancio Theodora, Slave Empress Teodora, bizantinska cesarica Italija, Francija Italy, France 1953

Riccardo Freda

re`ija/directed by Riccardo Freda scenarij/screenplay Riccardo Freda, André-Paul Antoine, René Wheeler, Claude Accursi, Ranieri Cochetti fotografija/cinematography Rodolfo Lombardi glasba/music Renzo Rossellini montaža/editing Mario Serandrei igrajo/cast Gianna Maria Canale (Teodora), George Marchal (Justinijan/ Justinian), Irene Papas (Saidia), Renato Baldini (Arcas), Carletto Sposito (Scorpios), Nerio Bernardi (Belisario), Alessandro Fersen (metropolit/the metropolitan bishop) produkcija/production Lux Compagnie Cinématographique de France (France) format/format 35 mm, ~b/b&w dolžina/running time 91'

Mojster zgodovinskega spektakla Riccardo Freda v tej prevzemajo~i kostumski drami obudi strastno ljubezensko zgodbo cesarja Justinijana I. in plebejske lepotice Teodore.

A fascinating period drama about the overwhelming love between Emperor Justinian I and plebeian beauty Theodora from the master of historical spectacle, Riccardo Freda.

Vzhodnorimski cesar Justinijan I. na enem izmed svojih pohodov po bizantinskih ulicah in trgih uzre neznano lepotico Teodoro, ki jo kmalu po usodnem sre~anju povzdigne v patricijko in vzame za ženo. Teodora, sicer velika borka za pravice sužnjev in žensk, ima na cesarja Justinijana izjemno mo~an vpliv, saj kmalu postane njegova najpomembnej{a zaupnica in svetovalka. Njena mo~ je o~itna predvsem v hudih nemirih, ki kmalu po cesarski poroki izbruhnejo med ljudstvom. Vendar se nekateri cesarjevi svetovalci, med njimi tudi Janez Kapado{ki, s Teodorino mo~jo in karizmo le stežka sprijaznijo ...

On one of his rambles in the streets of Byzantium, Emperor Justinian I sees an unknown beauty Theodora, whom he marries by passing a law that allows intermarriage between classes. An ardent advocate of the rights of slaves and women, Theodora becomes very influential in the politics of the Empire, standing

by Justinian's side as his greatest supporter and confidante. Her power becomes especially evident during the full-scale riots that erupt soon after the imperial wedding. However, some of the Emperor’s advisors, among others John the Cappadocian, find it hard to come to terms with Theodora’s power and charisma.

"Dolgo sem se ukvarjal z umetnostno kritiko in morda je ta prispevala k moji umetnostni izobrazbi v strogem pomenu: struktura, slikarstvo ipd. Zaradi tega je v mojih filmih kompozicija vedno zelo natan~na, pravzaprav je danes domala spontana, zaradi ~esar lahko zelo hitro ustvarjam." (Riccardo Freda)

"For a long time I produced art criticism and perhaps it's that which gave me an art education in the strictest sense: structure, painting, etc. This is why, in my films, the composition is always very meticulous, in fact this is now practically spontaneous, which enables me to shoot very quickly." (Riccardo Freda)

Riccardo Freda

filmografija (izbor)/filmography (selection)

Rojen leta 1909 v Aleksandriji, Egipt. [olal se je v Milanu. Sprva se je ukvarjal s kiparstvom in filmsko kritiko. Svoj prvi film je režiral leta 1942, na svoji {tiridesetletni uspe{ni poti pa se je podpisal pod ve~ kot {tirideset filmskih naslovov. Velja predvsem za mojstra zgodovinskih spektaklov in pionirja srhljivke na italijanskih tleh. Umrl je v Rimu leta 1999.

1942 1946 1953 1953

Born in 1909 Alexandria, Egypt. Educated in Milan, Freda became a sculptor, then a film critic. He moved into directing in 1942, beginning a career that lasted some forty years and included over forty titles. Freda continued to make historical spectacles, at which he became somewhat of a master. He was a pioneer in Italy of horror-fantasy films. He died in Rome in 1999.

1957 1960 1961 1961 1963 1969 1981

Don Cesare di Bazan Aquila nera (Black Eagle) Spartaco (Spartacus) Teodora, imperatrice di Bisanzio (Theodora, Slave Empress/Teodora, bizantinska cesarica) I vampiri (Evil’s Commandment) I giganti della Tessaglia (The Giants of Thessaly) Maciste alla corte del Gran Khan (Maciste at the Court of Grand Khan) Maciste all’inferno (Maciste in Hell) Lo spettro (The Ghost) A doppia faccia (A Double Face) Follia omicida (Murder Obsessions)

prodaja/world sales Centro Sperimentale di cinematografia Via Tuscolana, 1524 00173 Rome, Italy E diffusioneculturale�fondazion ecsc.it

135

Retrospektiva Retrospective

Lawrence of Arabia Lawrence of Arabia Lawrence Arabski Velika Britanija Great Britain 1962

David Lean re`ija/directed by David Lean scenarij/screenplay T. E. Lawrence (izvirni zapiski/original writings), Robert Bolt fotografija/cinematography Freddie Young glasba/music Maurice Jarre montaža/editing Anne V. Coates igrajo/cast Peter O'Toole (T. E. Lawrence), Alec Guinness (princ Feisal/Prince Feisal), Anthony Quinn (Auda Abu Tayi), Jack Hawkins (general Allenby), Omar Sharif (Sherif Ali), José Ferrer (tur{ki bej/Turkish bey), Anthony Quayle (polkovnik Brighton/ Colonel Brighton), Claude Rains (g.

Dryden/Mr. Dryden), Arthur Kennedy (Jackson Bentley), Donald Wolfit (general Murray) producenta/producers Sam Spiegel, David Lean produkcija/production Horizon Pictures (GB) format/format 35 mm, barvni/colour dolžina/running time 216' festivali, nagrade (izbor)/ festivals, awards (selection) oskarji/Academy Awards 1963 (najbolj{i film/Best Picture, najbolj{i režiser/Best Director, najbolj{a fotografija/Best Cinematography, najbolj{a scenografija/Best Art Direction, najbolj{i zvok/Best Sound, najbolj{a montaža/Best Film Editing, najbolj{a glasba/Best Music)

Nepozabna, s sedmimi oskarji nagrajena epopeja o kontroverznem britanskem polkovniku, s katero je bil Peter O'Toole izstreljen med najbolj zaželene filmske igralce na svetu.

Thomas Edward Lawrence je bil kompleksen ~lovek, ki so ga obenem ozna~evali za heroja, {arlatana in sadista. Njegovo življenje je zavilo po nepri~akovani poti, ko se je iz mladega britanskega polkovnika v arabski pu{~avi prelevil v slavnega borca proti Osmanskemu cesarstvu. Dve leti je z organizacijo gverilske vojske vodil Arabce v napadih na Turke, na koncu pa skupaj z Britansko vojsko dokon~no uni~il mo~ Osmanskega cesarstva.

Film Davida Leana je zaradi uporabe ekstremno {irokega zaslona in technicolorja pravi sinonim vizualne grandioznosti, ki {e danes ponuja nekaj najbolj spektakularnih posnetkov Arabske pu{~ave, kar jih je kamera kdaj zajela na filmski trak.

An unforgettable epic drama about the controversial British colonel, which rocketed Peter O'Toole to global stardom.

Winner of seven Academy Awards.

An inordinately complex man who has been labelled everything from hero, to charlatan, to sadist, Thomas Edward Lawrence blazed his way to glory in the Arabian Desert, and then sought anonymity as a common soldier under an assumed name. As a young intelligence officer in Cairo in 1916, he was given leave to investigate the progress of the Arab revolt against the Turks in World War I. In the desert, he organised a guerrilla army and – for two years – led the Arabs in harassing the Turks.

Eventually, he led his army northward and helped a British General destroy the power of the Ottoman Empire. In employing sweeping widescreen shots and Technicolor, David Lean's film is a synonym for visual grandeur, featuring spectacular, as yet unmatched views over the Arabian Desert ever recorded on film.

"Veli~asten, inteligenten, ~eden, skrivnosten, prevzeten, briljanten, imperialisti~en, bombasti~en, narcisti~en: film, prav tako kot njegov protagonist, zaznamujejo vse omenjene lastnosti."

(Jonathan Rosenbaum, Chicago Reader)

"Magisterial, intelligent, handsome, mysterious, proud, brilliant, imperialist, bombastic, narcissistic: the film, like its hero, is all these things." (Jonathan Rosenbaum, Chicago Reader)

David Lean

filmografija (izbor)/filmography (selection)

Rojen leta 1908 v Croydonu na jugu Londona. Vzgojen v družini kvekerjev, zato kot otrok ni smel hoditi v kino. Od leta 1927 je v studiju Gaumont opravljal razne obrobne službe. Kot režiser je bil za svoj ~etrti film Bežno sre~anje nagrajen na prvem filmskem festivalu v Cannesu. Z desetletji si je utrl pot do naziva enega najpomembnej{ih britanskih režiserjev 20. stoletja.

Umrl je leta 1991 v Londonu.

1942 1945 1946 1948 1950 1952 1954 1955 1957 1962 1965 1970 1984

Born in Croydon (South London) in 1908 and brought up in a strict Quaker family (as a child he wasn't allowed to go to the movies). Since 1927 he performed various odd jobs for the Gaumont Studio. Brief Encounter, Lean's fourth film as a director, was presented at the very first Cannes Film Festival, where it won a Grand Prize. Over the decades, he asserted himself as one of the most prominent twentieth-century British auteurs. He died in 1991 in London.

136

In Which We Serve (Borimo se na morju) Brief Encounter (Bežno sre~anje) Great Expectations (Veliko pri~akovanje) Oliver Twist Madeleine The Sound Barrier (Zvo~ni zid) Hobson's Choice (Hobson v {kripcih) Summertime (Poletno potepanje) The Bridge on the River Kwai (Most na reki Kwai) Lawrence of Arabia (Lawrence Arabski) Doctor Zhivago (Doktor Živago) Ryan's Daughter (Ryanova h~i) A Passage to India (Pot v Indijo)

Retrospektiva Retrospective

Pasa`erka Passenger Potnica Poljska Poland 1963

Andrzej Munk, Witold Lesiewicz

re`ija/directed by Andrzej Munk, Witold Lesiewicz scenarij/screenplay Andrzej Munk, Zofia Posmysz (radijska drama/radio drama) fotografija/cinematography Krzysztof Winiewicz glasba/music Tadeusz Baird monta`a/editing Zofia Dwornik igrajo/cast Aleksandra Slaska (Liza), Anna Ciepielewska (Marta), Jan Kreczmar (Walter, Lizin mo`/Walter, Liza's husband), Marek Walczewski (Tadeusz), Janusz Bylczynski (kapo), Barbara Horawianka (medicinska sestra/nurse) produkcija/production Zespol Filmowy Kamera (Poland) format/format 35 mm, ~b/b&w dol`ina/running time 62'

Nedokon~ana mojstrovina predhodnika poljskega "filma moralnega nemira", ki se je v postopku rekonstrukcije preoblikovala v svojski metafilm, je nedvomno ena najprodornej{ih in najpogumnej{ih refleksij holokavsta in fenomena koncentracijskih tabori{~.

An unfinished masterpiece from the precursor of the Polish "cinema of moral unrest", which in the process of reconstruction turned into a unique metafilm, Passenger is one of the most incisive and daring reflections on the Holocaust and concentration camp phenomenon.

Na krovu potni{ke kri`arke je tudi Nemka Lisa, ki se je takoj po vojni izselila v Ju`no Ameriko in se tam poro~ila. Tokrat se v Evropo vra~a prvi~ po koncu druge svetovne vojne in v njej vse bolj nara{~a nemir. V Angliji se na ladjo vkrca `enska, ki se ji zazdi poznana. ^eprav naj bi bila kri`arka nekak{en "otok v ~asu", na katerem se o posameznikovi preteklosti ne spra{uje, pa si Lisa ne more pomagati – neznani `enski za~ne obsedeno slediti in brskati po njeni preteklosti. Spominja jo namre~ na Marto, judovsko zapornico iz Auschwitza. V vrtincu negotovosti in strahu pred demoni preteklosti Lisa mo`u razkrije svojo pravo preteklost – prizna mu, da v zloglasnem koncentracijskem tabori{~u ni bila kot `rtev, pa~ pa kot krvnica, saj je bila nacisti~na ~astnica, Marta pa njena pomo~nica.

A German woman, Liza, onboard a luxury cruise liner with her husband whom she married in an unspecified South American country, back to Europe for the first time since WW2, notices a familiar face among the passengers boarding the ship in England.

Although the cruise liner is an "island in time" where people are anonymous and their backgrounds are put aside during the offshore lapse, Liza follows this unknown woman who reminds her of Martha, a Jewish prisoner she met in a concentration camp during the war. Distraught, she reveals to her husband that she was never a prisoner during the war, but in fact a Nazi officer in charge of a block of women prisoners in Auschwitz. Martha was her helper.

"Z vidika natan~ne in `e prav bole~e uravnote`enosti med romanti~no lepoto in nedoumljivimi grozotami preprosto ne najdem dela, ki bi ga primerjal z Munkovim. /.../ Njegovo delo je pravi humanisti~ni podvig izjemnega poguma, prodornosti vpogleda, ki ne odvzema ~asti in skrivnostnosti."

(Roger Greensplin, New York Times)

"I can think of no other movie to compare with Munk's in the precise and harrowing balance of romantic beauty and profound terror. /.../ His is a humanist enterprise of great courage, insight, honour and mystery." (Roger Greensplin, The New York Times)

Andrzej Munk

filmografija/filmography

Rojen 1921 v Krakovu. Po pravu in arhitekturi je diplomiral {e na filmski akademiji v Lod`u. @e s prvencem ^lovek na poti se je uveljavil kot ena osrednjih osebnosti poljske poststalinisti~ne kinematografije, medtem ko je z Eroico napovedal trend, ki je v sedemdesetih dobil ime "filmi moralnega nemira". @al nedokon~ana Potnica – med snemanjem se je z avtom smrtno ponesre~il – velja za eno najpomembnej{ih del na temo holokavsta.

1950 1955 1956 1957 1958

Born in 1921 in Krakow. Having graduated in law and architecture, Munk also completed his studies at the National Film School in Lodz. With his debut feature, Man on the Tracks, he asserted himself as one of the most influential Polish artists of the post-Stalinist period. Eroica heralded the trend that was titled "the cinema of moral unrest" in the 1970s. The unfinished Passenger (during the shoot Munk died in a car crash) is considered to be one of the most significant works on the issue of the Holocaust.

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 1964 (posebna omemba – za celotni opus/Special Mention – for his oeuvre), Benetke/Venice 1964 (Pasinettijeva nagrada/Pasinetti Award)

Sztuka mlodych (Art of the Young) (kratki dok./short doc.)

Niedzielny poranek (Sunday Morning) (kratki dok./short doc.)

Czlowiek na torze (Man on the Tracks/^lovek na poti) Eroica Spacerek staromiejski (A Walk in the Old City of Warsaw) (kratki dok./short doc.)

1960 Zezowate szczescie (Bad Luck) 1963 Pasa`erka (Passenger/Potnica)

137

Retrospektiva Retrospective

Playtime Playtime Playtime Jacques Tati

re`ija/directed by Jacques Tati scenarij/screenplay Jacquest Tati, Jacques Lagrange, Art Buchwald (ang. dialogi/additional English dialogue) fotografija/cinematography Jean Badal, Andréas Winding glasba/music Francis Lemarque monta`a/editing Gérard Pollicand igrajo/cast Jacques Tati (gospod Hulot/ Monsieur Hulot), Barbara Dennek (mlada turistka/young tourist), Jacqueline Lecomte (prijateljica mlade turistke/young tourist's friend), John Abbey (gospod Lacs/ Mr. Lacs), Valérie Camille (tajnica gospoda Lacsa/Mr. Lacs's secretary), Billy Kearns (gospod Schultz/Mr. Schultz), Rita Maiden (spremljevalka gospoda Schultza/Mr. Schultz’s companion) producent/producer Bernard Maurice produkcija/production Specta Films (Les Films de Mon Oncle) 7 bis, avenue de Saint-Mandé 75012 Paris, France E philippe.gigot�tativille.com & Jolly Films (Italy) format/format 35 mm, barvni/colour dol`ina/running time 115' festivali, nagrade (izbor)/ festivals, awards (selection) nagrade Francoske filmske akademije/French Film Academy's Awards 1968 (velika nagrada/ Grand Prix), Moskva/Moscow 1969 (srebrna medalja/Silver Medal), Dunaj/Vienna 1969 (posebna nagrada/Special Award), Helsinki 1969 (nagrada kunniakirja/Kunniakirja Award), Bodil 1969 (najbolj{i evropski film/Best European Film)

prodaja/world sales Les Films de Mon Oncle 7 bis, avenue de Saint-Mandé 75012 Paris, France E facteur�tativille.com

Francija, Italija France, Italy 1967

Brezkompromisno drzna, mogo~na in virtuozno koreografirana mojstrovina enega najve~jih vizionarjev filmske komedije, ki z novimi peripetijami gospoda Hulota, tega tatijevskega slehernika, prina{a tudi kriti~ni premislek zablod moderniziranja zahodne dru`be.

Uncompromisingly daring and masterfully choreographed tour de force by one of the greatest visionaries of cinematic comedy. The new adventures of Monsieur Hulot, Tati's Everyman, include a critical look at the misguided modernisation of Western society.

Skupina Ameri~ank srednjih let se poda na organizirano popotovanje po prestolnicah zahodnega sveta. Ob pristanku na pari{kem letali{~u se ne morejo na~uditi, kako je to pravzaprav na las podobno rimskemu. Ulice so videti kot natan~na kopija tistih v Hamburgu, medtem ko je uli~na razsvetljava nenavadno podobna tisti iz New Yorka. ^eprav vseskozi potujejo, se ne morejo znebiti ob~utka, da so obti~ale v enem in istem kraju. Organizacija potovanja jim sicer ne pu{~a skoraj ni~ prostega ~asa, a jim vendarle uspe navezati stik s posameznimi Francozi, med katerimi je tudi gospod Hulot. [ele takrat v tej hladni in brezosebni mestni pokrajini za~utijo nekaj ~love{ke topline.

A group of American women is going on an organised tour with a schedule of one capital city per day. As soon as they arrive in Paris they notice that the airport is exactly the same as the one they have just departed from – Rome; the roads are a carbon copy of those in Hamburg and the street lamps bear a strange resemblance to those in New York. Despite all the hours they spent travelling from one destination to another it seems as if they were stuck in the same city. Little by little they come to meet some French people, amongst whom is also Monsieur Hulot, and in this cold and impersonal cityscape finally a little human warmth is generated.

"Dialoge v mojih filmih pogosto kritizirajo. Zato sem v Playtime dialog vpel v zvo~no kuliso, s katero se zlije. /.../ Prav tako so me pogosto kritizirali zaradi uporabe 70-mm filmskega traku, saj naj bi bilo to pretenciozno. Moj odgovor je preprost: nikoli ne bi pomislil na to, da bi pod vpra{aj postavljal slikarjevo izbiro velikosti platna, na katerega ri{e." (Jacques Tati)

"I'm often criticised for the dialogue in my films. In Playtime I put the dialogue within the sound. /.../ I have often been criticised too for the use of the 70mm which is commonly considered to be pretentious. The answer is very simple: I am not going to ask an artist why he selects a full sheet to draw." (Jacques Tati)

Jacques Tati

filmografija (izbor)/filmography (selection)

Rojen leta 1907 v mestu Le Pecq, Francija. [olo je zgodaj pustil in se zaposlil v dru`inskem podjetju za uokvirjanje slik. Je navdu{en {portnik, a pritegnila sta ga tudi variete in pantomima. Vse troje je domiselno spojil, ko je za~el nastopati v kabaretih. Po vojni sta s Fredom Orainom ustanovila dru`bo Cady-films. Ustvaril je filmski opus, v katerem je ponudil eno najbolj domiselnih izpeljank fizi~ne komedije in vpeljal lik gospoda Hulota.

1947 L'ecole des facteurs (The School for Postmen) (kratki/short) 1949 Jour de fête (The Big Day/Prazni~ni dan) 1953 Les vacances de Monsieur Hulot (Mr. Hulot's Holiday/ Po~itnice g. Hulota) 1958 Mon oncle (My Uncle/Moj stric) 1967 Playtime 1971 Trafic (Traffic/Prometna zmeda) 1974 Parade (Parada) 1978 Forza Bastia (kratki/short)

Born in 1907 in Le Pecq, France, Tati soon dropped out of school and started to work for his family’s picture-framing business. A keen sportsman, he was also drawn to variety shows and pantomime. When he started to perform in a cabaret, he imaginatively blended the three into a unique whole. After the war, Fred Orain and Tati establish Cady-films. His impressive cinematic oeuvre includes one of the most inventive versions of slapstick comedy and one of the most memorable comic characters in cinema, Monsieur Hulot.

138

Retrospektiva Retrospective

La région centrale La région centrale Centralna regija Michael Snow

Kanada Canada 1971 re`ija/directed by Michael Snow scenarij/screenplay Michael Snow fotografija/cinematography Michael Snow glasba/music Michael Snow producent/producer Michael Snow produkcija/production Michael Snow format/format 16 mm, barvni/colour dolžina/running time 180’

Triurna eksperimentalna mojstrovina Michaela Snowa je sestavljena izklju~no iz vnaprej programiranih premikov robotske kamere.

A three-hour-long experimental masterpiece by Michael Snow, composed exclusively of the shots recorded by a robotic camera, programmed beforehand.

Michael Snow je film Centralna regija posnel v petih dneh na osamljenem hribu na severu Quebeca. Režiser je kamero pritrdil na robotsko roko, v katero je vnaprej vprogramiral vrsto razli~nih gibov. Premiki kamere popolnoma dezorientirajo gledalca, obenem pa ga umestijo v pogled primitivne robotske tehnologije. Tudi glasbena podlaga je v celoti sestavljena iz elektronskih zvokov, sinhroniziranih z gibi kamere. Film tako kljub znanstvenemu pristopu ponuja izrazito organsko, estetsko, celo duhovno izku{njo. Snow je v intervjujih izjavil, da je njegov namen pokazati, kak{ne podobe bi na svoj planet poslala robotska sonda, ki bi prvi~ pristala na Zemlji.

La Région Centrale was made during five days of shooting on a deserted mountain top in North Quebec. During the shooting, the vertical and horizontal alignment as well as the tracking speed were all determined by the camera’s settings. The unconventional camera movement utterly disorientates the viewer, at the same time offering a glimpse into the primitive robot technology. During the entire movie the only sound heard are mechanical blips and electronic noises synchronised with the camera movement. Clinically scientific in its approach yet yielding an organic, even spiritual wonder. In an interview, Michael Snow said that his aim was to show the kind of images that an alien probe landed on Earth would report back home.

“Po delu Dolžina vala, ki ga sestavlja izklju~no en sam posnetek kamere (približava), sem ugotovil, da je gibanje kamere kot samostojne izrazne enote v filmu {e popolnoma neraziskano ... Želel sem ustvariti triurni film, ki bi 'instrumentiral’ vse možnosti premikov kamere ter razli~na razmerja med njo in njenimi posnetki. /.../ @elel sem ustvariti gigantski krajinski film, ki bi bil enakovreden velikim krajinskim slikam umetnikov, kot so Cezanne, Poussin, Corot, Monet, Matisse in kanadska Skupina sedmih.” (Michael Snow)

“After finishing Wavelength, which is in its entirety a single camera movement (a zoom), I realized that the movement of the camera as a separate expressive entity in film is completely unexplored … I would like to make a three-hour film 'orchestrating' all the possibilities of camera movement and the various relationships between it and what is being photographed. /.../ I want to make a gigantic landscape film equal in terms to the great landscape paintings of Cezanne, Poussin, Corot, Monet, Matisse and, in Canada, the Group of Seven.” (Michael Snow)

Michael Snow

filmografija (izbor)/filmography (selection)

Rojen leta 1929 v Torontu. Najprej je deloval kot slikar, nakar se je leta 1963 preselil v New York in se usmeril v film. Je ena klju~nih osebnosti ameri{ke filmske avantgarde. Njegovi najpomembnej{i eksperimentalni filmi osredoto~ajo dogajanje na en sam temeljni element: gibanje kamere.

45-minutni film Dolžina vala je pomenil navdih celotni generaciji strukturalnih filmarjev.

1956 A to Z (kratki/short) 1964 New York Eye and Ear Control (kratki/short) 1965 Short Shave (kratki/short) 1967 Wavelength (Dolžina vala) 1969 <---> (Nazaj in naprej) 1971 La région centrale (Centralna regija) 1974 'Rameau’s Nephew’ by Diderot (Thanx to Dennis Young) by Wilma Schoen 1974 Two Sides to Every Story 1976 Breakfast (Table Top Dolly/Zajtrk) (kratki/short) 1981 Presents 1991 To Lavoisier, Who Died in the Reign of Terror 2002 *Corpus Callosum 2008 Puccini conservato (kratki/short)

Born in 1929 in Toronto, Snow concentrated on his painting career until moving to New York in 1963. He is the central figure of American cinematic avant-garde. Snow’s most significant experimental works reduce the film medium to one of its most basic elements – camera movement. The 45-minute Wavelength (1967) inspired a whole generation of structuralist filmmakers.

prodaja/world sales Lux 3rd Floor, Shacklewell Studios 18 Shacklewell Lane London, E8 2EZ, UK distribution�lux.org.uk

139

Retrospektiva Retrospective

The French Connection The French Connection Francoska zveza ZDA USA 1971

William Friedkin re`ija/directed by William Friedkin scenarij/screenplay Ernest Tidyman, po romanu Robina Moora fotografija/cinematography Owen Roizman glasba/music Don Ellis monta`a/editing Gerald B. Greenberg igrajo/cast Gene Hackman (Jimmy Doyle), Fernando Rey (Alain Charnier), Roy Scheider (Buddy Russo), Tony Lo Bianco (Sal Boca), Marcel Bozzuffi (Pierre Nicoli), Frédéric de Pasquale (Devereaux), Bill Hickman (Mulderig), Ann Rebbot (Marie Charnier), Harold Gary (Weinstock), Arlene Farber (Angie Boca), Eddie Egan (Simonson), André Ernotte (La Valle), Sonny Grosso (Klein) producent/producer Philip D'Antoni produkcija/production D'Antoni Productions (USA) & Schine-Moore Productions (USA) format/format 35 mm, barvni/colour dol`ina/running time 104' festivali, nagrade (izbor)/ festivals, awards (selection) oskarji/Academy Awards 1972 (najbolj{i film/Best Picture, najbolj{i glavni igralec/Best Actor in a Leading Role, najbolj{i re`iser/Best Director, najbolj{i prirejeni scenarij/ Best Adapted Screenplay, najbolj{a monta`a/Best Editing)

Eden prelomnih filmov sedemdesetih let z osvojenimi petimi oskarji, na katerega se u~beniki filmske re`ije {e danes sklicujejo.

One of the landmark movies of the 1970s and winner of 5 Academy Awards, The French Connection continues to be a textbook example of cinematic direction.

Jimmy "Popaj" Doyle in njegov partner Buddy Russo sta newyor{ka policista na sledi veliki po{iljki heroina iz Marseilla v ZDA. Policista za~neta zasledovati majhnega poslovne`a Sala Boco, ~igar prihodki so nenavadno visoki za trgovca z ulice, in njegovo `eno. Popajeve slutnje se izka`ejo za resni~ne, kajti Boca je newyor{ka povezava z Alainom Charnierjem, francoskim drogera{kim {efom, ki bo po{iljko poslal iz Francije.

Francoska zveza se je ob izidu zaradi nenavadnega profila glavnega protagonista kot nasilnega, rasisti~nega in nevarnega obsesivne`a izkazal za prelomen film. Osrednji lov z avtomobili {e danes ponuja u~beni{ki primer akcijskega prizora, Friedkinov naturalisti~ni pristop pa je predstavljal veliko novost v primerjavi s spoliranimi policijskimi filmi tistega ~asa.

Jimmy "Popeye" Doyle and his partner, Buddy Russo, are New York City police detectives on narcotics detail, trying to track down the source of heroin from Marseille into the US. Popeye and Buddy start tailing Sal Boca and his wife, who live pretty high for a couple owning a corner store. It turns out Popeye’s suspicions are right – Boca is the New York agent for Alain Charnier, the French drug kingpin, who will be smuggling heroin from France. The French Connection broke plenty of new ground for screen thrillers; Popeye was a highly unusual "hero", an often violent, racist, and mean-spirited, dangerously obsessed cop. The film's high-speed car chase set the stage for dozens of action sequences to follow. Friedkin’s grimy realism was a big change from the gloss heroics of most police dramas that preceded it.

"Z vznemirjenjem, ki ga vzbudi ta film, obstaja samo ena te`ava.

Ob koncu projekcije bo gledalec zapustil kino in, podobno kot jaz, preklel dolgo~asnost svojega `ivljenja. Neprestano sem se oziral po nekom, ki bi ga lahko vrgel ob zid." (Gene Siskel, Chicago Tribune)

prodaja/world sales Twentieth Century Fox (USA)

"There is only one problem with the excitement generated by this film. After it is over, you will walk out of the theatre and, as I did, curse the tedium of your own life. I kept looking for someone whom I could throw up against a wall." (Gene Siskel, Chicago Tribune)

William Friedkin

filmografija (izbor)/filmography (selection)

Rojen leta 1935 v Chicagu. V mladosti se je navdu{il nad Wellesovim Dr`avljanom Kane (1941). Takoj po maturi je za~el delati na televiziji, tam je re`iral prve dokumentarce. Leta 1965 se je preselil v Hollywood, kjer je med drugim re`iral epizodo serije Ura s Hitchcockom. Filma Francoska zveza in Izganjalec hudi~a sta ga izstrelita med zvezde. Je prejemnik zlatega leva za `ivljenjsko delo na filmskem festivalu v Benetkah leta 2013.

1971 1973 1977 1980 1985 1987 2000 2003 2006 2011

Born in 1935 in Chicago, young Will became infatuated with Orson Welles after seeing Citizen Kane (1941). He went to work for WGN TV immediately after graduating from high school where he started making documentaries.

In 1965, he moved to Hollywood and immediately started directing TV shows, including an episode of The Alfred Hitchcock Hour. The French Connection and The Exorcist shot him to stardom. Friedkin won the Golden Lion for Lifetime Achievement at the 2013 Venice Film Festival.

140

The French Connection (Francoska zveza) The Exorcist (Izganjalec hudi~a) Sorcerer (Pla~ilo za strah) Cruising (Vaba) To Live and Die in L.A. (@iveti in umreti v Los Angelesu) Rampage (Bes) Rules of Engagement (Trenutek odlo~itve) The Hunted (Preganjani) Bug (Hro{~i) Killer Joe (Morilec Joe)

Retrospektiva Retrospective

Sátántangó Satantango Satantango Madžarska, Nem~ija, [vica Hungary, Germany, Switzerland 1994

Béla Tarr

Mogo~na, apokalipti~na, mra~na, toda tudi hudomu{na in predvsem prodorna meditacija o težavnem sre~anju dolgo zatirane družbe s svobodo. Osrednje delo brezkompromisnega raziskovalca filmske podobe, enega najizvirnej{ih ustvarjalcev sodobnega avtorskega filma.

A monumental, apocalyptic, dark, but also witty and thoughtprovoking meditation on the challenging confrontation of a long repressed society with freedom. A tour de force by Béla Tarr, an uncompromising experimenter in the cinematic art and one of the most original contemporary filmmakers.

Na za~etku devetdesetih let, po padcu komunisti~nega režima, se je življenje v madžarski vasici, organizirani po na~elu kolektivnih kmetijskih zadrug, skoraj zaustavilo. Skupina va{~anov se odlo~i za skupno odprodajo imetja. Tega ve~era naj bi prejeli kupnino, takoj zatem pa se nameravajo izseliti iz vasi. A kolektivnih vrednot ni ve~ in tako si nekaj posameznikov želi s prevaro prilastiti ve~ji delež, kot bi jim pripadal. Zve~er pa va{~ane pri~aka {e eno presene~enje: pojavijo se govorice, da se v vas vra~a karizmati~ni, gostobesedni Irimias, ki je veljal za mrtvega. Kot blisk se za~ne {iriti strah, da jim bo spletkarski Irimias pod pretvezo delovanja v imenu vi{jega cilja spretno izmaknil denar.

In a small, dilapidated village in 1990s Hungary, the life of a collective agricultural cooperative has come to a virtual stand-still after the communist regime had been removed from power. A few of the villagers decide to sell their property, expecting to receive a large cash payment that evening, and then planning to leave. With collective values having disintegrated, some villagers want to abscond earlier with more than their fair share of the money. In the evening, they're in for a bit of surprise. Rumours spread that the smooth-talking Irimias, whom they thought had died, is returning. They are apprehensive that he will take all their money in one of his grandiose schemes to keep the community going.

"Takrat je bilo na polju filmskega ustvarjanja veliko sranja, veliko laži. K vratom smo pri{li odlo~eni, da vstopimo, nismo vljudno potrkali, ampak smo kar vdrli. S seboj smo prina{ali novo, sveže, pristno ter, seveda, predvsem resni~no. S filmom smo hoteli predstaviti resni~nost – vse tisto, kar film takrat ni bil, nekak{en antifilm, torej. /.../ Seveda pa upam, da na{e ustvarjanje premore nekaj družbene ob~utljivosti – ter, jasno, vedno in brezpogojno smo na strani revnih in grdih." (Béla Tarr)

"There were a lot of shitty things in the cinema, a lot of lies. We weren't knocking at the door, we just beat it down. We were coming with some fresh, new, true, real things. We just wanted to show the reality – anti-movies. /.../ But I hope we have some social sensibility – and of course, we are always with the poor people and the ugly people." (Béla Tarr)

Béla Tarr

filmografija (izbor)/filmography (selection)

Rojen 1955 v Pécsu na Madžarskem. Amaterska dela so mu odprla vrata Studia Béla Balázsa, kjer je komaj 22-leten posnel celove~erni prvenec Družinsko gnezdo. 1981 je uspe{no kon~al {tudij filmske režije. S TV-filmom Macbeth je Tarr napovedal radikalen obrat k povsem samosvojemu, brezkompromisnemu in inovativnemu avtorskemu izrazu, ki se je {e okrepil ob sodelovanju s pisateljem Lászlóm Krasznahorkaijem.

1979 1981 1982 1982 1984 1987 1994 2000

Born in Pécs, Hungary, in 1955, Tarr joined the Béla Balázs film studio as an amateur filmmaker and directed his first feature, The Family Nest, at the tender age of twenty-two. In 1981 he graduated in film directing.

Tarr's TV movie, Macbeth, heralded a radical turn towards an idiosyncratic, uncompromising and innovative cinematic expression that became even more pronounced in partnership with writer László Krasznahorkai.

Családi tüzfészek (The Family Nest/Družinsko gnezdo) Szabadgyalog (The Outsider) Panelkapcsolat (The Prefab People) Macbeth (TV-film/TV film) Öszi almanach (Almanac of Fall/Jesenski almanah) Kárhozat (Damnation/Prekletstvo) Sátántangó Werckmeister harmóniák (Werckmeister Harmonies/Werckmeistrove harmonije) 2007 A londoni férfi (The Man from London/Mož iz Londona) 2011 A torinói ló (The Turin Horse/Torinski konj)

re`ija/directed by Béla Tarr scenarij/screenplay Béla Tarr, László Krasznahorkai (roman/novel) fotografija/cinematography Gábor Medvigy glasba/ music Mihály Vig montaža/editing Ágnes Hranitzky igrajo/cast Mihály Víg (Irimiás), Putyi Horváth (Petrina), László Lugossy (Schmidt), Éva Almássy Albert (ga. Schmidt/ Mrs. Schmidt), János Derzsi (Kráner), Irén Szajki (ga. Kráner/ Mrs. Kráner), Alfréd Járai (Halics), Erzsébet Gaál (ga. Halics/Mrs. Halics), Miklós Székely B. (Futaki), Péter Dobai (Százados) producenti/producers György Fehér, Joachim von Vietinghoff, Ruth Waldburger produkcija/production Mozgókép Innovációs Társulás és Alapítvány Kinizsi utca, IX. kerület 281092 Budapest, Hungary T +36 1 21 63 598 & Von Vietinghoff Filmproduktion (Germany) & Vega Film (Switzerland) format/format 35 mm, ~b/b&w dolžina/running time 450' festivali, nagrade (izbor)/ festivals, awards (selection) Berlin 1994 (nagrada Caligari/ Caligari Film Award), nagrade nacionalnega združenja filmskih kritikov iz ZDA/National Society of Film Critics Awards 1995 (nagrada za eksperimentalni film/Experimental Film Award), New York 1994, Toronto 1995, Solun/Thessaloniki 2002, MOMA – Muzej moderne umetnosti/Museum of Modern Art 2006

prodaja/world sales Mokép-Hungarofilm Bajcsy-Zsilinszky útca 7 1065 Budapest, Hungary E info�hungarofilm.hu

141

Retrospektiva Retrospective

Level Five Level Five Peta stopnja Francija France 1997

Chris Marker re`ija/directed by Chris Marker scenarij/screenplay Chris Marker fotografija/cinematography Yves Angelo, Gérard de Battista, Chris Marker glasba/music Chris Marker igrajo/cast Catherine Belkhodja (Laura), Kenji Tokitsu, Nagisa Ôshima, Ju’nishi Ushiyama, Kinjo Shigeaki producenta/producers Anatole Dauman, Francoise Widhoff produkcija/production Les Films de l’Astrophore 83, rue Michel Ange 75016 Paris, France E wastro�noos.fr format/format 35 mm, barvni/colour dolžina/running time 106’

prodaja/world sales Icarus Films 32 Court Street Brooklyn, NY 11201 E mail�IcarisFilms.com prodaja/world sales Universal Studios 100 Universal City Plaza Universal City, California 91608 USA E cherly.valdez�nbcuni.com

Ena izmed zadnjih dokumentarno-igranih filmskih mojstrovin kultnega režiserja Chrisa Markerja je provokativna meditacija o prepletanju zgodovine, sodobne tehnologije, pa tudi ranjenega narodnega ponosa.

One of the last docufiction masterpieces by the iconic filmmaker Chris Marker, Level Five is a provocative meditation on the interlacement of history, advanced technology and wounded national pride.

Francoska ra~unalni{ka programerka Laura se znajde pred zahtevno nalogo: do konca mora razviti ra~unalni{ko igrico, zasnovano na zgodovinskih dejstvih bitke za Okinavo med drugo svetovno vojno. Laura sprva i{~e podatke na spletu, nato pa sama opravi intervjuje s {tevilnimi japonskimi strokovnjaki in pri~ami krvave bitke. Nenavadne okoli{~ine bitke za Okinavo Lauro pahnejo v poglobljeno razmi{ljanje o njenem lastnem življenju ter o vplivu zgodovine in spominov na ~love{tvo.

French computer programmer Laura inherits the task of making a computer game of the Battle of Okinawa in Japan during World War II. She searches the Internet for information on the battle, and interviews Japanese experts and witnesses. The extraordinary circumstances of the Battle of Okinawa lead Laura to reflect deeply on her own life and humanity in general, particularly the influence of history and memories.

"[tevilnim ljudem 'angažirano' pomeni 'politi~no', vendar me 'politika', umetnost kompromisov (tako tudi mora biti, saj brez kompromisov obstaja samo brutalna sila, ki smo ji ravnokar pri~e), neznansko dolgo~asi. Zanima me zgodovina, politika pa samo toliko, kolikor predstavlja sledi, ki jih preteklost pu{~a na sedanjosti." (Chris Marker)

"For many people, 'engaged’ means 'political,' and politics, the art of compromise (which is as it should be – if there is no compromise there is only brutal force, of which we're seeing an example right now), bores me deeply. What interests me is history, and politics interests me only to the degree that it represents the mark history makes on the present."

(Chris Marker)

Chris Marker

filmografija (izbor)/filmography (selection)

Rojen leta 1921 v predmestju Pariza. Njegov filmski opus obsega okoli {estdeset naslovov. Veljal je za eno osrednjih osebnosti francoskega novega vala, prav tako pa tudi za eno najpomembnej{ih imen sodobnega avtorskega filma. Njegove dokumentarne filmske eseje je mo~no zaznamovalo prevpra{evanje ~asa, spomina in narave resnice. Umrl je na svoj rojstni dan 29. julija 2012.

1963 Le joli mai (Lepi maj) (dokumentarni/documentary) 1967 Loin du Vietnam (Far from Vietnam/Dale~ od Vietnama) (dokumentarni/documentary) 1968 À bientôt, j'espère (Be Seeing You) (dokumentarni/documentary) 1969 Classe de lutte (Class of Struggle) (kratki dokumentarni/short documentary) 1977 Le fond de l'air est rouge (A Grin without a Cat/Globine zraka so rde~e) (dokumentarni/documentary) 1983 Sans soleil (Without Sun/Brez Sonca) (dokumentarni/documentary) 1997 Level Five (Peta stopnja) (dokumentarni/documentary) 1999 One Day in the Life of Andrei Arsenevich (dokumentarni/documentary) 2001 Remembrance of Things to Come (dokumentarni/documentary)

Born in 1921 in the suburbs of Paris, Marker's cinematic oeuvre embraces some sixty works. He is considered one of the central figures of the French New Wave and a leading name of contemporary auteur cinema.

His documentary cinematic essays address the unresolved issues of time, memory and the nature of truth. He died on his birthday, 29 July 2012.

142

Retrospektiva Retrospective

Sosialismi Socialism Socializem Finska Finland 2014

Peter von Bagh

re`ija/directed by Peter von Bagh scenarij/screenplay Peter von Bagh fotografija/cinematography Arto Kaivando zvok/sound Henrik Otto Donner montaža/editing Petteri Evilampi producent/producer Peter von Bagh produkcija/production Aamunkoi Productions E petervonbagh�welho.co format/format DCP, barvni/colour dolžina/running time 68’ festivali, nagrade/ festivals, awards Bologna – Il cinema ritrovato/Cinema Rediscovered 2014, Locarno 2014

Peter von Bagh v dokumentarnem eseju postreže z bistroumnim kolažem filmskih prizorov, ki po avtorjevem mnenju pri~ajo o "stoletju socializma".

Peter von Bagh's latest offering is an intelligent documentary essay, a tapestry of cinematic scenes that, according to the director, bears witness to "a century of socialism".

Socializem gledalcu ponuja poglobljen vpogled v dokumentarne in igrane filmske predstavitve delavskih bojev in utopij delavskega razreda v prej{njem stoletju. Režiserju je v tem mojstrskem kolažu uspelo obuditi vero v možnost bolj{e in pravi~nej{e družbe, ki je vrsto let navdihovala {tevilne revolucionarne in napredne filmske ustvarjalce.

Socialism looks closely into the documentarian and re-enacted representations of working-class struggles and utopias of the previous century. The director manages to draw inspiration, invention and even flickers of hope in the beautiful dreams as evoked by revolutionary and progressive filmmakers down the years about how society can change for the better.

"Film razkriva, da nas je Peter vseskozi vlekel za nos. Pretvarjal se je, da je trdosr~en, vendar delo Socializem prikaže, da je v srcu zelo rahlo~uten." (Aki Kaurismäki o Petru von Baghu)

"The film reveals that Peter has been fooling us all along. He has been pretending to be a tough guy, but Socialism reveals that at the core he is a sensitive person." (Aki Kaurismäki about Peter von Bagh)

Peter von Bagh

filmografija (izbor)/filmography (selection)

Priznani režiser in filmski kritik je bil rojen leta 1943 v Helsinkih na Finskem.

Izdal je okrog dvajset knjig o filmu, med 1970 in 1985 je bil direktor Finskega filmskega arhiva, nazadnje pa glavni urednik revije Filmhullu in direktor filmskega festivala Midnight Sun, ki ga je ustanovil skupaj z Akijem in Miko Kaurismäkijem. Poleg tega je pou~eval tudi zgodovino filma na Akademiji za umetnost in oblikovanje v Helsinkih. Umrl je letos septembra.

1971 1980 1983 1986 1988 1989 2008 2013 2014

The acknowledged director and film critic was born in 1943 in Helsinki, Finland. He published around twenty books on cinema, and was Director of the Finnish Film Archive between 1970 and 1985. He was the editor-in-chief of the Filmhullu magazine and Director of the Midnight Sun film festival, which he had established in partnership with Aki and Mika Kaurismäki. He also taught history of cinema at the University of Art and Design in Helsinki.

He died in September 2014.

Kreivi (The Count) Vuosi 1952 Paiva Karl Marxin haudalla Ajan draama Jukeboxin ikivihreat Asema (Station) Helsinki ikuisesti (Helsinki Forever/Helsinki za vedno) Muisteja (Remembrance) (dokumentarni/documentary) Sosialismi (Socialism/Socializem)

prodaja/world sales Aamunkoi Productions E petervonbagh�welho.co

143

144

Evropa na kratko Europe in Short

Tekmovalni program Competitive Programme 146 1. sklop section 1 146 Laborat Laborat Guillaume Cailleau Koko{ The Chicken Una Gunjak Arekara – `ivljenje gre dalje Arekara – The Life After Momoko Seto 147 Vsega ne more{ storiti naenkrat, lahko pa vse pusti{ You Can't Do Everything At Once, But You Can Leave Everything At Once Marie-Elsa Sgualdo Za vogalom Down on the Corner Corina Schwingruber Ili}, Nikola Ili} Sodba The Verdict Ðuro Gavran 148 2. sklop section 2 148 Amnezijak na pla`i Amnesiac on the Beach Dalibor Bari} Preprosto `ivljenje A Simpler Life Gunhild Enger Dvojnik The Ringer Chris Shepherd Roke proti nebesom Hands Up to Heaven Ulrike Putzer, Matthias van Baaren 149 Misterij Mystery Chema Garcia Ibarra 149 3. sklop section 3 [estdnevni maraton Six Day Run Mika Taanila Vsak pravi pesnik Every True Poet Nejc Saje, Jeffrey Young 150 Velikani Tokia Tokyo Giants Nicolas Provost Maslena svetilka Butter Lamp Hu Wei Ples tigra Tiger Fight Martin Repka 151 Havana Havana Edouard Salier

145

Evropa na kratko Europe in Short

Tekmovalni program Competitive Programme

Pasja ko`a

Laborat

1. sklop section 1

Laborat

Koko{

Nem~ija Germany 2014 dokumentarni/documentary

Nem~ija, Hrva{ka Germany, Croatia 2014 igrani/fiction

re`ija/directed by Guillaume Cailleau scenarij/screenplay Guillaume Cailleau, Hanna Slak monta`a/editing Hanna Slak fotografija/ cinematography Michel Balagué, Guillaume Cailleau zvok/sound Kai Nicholas Theinen glasba/music Werner Dafeldecker produkcija/ production Jana Cisar, Philip Widmann, Guillaume Cailleau, Hanna Slak kontakt/contact info�caskfilms.com format/format DCP, barvni in ~b/ colour and b&w dol`ina/running time 21' 13"

re`ija/directed by Una Gunjak scenarij/screenplay Una Gunjak monta`a/ editing Anja Siemens fotografija/cinematography Matthias Pilz scenografija/production design Ivana [krabalo zvok/sound Sebastian Morsch, Raoul Brand glasba/music Bernd Schurer igrajo/cast Iman Alibali}, Mirela Lambi}, Esma Ali}, Mario Knezovi} produkcija/production Jelena Goldblach, Zak Film Productions, Sini{a Juri~i}, Nukleus film kontakt/contact info�nukleus-film.hr format/format DCP, barvni/colour dol`ina/running time 15' 00"

Laborat Laborat

V prostorih, podnevi. Onkolo{ki raziskovalni center v Berlinu, januar 2011. Filmska ekipa se sre~a z raziskovalci. Z uporabo analognih metod filmska ekipa spremlja eksperimente na mi{ih, ki so podvr`ene razli~nim postopkom. Te`ko je dolo~iti, ali film prikazuje enega ali ve~ preizkusov, eno ali ve~ mi{i – preizkusi in `ivali so si preve~ podobni. Filmska ekipa vzporedno dokumentira lastne dejavnosti, potrebne za snemanje.

V filmu Laborat re`iser Guillaume Cailleau prepleta ve~ ravni.

Dokumentira precizne preiskave na objektu, obenem pa preizpra{uje sam proces dokumentiranja. Distanca do objekta je ukinjena. Objekt postane subjekt, gledalec sostorilec. Mozaik podob. Prikrade se nelagodje.

Interior, day. Oncological Research Centre in Berlin, January 2011. A film team meets with researchers. Using analogue cinematographic methods, the film crew records experiments performed on mice. The mice are forced to undergo diverse procedures. Whether the film deals with one or several tests, one or several mice, is difficult to ascertain – the tests and the animals are too similar. Parallel to this, the film crew documents their own activities, necessary to make the recordings.

In Laborat, filmmaker Guillaume Cailleau interweaves the levels.

He documents examinations performed on the object with great precision, while simultaneously reflecting on the process of the documentation itself. Distance to the object becomes suspended. The object becomes the subject, the spectator an accomplice. A tapestry of images. Unease sets in.

Koko{ka The Chicken

Selma za {esti rojstni dan dobi `ivo koko{. Ko ugotovi, da bo `ival dru`ini za hrano, se jo odlo~i re{iti in osvoboditi, ne zaveda pa se nepopravljivih posledic svojega dejanja. Med iskanjem zablodele koko{i je Selmina mama `rtev ostrostrelca. Smo v Sarajevu, leta 1993.

As a present for her sixth birthday, Selma gets a live chicken.

When she realises the animal is going to be killed to feed the family, she decides to save it and set it free, unaware of the high stakes such action will lead to. While trying to bring back the missing chicken, Selma's mum becomes the target of a sniper shoot. It’s Sarajevo, the year 1993.

Arekara – `ivljenje gre dalje Arekara – la vie après Arekara – The Life After Francija France 2013 dokumentarni/documentary re`ija/directed by Momoko Seto scenarij/screenplay Momoko Seto monta`a/editing Momoko Seto, Nicolas Sarkissian fotografija/ cinematography Momoko Seto, Minori Matsuoka zvok/sound Quentin Degy produkcija/production Momoko Seto koprodukcija/co-production Ecce Films kontakt/contact avril�eccefilms.fr format/format DCP, barvni/ colour dol`ina/running time 16' 40"

Pet pri~evanj apokalipti~nega in nadrealisti~nega dogodka.

Five testimonies of an apocalyptic and surreal event.

146

Evropa na kratko Europe in Short

Vsega ne more{ storiti naenkrat, lahko pa vse pusti{

Za vogalom

Vsega ne more{ storiti naenkrat, lahko pa vse pusti{ Man kann nicht alles auf einmal tun, aber man kann alles auf einmal lassen You Can't Do Everything At Once, But You Can Leave Everything At Once Francija, [vica France, Switzerland 2013 igrani/fiction re`ija/directed by Marie-Elsa Sgualdo scenarij/screenplay Marie-Elsa Sgualdo monta`a/editing Marie-Elsa Sgualdo zvok/sound Yanick Gerber produkcija/production Terrain Vague koprodukcija/co-production Swiss Radio and Television kontakt/contact francois.morisset�salaudmorissetp roduction.com format/format DCP, barvni in ~b/colour and b&w dol`ina/ running time 15' 22"

Domi{ljijskim zgodbam, ki nas obkro`ajo, nevede pripisujemo pomen. Tako je leta 2011 Marie-Elsa Sgualdo odkrila filmsko umetnost {panskega re`iserja José-Luisa Guerina, kar je v njej porodilo `eljo po stiku z njim.

"Pomislila sem, da bi mu poslala pismo v obliki fiktivne avtobiografije, s katerim bi posku{ala izraziti, kaj me je v njegovih filmih ganilo. /…/ Namenila sem se vdihniti `ivljenje tistemu, ~emur pravim govorice, ne da bi se obvezala h goli resnici."

(Marie-Elsa Sgualdo) Without knowing it, we attach significance to phantom stories that circulate around us. Thus, in 2011 Marie-Elsa Sgualdo discovered the work of Spanish director José-Luis Guerin, and the desire to contact him was aroused in her.

"I thought about sending him a letter in the form of auto-fiction to try to express what had moved me in his films. /…/ I undertook to breathe life into what I would call rumours, without obliging myself to always tell the truth." (Marie-Elsa Sgualdo)

Za vogalom

Sodba

Corina Schwingruber Ili}, Cortha Film kontakt/contact corthafilm�gmail. com format/format DCP, barvni/colour dol`ina/running time 15' 00"

Pivo, cigarete ali margarina, v trgovini na vogalu v Sir}i dobite vse.

Je shajali{~e vseh tistih, ki se niso odselili. Brez dela in denarja, vendar polni humorja in prijateljstva. Vsakodnevno `ivljenje v osrednji Srbiji in morda kmalu po vsej Evropi?

Beer, cigarettes or margarine, the corner store in Sir}a has it all.

It's the meeting point of those who didn't emigrate. No work, no money, but a lot of humour and friendship. Everyday life in central Serbia and maybe soon all over Europe?

Sodba Presuda The Verdict Hrva{ka Croatia 2013 dokumentarni/documentary re`ija/directed by \uro Gavran scenarij/screenplay \uro Gavran monta`a/editing Iva Mrki} fotografija/cinematography Pavel Posavec, Nikola Su~evi}, Tamara Dugan|ija, \uro Gavran zvok/sound Daniel Peij} produkcija/production Miljenka ^ogelja, Pipser kontakt/contact info�pipser.hr format/format DCP, barvni/colour dol`ina/running time 11' 21"

[estnajst let po vojni se je na zagreb{kem glavnem trgu zbralo ve~ tiso~ ljudi, da bi spremljali neposredno predvajanje sodbe hrva{kim generalom. Film v nizu bli`njih posnetkov dokumentira izbruhe ~ustev, ki jih povzro~i sodba.

Sixteen years after the war, in the main square of Zagreb several thousand people gathered to watch a live broadcast of the verdict on the Croatian generals. Through a series of close-ups, the film documents the eruption of emotions caused by the verdict.

Kod }o{ka Down on the Corner [vica Switzerland 2013 dokumentarni/documentary re`ija/directed by Corina Schwingruber Ili}, Nikola Ili} scenarij/screenplay Nikola Ili}, Corina Schwingruber Ili} monta`a/editing Jovica Radisavljevi} fotografija/cinematography Nikola Ili}, Corina Schwingruber Ili} zvok/ sound Beni Mosele glasba/music Heidi Happy produkcija/production

147

Evropa na kratko Europe in Short

Tekmovalni program Competitive Programme

Amnezijak na plaćži

Preprosto življenje

Dvojnik

2. sklop section 2

Amnezijak na pla`i Amnezijak na pla`i Amnesiac on the Beach Hrva{ka Croatia 2013 igrani eksperimentalni/fiction experimental re`ija/directed by Dalibor Bari} scenarij/screenplay Dalibor Bari} monta`a/editing Dalibor Bari} fotografija/cinematography Daniel Bakoti} glasba/music Tomislav Babi} igrajo/cast Ana Kol~eg, Dalibor Bari}, Flavio Flori~i} produkcija/production Vanja Andrijevi}, Bonobostdio kontakt/ contact vanja�bonobostudio.hr format/format HD, barvni/colour dol`ina/ running time 23' 40"

Bli`nje sre~anje z `ivljenjem se morda zdi nenavaden, neobi~ajen dogodek, vendar lahko doleti vsakogar. Zakaj bi bili zaznamovani s svojo ustaljeno, nespremenljivo identiteto, kot da nikoli ne bomo imeli vzgibov po delovanju, nikoli hrepeneli ali izkusili ~esa novega? Sedaj vam lahko ponudimo najdragocenej{i dar: izku{njo bli`njega sre~anja z `ivljenjem.

The Near Life Experience might seem to be an odd, extraordinary occurrence, but in fact it can happen to anyone. Why be the self-stigma of your fixed, unchanging identity, as if we were never to act, never to desire, never to experience anything new?

Now we can give you the most precious gift of all: The Near Life Experience.

Preprosto `ivljenje Ett enklare liv A Simpler Life [vedska Sweden 2013 igrani/fiction re`ija/directed by Gunhild Enger scenarij/screenplay Gunhild Enger monta`a/editing Varin Andersen fotografija/cinematography Linda Wassberg zvok/sound Claes Lundberg produkcija/production Kvarteret Filmproduction kontakt/contact theo.tsappos�sfi.se format/format DCP, barvni/colour dol`ina/running time 14' 00"

Ing-Marie in Carl sta zelo zaposlena. Ona z vadbo, on z vrtnarjenjem. Obdala sta se s pripravami, ki naj bi jima olaj{ale `ivljenje, vendar jima povzro~ajo samo ve~ te`av. Duhovita refleksija na vro~, poznopoletni dan.

148

Roka proti nebesom

Ing-Marie and Carl are very busy. She with training, he with gardening. They surround themselves with gadgets designed to make their lives simpler, but all they really do is cause more problems. A humorous reflection on a hot late summer's day.

Dvojnik The Ringer The Ringer Francija, Velika Britanija France, Great Britain 2013 igrano-animirani/fiction-animation re`ija/directed by Chris Shepherd scenarij/screenplay Chris Shepherd monta`a/editing Justine Wright fotografija/cinematography Simon Tindall animacija/animation Julien Bonnafous, Damien Climent, Francis Canitrot, Cyril Costa, Christelle Climent zvok/sound Andy Humphreys glasba/music Ollie Davis igrajo/cast John Henshaw, Kieran Lynn, Milo Quinton, Dave Sommer "Trigger" produkcija/production Autour de Minuit, Nicolas Schmerkin/Polkadot, Valentina Brazzini/The Bureau, Chris Shepherd kontakt/contact nicolas�autourdeminuit.com, f.keller�agencecm.com format/format DCP, barvni/colour dol`ina/running time 17' 00"

Sin se sre~a z o~etom, ki ga ni poznal. Pri~akuje, da bo odkril vse o njem, od kod prihaja, kaj na~rtuje za prihodnost. Vendar ga ~aka veliko presene~enje …

A son is reunited with his long lost father for the first time. You might imagine it's time to discover everything about where he's come from and where he’s going. But he's about to get a surprise…

Roke proti nebesom Hände zum Himmel Hands Up to Heaven Avstrija Austria 2013 dokumentarni/documentary re`ija/directed by Ulrike Putzer, Matthias van Baaren scenarij/screenplay Ulrike Putzer, Matthias van Baaren monta`a/editing Ulrike Putzer, Matthias van Baaren fotografija/cinematography Ulrike Putzer, Matthias van Baaren zvok/sound Ulrike Putzer, Matthias van Baaren produkcija/production Matthias van Baaren Filmproduction kontakt/contact office�sixpackfilm. com format/format DCP, barvni/colour dol`ina/running time 18' 00"

Evropa na kratko Europe in Short

Misterij

Miniyamba

[estdnevni maraton

Hansi Hinterseer bo pod nebom brez obla~ka vodil ob~inski gorski sejem v idili~nem alpskem kraju Kitzbühel. Opazujo~a, vendar neobsojajo~a kamera spremlja mno`ico obo`evalcev, ki potrpe`ljivo ~akajo na obo`evano smu~arsko legendo in priljubljenega pevca. Hansi se navsezadnje le prika`e, za~ne peti, moliti in zdru`evati ljudi. Film o gibanju, telesnem in umskem.

Under a cloudless sky, Hansi Hinterseer hosts a communal mountain fair in the Alpine idyll of Kitzbühel. Observing – without judgment – the camera follows along amidst the throng of fans, waiting patiently for the revered skiing and entertainment legend to appear. Eventually Hansi does emerge, and proceeds to sing, pray and bring people together. This is a film about a movement, of both the body and the mind.

Misterij Misterio Mystery [panija Spain 2013 igrani/fiction re`ija/directed by Chema Garcia Ibarra scenarij/screenplay Chema Garca Ibarra monta`a/editing Chema Garcia Ibarra fotografija/cinematography Alberto Gutiérrez zvok/sound Pepe Marsilla igrajo/cast Angelita López, Asun Quinto, Josefa Sempere, Antonio Blas Molina, José Manuel Ibarra, Luismi Bienvenido, Susi Martinez, Josette Mora produkcija/production Misterio kontakt/contact chemagarciaibarra�gmail.com format/format DCP, barvni/colour dol`ina/running time 11' 30"

Pravijo, da bo{ sli{al govoriti Devico Marijo, ~e uho prisloni{ na njegovo zatilje.

They say that if you put your ear to the back of his neck, you can hear the Virgin talk.

Vsak pravi pesnik

[estdnevni maraton

3. sklop section 3

Kuuden päivän juoksu Six Day Run Finska Finland 2013 dokumentarni/documentary re`ija/directed by Mika Taanila scenarij/screenplay Mika Taanila monta`a/ editing Mika Taanila fotografija/cinematography Jussi Eerola zvok/sound Olli Huhtanen glasba/music Circle produkcija/production Kinotar Oy, Cilla Werning, Lasse Saarinen kontakt/contact kinotar�kinotar.com format/ format DCP, barvni/colour dol`ina/running time 15' 00"

Film o enem najbolj ekstremnih individualnih vzdr`ljivostnih {portov, ki izhaja iz sedemdesetih let devetnajstega stoletja, se ohlapno navezuje na zgodbo o stvarjenju iz biblijske Geneze (Geneza 1:1–2:3). Petintrideset teka~ev iz razli~nih dr`av te~e v krogu po kilometer in pol dolgem, tlakovanem kro`nem tekali{~u v parku. Teka~i preizkusijo meje zmogljivosti in sposobnosti opomo~i si od stresa zaradi neprestanega gibanja. Te~ejo ob minimalnem spanju in vseskozi sku{ajo zbrati kar najve~ kilometrov.

A film about one of the most extreme individual endurance sports dating back to the 1870s is loosely based on the Genesis creation narrative in the Bible (Genesis 1:1 – 2:3). During the event, 35 runners from different countries run laps around a one-mile paved loop in a park. The runners test the limits of their endurance and ability to recover from the stress of constantly moving. They run with minimal sleep all the while trying to accumulate as many miles as possible.

Vsak pravi pesnik Vsak pravi pesnik Every True Poet Slovenija Slovenia 2014 dokumentarni/documentary

re`ija/directed by Nejc Saje, Jeffrey Young scenarij/screenplay Jeffrey Young monta`a/editing Nejc Saje, Jeffrey Young fotografija/ cinematography Nejc Saje zvok/sound Sa{o Kalan glasba/music Davor Herceg, Mohammad Reza Mortazavi produkcija/production Viva Videnovi}, Strup produkcija kontakt/contact info�strup.si format/format HD, barvni/ colour dol`ina/running time 11' 50"

149

Evropa na kratko Europe in Short

Tekmovalni program Competitive Programme

Maslena svetilka

Velikani Tokia

Eksperimentalni portret Toma`a [alamuna, najpomembnej{ega {e `ive~ega slovenskega pesnika in enega najbolj vplivnih pesnikov v svetovnem merilu. Film v raziskovanju pesnikove ustvarjalne vizije in globokega umetni{kega sporo~ila spaja dokumentarne elemente z dramsko pripovedjo, navdihnjeno s [alamunovo poezijo. Naslov je sposojen od enega [alamunovih najslovitej{ih verzov: "Vsak pravi pesnik je po{ast."

An experimental portrait of Toma` [alamun, Slovenia's greatest living poet and one of the most influential bards writing in the world today. The film combines documentary elements with a dramatic narrative inspired by [alamun's poetry to explore his creative vision and profound message as an artist. The film's title is taken from one of [alamun’s most famous lines: "Every true poet is a monster."

Velikani Tokia Tokyo Giants Tokyo Giants Belgija Belgium 2013 igrani eksperimentalni/fiction experimental re`ija/directed by Nicolas Provost scenarij/screenplay Nicolas Provost fotografija/cinematography Nicolas Provost monta`a/editing Nicolas Provost zvok/sound Nicolas Provost producent/producer Nicolas Provost kontakt/contact distribution�argosarts.org format/format DCP, barvni/ colour dol`ina/running time 22'

Ob ru{enju dramatur{kih konvencij re`iser Provost v trilogiji Plot Point predstavlja ~loveka z ulice kot filmskega protagonista.

Po New Yorku (Plot Point) in Las Vegasu (Stardust) se s skrito kamero odpravi na hiperkineti~ne tokijske ulice v iskanju skrivnosti resni~nosti. Poti serijskega morilca, posiljevalca, terorista, predstavnikov kulta in jakuze se kri`ajo in spajajo v siloviti, nerazre{ljivi vrhunec.

Subverting dramaturgical conventions in his Plot Point trilogy, Provost presents the man in the street as a film protagonist.

After New York (Plot Point) and Las Vegas (Stardust) he takes his hidden camera to the hyperkinetic streets of Tokyo in search for the mystery of reality. A serial killer, a rapist, a terrorist, a cult, the Yakuza, what they all have in common is that their paths cross and merge into a powerful climax that cannot be resolved.

150

Ples tigra

Maslena svetilka La lampe au beurre de yak Butter Lamp Francija, Kitajska France, China 2013 igrani/fiction re`ija/directed by Hu Wei scenarij/screenplay Hu Wei monta`a/ editing Hu Wei fotografija/cinematography Jean Legrand zvok/sound Hervé Guyadère, Liu Cheng igra/cast Genden Punstok produkcija/ production Julien Féret, Yangxu Zhou, AMA Productions kontakt/contact googoowood�hotmail.com, f.keller�agencecm.com format/format DCP, barvni/colour dol`ina/running time 15' 00"

V tibetanski gorski vasici mlad fotograf ustvarja zre`irane portrete.

S pomo~jo {kripajo~ega {kripca spu{~a ozadja, med drugimi narodne znamenitosti, Disneyjeve figurice in tropske otoke.

Molilni mlin~ki in sijo~a son~na o~ala odra`ajo kulturno tradicijo, podvr`eno sodobnim vplivom.

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 subjected to modern influences.

Ples tigra Tiger Fight Tiger Fight Slova{ka, Indija, Avstrija Slovakia, India, Austria 2013 igrani/fiction re`ija/directed by Martin Repka scenarij/screenplay Martin Repka monta`a/editing Maro{ [lapeta fotografija/cinematography Peter Bencsik zvok/sound Elangovan.r glasba/music Prabahar.r igrajo/ cast Nasser, Palani, Mahendravarman, Dhayanidhi produkcija/ production PubRes, Mozhi Films, Amour Fou kontakt/contact festivals�neweuropefilmsales.com format/format HD, barvni/colour dol`ina/running time 15' 43"

Neko~ sloviti tamilski filmski ustvarjalec [arma pre`ivlja obi~ajen delovni dan, vse do trenutka, ko se v njegovi pisarni pojavi Kader, umetnik tigrovega plesa, s pro{njo za vlogo v filmu.

Zaradi arogantnega odnosa do Kadra [arma zamudi prilo`nost za

Evropa na kratko Europe in Short

Dan mrtvih

vrnitev med proslavljene re`iserje. Delo je dar ju`noindijski filmski industriji "Kollywood".

It was an ordinary working day for the onetime famous Tamil film director Sharma up to the moment when the Tiger Dancer Kader appeared in his office to ask for an acting chance. Due to his arrogance towards Kader, Sharma misses his opportunity for a bright comeback. The film is a tribute to the South Indian "Kollywood".

Havana

Havana

Predfilm Precedes a feature film

Habana Havana Francija France 2013 igrano-animirani/fiction-animation re`ija/directed by Edouard Salier scenarij/screenplay Sébastien Ors, Edouard Salier monta`a/editing Christophe Richard, Nicolas Belin fotografija/cinematography Mathieu Plainfossé animacija/ animation Thomas Marqué glasba/music Doctor L. igrajo/cast Leoandy Chacon, Lizandra Batista, Lazaro Hidalgo, Stefania Roy produkcija/ production Autour de Minuit, Nicolas Schmerkin kontakt/contact nicolas�autourdeminuit.com format/format DCP, ~b/bw dol`ina/running time 22' 00"

Havano zavojujejo tuje sile in je na robu dr`avljanske vojne. De~ek iz revne ~etrti Lazaro nas popelje po ulicah in razkriva kaos, ki je preplavil prestolnico.

Occupied by foreign forces, Havana is on the brink of a civil war.

Lazaro, a kid from the slums, walks us through his streets and reveals the chaos that has taken over the capital. predfilm filmu Puberteta: navodila za uporabo (Perspektive) precedes the feature film Guidelines (Perspectives)

151

Kazalo Index

izvirni naslovi original titles 20,000 Days on Earth 32 A Alan Partridge: Alpha Papa 33 Amnezijak na pla`i 148 M Amour est un crime parfait, L' 45 Arekara – la vie après 146 Asha jaoar majhe 80 Atlantiques 77 B Bande de filles 35 Beit-Lehem 79 Bird People 60 Birdman 36 Blind 25 Blue Ruin 102 Broj 55 25 Buzzard 19 C Casa Grande 27 chapeau de paille d'Italie, Un 132 Charlie's Country 58 Chuang ru zhe 93 N Combattants, Les 86 Cueva, La 100 D De ofrivilliga 118 O Double, The 82 Duke of Burgundy, The 81 P Duva satt pa en gren och funderade pa tillvaron, En 41 Dvadtsat dnej bez vojni 125 E Ein proletarisches Wintermärchen 23 Emil & Ida i Lönneberga 111 Enlevement de Michel Houellebecq, L' 51 Ett enklare liv 148 F Fair Play 83 Force Majeure 52 Q Foxcatcher 38 R French Connection, The 140 G Gemma Bovery 40 Gitarrmongot 116 H Hände zum Himmel 148 Händelse vid bank 119 S Havana 151 Hross i oss 53 Hrustaljov, ma{inu! 127 I Ich seh, Ich she 20 Im keller 70 It Follows 104 J Jalousie, La 59 Jauja 43 T K Karsten og Petra pa vinterferie 107 Kis uykusu 54 Kkeut-kka-ji-gan-da 101 Kod }o{ka 147 Koko{ka 146 Kosac 84 V Kraftidioten 34 Kuuden päivän juoksu 149 W L Laborat 146 Lampe au beurre de yak, La 150 Lawrence of Arabia 136 Level Five 142 Leviafan 44 Listen Up Philip 94 Look of Silence, The 96

152

slovenski naslovi slovene titles Love Is Strange 85 Love Island 90 Mammu, es tevi milu 110 Man kann nicht alles auf einmal tun, aber man kann alles auf einmal lassen 147 Mange tes morts 22 Maps to the Stars 50 Marche a suivre, La 24 Meraviglie, Le 37 Mi mefahed mezeev hara 103 Mille soleils 76 Misterio 149 Moj drug Ivan Lap{in 126 Mommy 46 Most Wanted Man, A 62 Mr. Turner 39 Mula sa kung ano ang noon 64 Ne me quitte pas 87 Ni~ije dete 88 Night Moves 63 O menino e o mundo 109 Omar 89 Palo Alto 91 Party Girl 95 Pasa`erka 137 Pasolini 48 Phoenix 49 Play 120 Playtime 138 Plemja 21 Presuda 147 Proverka na dorogah 124 P'tit Quinquin 61 Queen and Country 71 Red Shoes, The 134 Région centrale, La 139 Ringer, The 148 Rocket, The 112 Rough Cut 99 Sátántangó 141 Scen nr: 6882 ur mitt liv 117 Sel de la terre, Le 66 Sils Maria 47 Solan og Ludvig: Jul i Flaklypa 108 Sosialismi 143 Szabadesés 92 Teodora, imperatrice di Bisanzio 135 Tiger Fight 150 Timbuktu 69 To Mikro Psari 67 Tokyo Giants 150 Trudno bit bogom 68 Varvari 78 Vsak pravi pesnik 149 Wälder sind noch grün, Die 42 We Come as Friends 65 Whiplash 18 Wizard of Oz, The 133

20,000 dni na Zemlji 32 A Alan Partridge: Alfa samec 33 Amaterji 34 Amnezijak na pla`i 148 Arekara – `ivljenje gre dalje 146 Atlantik 77 B Banda punc 35 Barbari 78 Betlehem 79 Birdman 36 Brezpogojna ljubezen 80 Burgundski vojvoda 81 C Centralna regija 139 ^ ^arlijeva de`ela 58 ^arovnik iz Oza 133 ^udesa 37 D De~ek in svet 109 Dvajset dni brez vojne 125 Dvojnik 148 Dvojnik 82 E Emil iz Löneberge 111 F Fair Play 83 Foxcatcher: Boj z norostjo 38 Francoska zveza 140 G G. Turner 39 Ga{per in Petra na zimskih po~itnicah 107 Gemma Bovery 40 Golob je sedel na veji in razmi{ljal o `ivljenju 41 Gozdovi so {e vedno zeleni 42 Groba monta`a 99 H Havana 151 Hrustaljov, moj avto! 127 I Igra 120 Incident pred banko 119 Italijanski slamnik 132 J Jama 100 Jauja: Raj na zemlji 43 Je`ek in vran pri~arata bo`i~ 108 K Kitarski mongoloid 116 Koko{ 146 Kosec 84 L Laborat 146 Lahko no~, mamica 20 Lawrence Arabski 136 Leviatan 44 Ljubezen je ~udna re~ 85 Ljubezen je popolni zlo~in 45 Ljubezen na prvi pretep 86 Ljubosumje 59 Ljudje ptice 60 M Mali Quinquin 61 Mami, rad te imam 110 Mamica 46 Maslena svetilka 150 Misterij 149 Moj prijatelj Ivan Lap{in 126 Mrhovinar 19 N Najbolj iskani ~lovek 62 Naporen dan 101 Ne zapu{~aj me 87 Nenamerno 118 Nikogar{nji otrok 88 No~ne poti 63

O Oblaki nad Sils Mario 47 Odmevi preteklosti 64 Omar 89 Otok ljubezni 90 Oto`no razdejanje 102 P Palo Alto 91 Pasolini 48 Peta stopnja 142 Phoenix 49 Playtime 138 Pleme 21 Ples tigra 150 Pogled ti{ine 96 Poti k zvezdam 50 Potnica 137 Po`ri svoje prednike 22 Preizku{nja na poti 124 Preprosto `ivljenje 148 Prihajamo v miru 65 Prizor iz `ivljenja {t. 6882 117 Proletarska zimska pravljica 23 Prosti pad 92 Puberteta: navodila za uporabo 24 R Raketa 112 Rde~a amnezija 93 Rde~i ~eveljci 134 Ritem norosti 18 Roke proti nebesom 148 S Sátántangó 141 Slepa 25 Socializem 143 Sodba 147 Sol zemlje 66 Stratos 67 Svojeglavi Philip 94 [ [estdnevni maraton 149 [tevilka 55 25 T Teodora, bizantinska cesarica 135 Te`ko je biti Bog 68 Timbuktu 69 Tiso~ sonc 76 U Ugrabitev Michela Houellebecqa 51 V V kleti 70 Velika hi{a 27 Velikani Tokia 150 Veliki, zlobni volkovi 103 Vi{ja sila 52 Vsak pravi pesnik 149 Vsega ne more{ storiti naenkrat, lahko pa vse pusti{ 147 Z Za kraljico in domovino 71 Za vogalom 147 Zgodbe o konjih in ljudeh 53 Zimsko spanje 54 Zlo za petami 104 Ž @urerka 95

Kazalo Index

angle{ki naslovi english titles 20,000 Days on Earth 32 A Alan Partridge: Alpha Papa 33 Amnesiac on the Beach 148 Arekara – The Life After 146 Atlantiques 77 Autobiographical Scene Number 6882 117 B Barbarians 78 Bethlehem 79 Big Bad Wolves 103 Bird People 60 Birdman 36 Blind 25 Blue Ruin 102 Boy and the World, The 109 Butter Lamp 150 Buzzard 19 C Casa Grande 27 Charlie's Country 58 Check-up on the Roads 124 Chicken, The 146 Christmas of Solan and Ludvig 108 Clouds of Sils Maria 47 D Don't Leave Me 87 Double, The 82 Down on the Corner 147 Duke of Burgundy, The 81 E Eat Your Bones 22 Every True Poet 149 F Fair Play 83 Force Majeure 52 Foxcatcher 38 Free Fall 92 French Connection, The 140 From What Is Before 64 G Gemma Bovery 40 Girlhood 35 Goodnight Mommy 20 Guidelines 24 Guitar Mongoloid 116 H Hands Up to Heaven 148 Hard Day, A 101 Hard to Be a God 68 Havana 151 I In Darkness We Fall 100 In Order of Disappearance 34 In the Basement 70 Incident by a Bank 119 Involuntary 118 It Follows 104 Italian Straw Hat, The 132 J Jauja 43 Jealousy 59 K Karsten and Petra on Winter Vacation 107 Khrustalyov, My Car! 127 Kidnapping of Michel Houellebecq, The 51 L Laborat 146 Labour of Love 80 Lawrence of Arabia 136 Level Five 142 Leviathan 44 Li'l Quinquin 61

re`iserji, re`iserke directors

M

N

O P

Q R

S

T

V W

Y

Listen Up Philip 94 Look of Silence, The 96 Love at First Fight 86 Love is Strange 85 Love Is the Perfect Crime 45 Love Island 90 Maps to the Stars 50 Mommy 46 Most Wanted Man, A 62 Mother, I Love You 110 Mr. Turner 39 My Friend Ivan Lapshin 126 Mystery 149 Night Moves 63 No One's Child 88 Number 55 25 Of Horses and Men 53 Omar 89 Palo Alto 91 Party Girl 95 Pasolini 48 Passenger 137 Phoenix 49 Pigeon Sat on a Branch Reflecting on Existence, A 41 Play 120 Playtime 138 Proletarian Winter's Tale, A 23 Queen and Country 71 Reaper, The 84 Red Amnesia 93 Red Shoes, The 134 Région centrale, La 139 Ringer, The 148 Rocket, The 112 Rough Cut 99 Salt of the Earth 66 Sátántangó 141 Simpler Life, A 148 Six Day Run 149 Socialism 143 Stratos 67 That Boy Emil 111 Theodora the Slave Empress 135 Thousand Suns, A 76 Tiger Fight 150 Timbuktu 69 Tokyo Giants 150 Tribe, The 21 Twenty Days Without War 125 Verdict, The 147 We Come as Friends 65 Whiplash 18 Winter Sleep 54 Wizard of Oz, The 133 Wonders, The 37 Woods Are Still Green, The 42 You Can't Do Everything At Once, But You Can Leave Everything At Once 147

A Abreu, Ale 109 Abu-assad, Hany 89 Adler, Yuval 79 Ahlin, Per 111 Alonso, Lisandro 43 Amachoukeli, Marie 95 Andersson, Roy 41 Assayas, Olivier 47 Ayoade, Richard 82 B Baaren, Matthias van 148 Bagh, Peter von 143 Bakker, Sabine Lubbe 87 Barbosa, Fellipe 27 Bari}, Dalibor 148 Björk, Alicja 111 Boorman, John 71 Burger, Claire 95 C Cailleau, Guillaume 146 Cailley, Thomas 86 Caissy, Jean-Francois 24 Ceylan, Nuri Bilge 54 Chazelle, Damien 18 Clair, René 132 Coppola, Gia 91 Corbijn, Anton 62 Cronenberg, David 50 D Diaz, Lav 64 Diop, Mati 76, 77 Dolan, Xavier 46 Dumont, Bruno 61 E Economides, Yannis 67 Enger, Gunhild 148 Erlingsson, Benedikt 53 F Ferran, Pascale 60 Ferrara, Abel 48 Fiala, Severin 20 Fleming, Victor 133 Fontaine, Anne 40 Forsyth, Iain 32 Franz, Veronika 20 Freda, Riccardo 135 Friedkin, William 140 G Garrel, Philippe 59 Gavran, Đuro 147 German, Aleksej 68, 124–127 Gunjak, Una 146 H Heer, Rolf de 58 Hue, Jean-Charles 22 I Ibarra, Chema Garcia 149 Iki}, Ivan 78 Ili}, Nikola 147 Iñárritu, Alejandro Gonzáles 36 J Juri}, Zvonimir 84 K Keshales, Aharon 103 Kim, Seong-hoon 101 Koevorden, Niels van 87 L Larrieu, Arnaud 45 Larrieu, Jean-Marie 45 Lean, David 136 Leigh, Mike 39 Lowney, Declan 33 M Marker, Chris 142 Mili}, Kristijan 25 Miller, Bennett 38 Mitchell, David Robert 104

N

O P

R

S

T

V W X Y Z @

Moland, Hans Petter 34 Montero, Alfredo 100 Mordaunt, Kim 112 Munk, Andrzej 137 Naber{nik, Marko 42 Naess, Arne Lindtner 107 Nicloux, Guillaume 51 Nords, Janis 110 Oppenheimer, Joshua 96 Östlund, Ruben 52, 116–120 Palfi, Gyorgy 92 Papushado, Navot 103 Perry, Alex Ross 94 Persson, Lasse 111 Petzold, Christian 49 Pollard, Jane 32 Potrykus, Joel 19 Powell, Michael 134 Pressburger, Emeric 134 Provost, Nicolas 150 Putzer, Ulrike 148 Radlmaier, Julian 23 Reichardt, Kelly 63 Repka, Martin 150 Rohrwacher, Alice 37 R{umovi}, Vuk 88 Sachs, Ira 85 Saje, Nejc 149 Salgado, Juliano Ribeiro 66 Salier, Edouard 151 Saulnier, Jeremy 102 Sauper, Hubert 65 Schwingruber Ili}, Corina 147 Sciamma, Celine 35 Sedla~kova, Andrea 83 Seidl, Ulrich 70 Sengupta, Aditya Vikram 80 Seto, Momoko 146 Sgualdo, Marie-Elsa 147 Shepherd, Chris 148 Shovlin, Jamie 99 Sissako, Abderrahmane 69 Sivertsen, Rasmus A. 108 Slabo{picki, Miroslav 21 Snow, Michael 139 Strickland, Peter 81 Taanila, Mika 149 Tarr, Béla 141 Tati, Jacques 138 Theis, Samuel 95 Vogt, Eskil 25 Wei, Hu 150 Wenders, Wim 66 Xiaoshuai, Wang 93 Young, Jeffrey 149 Zvjagincev, Andrej 44 @bani}, Jasmila 90

153

Nagrajenci Award Winners

vodomec Kingfisher Award 1996–2013

1996

@iveti v pozabi (Living in Oblivion), Tom DiCillo 1997

Vzhodna pala~a, zahodna pala~a (Dong gong, xi gong), Zhang Yuan 1998

@ivljenje, kot ga sanjajo angeli (La vie reveé des anges), Erick Zonca 1999

Deseti brat (Beshkempir), Aktan Abdikalikov 2000

Vzhod je vzhodno (East is East), Damien O'Donnell 2001

Kruh in mleko (Kruh in mleko), Jan Cvitkovi~ 2002

Sobota (Sábado), Juan Villegas 2003

Vrnitev (Vozvra{~enje), Andrej Zvjagincev posebna omemba/special mention:

Pod njenim oknom (Pod njenim oknom), Metod Pevec 2004

Popolni preobrat (Somersault), Cate Shortland posebna omemba/special mention:

Pogre{ana (Bu jian), Li Kang-sheng 2005

Skriti adut (Voksne mennesker), Dagur Kári posebna omemba/special mention:

Odgrobadogroba (Odgrobadogroba), Jan Cvitkovi~

154

Nagrajenci Award Winners

zlati kolut (nagrada ob~instva) Golden Reel (Audience Award) 2000–07

2006

1:1 Ena na ena

2000

Pot domov

(1:1 En til en), Annette K. Olesen

(Wo de fu qin mu qin), Zhang Yimou

posebna omemba/special mention:

2001

Namizni tenis (Pingpong), Matthias Luthard 2007

Okna v ponedeljek (Montag kommen die Fenster), Ulrich Köhler 2008

Lakota (Hunger), Steve McQueen 2009

^rnci

Pet minut slave

(Iedereen beroemd!), Dominique Deruddere 2002

Sestre magdalenke

(The Magdalene Sisters), Peter Mullan 2003

Pesem za malega razcapanca

(Song for a Raggy Boy), Aisling Walsh 2004

Zboristi

(Les chorists), Christoph Barratier

(Crnci), Zvonimir Juri}, Goran Devi} 2005 posebna omemba/special mention:

Policijski, pridevnik (Politist, adj.), Corneliu Porumboiu 2010

Podo~nik (Kynodontas), Yorgos Lanthimos posebni omembi/special mentions:

Na morje

Zveza Kebab

(Kebab Connection), Anno Saul 2006

Zajtrk na Plutonu

(Breakfast on Pluto), Neil Jordan 2007

Povratne steklenice

(Vratné lahve), Jan Sverák ˇ

(Alamar), Pedro González-Rubio

Potovanja vetra (Los viajes del viento), Ciro Guerra 2011

Zakloni{~e (Take Shelter), Jeff Nichols 2012

Klip (Clip), Maja Milo{ 20123

Miele (Miele), Valeria Golino posebna omemba/special mention:

Obramba in za{~ita (Obrana in za{tita), Bobo Jel~i}

155

Nagrajenci Award Winners

nagrada zmaj (nagrada ob~instva) Dragon Award (Audience Award) 2008–13

nagrada FIPRESCI FIPRESCI Prize 2004–13

2008

2004

Katin

^e{ke sanje

(Katyn), Andrzej Wajda

(Cesky sen), Filip Remunda, Vít Klusák

2009

2005

Ubil sem svojo mamo

Kaj je Iva posnela 21. oktobra 2003

(I Killed My Mother), Xavier Dolan

([to je Iva snimila 21. listopada 2003), Tomislav Radi}

2010

2006

Technotise: Edit in jaz

Bele dlani

(Technotise: Edit i ja), Aleksa Gaji}

(Fehér tenyér), Szabolcs Hajdu

2011

2007

Onstran

In s kom ti seksa{?

(Beyond), Pernilla August

(Et toi t'es sur qui?), Lola Doillon

2012

2008

Lore

Balast

(Lore), Cate Shortland

(Ballast), Lance Hamer

2013

2009

Dekle na poziv

Prinesi mi ro`marin

(Call Girl), Mikael Marcimain

(Go Get Some Rosemary), Ben Safdie, Joshua Safdie 2010

Neljubljena (The Unloved), Samantha Morton 2011

Zgodbe, ki se jih spominjamo (Historias que so existem quando lembradas), Julie Murat 2012

Otrok iz zgornjega nadstropja (L'Enfant d'en haut), Ursula Meier 2013

Salvo (Salvo), Antonio Piazza

156

nagrada AIS (Amnesty International Slovenija) AIS Award (Amnesty International Award) 2005–07

2005

[utka

nagrada za najbolj{i kratki film Best Short Film Award 2008–13

2008

Zemlja in kruh

(The Shutka Book of Records), Aleksandar Mani}

(Tierra y pan), Carlos Armella

2006

posebna omemba/special mention:

Ofsajd (Offside), Jafar Panahi 2007

XXY (XXY), Lucía Puenzo

Nagrajenci Award Winners

Vu~ko

(Wolfy), Matev` Luzar 2009

Odsotna

(Missen), Jochem de Vries posebna omemba/special mention:

Tla pod nogami

(The Ground Beneath), Rene Hernandez 2010

Vo`nja s kolesom

(A Bike Ride), Bernard Attal 2011

Svet zunaj

(The External World), David O'Reilly posebna omemba/special mention:

Potem zagledam Tanjo

(Onda vidim Tanju), Juraj Leroti} 2012

Tuba Atlantic

(Tuba Atlantic), Hallvar Witzo posebna omemba/special mention:

Francija, ki se zgodaj prebuja

(La France qui se lève tôt), Hugo Chesnard 2013

Terarij

(Terrarium), Hana Ju{i} posebna omemba/special mention:

Prenagljen

(Premature), Gunhild Enger

157

Spremljevalni program Accompanying Programme

Sreda, 19. novembra 2014, od 9. do 17.30 Dvorana E1–2, Cankarjev dom

Scenaristi~ni seminar Centra Ustvarjalna Evropa z Mary Kate O Flanagan "Ob~instvo ~im prej zgrabi za vrat in ga ne izpusti do zadnje minute." (Billy Wilder) Center Ustvarjalna Evropa v Sloveniji, informacijska pisarna evropskega programa Ustvarjalna Evropa, v okviru 25. Liffa organizira scenaristi~ni seminar z uveljavljeno irsko strokovnjakinjo za scenarije Mary Kate O Flanagan. Seminar, ki nastaja v sodelovanju s ~e{kim strokovnim usposabljanjem MIDPOINT, je namenjen producentom, re`iserjem in scenaristom ter drugim zainteresiranim filmskim ustvarjalcem, predvsem pa vsem navdu{encem nad tv-serijami.

"Ve~ina piscev lahko pride z ni~ na sedem – Mary Kate pa spravi prizor ali projekt s sedem na deset, kar je izjemna ve{~ina."

(Lisa Albert, scenaristka in producentka, Mad Men) Program Ustvarjanje in vzdr`evanje dramati~ne napetosti (9.30–13.00) Skrivnost pripovedovanja dobre zgodbe na platnu je v razumevanju, kako vplesti gledalce. Na predavanju, ki bo vklju~evalo analizo nizkoprora~unskega celove~ernega igranega filma, boste izvedeli, kako to vedno dose~i ter kako lahko uporaba na~el pripovedovanja zgodb izbolj{a evropske filme in jim pomaga dose~i gledalce zunaj domovine.

Most (Bron/Broen/The Bridge): Skrivnost skandinavskega uspeha (14.00–15.30) Kako lahko druge dr`ave ponovijo uspeh, ki so ga skandinavske drame dosegle v zadnjih letih? Predavateljica bo za u~ne namene analizirala epizodo {vedsko-danske uspe{nice Most s ciljem predstavljanja pravil privla~ne drame.

Ali je pri komediji potrebna dramati~na napetost?

(16.00–17.30) Prek analize polurne televizijske humoristi~ne serije bo predstavljeno, kako je treba preplesti razli~ne veje zgodbe in vnesti preobrate v vsak prizor. Razpravljali bomo tudi o ustvarjanju razpolo`enja in Lubitschevem prijemu.

Seminar bo v angle{kem jeziku.

Prijave do 10. novembra: E sabina.briski�ced-slovenia.eu.

Kotizacije ni.

Ve~ informacij: http://media.ced-slovenia.eu/

158

Mary Kate O Flanagan sodeluje s scenaristi in producenti na mednarodni ravni ter obetavnim in uveljavljenim scenaristom pomaga pri oblikovanju zgodb. Na podro~ju scenaristike je med drugim predavala ob Davidu Howardu, avtorju knjig The Tools of Screenwriting in How to Build a Great Screenplay, ter Martinu Danielu, profesorju scenaristike na Univerzi Ju`ne Karoline (ZDA).

Pripravlja in izvaja usposabljanja v spretnosti pisanja scenarijev po Evropi in Afriki (med drugim kot strokovnjakinja usposabljanja MIDPOINT), ker pa je odrasla na Danskem, ima poseben vpogled v razcvet danskega filma in televizije.

Program MIDPOINT je strokovno usposabljanje iz razvoja scenarijev in filmske dramaturgije, namenjeno ustvarjalnim timom scenaristov, producentov in re`iserjev, nastaja pa v organizaciji presti`ne pra{ke akademije FAMU s podporo (pod)programa MEDIA. Glavni strokovni program je strukturiran kot trimese~no usposabljanje za razvoj celove~ernih prvencev ter drugih celove~ernih filmov obetavnih filmskih ustvarjalcev mlaj{e generacije.

Druge dejavnosti programa MIDPOINT vklju~ujejo delavnico za usposabljanje mentorjev, namenjeno mladim u~iteljem scenaristike in dramaturgije, strokovnjakom za razvoj scenarijev in televizijskim urednikom (Training the trainers), delavnico, namenjeno projektom v grobi monta`i (Dramaturgy in the editing room), in `anrske delavnice. V letu 2015 je predvidena nova platforma za razvoj televizijskih serij (v sodelovanju s partnerskim programom Mediteranskega filmskega in{tituta – MFI).

Spremljevalni program Accompanying Programme

WED 19 November, 9.00–17.30 Hall E1–2, Cankarjev dom

Creative Europe Desk Slovenia Masterclass in Screenwriting with Mary Kate O Flanagan "Grab your audience by the throat as soon as you possibly can and don't let them go until the very last minute." (Billy Wilder) Within the framework of the 25th Ljubljana International Film Festival, Creative Europe Desk Slovenia, information office for the EU programme Creative Europe, organises a masterclass in screenwriting with a renowned Irish script doctor, Mary Kate O Flanagan. The masterclass, in partnership with MIDPOINT Central European Script Center, is recommended to producers and directors as well as screenwriters and all film professionals interested in TV series.

"Most writers can get from zero to seven – the work Mary Kate does is to get a scene or a project from seven to ten and that's a terrific skill." (Lisa Albert, Writer-Producer, Mad Men) Programme Creating and Sustaining Dramatic Tension (9.30–13.00) The secret of telling a great story on screen is understanding how to involve the audience. This lecture will explain how to do that, every time. The lecture is followed by the analysis of a low-budget, high-drama feature film. That demonstrates how these principles of storytelling can elevate European films and help them to break out and reach audiences outside their own countries.

Mary Kate O Flanagan works with screenwriters and producers internationally, helping to shape stories by emerging and established screenwriters. She trained in teaching screenwriting with David Howard, author of The Tools of Screenwriting and How to Build a Great Screenplay and Martin Daniel, Professor of Screenwriting at University South Carolina (USA), among others.

She designs and delivers training in the craft of screenwriting across Europe and in Africa. Mary Kate grew up in Denmark and has a special insight into the flowering of Danish film and television.

MIDPOINT was launched by FAMU Prague with the support of the MEDIA Programme as a professional script development and film dramaturgy training aimed at creative teams of writers, producers and directors.

The main three-month programme focuses on development of feature films (debut films and second feature films) of younger generation of emerging filmmakers.

Other MIDPOINT programmes include Training the Trainers workshop designed for young teachers of screen writing and dramaturgy, for script editors and TV commissioning editors; Dramaturgy in the editing room workshop for projects in the rough-cut stage; and genre workshops.

In 2015, MIDPOINT plans to start a new platform aimed at development of high-content ongoing, episodic TV series (together with partner programme Mediterranean Film Institute – MFI).

The Secret of the Scandinavians' Success (14.00–15.30) How can other countries reproduce the secret of the success of Scandinavian drama in recent years? Mary Kate will parse an episode of Swedish-Danish hit Broen/Bron/The Bridge as a teaching tool. The purpose of the master class is to impart skills to writers and give them a blueprint for compelling drama.

Does Comedy Require Dramatic Tension? (16.00–17.30) In this session, a half-hour comedy for television will be parsed, showing how to weave multiple strands while bringing twists into every scene. Setting tone and The Lubitsch Touch will also be discussed.

The masterclass will be held in English.

Pre-registration is required on sabina.briski�ced-slovenia.eu until 10 November at the latest. Participation is free of charge. More information: http://media.ced-slovenia.eu/.

159

Spremljevalni program Accompanying Programme

^E, 13. novembra, ob 20. uri Kino [i{ka, mala dvorana

THU 13 November, at 20.00 Kino [i{ka, small hall

Podoba – Glasba Tekmovalni program glasbenih videospotov

Image – Music Competitive music video programme

Ana [turm Glasbeni videospot ~aka, da ga vzamete resno Mamica (Mommy, 2014), najnovej{i film Xavierja Dolana, tudi pri nas zagotovo sodi med najbolj nestrpno pri~akovane filme leto{njega leta. Malokdo pa ve, da je slabo leto pred njim Dolan posnel o~arljiv videospot za skupino Indochine, v katerem je po~astil francoski novi val. V spotu, ki ga je bilo mogo~e videti na lanskem Liffu v posebnem programu Podobe – Glasbe, je mladi kanadski re`iser v videospotovskem prizoru uporabil takrat zelo popularen kvadratast format slike, ki ga je nato prenesel tudi na svoj zadnji celove~erec.

Ne, ne gre za naklju~je. Dejstvo, da med glasbenim videom in filmom obstaja tesno prijateljstvo oziroma most, prek katerega lahkotno prehajajo nove ideje, reference, igralci, re`iserji in glasbeniki, se potrjuje tudi v leto{njem izboru najbolj{ih videospotov na Liffu. Med re`iserji, ki so se zna{li v njem, lahko tako najdemo uveljavljena imena, kot sta Anton Corbijn in Michael Gondry, po predlanskem Time To Dance za skupino The Shoes pa se s {e eno videospotovsko mojstrovino Iron Sky vra~a tudi Daniel Wolfe, ki je letos v Cannesu predstavil svoj celove~erni prvenec Catch Me Daddy. ^eprav ima videospot precej dolgo zgodovino, ki sega vse tja do za~etkov filma, pa je v kontekstu filmske zgodovine in tudi ~isto pragmati~nih distribucijskih mo`nosti potisnjen povsem na stranski tir. Da ne bo pomote, tu ne govorimo o prevladujo~ih medijskih (pop)spektaklih, ampak o anga`iranih, domiselnih, kakovostnih in ve~inoma nizkoprora~unskih videospotih, ki nastajajo stran od kri~e~ega soja `arometov. Ti videospoti so povsem avtonomne danosti, male mojstrovine, ki so kljub nezavidljivemu polo`aju vitalne, neposredne in osvobojene pre`ve~enih obrazcev ter v katerih lahko u`ivamo, saj {e vedno premorejo nekaj sve`ine, zanimivih slogovnih re{itev, lepote in norosti.

Zakaj govorimo o tem? Ob pisanju tega besedila je v Slovenski kinoteki ravno potekala retrospektiva filmov Normana McLarna, umetnika, animatorja, filmarja, znanstvenika, izumitelja, glasbenika in tehni~nega izvedenca, predvsem pa neutrudnega raziskovalca filmskega medija. In ko gledamo njegove filme, ugotovimo, kako zelo `iv in poln potenciala ter ({e neizkori{~enih) izraznih mo`nosti je (lahko) film. In prav to `ivost in `eljo po ve~nem odkrivanju novega, po eksperimentiranju, po preizku{anju novih tehnik in izraznih mo`nosti ter `elji po premikanju mej lahko danes opazimo v svetu glasbenega videa.

V zadnjih letih smo poleg vedno novih pripovednih pristopov, me{anja stilov, `anrov, animiranega, igranega, dokumentarnega in eksperimentalnega filma lahko v glasbenem videu opazili tudi vrsto inovativnih tehnolo{kih pristopov. Videli smo videe, narejene pod mikroskopom ali z radarskimi senzorji, pa videospot, v celoti narejen z magnetno resonanco in Googlovim StreetViewom.

Prav zato je {e toliko pomembneje, da ti videospoti niso obsojeni na pozabo v ~rni luknji svetovnega spleta, ampak so povabljeni, da se v najbolj{i lu~i poka`ejo tudi na festivalih, v kinodvoranah, na velikem platnu.

Letos se bodo na Liffu videospoti tako prvi~ pomerili v tekmovalnem programu. Najbolj{i videospot bo prejel nagrado, zmagovalca pa boste z glasovanjem lahko izbrali obiskovalci sami.

Skratka, glasbeni videospoti ~akajo, da jih vzamete resno.

Ana [turm Music Video Needs to be Taken Seriously Mommy (2014), the latest work by Xavier Dolan, is one of the most eagerly awaited films of the season. Not many people know that a year ago Dolan made a charming music video for Indochine, which paid tribute to the French New Wave. In the video, featured within the scope of Liffe's 2013 Image – Music programme, the young Canadian director used a square frame format, quite popular among the New Wave auteurs, which he also employed in his latest feature film.

No, this is no coincidence. This year's best music videos selected for Liffe testify to the fact that there is a bridge linking music video and film, a bridge over which new ideas, references, actors, directors and musicians cross freely. There are also some highly acknowledged film directors who also work in this genre, such as Anton Corbijn and Michael Gondry. After Time To Dance, a 2012 spot for The Shoes, Daniel Wolfe, whose debut feature Catch Me Daddy was selected for the 2014 Cannes Film Festival, is returning with another music-video masterpiece, Iron Sky. Although music video's history goes back to the origins of cinema, the genre is pushed to the sidelines within the context of cinema history and as regards the pragmatic possibilities of distribution. Do not get me wrong, these are not mainstream media (pop) spectacles, but engaged, imaginative, quality and mostly low-budget music videos made using low-key approach.

These videos are small masterpieces, full of vitality despite their unfavourable position, direct and free from hackneyed patterns.

Why am I addressing this subject? Because the Slovenian Cinematheque has recently shown a retrospective of films

by Norman McLaren, an artist, animator, filmmaker, scientist, inventor, musician and technical expert and, above all, an indefatigable film experimenter. On watching his films, we realise how very vigorous, full of potential and (as yet unexplored) expressive possibilities cinema can be. It is this vigour, this desire to find something new, to experiment with techniques and means of expression, the desire to stretch the limits, that today's music video reflects.

Recently, the music video has included a series of innovative technological approaches, apart from new narrative methods, blendings of styles and genres, of animated fiction, documentary and experimental film. Videos have been made under a microscope and radar sensor, they have been made with magnetic resonance and Google StreetView.

That is why it is imperative that these works are also featured at festivals, cinemas, on the big screen, in all their glory.

The 2014 Liffe includes a competitive programme of music videos. The prize-winner will be selected by members of the audience by vote-taking.

In a word, music videos need to be taken seriously.

160

Spremljevalni program Accompanying Programme

Arcade Fire: Reflektor

Arcade Fire: Reflektor ZDA, Nizozemska/USA, The Netherlands, 2013 re`ija/by Anton Corbijn

Laibach: The Whistleblowers Norve{ka, Latvija, Slovenija/Norway, Latvia, Slovenia, 2014 re`ija/by Morten Traavik

MGMT: Cool Song No. 2 ZDA/USA, 2013 re`ija/by Isaiah Seret

Sia: Chandelier ZDA, Avstralija/USA, Australia, 2014 re`ija/by Sia, Daniel Askill

Atoms For Peace: Before Your Very Eyes VB/GB, 2013 re`ija/by Andrew Thomas Huang

OK Go: The Writing's On the Wall ZDA/USA, 2014 re`ija/by Aaron Duffy, Damian Kulash Jr., Bob Partington

Gesaffelstein: Hate or Glory Francija/France, 2013 re`ija/by Fleur & Manu

Jack White: Lazaretto Francija, ZDA/France, USA, 2014 re`ija/by Jonas & François

Bob Dylan: Like a Rolling Stone ZDA, VB, Izrael/USA, GB, Israel, 2013 re`ija/by Vania Heymann

Ulrich Forman: I Got You (Under My Skin) Francija/France, 2014 re`ija/by Garnier/Le Gallo

Boggie: Parfüm Mad`arska/Hungary, 2013 re`ija/by Nándor Lorincz, Bálint Nagy

Paolo Nutini: Iron Sky VB/GB, 2014 re`ija/by Daniel Wolfe

Young Fathers: Get Up VB/GB, 2014 re`ija/by Graham Hastings, Tim Brinkhurst

"Weird Al" Yankovic: Word Crimes ZDA/USA, 2014 re`ija/by Jarrett Heather

Metronomy: Love Letters Francija, VB/France, GB, 2014 re`ija/by Michel Gondry

161

Spremljevalni program Accompanying Programme

PO, 17. novembra, po projekciji filma Kosovelova dvorana

MON 17 Nov, post-screening talk Kosovel Hall

Študija primera Barbari

Barbarians, A Case Study

Projekciji Barbari (Varvari/Barbarians) bo sledil pogovor o produkcijskem ozadju nastajanja filma v navzo~nosti producenta, re`iserja in slovenskega koproducenta ter predstavnikov Filmskega centra Srbije.

The screening of Barbarians (Varvari) will be followed by a talk on the production of the film with the producer, director and Slovenian co-producer as well as Serbian Film Centre representatives.

^E, 20. novembra, ob 18. uri Dvorana E1–2, Cankarjev dom

THU 20 Nov, at 18.00 Hall E1–2, Cankarjev dom

Nadgrajena resni~nost (o privzetem in izvirnem) Enhanced Reality Okrogla miza Round table Sodobna slovenska filmska scenografija, kostumografija in maska, o avtorstvu in avtorskih pristopih Sodelujeta: slovenski scenografi in kostumografi iz sekcije za scenografijo in kostumografijo pri DOS (Dru{tvo oblikovalcev Slovenije) in SKOM (dru{tvo slovenskih scenografov, kostumografov in oblikovalcev maske) z gosti

Contemporary Slovenian production, costume and makeup design With the participation of: Slovenian set and costume designers of the Slovenian Designers' Society (DOS) and Society of Slovenian Set and Costume Designers and Makeup Artists (SKOM) with guests

PE, 21. novembra, ob 19. uri Dvorana E1–2, Cankarjev dom

FRI 21 Nov, at 19.00 Hall E1–2, Cankarjev dom

Re`iraj Rexa Dra`ba stolov

Directing Rex Chair auction

Dru{tvo oblikovalcev Slovenije je med 25. ljubljanskim mednarodnim filmskim festivalom poskrbelo za lepoto udobja predprostora projekcijskih dvoran v Drugem preddverju Cankarjevega doma, ki je klju~na to~ka dru`enja obiskovalcev in spremljevalnega festivalskega programa. ^lani DOS so se odlo~ili uporabiti slovensko oblikovalsko ikono – naslanja~ Rex. V ~asu 25. Liffa bodo ~rni, beli ali pa Rexi surove naravne barve bukovega lesa `areli v nekoliko druga~nih podobah: kot stoli za gledalca, za dru`enje, za zvezde, za ... Spremembe, ki bodo oblikovalcem pomenile ustvarjali izziv, bodo izhajale iz stali{~a pokojnega avtorja, prof. arh. Nika Kralja, ki je ve~krat dejal, da ni predmeta, ki ga ne bi bilo mogo~e izbolj{ati. Stoli bodo uporabni, avtorski, podpisani, na njih se bodo obiskovalci festivala med filmskimi odmori lahko spo~ili in se na njih tudi fotografirali, na dra`bi pa si morda katerega tudi kupili.

Projekt je nastal v sodelovanju med DOS in Impakta Les, d.o.o.

Within the scope of the 25th Ljubljana International Film Festival, the Slovenian Designers' Society has provided the interior design for Cankarjev dom's Foyer II, the central meeting place and the venue for the festival's accompanying programme. Members of the Slovenian Designers' Society have decided to use a Slovenian design icon – the Rex armchair. During the 25th Liffe, the black, white or natural beech Rex chairs will take on different appearances: for the viewers to sit in, for socialising, for stars, for... The changes that represent a creative challenge are based on the standpoint of the chair's late designer, architect Niko Kralj, who believed that there was always room for improvement.

The chairs will be functional, original, signed, designed for the cinema-goers to sit in between screenings and also take photos of themselves or, perhaps, buy one at an auction.

The project has been co-devised by the Slovenian Designers Society in Impakta Les, d.o.o.

162

Spremljevalni program Accompanying Programme

Do 16. januarja 2015 od 8. do 18. ure NLB Galerija Avla, Trg republike 2, vstop prost

Until 16 Jan 2015 between 8.00 and 18.00 NLB Avla Gallery, 2 Republic Square, admission free

Pridite v kino!

Razstava filmskih plakatov

Come to the Cinema!

Exhibition of film posters

Na ogled so redkeje videni filmski plakati iz petdesetih in {estdesetih let prej{njega stoletja, ki so jih za promocijo uporabljali slovensko distribucijsko podjetje Vesna film in distributerji nekdanje Jugoslavije. Zanimivi in dragoceni filmski plakati so iz zbirke Slovenske kinoteke.

Z razstavo Slovenska kinoteka, Cankarjev dom in NLB Galerija Avla obhajajo 25. festival Liffe.

A display of some rarely seen film posters from the 1950s and 1960s, used for promotion by the Slovenian distribution company, Vesna film, and distributers across the former Yugoslavia. The interesting and invaluable posters form part of the Slovenian Cinematheque collection.

The exhibition has been devised by the Slovenian Cinematheque, Cankarjev dom and NLB Avla Gallery in commemoration of the 25th anniversary of the Liffe Festival.

^E, 20. novembra, ob 17. uri Voden ogled razstave Vodi: Metka Dari{, vodja muzejskega oddelka Slovenske kinoteke in avtorica razstave

THU 20 Nov, at 17.00 Guided tour of exhibition Guided by: Metka Dari{, Head of the Slovenian Cinematheque's Museum Department and exhibition curator

163

Spremljevalni program Accompanying Programme

Od ^E, 13., do NE, 16. novembra Dvorana E1–2, Cankarjev dom

THU 13 – SUN 16 Nov Hall E1–2, Cankarjev dom

MAF – Mad About Film Nori na evropski film

MAF – Mad about Film

Seminar za mlade Zavod za uveljavljanje vizualne kulture Vizo s programom Mad About Film (MAF) ustvarja prostor, ki mladim omogo~a, da se o filmu neformalno kakovostno izobrazijo. Na seminarju Nori na evropski film, namenjenem predvsem dijakom, bodo udele`enci ob multimedijskih predavanjih spoznali evropsko avtorsko kinematografijo, filmska izrazna sredstva in scenaristiko. Prakti~ni del bo ponujal delavnice pisanja scenarijev, filmskih kritik in snemanja podcastov (amaterskih radijskih oddaj). Udele`enci si bodo ogledovali tudi festivalske filme in spoznavali filmske ustvarjalce.

Gost seminarja bo priznani mladi filmskih scenarist in re`iser Matev` Luzar.

Vsi nastali izdelki bodo objavljeni na spletnih straneh www.madaboutfilm.si in www.liffe.si.

Seminar for the young The Mad about Film (MAF) programme of the Institute for the Promotion of Visual Culture Vizo has been devised with the aim of providing young people with quality informal education about cinema. Dedicated to secondary students, the Mad about European Cinema seminar will provide an insight into European auteur cinema, cinematic means of expression and scriptwriting.

The practical part will include screenwriting, film review and podcast (amateur radio shows) workshops.

The seminar's guest is an acknowledged young scriptwriter and director, Matev` Luzar.

The workshop's products will be featured at www.madaboutfilm. si and www.liffe.si.

Multimedijska predavanja Evropski avtorski film, Nina Cvar Filmska izrazna sredstva, Rok Govednik Kako pripraviti dober scenarij, Matev` Luzar Delavnice Filmska kritika, mentor Matic Majcen Podcast, mentorici Bojana Bregar in Maja Zupanc Scenarij, mentorica Tina Poglajen Prijave (do 31. oktobra) in ve~ informacij: www.madaboutfilm.si

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Multimedia lectures European Auteur Cinema, Nina Cvar Cinematic Means of Expression, Rok Govednik How to Write a Good Script, Matev` Luzar Workshops Film Review, Matic Majcen Podcast, Bojana Bregar and Maja Zupanc Scriptwriting, Tina Poglajen Applications (until 31 Oct) and information: www.madaboutfilm.si.