24th European Film Awards EFA Selection 2011
24th European Film Awards CONTENTS: Preface ........................................................................... Regulations 2011 ........................................................... Films ............................................................................... Index of films ..................................................................
EFA Selection 2011
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www.europeanfilmawards.eu
European Film Academy e.V. Kurfürstendamm 225 10719 Berlin GERMANY tel. +(49)30 887 167-0 fax +(49)30 887 167-77
EFA Productions gGmbH Kurfürstendamm 225 10719 Berlin GERMANY tel. +(49)30 887 167-0 fax +(49)30 887 167-77
www.europeanfilmacademy.org
www.efa-productions.com
Director: Marion Döring Amtsgericht Charlottenburg 14236 Nz
Managing Directors: Marion Döring, Jürgen Biesinger Amtsgericht Charlottenburg HRB 99369
IMPRINT EUROPEAN FILM ACADEMY e.V., Pascal Edelmann (editor) * graphic design: Andrés Castoldi * Unless otherwise indicated, all pictures appear courtesy of the respective production/distribution companies
The European Film Academy is proud to present this year’s EFA Selection, the list of films recommended for a nomination for the European Film Awards. For the third time we publish a selection catalogue, again with detailed information on the different films and filmmakers, and I hope you will enjoy leafing through it and will find it a useful tool to cast your votes for the European Film Awards 2011. Within the EFA Selection 2011 you will find veterans of European cinema and EFA regulars as well as newcomers and debut films - altogether there are 45 films from 32 countries once again vividly illustrating the great diversity in European cinema. On the following pages you will find a summary of the regulations for the European Film Awards. As most of you will know, in the 20 countries with the most EFA Members, these members have voted one national film directly into the selection list. To complete the list, a Selection Committee consisting of EFA Board Members and invited experts Pierre-Henri Deleau (France), Marit Kapla (Sweden), Stefan Kitanov (Bulgaria), Derek Malcolm (UK), and Elma Tataragic (Bosnia & Herzegovina)has included further films. The films in the selection will now be made available to the EFA Members on DVD and/or by Video on Demand (VOD) and we would like to use this opportunity to thank all the producers, distributors and world sales companies for making their films available to the EFA Members and thus giving all films in the EFA Selection an equal chance. We would also very much like to thank our partner EGEDA for their support. EGEDA is the collecting society that represents and defends the interests of audiovisual producers in Spain. They have been offering the films selected for the Goya Awards by VOD to the members of the Spanish Film Academy and are now providing this service for EFA. Thanks to the continued support of the MEDIA Programme of the European Union, we have been able to constantly improve the presentation of the EFA Selection and when you receive the DVDs of this year’s films, you will again find them in especially designed sleeves, marked “EFA Selection 2011”. In the coming weeks, the 2,500 members of the European Film Academy will vote for the nominations in the different award categories. The nominations will then be announced on 5 November at the Seville European Film Festival in Spain. The 24th European Film Awards with the presentation of the winners will take place in Berlin on 3 December.
Photo: EFA/Andreas Böhmig
PREFACE
Yves Marmion Chairman EFA Board
We wish you a lot of memorable film experiences!
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EUROPEAN FILM AWARDS 2011
Regulations for the European Film Awards 2011 Eligibility Feature films participating in the European Film Awards 2011 must be European* feature-length fiction films intended for normal theatrical release which must have had their first official screening (be it at a festival or at a regular cinema) after 1 July 2010. The EFA Board has the right in exceptional cases to refrain from this rule. Submission deadline is 15 June 2011
Selection procedure The selection of approx. 40 films proposed to the EFA Members to be considered for a nomination is made as follows: - in the 20 (twenty) European countries with the highest number of EFA Members (as of 15 March 2011), these members vote directly for one film from among the national feature films released in their country or screened at festivals after 1 July 2010. With a minimal voter turnout of 25%, the film having received the highest number of votes in each of these countries will automatically be included in the selection of films, provided it corresponds to the regulations of the European Film Awards. Should the voter turnout be less than 25%, the EFA Board has the right to establish which film shall be added to the selection; - the selection of the approx. 20 remaining films is made by a committee composed of members of the EFA Board and a group of experts appointed by the Board. These remaining films are selected from proposals submitted before 15 June by European film institutions, festivals, trade magazines, media partners, members of the European Film Academy, EFA Patrons and producers of European films. As a result, the committee recommends to the EFA Members - around 40 (forty) films, half of them elected directly by EFA Members, the others selected from all proposals received as explained above. The selection of films will be announced in the beginning of September 2011. To give all candidates an equal chance, the films selected are made available to the EFA Members on DVD and/or by VOD. The list of the films recommended by the committee is not exclusive. Producers of European films which are not among the recommended films may – upon payment of a fee – make their films available to the EFA Members by VOD.
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REGULATIONS
Nomination procedure Based on the selection list and/or the films made available by producers, the EFA Members vote for the nominations in the following categories: • • • • • • • • *
EUROPEAN EUROPEAN EUROPEAN EUROPEAN EUROPEAN EUROPEAN EUROPEAN EUROPEAN
FILM DIRECTOR ACTRESS ACTOR SCREENWRITER CINEMATOGRAPHER EDITOR PRODUCTION DESIGNER
The committee has the right to add one nomination in each of the above categories. Based on a simple majority of votes received and the nominations added by the committee, the European Film Academy announces the following: • • • • • • • •
EUROPEAN EUROPEAN EUROPEAN EUROPEAN EUROPEAN EUROPEAN EUROPEAN EUROPEAN
FILM: 6 nominations DIRECTOR: 5 nominations ACTRESS: 5 nominations ACTOR: 5 nominations SCREENWRITER: 4 nominations CINEMATOGRAPHER: 4 nominations EDITOR: 3 nominations PRODUCTION DESIGNER: 3 nominations
Election of the winners Based on the nominations, the members of the European Film Academy vote online or by correspondence. It shall not be possible to vote for the same film in the categories EUROPEAN FILM and EUROPEAN DIRECTOR. The winners are announced at the 24th European Film Awards Ceremony taking place in Berlin on 3 December 2011. * The criteria whereby a film qualifies as European are based upon the European Convention on Cinematographic Co-production, Appendix II, issued by the Council of Europe. European, in the sense of the European Film Academy, means geographical Europe, both EU and non-EU, and shall include Israeli and Palestinian
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EUROPEAN FILM AWARDS 2011
ALMANYA – WILLKOMMEN IN DEUTSCHLAND ALMANYA
Germany/Turkey 101 min.
DIRECTED BY: Yasemin Samdereli WRITTEN BY: Yasemin Samdereli & Nesrin Samdereli PRODUCED BY: Andreas Richter, Ursula Woerner & Annie Brunner DIRECTOR OF PHOTOGRAPHY: The Chau Ngo EDITOR: Andrea Mertens PRODUCTION DESIGNER: Alexander Manasse ORIGINAL SCORE: Gerd Baumann MAIN CAST: Vedat Erincin (Hüseyin, old), Fahri Ogün Yardim (Hüseyin, young), Lilay Huser (Fatma, old), Demet Gül (Fatma, young), Aylin Tezel (Canan), Rafael Koussouris (Cenk), Denis Moschitto (Ali), Petra Schmidt-Schaller (Gabi), Aykut Kayacik (Veli), Ercan Karacayli (Muhamed), Siir Eloglu (Leyla)
After working for 45 years in Germany as a Turkish Gastarbeiter, or guest worker, Hüseyin Yilmaz, now in his 70s, announces to his family that he has bought a house in Turkey and wants everyone to go back with him to renovate it. The family is not enamoured with the idea and a heated debate ensues. Adding fuel to the fire is the revelation of granddaughter Canan that she is pregnant from her English boyfriend, whom the family has no idea about. In order to comfort her six-year-old cousin Cenk, who was bullied on his first day at school for being a “foreigner,” Canan tries to cheer him up by telling him the fantastic story of how and why they all ended up in Germany, even though they aren’t Germans. They undertake a journey back in time to a wondrous place where a small Turkish family discovered a land populated by blond giants who ate pigs, where big rats on leashes were taken on walks, where water was called Coca-Cola, where people worshiped a little wooden figure on a cross, and where everyone spoke “gibberish” – a land called ALMANYA!
Production: Roxy Film GmbH Friedrichstrasse 17 80801 München GERMANY tel. +49 89 38 88 83 0 fax +49 89 38 88 83 10 info@roxyfilm.de
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World Sales: BETA FILM GmbH Grünwalder Weg 28 d 82041 Oberhaching GERMANY tel. +49 89 67 3469 80 fax +49 89 67 3469 888 beta@betafilm.com
Press: ANA RADICA Herzog-Wilhelm-Str. 27 80331 München GERMANY tel. +49 89 23 66 120 fax +49 89 23 66 12 20 kontakt@ana-radica-presse.com
SELECTION www.almanya-film.de
Director’s Statement: A long time ago, we noticed that many people often found it very funny when we told them about our childhoods. For example, the fact that Nesrin was a Funkenmariechen [a traditional Rhineland carnival character], attended a Catholic primary school and fervently sang Catholic Church hymns every Wednesday at the church service. I, in turn, played the flute in a marching band and always spelled my name Jasmin until my second-grade schoolteacher foiled my attempts at deception and pointed out that my name was actually spelled Yasemin. Yasemin Samdereli Yasemin Samdereli was born in Dortmund in 1973 and, after completing her secondary education, studied at the Hochschule für Fernsehen und Film in Munich (HFF). She was already working as assistant director, scriptwriter and director at the age of 20. From 1994 to 1998 she worked freelance for Bavaria Film on the pedagogical media project “Das filmende Klassenzimmer.” From 1993 to 2002 she acquired experience in international feature-film productions such as Jackie Chan’s action film JACKIE CHAN IS NOBODY (1997), Teddy Chan’s ACCIDENTAL SPY (2000), Stanley Tong’s FIELD OF DREAMS (2002) and in various other feature films and advertising films. She authored and directed her first short film, SCHLÜSSELLÖCHER in 1994. She then made the short films LIEBER GOTT (1995), LACHNUMMERN (1996), KISMET (2001) – which was nominated for the Max Ophüls Award – and SEXTASY (2004). In 2002 she shot her first TV movie, the multi-cultural romantic comedy ALLES GETÜRKT, and in 2007 the comedy ICH CHEFE, DU NIX. She worked as co-scriptwriter on the award-winning TV series TURKISH FOR BEGINNERS (2006). Moreover, she took part in the script development of various episodes of the “Hui Buh” radio play series. Yasemin Samdereli made a rare appearance in front of the camera in DELICIOUS (2004), a short film directed by her sister Nesrin. ALMANYA is her feature-film debut.
ALMANYA Festival Participation/Awards: Berlin IFF 2011, out of competition Bernhard Wicki Filmpreis - Die Brücke Der Friedenspreis des Deutschen Films 2011: Best Debut Director Kinder-Medien Preis Der Weisse Elefant 2011: Best Actor Deutscher Filmpreis 2011: Silver Lola for Best Film, Best Script
Yasemin Samdereli
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EUROPEAN FILM AWARDS 2011
AMÉRICA AMERICA
Portugal/Spain/Brazil/ Russia 111 min.
DIRECTED BY: João Nuno Pinto WRITTEN BY: João Nuno Pinto, Luisa Costa Gomes & Melanie Dimantas PRODUCED BY: Pandora Da Cunha Telles, António Da Cunha Telles, Pedro Uriol, Giya Lordkipanidze, Aleksandr Shein, Sara Silveira, João Nuno Pinto & Miguel Varela DIRECTOR OF PHOTOGRAPHY: Carlos Lopes EDITOR: Luca Alverdi ORIGINAL SCORE: Mikel Salas PRODUCTION DESIGNER: Wayne dos Santos MAIN CAST: Chulpan Khamatova (Liza), Fernando Luís (Vítor), María Barranco (Fernanda), Dinarte Branco (Paulo Armando), Mikhail Yevlanov (Andrei)
Portugal, beginning of the new millennium: Liza is a young Russian immigrant married to a Portuguese called Vítor. He is in fact a petty crook who lives off scams and tricking old ladies. Their son, Mauro, is a strange child who has decided not to speak. Besides her domestic chores, Liza has to take care of Vítor’s grandmother, a bed-ridden hundredyear-old lady who rejects any care that is given to her. Fernanda, Vítor’s Spanish exwife, taking advantage of the wave of illegal immigrants into Portugal, turns up with a proposal for a false passports business. From then on, and to Liza’s great despair, her house becomes a halfway home for countless immigrants of different nationalities and races, all looking for a better future. One of them is Andrei, a young Ukrainian orthopaedist who is wanted by the Russian mafia. Andrei ends up falling in love with Liza, who sees in him the opportunity to get out of her desperate life. But things are not as simple as that…
Production/Press: Ukbar Filmes Av. Duque de Loulé, 79 R/C Dto. A 1050-088 Lisboa PORTUGAL tel. & fax +351 21 31 49 326 mail@ukbarfilmes.com
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World Sales: Latido Films Veneras 9, 3° 28013 Madrid SPAIN tel. +34 915 488 877 fax +34 915 488 878 latido@latidofilms.com
SELECTION www.americafilme.com
Director’s Statement: I was born 34 years ago, in a faraway city called Lourenço Marques. At five, I landed with my family in a cold, grey, totally unknown place. My parents restarted from scratch. I simply went on. At school they called me returnee: intriguing - I’d never lived here before. AMÉRICA is a film about “stranded” people and identity: individual, group, national. Liza - trapped in an alien world for the sake of a hopeless love. In this house of forgers with the beach across the street and the Chinese shack in the back. There’s the wide endless ocean separating us from that unreachable myth - America. On this side, there’s the new America - that of the poor people, the lost opportunities and the stranded dreams. And suddenly that angry, stormy ocean hurdles a fishing boat at the house-roof. The boat is the new reality that struck us: a country which has now become an immigration target and doesn’t know how to handle it. And so the boat lingers on. A patch-up here, a push-over there, the boat stays on the roof until the very end. João Nuno Pinto João Nuno Pinto was born in 1969, In Mozambique. He later studied in Portugal, Technology and Graphic Arts, and worked in the J.W.Thompsom group, but in 1998 he took his chance abroad, first in the New York Film Academy and later with Judith Weston’s Acting Techniques for Directors. Nowadays he is one of the most imaginative and disputed commercial directors in Portugal, having received several national and international awards, among which 2003 Best TV Commercial London - International Advertising and Design; 2006 and 2003 Best Director - El Ojo Ibero America; 2002 Golden Prix - New York Film Festival of Television and Cinema Advertising; 2002 Golden Prix London Epica Awards; 2002 Silver Prix – Rio de Janeiro International Festival. AMERICA is his first feature.
AMERICA Festival Participation/Awards: Rio de Janeiro IFF 2010, international competition São Paulo IFF 2010 IFF of India 2010 Festival Iberoamericano de Huelva 2010, official selection Sofia IFF 2011: Best Director IndieLisboa FF 2011: Best Cinematography
João Nuno Pinto
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EUROPEAN FILM AWARDS 2011
THE ARTIST
France 100 min.
WRITTEN & DIRECTED BY: Michel Hazanavicius PRODUCED BY: Thomas Langmann & Emmanuel Montamat DIRECTOR OF PHOTOGRAPHY: Guillaume Schiffman EDITOR: Anne Sophie Bion & Michel Hazanavicius PRODUCTION DESIGNER: Laurence Bennett ORIGINAL SCORE: Ludovic Bource MAIN CAST: Jean Dujardin (George Valentin), Bérénice Bejo (Peppy Miller), James Cromwell (Clifton), John Goodman (Zimmer), Penelope Ann Miller (Doris), Missi Pyle (Constance).
Hollywood 1927. George Valentin is a silent movie superstar. The advent of the talkies will sound the death knell for his career and see him fall into oblivion. For young extra Peppy Miller, it seems the sky’s the limit – major movie stardom awaits.
Production: La Petite Reine 20 Rue de Saint Petersbourg 75008 Paris FRANCE tel: +33 1 44 90 73 90
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World Sales: Wild Bunch 99 rue de la Verrerie 75004 Paris FRANCE tel. +33 1 53 0150 32 fax +33 1 53 01 50 49 edevos@wildbunch.eu
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THE ARTIST Festival Participation/Awards: Cannes IFF 2011 : Best Actor Moscow FF 2011 Montréal World FF 2011 Toronto IFF 2011
Director’s Statement: Right at the beginning, seven or eight years ago, I fantasized about making a silent film. Probably because the great mythical directors I admire most all come from silent cinema... Hitchcock, Lang, Ford, Lubitsch, Murnau, Billy Wilder (as screenwriter)... But mainly because as a director it makes you face your responsibilities, it makes you tell the story in a very special way. It’s not up to the screenwriter, nor to the actors to tell the story - it really is up to the director. In this genre everything is in the image, in the organisation of the signals you’re sending to the audience. And it’s an emotional cinema, it’s sensorial; the fact that you don’t go through a text brings you back to a basic way of telling a story that only works on the feelings you have created. It’s a fascinating way to work. I thought it would be a magnificent challenge and that if I could manage it, it would be very rewarding. If I said it was a fantasy more than a desire, it’s because each time I mentioned it I’d only get an amused reaction - no one took this seriously. Then the success of the two “OSS” films changed the way people reacted to: “I want to make a silent film.” It wasn’t perceived in quite the same way. But above all, Thomas Langmann is not a producer like others. He didn’t only take what I said seriously, I saw in his eyes that he believed in it. It’s thanks to him that this film became possible. It was no longer a fantasy, but a project. I could start working. I told him I would look for a story, that as soon as I’d found it and it seemed to work, I’d come back and see him...
Michel Hazanavicius Filmography: 1999 MES AMIS 2006 OSS 117: Le Caire, nid d’espions (OSS 117 : Cairo, Nest of Spies) 2009 OSS 117: Rio ne répond plus (OSS 117: Lost in Rio) 2011 THE ARTIST
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EUROPEAN FILM AWARDS 2011
AS IF I AM NOT THERE
Ireland/FYR Macedonia/ Sweden 109 min.
WRITTEN & DIRECTED BY: Juanita Wilson PRODUCED BY: James Flynn DIRECTOR OF PHOTOGRAPHY: Tim Fleming EDITOR: Nathan Nugent PRODUCTION DESIGNER: Bujar Mucha ORIGINAL SCORE: Kiril Dzajkovski MAIN CAST: Natasha Petrovic (Samira), Fedja Stukan (The Captain)
AS IF I AM NOT THERE is a story of a young woman from Sarajevo whose life is shattered the day a young soldier walks into her apartment and tells her to pack her things. Rounded up with the other women from the village and imprisoned in a warehouse in a remote region of Bosnia, she quickly learns the rules of camp life. The day she is picked out to ‘entertain’ the soldiers, the real nightmare begins. Stripped of everything she ever had and facing the constant threat of death, she struggles against all the hatred she sees around her. In a final act of courage or madness, she decides to make one last stand: to dare to be herself. And this simple act saves her life. It’s when she realises that surviving means more than staying alive that she has to make a decision that will change her life forever. AS IF I AM NOT THERE is a modern war story that explores love, identity and the connections between us.
Production/Press: Octagon Films Ardmore Studios, Herbert Road, Bray, County Wicklow IRELAND tel. +35 31 27 69 468 fax +35 31 27 69 470 naomi@metro.iol.ie
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SELECTION www.asifiamnotthere.com
Juanita Wilson Irish director Juanita Wilson has just followed up her Oscar nominated first film, The Door, with an equally hard hitting true story from the Bosnian War, As If I Am Not There, based on Croatian journalist Slavenka Drakulic’s book of the same name. The film, shot in Sarajevo, Macedonia and Sweden, premiered at the Toronto IFF in September 2010, receiving a very positive response from both audiences and critics alike. The film went on to win the prestigious Silver Pyramid at the Cairo IFF in December 2010 and was selected for the Palm Springs IFF in January 2011. As If I Am Not There was nominated for ‘Most Valuable Film of The Year’ at Berlinale European Cinema For Peace alongside Gods and Men and The Social Network. It won the ‘The Film Award of The Council of Europe’ at the Istanbul FF 2011 as well as ‘Best World Picture’ at the Phoenix FF 2011. She won the “Best Director” and “Best Screenplay” at the 2011 Irish Film and Television Academy Awards in February, and the film also went on, to win, “Best Film”. Juanita has also been named among Variety’s top ten directors to watch for in 2011, the only woman to feature on the list.
AS IF I AM NOT THERE Festival Participation/Awards: Cairo FF 2010: Silver Pyramid Phoenix FF 2011: World Cinema Best Picture World Fest Houston Independent FF 2011: Platinum Remi Istanbul FF 2011: The Film Award of The Council of Europe Long Island FF Expo 2011: Best Feature Film IFTA 2011: Best Film, Director, Screenplay Variety Director to Watch Award Portrait: Jonathan Hession
Director’s Statement: AS IF I AM NOT THERE is not a war story; it is a story about love. About the power of love to transcend the darkest evil that lurks in man’s heart. Love that is more powerful than the instinct to survive. This is a contemporary European story about a young, urban woman whose life is shattered when she is caught up in the Bosnian war. Captured and taken away from everything she has ever known, she has to learn to survive with nothing but her mind to escape from the hell she finds herself in. She has to constantly battle to retain a shred of humanity in the face of such absolute hatred. The story will be told in a fragmented, impressionistic way as she tries to piece her life back together and make sense of all that has happened to her. It explores the themes of freedom and identity in all their myriad forms. Being set in a war, the characters face many challenges and are stripped down to their essential humanity - this is always fertile ground for drama. The drama will play out on their faces and, in their beauty and dignity, we find hope for all humanity.
Juanita Wilson Filmography: 2008 The Door 2010 As If I Am Not There
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EUROPEAN FILM AWARDS 2011
ATTENBERG
Greece 95 min.
WRITTEN & DIRECTED BY: Athina Rachel Tsangari PRODUCED BY: Maria Hatzakou, Yorgos Lanthimos, Iraklis Mavroidis, Athina Rachel Tsangari & Angelos Venetis DIRECTOR OF PHOTOGRAPHY: Thimios Bakatakis EDITORS: Matt Johnson & Sandrine Cheyrol PRODUCTION DESIGNER: Dafni Kalogianni MAIN CAST: Ariane Labed (Marina), Vangelis Mourikis (Spyros), Evangelia Randou (Bella), Yorgos Lanthimos (engineer)
Marina, 23, is growing up with her architect father in a prototype factory town by the sea. Finding the human species strange and repellent, she keeps her distance. Instead she chooses to observe it through the songs of Suicide, the mammal documentaries of Sir David Attenborough, and the sexual-education lessons she receives from her only friend, Bella. A stranger comes to town and challenges her to a football duel, on her own table. Her father meanwhile ritualistically prepares for his exit from the 20th century, which he considers to be “overrated.” Caught between the two men and her collaborator, Bella, Marina investigates the wondrous mystery of the human fauna.
Production: HAOS FILM 10 Agiou Markou Str. 105 60 Athens GREECE tel. +30 210 3222466 fax +30 210 3222466 info@haosfilm.com
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World Sales: The Match Factory Balthasarstrasse 79-81 50670 Köln GERMANY tel. +49 221 539 70 9 51 fax +49 221 539 70 9 10 info@matchfactory.de
SELECTION www.attenberg.info
Director’s Statement: I made a film about four people who happen to be at the same place for a short period of time. Three people who become four and then two. Three, of course, being the only perfect number in any relation. Athina Rachel Tsangari Athina Rachel Tsangari has a B.A. in Literature from the Aristotle University of Thessaloniki, Greece, an M.A. in Performance Studies from New York University’s Tisch School of the Arts, and an MFA in Film Directing from the University of Texas at Austin. Her introduction to cinema came by accident, with a small role in Richard Linklater’s seminal 1991 film SLACKER. Her first short film FIT was a finalist for the Student Academy Awards. Her graduation thesis feature, THE SLOW BUSINESS OF GOING (2001), was a lo-fi sci-fi road movie shot in nine cities around the world. The 2002 Village Voice Critic’s Poll listed it as one of the year’s “best debut films” and it was acquired by MoMa for its permanent film collection. While a film student in Austin, she co-founded and was the artistic director for an innovative festival of cuttingedge short film, the Cinematexas Int’l Short FF, which ran for 10 years (1997-2007). In 2004 she was invited to serve as the projections designer and video director for the Athens 2004 Olympic Games Opening & Closing Ceremonies. She has been working as a multi-media projection artist ever since. In 2009, she created “Reflections”, a series of giant-scale projections commissioned for the grand opening of the new Acropolis Museum in Athens (designed by architect Bernard Tschumi), which animated original masterpieces from the Greek archaic and classical eras, as projections onto the surfaces of the building itself and its surrounding structures. She founded Haos Film in 2005, an Athens-based production office to develop and produce work in partnership with fellow filmmakers. Among her credits as producer are three films directed by Yorgos Lanthimos: KINETTA (2005), DOGTOOTH, as an associate producer (Un Certain Regard prize winner at Cannes 2009, and a finalist for the 2011 foreign-language Oscar©), and his upcoming ALPS which will premiere in competition at the 2011 Venice IFF.
ATTENBERG Festival Participation/Awards: Venice IFF 2010: Coppa Volpi for Best Actress, Lina Mangiacapre Award Toronto IFF 2010 Reykjavik IFF 2010, in competition BFI London FF Vienna IFF Whistler FF 2010: New Voices Award for Best Feature Thessaloniki IFF 2010: Silver Alexander Award Sundance FF 2011 Angers Festival 2011: Mademoiselle Ladubay Award for Best Actress Rotterdam IFF 2011 Goteborg IFF 2011, in competition IFF of the Nat’l University of Mexico 2011: Silver Puma for Best Director & Audience Award New Directors/New Films 2011 Buenos Aires Independent FF 2011: Best Director Award Int’l Women’s FF of Dortmund/ Cologne 2011: Best Feature INDIELISBOA 2011, in competition Karlovy Vary IFF ERA New Horizons: Grand Jury Prize
Athina Rachel Tsangari Filmography: 1994 FIT, short 2001 THE SLOW BUSINESS OF GOING 2011 INSTANT INSTANTS, travelogue 2009 ANTIKATOPTRISMOI (Reflections), animation 2010 ATTENBERG
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EUROPEAN FILM AWARDS 2011
AVE
Bulgaria 86 min.
DIRECTED BY: Konstantin Bojanov WRITTEN BY: Konstantin Bojanov & Arnold Barkus PRODUCED BY: Dimitar Gotchev, Geoffroy Grison & Konstantin Bojanov DIRECTOR OF PHOTOGRAPHY: Nenad Boroevich & Radoslav Gotchev EDITOR: Stela Georgieva PRODUCTION DESIGNER: Nikolay Karamfilov MAIN CAST: Anjela Nedyalkova (Avé), Ovanes Torosyan (Kamen), Martin Brambach (truck driver), Svetlana Yancheva (Viki’s mother), Nikolay Urumov (Retired)
While hitchhiking from Sofia to Ruse, Kamen meets Avé, a 17-year-old runaway girl. With each ride they hitch, Avé invents new identities for them, and her compulsive lies get Kamen deeper and deeper into trouble. Reluctantly drawn into this adventure, Kamen begins to fall in love with the fleeting Avé.
Production: KB Films production 37 Greenpoint Ave., Suite 9 Brooklyn, NY 11222 USA tel. +1 718 383 7352 konstantin@kbfilms.net
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World Sales: LE PACTE 5, rue Darcet 75017 Paris FRANCE tel. +33 1 44 69 59 59 contact@le-pacte.com
SELECTION www.Ie-pacte.com
Director’s Statement: Sometimes you find yourself in a whirlpool of events larger and more powerful than yourself. You spin and twist, and what was before familiar becomes harder and harder to grasp. Such was my experience with the untimely death of one of my teenage friends. When I learned that he had committed suicide, I hastily set out to hitchhike to his village - arriving eventually, but too late for the funeral. One night, a few years earlier, I returned home to find a sixteen-year-old runaway girl at my doorstep. I invited her in and she accepted, but only after making me promise that I will never ask her why she was there. I instantly fell in love with her. Though we knew each other for only a brief period of time, she profoundly affected my life. Over the course of years, I moved from one country to the next, one city to another, but the memory of my friend’s death and my encounter with this elusive wayfarer always stayed with me. They inspired the story of Ave. In Ave, the two main characters, Kamen, an alienated art student and Avé, a seventeen-year-old runaway, are forced to confront death and love for the first time in their lives. They react with raw spontaneity. Ultimately, their experience is cathartic and life changing, and by the end of their journey together they are ready to embrace life. Ave is about those exceptional moments in a young person’s life when time feels suspended, and one’s responsibility is only to the beat of one’s own heart. It is a road movie as spontaneous and freewheeling as the characters’ adventures. And, despite the unfolding of two deeply personal dramas, it does not lack for levity and humour. Artistically, the film is deeply indebted to road movies such as: The Passenger, Five Easy Pieces and Scarecrow; as well as more recent films like Y TU MAMA TAMBIEN, and LA VIE REVEE DES ANGES.
AVE Festival Participation/Awards: Cannes IFF 2011 Sarajevo FF 2011
Konstantin Bojanov
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EUROPEAN FILM AWARDS 2011
BALADA TRISTE DE TROMPETA THE LAST CIRCUS
Spain 107 min.
WRITTEN & DIRECTED BY: Alex de la Iglesia PRODUCED BY: Mariela Besuievsky & Gerardo Herrero DIRECTOR OF PHOTOGRAPHY: Kiko de la Rica EDITOR: Alejandro Lazaro PRODUCTION DESIGNER: Eduardo Hidalgo ORIGINAL SCORE: Roque Baños MAIN CAST: Carlos Areces (Javier), Antonio de la Torre (Sergio), Carolina Bang (Natalia), Sancho Garcia (Coronel Salcedo), Carmen Maura (Sonsoles)
Pictures: Diego Lopez Calvin
1937, the Spanish Civil War: circus’ clowns are recruited by force to join the militia and the butchery starts as they are still in their clown costume. Years after, Javier and Sergio, two terrifyingly disfigured clowns battle to the death to win an acrobat’s ambiguous love. Their incredible confrontation is a satirical reflection of Franco’s dictatorship during which the story takes place. As in the drama between the two Spains, both clowns destroy the object of their love in their struggle.
Production: Tornasol Films C/ Veneras, 9 - Planta 7 28013 Madrid SPAIN tel. +34 911 023 024 fax +34 915 428 710
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World Sales: Films Distribution 34 Rue du Louvre 75001 Paris FRANCE tel. +33 1 53 10 33 99 fax +33 1 53 10 33 98
SELECTION www.filmsdistribution.com
THE LAST CIRCUS Festival Participation/Awards: Venice IFF 2010: Silver Lion & Best Screenplay 14 Goya Nominations 2011
Alex de la Iglesia Filmography: 1993 ACCIÓN MUTANTE (Mutant Action) 1995 EL DÍA DE LA BESTIA (The Day of the Beast) 1997 PERDITA DURANGO (Dance with the Devil) 1999 MUERTOS DE RISA (Dying of Laughter) 2000 LA COMUNIDAD (Common Wealth) 2002 800 BALAS (800 Bullets) 2004 CRIMEN FERPECTO (Ferpect Crime) 2006 LA HABITACIÓN DEL NIÑO (The Baby’s Room) 2008 THE OXFORD MURDERS 2010 BALADA TRISTE DE TROMPETA (The Last Circus)
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EUROPEAN FILM AWARDS 2011
BELI BELI SVET WHITE WHITE WORLD
Serbia/Germany/ Sweden 121 min.
DIRECTED BY: Oleg Novkovic WRITTEN BY: Milena Markovic PRODUCED BY: Milena Trobozic Garfield, Uliks Fehmiu DIRECTOR OF PHOTOGRAPHY: Miladin Colakovic EDITOR: Lazar Predojev PRODUCTION DESIGNER: Aljosa Spajic ORIGINAL SCORE: Boris Kovac MAIN CAST: Uliks Fehmiu (King), Hana Selimovic (Rosa), Jasna Djuricic (Ruzica), Nebojsa Glogovac (Zlatan), Boris Isakovic (Beli)
In the town of Bor, a deteriorating mining centre in southeast Serbia, lives King. He is a man of about 40, once a miner, now a local bar owner. He was once involved with Ruzica, the town beauty and the wife of his boxing coach Animal. When Animal found out about their affair, Ruzica killed him. After seven years in jail Ruzica comes back to Bor. She goes to see King, only to find out that he is involved with another woman: her young daughter Rosa.
Production & Press: West End Productions Stanislava Sremcevica 5 11000, Belgrade SERBIA tel. +381 112 471 548 artisanpa@yahoo.com
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World Sales: Films Boutique Skalitzer Str. 54A 10997 Berlin GERMANY tel. +49 30 6953 7850 fax +49 30 6953 7851 valeska@filmsboutique.com
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Director’s Statement: This is a movie about longing for escape from the destiny of anguish and hopelessness. This is a movie about people who live on the edge of existence, from day to day, with no future and with dreams that surpass them, because life itself surpasses them.This is a movie about destruction and collapse. This is a movie about longing for living and longing for death. And most of all, this is a movie about indestructible life, because lives can, but life cannot be destroyed. The movie takes place in the mining town of Bor, once a symbol of Yugo-prosperity, now a mouldering symbol of its deterioration. Realistic setting with very little scenographic interventions. Hand-held camera to produce the necessary dynamics, tele-lenses the poetic effect and Cinemascope the scale. The acting is hyper-realistic. The lines in the songs are pronounced like realistic dialogue. Acting is naturalistic. Acting without acting. Songs in the movie are sung as a part of the action without a pause in storytelling. The music is an original score - Balkan tango, passionate and heart-breaking. Totals (wide frames) are essential for this movie. Wide frames of the town of Bor, the deep mining shafts, the vast polluted lake, huge vacant factories, disused chimneys and endless blocks of socialist apartments. The film is about a search for freedom and escape, doomed by fate and the dark side of the human soul. It happens in a decaying world where the most powerful man is powerless to change his own destiny. It’s a dance with the devil, a Balkan Tango in a Balkan hell, where to love is only to die. Oleg Novkovic Oleg Novkovic is one of the most important of Serbia’s new filmmakers. His sensitive portrayals of ex-Yugoslavia’s “lost generation” have won him the attention of international film festivals and audiences. Variety writes: “His movies have the delicate balance of well measured emotional tensions and hyper-realistic expression.” In his previous film, Tomorrow Morning, he was one of the first Serbian auteurs to address the problems of compromised morality in the post-civil-war culture, and harrowing choice between emigration and self-isolation that has tormented his generation. Serbian film critics proclaimed Tomorrow Morning one of the most important Serbian films of the decade. Its blend of bitter sincerity and documentary reality caught attention of the film festivals, their respective jury members and international film critics.
WHITE WHITE WORLD Festival Participation/Awards: Locarno IFF 2010: Best Actress, CICAE Award for Best Film Cottbus Eastern European FF 2010: Grand Prix for Best Film Mar del Plata FF 2010: Special Jury Award, 1st Special Mention Pau IFF 2010: Best Actress Les Arcs European FF 2010: Best Actress Crossing Europe 2011: New Vision Award for Best Film Festroia IFF 2011: Best Director Pusan IFF 2010 IFF Bratislava 2010 Seville European FF 2010 IFF East-West Orenburg 2010 Thessaloniki IFF 2010 Sofia IFF 2011 Vilnius IFF CPH:PIX Tribeca FF 2011 Sarajevo FF 2011
Oleg Novkovic Filmography: 1993 KAZI ZASTO ME OSTAVI (Why Have You Left Me) 2001 NORMALNI LJUD (Normal People) 2002 DECA (Children), doc 2005 RUDARSKA OPERA (Miner’s Opera), doc 2006 SUTRA UJUTRU (Tomorrow Morning) 2010 BELI BELI SVET (White White World)
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EUROPEAN FILM AWARDS 2011
CIRKUS COLUMBIA
Bosnia & Herzegovina/ France/UK/Germany/ Slovenia/Belgium 113 min.
DIRECTED BY: Danis Tanović WRITTEN BY: Danis Tanović & Ivica Dikic PRODUCED BY: Cedomir Kolar, Amra Baksic Camo, Marc Bachet & Mirsad Purivatra DIRECTOR OF PHOTOGRAPHY: Walther van den Ende EDITOR: Petar Markovic PRODUCTION DESIGNER: Dusan Milavec & Sanda Popovac MAIN CAST: Miki Manojlovic (Divko Buntic), Mira Furlan (Lucija), Boris Ler (Martin), Jelena Stupljanin (Azra), Milan Strljic (Ivanda)
Stills: Dejan Vekic
Bosnia and Herzegovina, 1991: the communists have fallen from power and Divko Buntic returns to the small town where he grew up to reclaim his family home. After a 20-year exile in Germany, Divko arrives in his flashy red Mercedes with sexy young girlfriend Azra, lucky black cat Bonny and a pocketful of Deutschmarks. Divko uses his money and connections to forcefully evict estranged wife Ludja, but he tries to reunite with 20-year-old son Martin. When Divko’s beloved cat Bonny disappears, the whole town joins in a frantic search to get the cash reward. The daily hunt for the missing cat strains Divko’s fragile relationship with Azra and opens up an unexpected but strong attraction between Azra and Martin. Busy fretting over everyday concerns, most of the townsfolk seem to disregard the rumbling political unrest: Croatia has seceded, all Yugoslavs are being forced to take sides, and the Serbs begin bombing Dubrovnik. Although their area is on high alert, many still can’t imagine anyone or anything could divide Bosnia and Herzegovina…
Production: A.S.A.P. 4, rue de Saintonge 75003 Paris FRANCE tel. +33 1 42 77 47 76 fax +33 1 42 77 86 80
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Razor Film Wassergasse 4 10179 Berlin GERMANY tel. +49 30 84 71 22 80 fax +49 30 84 71 22 877 info@razor-film.de
World Sales: The Match Factory Balthasarstr. 79-81 50670 Köln GERMANY tel. +49 221 539 709 0 fax +49 221 539 709 10 info@matchfactory.de
SELECTION www.the-match-factory.com
Director’s Statement: BEFORE, DURING AND AFTER Much of my career in filmmaking has been about war and its consequences. While in the army, I filmed it for real, then I made documentaries about war, and those experiences culminated with NO MAN’S LAND, my first feature film. Recently, I made TRIAGE, a feature that deals with the aftermath of war. The story of CIRKUS COLUMBIA actually stops when the war starts. In some way for me, these films make a sort of personal trilogy - before, during and post war. NO MAN’S LAND takes place during the conflict, TRIAGE after, and CIRKUS COLUMBIA before. TRYING TO REMEMBER For a long time, the period before the war belonged to a life I couldn’t remember. There was this gap in my mind when I tried to think of the time in my life before the war. It was as if the war overshadowed everything that existed previous to it. I felt as if that time was a lost part of my life. Then, suddenly, a few years ago, for no particular reason I began to remember. Sometimes it would be a smell, sometimes the face of a person I used to know, sometimes a scene of no particular importance. I tried to recapture those moments, connect them to some other memory, but they went away as quickly as they came, leaving me with a feeling of loneliness and frustration. HELPING WAR CHILDREN TO REMEMBER Reading the book “Cirkus Columbia” gave me a fast ride back to that period before the war. It’s in no way similar to my own experience but there is something about that book that touches every Bosnian and Herzegovinian. The book tells stories of people who naively believed that war was not possible here, of neighbours who help each other in spite of mortal danger, of lost youth and new beginnings, of hate that for a while seemed to cover everything and, of course, of love that knows no borders. I hope that adapting these stories to the screen will help other war children to remember. Danis Tanović Tanović was born in 1969 in Zenica (former Yugoslavia), now Bosnia & Herzegovina, and raised in Sarajevo. After a diploma in civil engineering, he studied piano at the Academy of Theatre Arts and film at the Sarajevo Film Academy. When Sarajevo fell under siege, he spent two years on the frontline filming for the army. The material that Tanović and his colleagues produced on these dangerous missions has been seen in many films and news reports about the Bosnian war. In 1994, Tanović emigrated to Belgium to continue his film studies at the INSAS film school and he began making shorts and documentaries.
CIRKUS COLUMBIA Festival Participation/Awards: Sarajevo IFF 2010: Audience Award Antalya Golden Orange IFF 2010: Best Film Toronto IFF 2010 San Sebastian IFF 2010: Audience Award Abu Dhabi IFF 2010: Best Narrative Feature
Danis Tanović Filmography: 2001 NO MAN’S LAND 2005 L’ENFER (HELL) 2009 TRIAGE 2010 CIRKUS COLUMBIA
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EUROPEAN FILM AWARDS 2011
CIRKUS FANTASTICUS SILENT SONATA
Slovenia/Ireland 75 min.
WRITTEN & DIRECTED BY: Janez Burger PRODUCED BY: Jožko Rutar DIRECTOR OF PHOTOGRAPHY: Diviš Marek PRODUCTION DESIGN: Vasja Kokelj EDITOR: Miloš Kalusek ORIGINAL SCORE: Drago Ivanuša MAIN CAST: Leon Lučev (father), Rene Bazinet (old man), Paulina Räsänen (beauty)
A man stays alone with his children in a half demolished house in the middle of a desolate field. His wife has just been killed by a grenade in a military battle. He is expecting a new attack. Instead a wandering caravan called Circus Fantasticus stops by the house. They bring along the dying director of the circus. Is it possible for anything beautiful to happen in a landscape of war and death? Can life go on? Is it possible to realize that death does not exist?
Production: Staragara Production Celovska 43 1000 Ljuldjana SLOVENIA tel. +386 1 421 0024 fax +386 1 421 0025 office@staragara.com
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World Sales: Fortissimo Films Van Diemenstraat 100 1013 CN Amsterdam THE NETHERLANDS tel. +31 20 627 32 15 fax +31 20 626 11 55 info@fortissimo.nl
SELECTION www.silentsonatamovie.com
Director’s Statement: When I was born in the Socialist Federal Republic of Yugoslavia it seemed that the dark forces of evil had been defeated during the Second World War and we were going to live in brotherhood, unity and peace till the end of our days. What is left from all this are beautiful childhood memories. When we think about how humanity has lived for the past few thousand years, we don’t get the impression that it lived in peace which was occasionally broken by wars. To the contrary it lived in war with occasional ceasefires. To see whether this is still the case, we only need to switch on the television. War changes its form, but that does not mean that it is not an integral part of human nature and as such a part of the environment in which we live. It would be an illusion to think that this fact will change considerably in the coming few centuries. Silent Sonata is a film which tackles the question of how to survive in such an environment. It is set in a warzone which is not linked to any space or time. It could be happening a hundred years ago or three thousand years from now. People don’t speak in this film, but that also does not mean that it’s a silent film. Words are meaningless in war. If they had any power, there would be no wars. Silent Sonata is a film of feelings, atmosphere, sensibility, surreality - a film about that which cannot be expressed with words.
Silent Sonata Festival Participation/Awards: Slovenian FF Portorož: Best Feature, Director, Supporting Actor, Sound, Make-up, Music Rotterdam IFF Sofia IFF Dublin IFF Göteborg IFF Melbourne IFF Seattle IFF Galway FF Pula IFF 2011: Arena for Best Actress
Janez Burger
Janez Burger Born in Kranj, Slovenia, Janez Burger studied at the Faculty of Economics in Ljubljana and at the FAMU in Prague, where he graduated in 1996 in film and TV directing. His filmography includes the feature films IDLE RUNNING (1999) and RUINS (2004). SILENT SONATA is his third feature film. He lives in Ljubljana.
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EUROPEAN FILM AWARDS 2011
DREI THREE
Germany 119 min.
WRITTEN & DIRECTED BY: Tom Tykwer PRODUCED BY: Stefan Arndt DIRECTOR OF PHOTOGRAPHY: Frank Griebe EDITOR: Mathilde Bonnefoy PRODUCTION DESIGNER: Uli Hanisch ORIGINAL SCORE: Tom Tykwer, Johnny Klimek, Reinhold Heil, Gabriel Mounsey MAIN CAST: Sophie Rois (Hanna), Sebastian Schipper (Simon), Devid Striesow (Adam)
Berlin, today. Very urban couple Hanna and Simon have lived together for years. Love, work, sex and daily life have meshed into combative harmony. Then Hanna meets Adam. And Adam meets Simon. Unexpectedly, all three fall in love. Everyone remains oblivious to the other’s affair. But the secret slowly begins to confuse all three lovers, and it threatens to rupture their fragile relationship. THREE is an investigation into the emotional life of a generation that is trying to reconcile new possibilities and old longings.
Production/Press: X Filme Creative Pool GmbH Kurfuerstenstr. 57 10785 Berlin GERMANY tel. +49 30 230 833 11 fax +49 30 230 833 22 info@x-filme.de
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World Sales: The Match Factory GmbH Balthasarstr. 79-81 50670 Köln GERMANY tel. +49 221 539 709 0 fax +49 221 539 709 10 info@matchfactory.de
SELECTION www.drei.x-verleih.de/de/ www.the-match-factory.com/films/items/three.html
THREE
Director’s Statement: Love, work, daily life, and death are intertwined and formed anew in this story, fused in a different way. It is a film about closeness and distance, loneliness and peer pressure, about the dangers of intimacy and the temptation of the unfamiliar. THREE revolves around the longings, hopes, enigmas, and contradictions of three people approaching middle age, who have had to pose some fundamental questions about the so-called „successful“ lives they live. What does it mean today to live „properly“ – in a social, emotional, political, or private way? THREE is an attempt – at once tender and drastic, as ironic as it is serious – to describe the feeling that people have today as life brings them further away from birth and ever closer to death. The storytelling methods used are sometimes elliptic, often fragmented, and then very strict, each one necessitated by the feeling being explored in each situation. In this way, the film investigates the condition of a generation that still – more or less doggedly – fights to depart from the patterns impressed upon them by their socialization. Tom Tykwer Born in Wuppertal in 1965, Tom Tykwer soon became interested in film. He had worked as a projectionist and booker in various independent art house cinemas for several years before he helmed his first feature film DEADLY MARIA in 1993, followed by WINTER SLEEPERS (1997), RUN LOLA RUN (1998), THE PRINCESS AND THE WARRIOR (2000), HEAVEN (2002), PERFUME – THE STORY OF A MURDERER (2006). In 2009, THE INTERNATIONAL opened the Berlin International Film Festival.
Festival Participation/Awards: Venice IFF 2010 Toronto IFF 2010 Tallinn Black Nights IFF 2010 Rotterdam IFF 2011 FICCMEXICO 2011 Hong Kong IFF 2011 KINO!2011: New Cinema from Germany MoMA New York 2011 Sydney IFF 2011 German Film Awards 2011: Best Director, Actress, Editing Bavarian Film Awards 2010: Best Director & Actress German Film Critics Association Awards 2010: Best Actress & Actor
Tom Tykwer Filmography: 1993 DIE TÖDLICHE MARIA (Deadly Maria) 1997 WINTERSCHLÄFER (Winter Sleepers) 1998 LOLA RENNT (Run Lola Run) 2000 DER KRIEGER UND DIE KAISERIN (The Princess and The Warrior) 2002 HEAVEN 2002 PARIS, JE T’AIME (segment TRUE) 2006 DAS PARFÜM (The Perfume) 2008 THE INTERNATIONAL 2009 GERMANY 09 (segment FEIERLICH REIST) 2010 DREI (Three)
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EUROPEAN FILM AWARDS 2011
ELDFJALL VOLCANO
Iceland/Denmark 95 min.
WRITTEN & DIRECTED BY: Rúnar Rúnarsson PRODUCED BY: Thor Sigurjonsson, Skuli Malmquist & Egil Dennerline DIRECTOR OF PHOTOGRAPHY: Sophia Olsson EDITOR: Jacob Schulsinger PRODUCTION DESIGNER: Haukur Karlsson ORIGINAL SCORE: Kjartan Sveinsson MAIN CAST: Theodór Júlíusson (Hannes), Margrét Jóhannsdóttir (Anna), Thorsteinn Bachmann (Ari), Elma Lísa Gunnarsdóttir (Telma)
The coming-of-age story of a 67-year-old man: when Hannes retires from his job as a janitor the void that is the rest of his life begins. He is estranged from his family, hardly has any friends and the relationship with his wife has faded. Through drastic events Hannes realises that he has to adjust his life in order to help someone he loves. VOLCANO is a love story about dealing with the choices of the past and the difficulties of the present in order to embrace the future
Production/Press: Zik Zak Fllmworks Fiskislod 45m 101 Reykjavik ICELAND tel. +354 511 2019 fax +354 511 3019 zikzak@zikzak.is
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World Sales: Trust Nordisk ApS Filmbyen 28 2650 Hvidovre DENMARK tel. +45 3686 8788 fax +45 3686 8750 info@trustnordisk.com
SELECTION www.zikzak.is
Director’s Statement: An old-fashioned man who cannot express his love is someone most of us, if not all, know. Volcano is more than a coming-of-age story of a 67-year-old man who cannot show his emotions. Volcano is also a story about a family and how three generations deal with their past, present and future. Love story: all of the main characters in the film have some flaws, no one is perfect. People who love, suffer, get by. Blindly they try to find an outlet for their emotions, their love. The path can be rocky when you have armoured your heart with distance, silence, anger... The visual and audio storytelling are important tools to show emotions and the narrative has certain real feeling and approach, but the simplicity of the sound and visual design I feel gives the film a certain poetry. Andreas Dresen’s respect for his characters and the portrayal of them in WOLKE 9, Bergman’s inner drama, the mise-en-scène of Lynn Ramsey’s short films and her film RATCATCHER, the visual outcome of the pairing of Slawomir Idziak and Kieslowski as well as Tarkovsky’s works and ideas about time have all had an influence on me for the last few years which I have put into my cocktail mixer and worked from when I have been doing my short films. I have the good fortune to have good people around me that share, understand and help my vision, each time, to become a reality. And together we have been developing our common filmic language. Rúnar Rúnarsson Born in 1977 in Reykjavik / Iceland, he graduated from the directors line of The National Film School of Denmark (2005 -2009). His earlier scriptwriting courses were with Ted Braun (a samurai at the North by North West program, August 2003) and the Script Factory (August 2004). He was nominated for the Oscars in 2006 for THE LAST FARM (Síðasti bærinn, 2004). In 2008 he was nominated for the Palme d’Or in Cannes and for the European Film Awards for his short film 2 BIRDS (Smáfuglar).
VOLCANO Festival Participation/Awards: Cannes IFF 2011 Transylvania IFF 2011: Best Director Karlovy Vary IFF 2011 München IFF 2011 Toronto IFF 2011
Rúnar Rúnarsson
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EUROPEAN FILM AWARDS 2011
ЕЛЕНА ELENA
Russia 109 min.
DIRECTED BY: Andrey Zvyagintsev WRITTEN BY: Oleg Negin & Andrey Zvyagintsev PRODUCED BY: Alexander Rodnyansky & Sergey Melkumov DIRECTOR OF PHOTOGRAPHY: Mikhail Krichman EDITOR: Anna Mass PRODUCTION DESIGNER: Andrey Ponkeatov MAIN CAST: Andrey Smirnov (Vladimir), Nadezhda Markina (Elena), Elena Lyadova (Katerina)
An older couple, Elena and Vladimir: he is rich and mean with his money; she is more of a servant than a wife. They’ve been together for about ten years. Elena has a son from a previous marriage; Vladimir has a daughter. Her son is unemployed. His daughter is a bohemian. The unemployed son has his own family: a wife, a baby, and a teenager. The bohemian daughter has no children, no husband - nothing but her cheerless sense of cynicism and a morbid fear of reality. Elena’s son desperately needs money, something which Vladimir is nothing short of. However, he’s in no rush to help his wife’s family. A heart attack puts Vladimir in hospital where he realizes that his remaining time is limited. He tells Elena his plans for the inheritance: all his money will go to his daughter, while Elena will get a small life-long alimony to support her. The sweet, kind-hearted older woman who commands so much sympathy from the audience comes up with an ingenious plan to kill her husband, take his money, and give her son and grandchildren a chance in life.
Production: Non-Stop Production 3, bldg. 2, Uspensky lane 126007 Moscow RUSSIA tel. +7 916 641 67 19 shneyderova@gmail.com
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World Sales: Pyramide International 5, rue du Chevalier de Saint George 75008 Paris FRANCE tel. +33 1 42 96 02 20 fax +33 1 40 20 05 51
Press: Non-Stop Production Anna Vasilyeva 3, bldg. 2, Uspensky lane 126007 Moscow RUSSIA tel. +7 916 406 06 20 ania.vasilyeva@gmail.com
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Director’s Statement: I’m thrilled by the chance this story provides to explore the central idea of the early modern period: survival of the fittest, survival at any cost. With the growth of individual freedoms, society requires a corresponding growth of solidarity. Ever-increasing disengagement and individualism mean that people start to behave more and more like a bunch of tarantulas in a jar. Deep down inside, each human being is devastatingly alone. Solitude is the beginning, the end, and the thin red line that runs through the life of every human being. Humanitarian ideas in the modern world are being devalued as we speak, losing currency every day. Existing in this state, people turn inwards, gravitating towards ancient instincts and animal origins. This will be a rough drama - a pitiless, uncompromising look at human nature. We see two old people who have what appears to be an entirely normal relationship. You could even say that these people love each other, though it’s not a passionate youthful kind of love. We see their mutual care, gentleness and tact, which along with their dedication and fairness persuade us that they are bound by a lasting love. However, if we choose to call the illusion of a commercial relationship ‘love’, then in a moment of crisis, individuals will always act first and foremost in their own interests. This is a drama for today, told in a modern cinematographic language subjecting the viewer to eternal questions about life and death. A monster disguised as a saint, a repenting sinner facing her idols in a temple - how is that for an image of the Apocalypse? The Devil is powerless when he stands before the face of God. Man is powerless in the face of Death. And God is powerless in the face of Man’s freedom of choice. Humanity holds the key to the future of this trinity. Andrey Zvyagintsev Andrey Zvyagintsev was born in 1964 in Novosibirsk, Siberia. After graduating in 1990 from the acting department of the Russian Academy of Theatre Arts (GITIS), he went on to act in independent theatre, TV and film. In 2000 he made his directorial debut with three episodes for REN TV’s THE BLACK ROOM. Andrey’s first film, THE RETURN, was hailed as “the cinema sensation of the year”, it won the Golden Lion for Best Film and the CinemAvvenire for Best First Work at the Venice IFF 2003 and the European Film Academy Discovery 2003 – Prix Fassbinder. Andrey’s second film, THE BANISHMENT, premiered at the Cannes IFF 2007 where it won Konstantin Lavronenko the Best Actor award.
ELENA Festival Participation/Awards: Cannes IFF 2011, Un Certain Regard: Special Jury Prize Moscow IFF 2011 Toronto IFF 2011
Andrey Zvyagintsev Filmography: 2003 BOЗВРАЩЕНИЕ (The Return) 2007 IZGNANIE (The Banishment) 2009 NEW YORK, I LOVE YOU (segment Apocrypha) 2011 ELENA
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EUROPEAN FILM AWARDS 2011
ESSENTIAL KILLING
Poland/Norway/Ireland/ Hungary 84 min.
DIRECTED BY: Jerzy Skolimowski WRITTEN BY: Jerzy Skolimowski & Ewa Piaskowska PRODUCED BY: Ewa Piaskowska & Jerzy Skolimowski DIRECTOR OF PHOTOGRAPHY: Adam Sikora EDITOR: Réka Lemhényi & Maciej Pawliński PRODUCTION DESIGNER: Joanna Kaczyńska ORIGINAL SCORE: Paweł Mykietyn MAIN CAST: Vincent Gallo (Mohammed), Emmanuelle Seigner (Margaret)
Captured by the US military in Afghanistan, Mohammed is transported to a secret detention centre in Europe. When the vehicle he is riding in crashes, he finds himself suddenly free and on the run in a snow-blanketed forest, a world away from the desert home he knew. Relentlessly pursued by an army that does not officially exist, Mohammed must confront the necessity to kill in order to survive.
Production: Skopia Film Ul. Gorczewska 15/31 00-186 Warszawa POLAND tel. +48 664 064 046 skopiafilm@skopiafilm.com
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World Sales: Hanway Films 24 Hanway Street London W1T 1UH UK tel. +44 207 290 0750 jls@hanwayfilms.com
SELECTION www.essentialkilling.com
Director’s statement: I like to think I live a quiet existence, staying away from the havoc of city life, enjoying splendid near-isolation. After FOUR NIGHTS WITH ANNA, I toyed with the idea of making another small film set in the forests around my house in Poland. And suddenly this big secret CIA operation landed just around the corner. It naturally has lent itself to a dramatic fantasy that became ESSENTIAL KILLING. The film is obviously not based on a true story. Or else it would either have already made headlines around the globe or it would have remained a sealed topsecret special force operation. But given the fact that US military planes actually landed less than 20 kilometres from where I live, the plausibility of the situation portrayed in the film seemed, when I got the initial idea for the storyline, absolutely exciting. In ESSENTIAL KILLING, a man is placed in circumstances that explore the boundaries of human resistance. It’s a struggle of one against many. Because we are prone to keep the side of the underdog, the story tests the measures of our empathy for another human being. I did not want the politics to extend beyond this immediate life or death struggle. The film is not a commentary on America or Afghanistan and I believe that would have been too easy, and most of all distracting to emphasize too much on the US military. The idea was to have massive power against one. Yes, if you depict waterboarding torture by Americans, it will be controversial. If your protagonist is a suspected Muslim terrorist, it invites controversy. But all this is depicted in the film matter-of-factly, reserving judgement. My interest was in the chase, the idea that in war and brute, primal survival, every human can be both predator and prey. Landscape, aside from interesting me visually, is clearly the best key to the character and his outsider status. Landscape establishes the character, his predicament, it tells the story. Landscape in this film made any expository dialogue superfluous. Jerzy Skolimowski With over twenty films to his name, Polish director Jerzy Skolimowski’s work includes the Berlin Golden Bear winner THE DEPARTURE, Cannes Grand Prix winner THE SHOUT, the political drama MOONLIGHTING, and THE LIGHTSHIP, for which he won Best Director at the Venice IFF. Skolimowski also collaborated with Roman Polanski on the screenplay for KNIFE IN THE WATER. As an actor, he has appeared in EASTERN PROMISES and BEFORE NIGHT FALLS. Skolimowski returned to Cannes as director in 2008 with the critically lauded thriller FOUR NIGHTS WITH ANNA which opened the Director’s Fortnight and also won the Jury Grand Prix at the Tokyo IFF.
ESSENTIAL KILLING Festival Participation/Awards: Venice IFF: Grand Prix de Jury, Best Actor Mar del Plata IFF: Best Film, Best Actor Gdynia FF: Best Film, Director, Music, Cinematography, Editing London FF Toronto IFF Tokyo IFF Rio IFF IFF Rotterdam Paris Cinema IFF Polish Film Academy Awards: Best Film, Director, Music, Editing
Jerzy Skolimowski
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EUROPEAN FILM AWARDS 2011
LE GAMIN AU VÉLO THE KID WITH A BIKE
Belgium/France/Italy 84 min.
WRITTEN & DIRECTED BY: Jean-Pierre & Luc Dardenne PRODUCED BY: Jean-Pierre & Luc Dardenne, Denis Freyd & Andrea Occhipinti DIRECTOR OF PHOTOGRAPHY: Alain Marcoen EDITOR: Marie-Hélène Dozo PRODUCTION DESIGNER: Igor Gabriel MAIN CAST: Thomas Doret (Cyril), Cécile de France (Samantha), Jérémie Renier (Guy Catoul), Fabrizio Rongione (the bookseller), Egon di Mateo (Wes)
Pictures: Christine Plenus
Cyril, almost 12, has only one plan: to find the father who left him temporarily in a children’s home. By chance he meets Samantha, who runs a hairdressing salon and agrees to let him stay with her at weekends. Cyril doesn’t recognize the love Samantha feels for him, a love he desperately needs to calm his rage...
Production/Press: Les Films du Fleuve Quai de Gaulle, 13 4020 Liège BELGIUM tel. : +32 4 349 56 90 fax +32 4 349 56 96 desk@lesfilmsdufleuve.be
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World Sales: Wild Bunch 99 rue de la Verrerie 75004 Paris FRANCE tel. +33 1 53 01 50 20 fax +33 1 53 01 50 49
SELECTION www.legaminauvelo-lefilm.com
THE KID WITH A BIKE Festival Participation/Awards: Cannes IFF 2011 : Grand Prix Munich FF 2011 Karlovy Vary IFF 2011
Directors’ Statement: Since we don’t know what to write to define our intentions in this screenplay, we have consulted our work notebooks, thinking that perhaps we would find a note, a few words or sentences in them that, better than a statement written after the fact, would show what guided and led us towards this new film. On January 20, 2006, following a work session, one of us wrote: “(...) this film would be the story of a woman who wants to save a kid, a violent kid like those that our society produces today, uncontrollable, on edge, wiry, mute. The story of a woman who could receive the violence of this kid and thereby allow him to overcome it. A mother.” The screenplay that we have written four years on is indeed the portrait of a mother, of a woman who loves a kid that she meets by chance, who loves him with a love that will be able to soothe his anger and violence. What violence? What suffering does she feed off? A father who no longer wants to be his father, a father for whom he no longer matters and to whom he clings all the more as he tries to pull away. How to forget this father who no longer wants you when you’re his offspring? How can you stop looking for him, how can you break free of him to start living at last? And so the film is also the portrait of a father, of several fathers that the kid will free himself of thanks to a woman, a woman met by chance.
Jean-Pierre & Luc Dardenne Filmography: 1999 ROSETTA 2002 LE FILS (The Son) 2005 L’ENFANT (The Child) 2007 DANS L’OBSCURITÉ (Darkness), short 2008 LE SILENCE DE LORNA (Lorna’s Silence) 2011 LE GAMIN AU VÉLO (The Kid with a Bike)
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EUROPEAN FILM AWARDS 2011
HABEMUS PAPAM
Italy/France 104 min.
DIRECTED BY: Nanni Moretti WRITTEN BY: Nanni Moretti, Federica Pontremoli & Francesco Piccolo PRODUCED BY: Nanni Moretti & Domenico Procacci DIRECTOR OF PHOTOGRAPHY: Alessandro Pesci EDITOR: Esmeralda Calabria PRODUCTION DESIGNER: Paola Bizzarri ORIGINAL SCORE: Franco Piersanti MAIN CAST: Michel Piccoli (The Pope), Nanni Moretti (male psychotherapist), Jerzy Stuhr (spokesperson), Renato Scarpa (Cardinal Gregori), Franco Graziosi (Cardinal Bollati), Margherita Buy (female psychotherapist), Dario Cantarelli (the actor)
Pictures: Philippe Antonello
The newly elected Pope suffers a panic attack just as he is due to appear on St Peter’s balcony to greet the faithful, who have been patiently awaiting the conclave’s decision. His advisors, unable to convince him he is the right man for the job, seek help from a renowned psychoanalyst (and atheist). But his fear of the responsibility suddenly thrust upon him is one that he must face on his own.
Production: Fandango Viale Gorizia, 19 00198 Roma ITALY tel. +39 0685 21 85 fax +39 0685 21 81 20 fandango@fandango.it
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World Sales: Fandango Portobello 12 Addison Avenue, Holland Park London N11 4QR UK tel. +44 20 7605 1396 fax +44 20 7605 1391 sales@fandangoportobello.com
Press: Fandango Viale Gorizia 19 00198 Roma ITALY tel. +39 0685 21 81 23 fax +39 0685 21 81 20 Daniela.staffa@fandango.it
SELECTION www.habemuspapam.it
HABEMUS PAPAM Festival Participation/Awards: Cannes IFF 2011, in competition Toronto IFF 2011 Rio FF Era New Horizons Pusan IFF
Nanni Moretti Filmography 1976 I AM SELF SUFFICIENT 1978 ECCE BOMBO 1981 GOLDEN DREAMS 1984 BIANCA 1985 THE MASS IS ENDED 1989 RED LOB 1993 DEAR DIARY 1998 APRIL 2001 THE SON’S ROOM 2006 THE CAIMAN 2011 HABEMUS PAPAM
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EUROPEAN FILM AWARDS 2011
HÆVNEN IN A BETTER WORLD
Denmark 113 min.
DIRECTED BY: Susanne Bier WRITTEN BY: Anders Thomas Jensen PRODUCED BY: Sisse Graum Jørgensen DIRECTOR OF PHOTOGRAPHY: Morten Søborg DDF EDITOR: Pernille Bech Christensen PRODUCTION DESIGNER: Peter Grant ORIGINAL SCORE: Johan Söderqvist MAIN CAST: Mikael Persbrandt (Anton), Trine Dyrholm (Marianne), Ulrich Thomsen (Claus), William Jøhnk Juel Nielsen (Christian), Markus Rygaard (Elias)
Pictures 1, 2: Per Amesen; 3: Morten Søborg
IN A BETTER WORLD is a drama of broken idyll and the choice between revenge and pacifism. The film connects the brutal life in an African refugee camp with the postcardpretty idyll of a sleepy, Danish provincial town. Anton is a doctor and commutes between an African refugee camp and his home in Denmark where he has two small sons. He has left his beloved wife Marianne and they now try to get used to a life without each other. At the same time, Anton’s ten-year-old son Elias befriends a new boy in class, Christian, and this unusual friendship soon develops into an ominous alliance which threatens to destroy the village idyll forever.
Production: Zentropa Filmbyen 22 2650 Hvidovre DENMARK tel. +45 36 868 788 fax +45 36 868 789 sisse.graum@filmbyen.dk
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World Sales: TrustNordisk Filmbyen 28 2650 Hvidovre DENMARK tel. +45 36 868 788 fax +45 36 868 789 info@trustnordisk.com
Press: Have Kommunikation Michael Feder Carit Etlarsvej 3 1814 Frederiksberg C DENMARK tel. +45 33 252 107 fax +45 33 252 188 michael@have.dk
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IN A BETTER WORLD Festival Participation/Awards: Toronto IFF Sundance FF Academy Award (Oscar) 2011: Best Foreign Language Film
Susanne Bier Susanne Bier is one of the most prominent Danish film directors today. Earlier this year Bier won both the Academy Award (Oscar) and a Golden Globe in the category Best Foreign Language Film for IN A BETTER WORLD. In addition, Bier was also nominated for an Academy Award for Best Foreign Language Film for AFTER THE WEDDING (2006). IN A BETTER WORLD, AFTER THE WEDDING and the US-produced THINGS WE LOST IN THE FIRE (2007), starring Halle Berry and Benicio Del Toro, were all three consecutive hits at the domestic box-office. Her feature film debut, the Swedish-Danish co-production FREUD LEAVING HOME (1990), was recipient of international plaudits, as was her Danish-Swedish-Portuguese FAMILY MATTERS (1993). Her next Swedish film LIKE IT WAS NEVER BEFORE (1995) was recipient of the Critic’s Award at Montreal. Following her Danish feature THE ONE AND ONLY (1999), a critics’ favourite, and bringing in nearly a million admissions in Denmark alone, her reputation as an established filmmaker excelled. Back in Sweden Bier directed the tearjerker ONCE IN A LIFETIME (2000) and two box-office hits followed: the Dogme film OPEN HEARTS (2002), selected for San Sebastian, Sundance, and Toronto where it received a Special Mention; and BROTHERS (2004), recipient of the Audience Award at Sundance and Best Acting awards at San Sebastian.
Golden Globe: Best Foreign Language Film Italian Globo d’Oro 2011: Best European Film Portrait: Robin Skjlodborgny
Director’s Statement: IN A BETTER WORLD sets out to explore the limitations we encounter in trying to control our society as well as our personal lives. It asks whether our own “advanced” culture is the model for a better world. Or whether the same disarray found in lawlessness is lurking beneath the surface of our civilization? Are we immune to chaos or obviously teetering on the verge of disorder?
Susanne Bier
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EUROPEAN FILM AWARDS 2011
HALT AUF FREIER STRECKE STOPPED ON TRACK
Germany 110 min.
WRITTEN & DIRECTED BY: Andreas Dresen PRODUCED BY: Peter Rommel DIRECTOR OF PHOTOGRAPHY: Michael Hammon EDITOR: Jörg Hauschild PRODUCTION DESIGNER: Susanne Hopf MAIN CAST: Steffi Kühnert (Simone), Milan Peschel (Frank), Talisa Lillí Lemke (Lilli), Mika Nilson Seidel (Mika)
Forty-year old healthy Frank has been diagnosed with an inoperable brain tumor and suddenly condemned to only a few months to live. It’s a shock to a life seemingly on track with a steady job and a new house in the suburbs. But together Frank and his family push through with their daily life of work and school. Frank tries to cope with the difficulty of accepting the inevitable: increasing symptoms of the illness and medical treatment. He uses his iPhone as a kind of emotional diary. The decision to home care Frank puts an immense strain on loving Simone and ends up distancing the family members as much as it keeps them together. A story about death that celebrates life.
Production: Rommel Film E.K. Fidicinstr. 40 10965 Berlin GERMANY tel. +49 30 693 7078 fax +49 30 692 9575 p.rommel@t-onllne.de
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World Sales: The Match Factory GmbH Balthasarstr. 79-81 50670 Köln GERMANY tel. +49 221 539 709 0 fax +49 221 539 709 10 info@matchfactory.de
SELECTION www.the-match-factory.com
Director’s Statement: The past year has not been very easy for me and some of my closest friends. It has been a time of breakups, separations and distress. This very personal feeling created the key tone of the film, if you will. Moreover, some of my friends were confronted with death, and by listening to these stories I somehow shared the experience. In this context I was amazed by how little our society reflects on this issue. Because one thing we can surely say: it concerns all of us and can affect our lives anytime. But we prefer to push that aside and go on with our everyday life. The same applies for the cinema: there are abundant and fast deaths, but without showing what death means for the people involved. Or death hides behind melodramatic dramaturgical constructions, like the famous last trip to the ocean or the like, which draws attention away from the essential. For us it was very important to stick to the everyday experience and to show the process, take a look into the abyss but also at the lighter moments. What does it really mean for a man, his family and friends, when death gets in the way of all his life plans? The title of the film is simply a metaphor describing the situation Frank and his family find themselves in. Suddenly all movement stops and you have to find your way on unfamiliar, open terrain. STOPPED ON TRACK didn’t have a script in the classic sense. The dialogues were completely improvised by the actors. In the preparatory stage, Cooky Ziesche and I researched for a couple of months, for example, interviewing supporters of the hospice movement and also doctors and the bereaved of people that had died of a serious disease. We recorded each interview, compiling a database which we discussed with the actors and later on with the whole team. That’s how we created the characters and developed a schedule of scenes, out lining the situations in the film. That was the basis for the work on the set, when we developed the actual scenes while shooting. It was a very small team of only seven people altogether. Sometimes there were only three on the set, which creates a very familial environment where you can open up, just give it a go without the fear of embarrassment. Andreas Dresen Andreas Dresen was born in 1963 in Gera, Germany. In the early 80s, he began working in theatre and making short films. He studied directing at the HFF “Konrad Wolf” in Potsdam-Babelsberg. Since 1992, he has been working as a writer and director for film, TV and theatre. Today he is one of Germany’s most admired directors with diverse and award-winning features and documentaries.
STOPPED ON TRACK Festival Participation/Awards: Cannes IFF 2011, Un Certain Regard prize (ex aequo with ARIRANG) Karlovy Vary IFF 2011 German Films Screenings Hamburg 2011 European FF Palic 2011: Golden Tower for Best Film
Andreas Dresen Filmography: 1992 STILLES LAND (Silent Country) 1998 NACHTGESTALTEN (Night Shapes) 2001 HALBE TREPPE (Grill Point) 2002 HERR WICHMANN VON DER CDU, doc. 2004 WILLENBROCK 2005 SOMMER VORM BALKON (Summer in Berlin) 2008 WOLKE 9 (Cloud 9) 2009 WHISKEY MIT WODKA (Whiskey with Vodka) 2011 HALT AUF FREIER STRECKE (Stopped on Track)
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EUROPEAN FILM AWARDS 2011
HITGANVUT YEHIDIM INFILTRATION
Israel/France 116 min.
DIRECTED BY: Dover Kosashvili WRITTEN BY: Reuven Hecker & Dover Kosashvili PRODUCED BY: Marek Rozenbaum, Itai Tamir, Michael Rozenbaum, Sophie Dulac & Michel Zana DIRECTOR OF PHOTOGRAPHY: Amnon Salomon EDITOR: Yael Perlov PRODUCTION DESIGNER: Avi Fahima ORIGINAL SCORE: Josef Bardanashvili MAIN CAST: Guy Adler (Avner), Oz Zehavi (Alon), Assaf Ben Shimon (Ben Hamo), Michael Aloni (Benny), Liel Danir (Ziva)
Everyone wants to gain entry to Israeli society by serving in the IDF. Everyone wants to get through basic training safe and sound, but for some reason, instead of team spirit and cooperation, members of the platoon would rather succeed at one another’s expense.
Production: Transfax Film Production Yagia Kapayim, 3 67778 Tel Aviv ISRAEL tel. +972 687 1202 fax +972 687 1499 sales@transfax.co.il
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SELECTION www.transfax.co.il
INFILTRATION Festival Participation/Awards: Jerusalem IFF 2010: Best Actor; US distribution prize Warsaw IFF 2010, competition BFI 2010 - London IFF Israeli Academy Award 2010: Best Photography
Director’s Statement: Yehoshua Kenaz, author of “Infiltration”, manages to refine the human experience without currying favour with his readers. Therefore, his protagonists are depicted as authentic human beings, with faults and unique qualities. Kenaz’s approach to his protagonists fascinated me and resulted in my attempt to bring the novel to the big screen.
Dover Kosashvili
Dover Kosashvili Dover Kosashvili was born in Georgia, in the former USSR, in 1966 and has lived in Israel since 1972. He studied philosophy and film at Tel Aviv University. His short film WITH RULES received a top prize at the Cannes Cinefondation in 1999. His second feature, GIFT FROM ABOVE, was released in Europe in 2006. His first narrative feature, LATE MARRIAGE (aka Marriage Tardif) was presented at the Cannes IFF 2001 in the Un Certain Regard section and was released theatrically to international critical acclaim. The film was awarded every top prize at the Israeli Oscars, including Best Actress, Best Actor, Best Director and Best Film, as well as numerous festival and critics prizes, and broke box-office records in Israel and abroad for Israeli films. In May 2008 Dover Kosashvili completed a feature film based on the famous novel by Anton Chekhov, “The Duel”, produced by Donald Rozenfeld, USA .
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EUROPEAN FILM AWARDS 2011
THE KING’S SPEECH
UK 118 min.
DIRECTED BY: Tom Hooper WRITTEN BY: David Seidler PRODUCED BY: Iain Canning, Emile Sherman, Gareth Unwin DIRECTOR OF PHOTOGRAPHY: Danny Cohen EDITOR: Tariq Anwar PRODUCTION DESIGNER: Eve Stewart ORIGINAL SCORE: Alexandre Desplat MAIN CAST: Colin Firth (Bertie), Geoffrey Rush (Lionel Logue), Helena Bonham Carter (Elizabeth)
The King’s Speech stars Colin Firth as King George VI, the present Queen’s father, and tells the story of the King’s relationship with his unorthodox Australian speech therapist Lionel Logue, played by Geoffrey Rush. Chance makes George the King just as radio is taking off as a mass medium. As King he must speak not only to the nation but to the people of the British Empire, across the world, as war looms. Struggling from childhood with a nervous stammer, George, known to his family as Bertie, the second son of King George V (Michael Gambon) never expects to be King. But his older brother Edward (Guy Pearce) abdicates the throne to marry the American Wallis Simpson. George VI’s wife, Queen Elizabeth (Helena Bonham Carter) - the future Queen Mother - is tireless in her belief in him. Having tried all the traditional doctors, they put their faith in the Australian outsider, Logue. The film movingly and humorously reveals the relationship of Royal and colonial commoner as they face the abdication crisis and then the greatest test of all - the approach of the Second World War. The King must inspire the nation and the Empire on the radio. But will he be able to speak? Will his friendship with Logue save him?
Production/Press: See-Saw Films 25 Foubert’s Place, 3rd Floor London W1F 7QF UK tel. +44 203 301 6268 fax +44 844 994 5035 info@see-saw-films.com
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World Sales: FilmNation Entertainment 150 West 22nd Street New York NY 10011 USA tel. +1 917 484 8900 fax +1 917 484 8901 info@wearefilmnation.com
SELECTION www.kingsspeech.com
Tom Hooper Tom Hooper’s previous film THE DAMNED UNITED starred Michael Sheen as the legendary English football manager Brian Clough. THE DAMNED UNITED was nominated by the South Bank Show Awards for best British film and premiered at the Toronto IFF. This Sony Pictures/BBC Film, written by Peter Morgan, was based on the novel by David Peace. Tom Hooper has had an unprecedented run of success at the Golden Globes, winning the Golden Globe for Best Movie or Mini-Series Made for Television three years in a row (2007/8/9). His starring actors and actresses have won Golden Globes for their performances three years running. Tom Hooper’s JOHN ADAMS, starring Paul Giamatti and Laura Linney, won four Golden Globes and thirteen Emmys - the most Emmys ever awarded to a programme in one year in US television history. Based on the best-selling Pulitzer prize-winning biography by David McCullough, JOHN ADAMS tells the story of the American Revolution through the eyes of the second president. Hooper directed all nine hours of the mini-series, executive produced by Tom Hanks and Gary Goetzman for HBO. Tom Hooper’s LONGFORD, about Lord Longford’s relationship with the Moors Murderer Myra Hindley, won Golden Globes for Jim Broadbent, Samantha Morton and for Best TV Film. It was written by Peter Morgan for HBO/ Channel 4. Hooper won the Emmy award for directing ELIZABETH I, starring Helen Mirren and Jeremy Irons. The HBO/Channel 4 mini-series won three Golden Globes and nine Emmy Awards, including Outstanding Miniseries and Best Actress for Helen Mirrren. Hooper was nominated for a Best Director Emmy for helming the revival of ITV’s PRIME SUSPECT – THE LAST WITNESS, starring Helen Mirren. He directed Hilary Swank and Chiwetel Ejiofor in the BAFTA-nominated film RED DUST. Hooper’s TV work also includes DANIEL DERONDA, which won the Best Mini-series award at the 2003 Banff TV Festival, LOVE IN A COLD CLIMATE, for which Alan Bates was BAFTA-nominated, and the multi award-winning ITV comedy drama COLD FEET. For two years running, Hooper directed the one-hour specials that won EASTENDERS the BAFTA for best soap. He wrote, directed and produced the short film PAINTED FACES aged 18, which premiered at the London Film Festival, was released theatrically and shown on Channel 4. At Oxford University he directed theatre productions with contemporaries Kate Beckinsale and Emily Mortimer, and directed his first TV commercials. 37 year old Hooper’s first film RUNAWAY DOG was made aged 13 on a clockwork 16mm Bolex camera using 100 foot of film.
THE KING’S SPEECH Festival Participation/Awards: Telluride FF 2010 Toronto IFF 2010 London FF 2010 Berlin IFF 2011 Academy Awards (Oscar) 2011: Best Motion Picture BAFTA Awards 2011: Alexander Korda Award for Outstanding British Film of the Year; Best Film British Independent Film Awards 2010: British Independent Film Award; Best British Independent Film
Tom Hooper Filmography: 1992 Painted FacES, short 2004 RED DUST 2009 The Damned UNITED 2010 The King’s Speech
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EUROPEAN FILM AWARDS 2011
LE HAVRE
Finland/France/Germany 93 min.
WRITTEN & DIRECTED BY: Aki Kaurismäki PRODUCED BY: Aki Kaurismäki & Karl Baumgartner DIRECTOR OF PHOTOGRAPHY: Timo Salminen EDITOR: Timo Linnasalo PRODUCTION DESIGNER: Wouter Zoon MAIN CAST: André Wilms (Marcel Marx), Kati Outinen (Arletty), Jean-Pierre Darroussin (Monet), Blondin Miguel (Idrissa)
Marcel Marx, a former author and a well-known Bohemian, has retreated into a voluntary exile in the port city of Le Havre, where he feels he has reached a closer rapport with the people serving them in the honourable, but not too profitable occupation of a shoeshiner. He has buried his dreams of a literary breakthrough and lives happily within the triangle of his favourite bar, his work, and his wife Arletty, when fate suddenly throws in his path an underage immigrant refugee from the darkest Africa. As Arletty at the same time gets seriously ill and is bedridden, Marcel once more has to rise against the cold wall of human indifference with his only weapon of innate optimism and the unwavering solidarity of the people of his quartier, but against him stands the whole blind machinery of the Western constitutionally-governed state, this time represented by the dragnet of the police, moment by moment drawing closer around the refugee boy. It’s time for Marcel to polish his shoes and reveal his teeth.
Production: Sputnik Oy Museokatu 13A3 00100 Helsinki FINLAND tel. +358 9 687 7100 fax +358 9 687 71010 sputnik@sputnik.fi
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World Sales: The Match Factory Balthasarstr. 79-81 50670 Köln GERMANY tel. +49 221 539 709 0 fax +49 221 539 709 10 info@matchfactory.de
SELECTION www.the-match-factory.com
LE HAVRE Festival Participation/Awards: Cannes IFF 2011, competition: FIPRESCI Award, Palme d’Or award Int’l Art FF 2011 Munich IFF 2011 Karlovy Vary IFF 2011 IFF St Petersburg 2011 Sarajevo FF 2011
Aki Kaurismäki
Director’s Statement: The European cinema has not much addressed the continuously worsening financial, political, and above all, moral crisis that has led to the ever-unsolved question of refugees; refugees trying to find their way into the EU from abroad, and their irregular, often substandard treatment. I have no answer to this problem, but I still wanted to deal with the matter in this anyhow unrealistic film.
Filmography: 1981 SAIMAA GESTURE (co-dir. with Mika Kaurismäki) 1983 CRIME AND PUNISHMENT 1985 CALAMARI UNION 1986 SHADOWS IN PARADISE ROCKY VI, short 1987 HAMLET GOES BUSINESS THRU THE WIRE, short RICH LITTLE BITCH, short 1988 ARIEL LA. WOMAN, short 1989 LENINGRAD COWBOYS GO AMERICA THE MATCH FACTORY GIRL 1990 I HIRED A CONTRACT KILLER 1991 LA VIE DE BOHEME THOSE WERE THE DAYS, short 1992 THESE BOOTS, short 1993 TOTAL BALALAIKA SHOW HELSINKI CONCERT, doc. TAKE CARE OF YOUR SCARF, TATJANA LENINGRAD COWBOYS MEET MOSES 1996 DRIFTING CLOUDS 1999 JUHA 2002 DOGS HAVE NO HELL, short THE MAN WITHOUT A PAST 2004 BICO, short 2006 LIGHTS IN THE DUSK 2007 THE FOUNDRY, short 2011 LE HAVRE
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EUROPEAN FILM AWARDS 2011
LIDICE
Czech Republic 123 min.
DIRECTED BY: Petr Nikolaev WRITTEN BY: Zdeněk Mahler PRODUCED BY: Adam Dvořák & Tomas Vican DIRECTOR OF PHOTOGRAPHY: Antonio Riestra EDITOR: Adam Dvořák PRODUCTION DESIGNER: Jan Vlcek ORIGINAL SCORE: James Harries & Michal Hruza MAIN CAST: Karel Roden (Frantisek Šíma), Zuzana Fialová (Marie Vaňková), Roman Luknár (gendarme Vlček), Zuzana Bydžovská (Anezka Šímová), Joachim Paul Assböck (Harald Wiessmann)
At the beginning of the story Lidice is just one of many small Czech villages trying to survive the war as best as it can. Day-to-day existence within the protectorate flows along almost serenely and the biggest upheaval is a pub brawl where by accident a drunk father kills his own son. The crime is justly punished and the poor wretch Šíma starts his sentence. But thanks to this he, alone, survives his family as well as his entire village which becomes the scapegoat for the assassination of Heydrich. The tale of this deeply paradoxical hero is full of contradictions yet remains truly human and forms the spine of the whole film. The times are truly inappropriate for such play-acting. Just then an assassination had been carried out on Heydrich. Someone must be punished. Quickly. As an exemplary warning. For the whole world to remember. The point is not to find the real culprit. The point is to find a suitable sacrificial lamb. The plan is plain and simple – the village must disappear. During one night all men above the age of sixteen are shot, the women are dragged off to concentration camps. All the village children are assembled at the square and seven of them (being ´ethnically suitable´) are picked out for adoption in Germany. The eighty-six remaining are taken off and eventually executed en-masse in gas-filled lorries.The village is burnt to the ground.
Production: Movie, s.r.o. Krizova 4 150 00 Prague 5 CZECH REPUBLIC tel. +420 608 979 718 dvorak@bioscop.cz
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World Sales: Fabrication Films 8701 W. Olympic Blvd. CA 90035, Los Angeles USA tel. +310 289 1235 205 miriam@fabricationfilms.com
Press: Johana Turner tel. +420 606 232 055 johana@turner.cz
SELECTION www.filmlidice.cz
LIDICE
Lidice was meant to be an example of deterrence and thus the Nazis were extremely rigorous – when one of the seven children chosen to be re-educated refused to speak German straight off, it was sent back and murdered together with the others. While the news of the bestial Nazi revenge spreads like wildfire throughout Czechoslovakia, within the jail compound where Šíma gradually, albeit with difficulty taking into account his crime, manages to gain new friends, the news of the Lidice tragedy is kept from him by everyone. Šíma explains to himself the lack of post and visits in his own way – it is proof that the family was in the end unable to forgive him and is trying to forget about him. The greater the shock then when he discovers the fate of his family and the village just when he is on the threshold of regaining his own freedom. His guilt, which perversely saved his skin, becomes suddenly a burden he has to bear all by himself. Nobody will keep reminding him of it. But neither can anybody absolve him.
Petr Nikolaev Filmography: 1994 MOON VALLEY, episode “Special Opportunity” 1997 THE WONDERFUL YEARS THAT SUCKED 2003 ANNA AND GEORGE, short 2005 A LITTLE PIECE OF HEAVEN 2007 …IT’S GONNA GET WORSE… 2009 JMÉNEM KRÁLE (King Behalf) 2011 LIDICE
Petr Nikolaev Petr Nikolaev was born on 11 May 1957. From 1978 to 1983 he studied at the Prague Film and Television Academy (FAMU) and in 1983 he won the “Maxim” film prize for his films at the FAMU festival. He then lived in Paris 1984-92, working as a child-minder, interior decorator, ice-cream seller, and poster-sticker (1984-86), and lecturing at the Paris Film School (ESRA, 1988-92). In 1990 he made the short film LA SURFACE, the original screenplay of which resulted in a grant from the French Film Centre. He returned to Prague in 1992. 47
EUROPEAN FILM AWARDS 2011
LOVERBOY
Romania 93 min.
DIRECTED BY: Cătălin Mitulescu WRITTEN BY: Cătălin Mitulescu, Bianca Oana & Bogdan Mustaţă PRODUCED BY: Daniel Mitulescu, Cătălin Mitulescu & Marcian Lazăr DIRECTOR OF PHOTOGRAPHY: Marius Panduru R.S.C. EDITORS: Cristina Ionescu & Ştefan Ioan Tatu PRODUCTION DESIGNER: Daniel Răduţă ORIGINAL SCORE: Pablo Malaurie Cabanillas MAIN CAST: George Piştereanu (Luca), Ada Condeescu (Veli), Ion Besoiu (the grandfather), Clara Vodă (Miss Savu), Bogdan Dumitrache (Dumitrache)
Luca (20) seduces girls, then leaves them in the hands of his friends at the Black Sea port of Constanţa. Luca falls in love with Veli, one of his potential victims. It’s summer down the Danube river, in Hârşova. The music is loud, the cars are fancy, the girls are tanned and Veli runs away from home to Luca’s bed. First love has never felt more dangerous.
Production: Strada Film 41 Dr. Staicovici, sector 5 050556, Bucharest ROMANIA tel. +40 21 411 80 99 fax +40 21 411 80 99 contact@stradafilm.ro
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World Sales & Press: Celluloid Dreams 2, rue Turgot 75009 Paris FRANCE tel. + 33 1 4970 0370 fax + 33 1 4970 0371 info@celluloid-dreams.com
SELECTION www.loverboy.ro
Director’s Statement: Loverboy came to life through many different stories in which I found similarities – an emotion I kept experiencing and which I needed to understand better by looking into people’s stories and lives. If I were to describe this feeling, I would call it “love”. A love so intense, that you feel the need to destroy it. And the more you feel the need to destroy it, the more powerful and more intense it becomes. I used to take long drives and leave Bucharest with no particular destination in mind. That’s how I discovered the poor towns and villages near the Danube river. These empty places were the setting that shaped the tone of a story. The story came to life naturally. From all my trips, from all the stories I’ve heard, I managed to write the script pretty quickly, working as a team with Bianca Oana, who had the experience of making a documentary about 4 boys who just got out of prison, one of whom became a loverboy. The dialogue is authentic most of the time, inspired by the documentary, and the written scenes are directly inspired by that mood and atmosphere. Loverboy is a trade. This film is a love story. It is the love story that I chose to tell now, in Romania. Cătălin Mitulescu Cătălin Mitulescu’s first two short films, 17 MINUTES LATE and BUCHAREST-WIEN, were selected in Cinefondation Cannes in 2001 and 2002. He won the Palme d’Or with his third short film TRAFFIC in 2004. His first feature film THE WAY I SPENT THE END OF THE WORLD won the Best Actress award in Un Certain Regard in Cannes 2006. He wrote the screenplay of the short film A GOOD DAY FOR A SWIM, winner of the Golden Bear at the Berlinale 2008, and co-wrote the screenplay of the feature film IF I WANT TO WHISTLE, I WHISTLE, winner of the Jury Grand Prix Silver Bear Award and Alfred Bauer Award in Berlinale 2010. LOVERBOY is his second feature film.
LOVERBOY Festival Participation/Awards: Cannes IFF 2011, Un Certain Regard Transilvania IFF 2011 Sarajevo IFF 2011: The Heart of Sarajevo Award for Best Actress Film Forum Zadar 2011 Amalty Eurasia 2011 Warsaw IFF 2011 Munich Filmmuseum Mostra de Sao Paulo 2011 Thessaloniki IFF 2011
Cătălin Mitulescu
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EUROPEAN FILM AWARDS 2011
MAJKI MOTHERS
FYR Macedonia 123 min.
WRITTEN & DIRECTED BY: Milcho Manchevski PRODUCED BY: Christina Kallas DIRECTOR OF PHOTOGRAPHY: Vladimir Samoilovski EDITOR: Zaklina Stojcevska PRODUCTION DESIGNER: David Munns ORIGINAL SCORE: Igor Vasilev MAIN CAST: Ana Stojanovska (Ana), Vladimir Jacev (Kole), Dimitar Gjorgjievski (Simon), Ratka Radmanovic (grandma)
Two nine-year-old girls report a flasher to the police - even though they never saw him. Three filmmakers meet the only residents of a deserted village - an elderly brother and sister who have not spoken to each other in 16 years. Retired cleaning women are found raped and strangled in a small town. A reporter who writes about the murders is arrested. The fiction slowly turns into a documentary. Employing an innovative structure, MOTHERS highlights the delicate relationships of truth and fiction, of drama and documentary, becoming thus a meditation on the nature of truth. By eschewing neat narrative devices, the film pushes the viewer to confront their own definitions of filmic reality, as the structure of the film itself becomes part of its message.
Production: Banana Film Dooel Skopje Postenski fah 918 1000 Skopje FYR MACEDONIA tel./fax: + 389 2 3122 427 tino@unet.com
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World Sales : Manakifilm Tatjana Curcinska Pepeljugoska 54-313, Kliment Ohridski Blvd. 1000 Skopje FYR MACEDONIA tel. + 389 2 3122 427 tino@unet.com.mk
Press: Banana Film Dooel Skopje Postenski fah 918 1000 Skopje FYR MACEDONIA tel./fax: + 389 2 3122 427 piger.erika@gmail.com
SELECTION www.manchevski.com
MOTHERS
Director’s Statement: MOTHERS is about the nature of truth, rather than about the truth itself. Yet, the way the three stories in MOTHERS come together is closer to the intuitive way in which jazz is played or abstract painting is created than to the rigorous thinking of a narrative film. All three stories in this film are true. They are based on real events, and one of the stories is handled as a documentary. Yet, we don’t know more about what happened in that story. If anything, the truth in the documentary is more elusive. The more we learn about the truth, the less important it is what the factual truth is, and the more important it becomes what the emotional truth of this living person is. We stick to the facts, as they are important, but in the end, the love, the joy, the suffering and the artistic concept are more important than the facts. A writer once said: “The difference between fiction and reality is that fiction has to make sense.” And, even better: “Fiction is the truth inside a lie.” MOTHERS is a film from Macedonia, rather than a film about Macedonia.
Festival Participation/Awards: Berlin IFF 2011 Toronto IFF 2010 ICFF Manaki Brothers 2010 Sao Paolo IFF 2010 Brno Cinema Mundi 2011 FEST IFF 2011: Erythrocyte award Cleveland IFF 2011 Vilnius IFF Istanbul IFF 2011 Las Palmas de Gran Canaria IFF 2011 Cinema City IFF 2011: FEDEORA Award Pula IFF 2011 Sarajevo FF 2011
Milcho Manchevski Filmography: 1994 BEFORE THE RAIN 2001 DUST 2007 SHADOWS 2011 MOTHERS
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EUROPEAN FILM AWARDS 2011
MELANCHOLIA
Denmark/Sweden/France/ Germany 130 min.
WRITTEN & DIRECTED BY: Lars von Trier PRODUCED BY: Meta Louise Foldager & Louise Vesth DIRECTOR OF PHOTOGRAPHY: Manuel Alberto Claro EDITOR: Molly Malene Stensgaard PRODUCTION DESIGNER: Jette Lehmann MAIN CAST: Kirsten Dunst (Justine), Charlotte Gainsbourg (Claire), Kiefer Sutherland (John), Alexander Skarsgård (Michael), Stellan Skarsgård (Jack)
Pictures: Christian Geisnæs
A beautiful movie about the end of the world.
Production: Zentropa Entertainments27Aps Filmbyen 22 2650 Hvidovre DENMARK tel. +45 36 86 87 88 emilie.spliid@filmbyen.com
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World Sales: TrustNordisk Filmbyen 28 2650 Hvidovre DENMARK tel. +45 20 60 50 62 rikke@trustnordisk.com
Press: Zentropa Entertainments27Aps Emilie Spliid Filmbyen 22 2650 Hvidovre DENMARK tel. +45 36 86 87 88 emilie.spliid@filmbyen.com
SELECTION www.melancholiathemovie.com
MELANCHOLIA Festival Participation/Awards: Cannes IFF 2011: Best Actress Moscow IFF 2011 Fårö Bergman Week 2011 Istanbul Autumn Film Week 2011 Mumbai FF 2011 Scanorama European Film Forum 2011
Director’s Statement: It was like waking from a dream: my producer showed me a suggestion for a poster. “What is that?” I ask. “It’s a film you’ve made!” she replies. “I hope not,” I stammer. Trailers are shown... stills ... it looks like shit. I’m shaken. Don’t get me wrong ... I’ve worked on the film for two years. With great pleasure. But perhaps I’ve deceived myself. Let myself be tempted. Not that anyone has done anything wrong... on the contrary, everybody has worked loyally and with talent toward the goal defined by me alone. But when my producer presents me with the cold facts, a shiver runs down my spine. This is cream on cream. A woman’s film! I feel ready to reject the film like a wrongly transplanted organ.
Lars von Trier Filmography: 1982 BEFRIELSESBILLEDER (Pictures of Liberation Images of Relief) 1984 FORBRYDELSENS ELEMENT (Element of Crime) 1987 EPIDEMIC 1991 EUROPA 1994 RIGET I (The Kingdom) 1996 BREAKING THE WAVES 1997 RIGET II (The Kingdom II) 1998 IDIOTERNE (The Idiots) 2000 DANCER IN THE DARK 2003 DOGVILLE 2003 DE FEM BENSPÆND (The Five Obstructions) 2005 MANDERLAY 2006 DIREKTØREN FOR DET HELE (The Boss of It All) 2009 ANTICHRIST 2011 MELANCHOLIA
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EUROPEAN FILM AWARDS 2011
NEDS
UK 124 min.
WRITTEN & DIRECTED BY: Peter Mullan PRODUCED BY: Alain de la Mata, Marc Missonnier & Olivier Delbosc DIRECTOR OF PHOTOGRAPHY: Roman Osin B.S.C. EDITOR: Colin Monie PRODUCTION DESIGNER: Mark Leese ORIGINAL SCORE: Craig Armstrong MAIN CAST: Peter Mullan (Mr McGill), Louise Goodall (Theresa), Marianna Palka (Beth), Conor McCarron (John McGill)
NEDS (Non-educated delinquents) is the story of a young man’s journey from prizewinning schoolboy to knife-carrying teenager. Struggling against the low expectations of those around him, John McGill changes from victim to avenger, scholar to Ned, altar boy to glue sniffer. When he attempts to change back again, his new reality and recent past make conformity near impossible and violent self-determination near inevitable.
Production: BlueLight 231 Portobello Road London W111LT UK
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World Sales: Wild Bunch 99 rue de la Verrerie 75004 Paris FRANCE tel. +33 1 53 01 50 32 fax +33 1 53 01 50 49 edevos@wildbunch.eu
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Director’s Statement: I think the best, though not the only, way to describe my overall approach to filming NEDS is “impressionistic”, in the sense that composition, lighting, mise-en-scène etc. will be determined as much by the inner-life of the protagonist, John, as by the events and people who affect him. I’ll explain using the opening scenes as examples. After John leaves the happy and protective environment of his primary school he wanders into an equally, though adult, happy occasion - a wedding. From a high shot, looking over the shoulder of Christ on the Cross, we move down through the confetti blowing colourfully over the smiling onlookers and the excited children to John who is quietly, proudly gazing at his prize. The shadow of Canta casts over him before his words shatter Johns revelry. From that point on, till the end of the scene we shoot from John’s perspective i.e. Canta, looming almost demonically against an incongruously blue sky; the head teacher (once so authoritive) now rendered as impotent as Christ on the Cross; his own mother and aunt, so taken by the wedding party they are oblivious to John’s predicament. As the impact of Cantas threat cuts deep into John’s psyche, so too his internalized retreat is symbolized by the low ceilings and sparse surroundings of his home, dominated by the brooding menace of his father. The streets become equally menacing, especially in the dark and murky evenings. Until, entering under the solitary spill of the streetlight, comes his colourful, swaggering brother Benny. In design and composition it is the world as John sees and experiences it. I want the film to be bold whilst not trying to ingratiate itself to its younger audience. It has to create a unique, mysterious, volatile and often violent world, at the centre of which is a young boy trying desperately to work out his place within it.
NEDS Festival Participation/Awards: Toronto IFF 2010 San Sebastian IFF 2010: Best Film, Best Actor Stockholm FF 2010 Hong Kong IFF 2011
Peter Mullan Filmography: 1993 CLOSE, short 1995 GOOD DAY FOR THE BAD GUYS, short 1995 THE FRIDGE, short 1998 ORPHANS 2002 THE MAGDALENE SISTERS 2010 NEDS
Peter Mullan Peter Mullan is an actor, writer and director. His acting credits include MY NAME IS JOE (Ken Loach) for which he won Best Actor at Cannes in 1998, ON A CLEAR DAY (Gaby Delisle) CRIMINAL (Greg Jacobs, producers Steven Soderberg and George Clooney) OUT OF THIS WORLD (Junji Sakamoto), KISS OF LIFE (Emily Young), YOUNG ADAM (David MacKenzie), THE CLAIM (Michael Winterbottom) MISS JULIE (Mike Figgis) HARRY POTTER and THE NEIGHBOURS (David McKay). He also has numerous television (most recently THE FIXER) and theatre credits.
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EUROPEAN FILM AWARDS 2011
NOI CREDEVAMO WE BELIEVED
Italy/France 170 min.
DIRECTED BY: Mario Martone WRITTEN BY: Giancarlo de Cataldo & Mario Martone PRODUCED BY: Conchita Airoldi & Carlo degli Espositi DIRECTOR OF PHOTOGRAPHY: Renato Berta EDITOR: Jacopo Quadri PRODUCTION DESIGNER: Emita Frigato MAIN CAST: Luigi Lo Cascio (Domenico), Valerio Binasco (Angelo), Toni Servillo (Giuseppe Mazzini), Luca Barbareschi (Antonio Gallenga), Francesca Inaudi (Cristina di Belgiojoso)
In the wake of the ferocious repression by the Bourbon reign of the 1828 uprisings, three Southern Italian young people whose families are involved decide to join Giuseppe Mazzini’s Young Italy movement. In the course of four episodes, each corresponding to a little-known page from the history of Italian unification, the lives of Domenico, Angelo and Salvatore are tragically marked by their mission as conspirators and revolutionaries, leading to an existence suspended between moral rigour and murderous instinct, spirit of sacrifice and fear.
Production: PALOMAR via Silvio Pellico, 24 00195 Rome ITALY tel. +39 06 3759681 fax +39 06 37517381
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World Sales: RAI Divisione Commerciale Via Umberto Novaro, 18 00195 Rome ITALY tel. +39 06 37498 244 fax +39 06 3751 6222 rossi@ral.it
Press: 01 Ufficio Stampa Marzla Milanesi Comunicazione per il Cinema Martin McNamara - DDA Public Relations
SELECTION www.noicredevamo.it
WE BELIEVED Festival Participation/Awards: Venice IFF 2010: in competition Pusan FF 2010 Shanghai FF 2011 Karlovy Vary FF 2011 Moscow FF 2011 David di Donatello Awards 2010: Best Film, Director, Screenwriter, Cinematographer, Production designer, Costume designer, Makeup, Hair
Mario Martone Filmography: 1992 MORTE DI UN MATEMÁTICO NAPOLETANO 1993 RASOI 1995 L’AMORE MOLESTO 1997 I VESUVIANI (segment LA SALITA) 1998 TEATRO DI GUERRA 2004 L’ODORE DEL SANGUE 2010 NOI CREDEVAMO
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EUROPEAN FILM AWARDS 2011
OSLO 31. AUGUST OSLO, AUGUST 31st
Norway 95 min.
DIRECTED BY: Joachim Trier WRITTEN BY: Joachim Trier & Eskil Vogt PRODUCED BY: Hans-Jørgen Osnes & Yngve Sæther DIRECTOR OF PHOTOGRAPHY: Jacob Ihre EDITOR: Olivier Bugge Coutté PRODUCTION DESIGNER: Jørgen Stangeby Larsen ORIGINAL SCORE: Ola Fløttum & Torgny Amdam MAIN CAST: Anders Danielsen Lie (Anders), Hans Olav Brenner (Thomas), Ingrid Olava (Rebekka), Tone B Mostraum (Tove)
One man, one city, 24 hours. A new film by Joachim Trier and the team behind the highly acclaimed REPRISE - inspired by the cult novel “Le Feu follet” [by Pierre Drieu La Rochelle]. OSLO, AUGUST 31st is a portrait of contemporary Oslo, a visually striking and quietly shattering drama about a man in deep existential crises.
Production: Motlys AS Sagveien 18 0459 Oslo NORWAY tel. +47 228 08370 fax +47 228 08371 motlys@motlys.com
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World Sales: The Match Factory GmbH Balthasarstrasse 79-81 50670 Köln GERMANY tel. +49 221 5397 090 fax +49 221 5397 0910 info@matchfactory.com
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OSLO, AUGUST 31st
Director’s Statement: Oslo, August 31st is the story of a resourceful person with a very dark mind. The paradox to the Anders character is that he’s gifted, formerly ambitious, but he lost years of his life because of a lifestyle he couldn’t sustain. I’ve been getting more and more into character studies and I have an ongoing fascination with observing middle class life. I’ve always been curious about the various destinies I’ve seen around me. For example my friends from my teenage years as a skateboarder. I saw how their lives went into very different directions. Some became drug addicts, others turned out having very successful careers. There’s also great drama in the lives of those with choices. I’ve always seen myself as a filmmaker who looks at things from a critical point of view, at the same time I make films about the seemingly fortunate and the privileged. I always get a bit sad when people say life is so good here in Norway that there’s nothing to tell stories about, that we don’t have any conflicts. I completely disagree. There are great tragedies in middle class life as well.
Portrait: Anton Soggiu
Festival Participation/Awards: Cannes IFF 2011, Un certain regard Int’l Norwegian FFF Haugesund 2011 Toronto Avantgarde 2011
Joachim Trier Filmography: 1999 PIETA, short 2001 STILL, short 2002 PROCTER, short 2006 REPRISE 2011 OSLO 31. AUGUST
Joachim Trier Norwegian director Joachim Trier (born 1974) had his feature film debut in 2006 with REPRISE which has received a number of international awards, including the Best Director Award, Karlovy Vary 2006, Discovery Award Toronto 2007, Amanda for Best film, Best director and Best Screenplay, Haugesund Norway 2007, as well as international recognition with prizes at festivals such as, Istanbul, Rotterdam and Milan. Joachim started filmmaking in 1995, writing and directing several short films, while he was attending film schools in Denmark and National Film & TV school, Beaconsfield, England. OSLO, AUGUST 31st is Joachim’s second feature film. 59
EUROPEAN FILM AWARDS 2011
ОВCЯНКИ (ovsyanki) SILENT SOULS
Russia 75 min.
DIRECTED BY: Alexey Fedorchenco WRITTEN BY: Denis Osokin PRODUCED BY: Igor Mishin DIRECTOR OF PHOTOGRAPHY: Mikhail Krichman EDITOR: Igor Khomskij PRODUCTION DESIGNER: Andrey Ponkratov ORIGINAL SCORE: Andrey Karasev MAIN CAST: Yuliya Aug (Tania), Igor Sergeyev (Aist), Yuriy Tsurilo (Miron), Victor Suhorukov (Vesa)
Aist (Igor Sergheyev), a paper mill engineer who never has married, is asked by his boss and friend Miron (Yuri Tsurilo) to accompany him on a delicate mission. Miron’s beloved wife, Tanya (Yuliya Aug), has just died, and he wants to hold a private funeral in the traditional Merja style. Aist readily consents and, after helping him wash Tanya’s huge body, they set off through the country in an SUV. Two caged birds, which will play an important role in shaping their destiny, accompany the men on their journey. They stop in a town to buy firewood, then, by the side of a melancholy sacred lake, the two men officiate at an archetypal ceremony. But their business is not finished. Aist, who narrates the yarn, says the Merjans are an expressionless people shaken by sudden passions. He describes some of their erotic folklore, including the habit of intertwining coloured threads in the Merja bride’s pubic hair or the tradition of reminiscing about intimate details of the dead person’s conjugal life, so that the grief of mourning turns into tenderness.
Production: FOND «MEDIAMIR», April MIG Pictures Film Company 104, Khohriakova Str. 620144 Ekaterinburg RUSSIA tel. +7 985 187 4177 fax +7 985 187 4177 esafyanova@gmail.com, mishin45@gmail.com
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World Sales & Press: MEMENTO FILMS INTERNATIONAL 9 Cite Paradis 75010 Paris FRANCE tel. +33 6 88 82 68 92 fax +33 1 42 47 11 24 marion@memento-films.com
SELECTION www.ovsyanki.ru
SILENT SOULS
Alexey Fedorchenko Born on 29 September 1966 in Sol-Iletsk, in the Orenburg region of Russia, Alexey Fedorchenko has been living in Yekaterinburg (then Sverdlovsk) since 1967. In 1988, he graduated from the faculty of economics of the Ural Polytechnic Institute (Yekaterinburg) and in 2000 from the Russian Institute of Cinematography (VGIK), scriptwriting faculty. From 1990 to 2005 he worked for the Sverdlovsk Film Studios as director of documentary films, scriptwriter, feature film director, and producer. Starting in 2005 he worked for the film company “February, 29th” as director and producer. Alexey Fedorchenko is a member of the Russian Union of Cinematographers and of the Guild of Russian Film-Makers. He is married and has two children.
Festival Participation/Awards: Venice IFF 2010 Toronto IFF 2010 New York City IFF 2010 Reykjavik IFF Warsaw IFF 2010 Abu Dhabi FF 2010 Thessaloniki IFF 2010 Hamburg IFF 2010 Antalya IFF 2010 Ghent IFF 2010 Montreal Nouveau Cinéma 2010 London IFF 2010 Taipei Golden Horse FF 2010 Bratislava IFF Seville EFF 2010 Mar del Plata IFF 2010 Tallin Black Nights FF 2010 Belgrade Auteur FF 2010 Kerala IFF 2010
Alexey Fedorchenco Filmography 1999 CLASSICAL Z. VOLUME ONE (co-directed with S. Nokhrin) 2000 AN UNUSUAL CONCERT 2000 PIERROT MONOLOGUE, doc. 2002 DAVID, doc. 2003 DETI BELOI MOGILY (Children of the White Grave), doc. 2005 Первые на Луне (The First on the Moon) 2006 SHOSHO 2008 Железная дорога (Railway) 2008 BATH DAY, doc. 2009 WIND SHUVGEY, doc. 2010 Овсянки (Silent Souls)
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EUROPEAN FILM AWARDS 2011
PA NEGRE BLACK BREAD
Spain 109 min.
WRITTEN & DIRECTED BY: Agustí Villaronga PRODUCED BY: Isona Passola DIRECTOR OF PHOTOGRAPHY: Antonio Riestra EDITOR: Raúl Roman PRODUCTION DESIGNER: Ana Alvargonzález ORIGINAL SCORE: Jose Manuel Pagan MAIN CAST: Francesc Colomer (Andreu), Nora Navas (Florència), Roger Casamajor (Farriol), Marina Comas (Núria)
A story of an awakening of an adolescent’s moral consciousness and the discovery of sexuality, depicted on the background of a murder that stuns the population of a small Spanish post-civil-war village and brings to light all of its long and well hidden secrets.
Production: Massa d’Or Produccions c/San Pere Mes Alt 66, ppal. 1a 08003 Barcelona SPAIN tel. +34 93 310 35 10 fax +34 93 268 81 99 films@massador.com
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World Sales: Beta Cinema GmbH Gruenwalder Weg 28d, D 82041 Oberhaching/Munich GERMANY tel. +49 89 67 34 69 80 fax +49 89 673469 888 beta@betacinema.com
Press: Beta Cinema Press Dorothee Stoewahse Gruenwalder Weg 28d, D 82041 Oberhaching/Munich GERMANY tel. +49 170 63 84 627 fax +49 89 673 469 888 press@betafilm.com
SELECTION www.panegre.com
BLACK BREAD Festival Participation/Awards: San Sebastian IFF 2010: Silver Shell for Best Actress Nantes FF 2011: Jules Verne Award for Best Film Spanish Cinema Now in New York 2010 Buenos Aires IFF Brussels FF 2011 Moscow IFF 2011 Rotterdam IFF 2011 Portland IFF 2011 Punta del Este IFF 2011 Washington DC IFF 2011 La Mirada, Spanish Cinema In Melbourne 2011 CPH:PIX 2011 San Francisco IFF 2011
Director’s Statement: The central axis on which the film Black Bread revolves is the moral devastation that the war brings on civilians. Although between their characters cohabit who won and who lost the war, the movie does not plan on conflicts between winners and losers, but focuses directly on the emotions and feelings of its characters. Through them we discover the terrible consequences of war, far from the battlefields, like an old photograph enlighten and in a corner appear characters blurred grey and we discover his inner life, full of contradictions and miseries of daily living, away from the temptation of mythologized as heroes and, above all, judge them. Two narrative systems enrich the melodrama: the thriller and fantasy. The thriller as it is hiding and gradually discovery of the enigmas. The fantasy because involves a boyish look who stops about places and characters full of mystery. Although never reach the point of fantasy, the film merely give a magical and poetic dimension, real and believable, which affects the photography, the soundtrack and the constant references to the world of birds, symbol of the ideals of its characters. Agustí Villaronga Agustí Villaronga (Palma de Mallorca 1953) represents the thrilling edge of Spanish cinematography in the way that David Lynch or Gus Van Sant represent it for US cinema. Unique in his style, he is renowned for splendid visuals while delivering powerful dramas. Agustí Villaronga is best known for his movies IN A GLASS CAGE, his debut presented at the Berlin IFF, THE SEA, winner of the Berlinale’s Manfred Salzgeber Award and nominee for the Berlinale’s Golden Bear, as well as EL NIÑO DE LA LUNA with a Goya Film award for Best Script and has been nominated for the Cannes FF Palme d’Or.
9 GOYA Awards 2011: Best Film, Director, Adapted Screenplay, Leading Actress, Photography, Production Designer, Supporting Actress, New Actress, New Actor. 13 GAUDI Awards 2011: Best Film, Director, Screenplay, Actress, Supporting Actress, Supporting Actor, Photography, Production Design, Costume Design, Make-up and Hair Styling, Sound, Line Production, Composer. Silver Fotogramas: Best Spanish Film 2010
Agustí Villaronga Fillmography: 1985 TRAS EL CRISTAL (In a Glass Cage) 1988 EL NIÑO DE LA LUNA (Moonchild) 1992 AL ANDALUS, doc. 1995 EL PASAJERO CLANDESTINO (The Clandestine Passenger) 1997 99.9 2002 ARO TOLBUKHIN 2006 MIQUEL BAUCÁ: INVISIBLE POET, doc. 2010 PA NEGRE
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EUROPEAN FILM AWARDS 2011
LA PETITE CHAMBRE THE LITTLE ROOM
Switzerland/Luxembourg 87 min.
WRITTEN & DIRECTED BY: Stéphanie Chuat & Véronique Reymond PRODUCED BY: Ruth Waldburger DIRECTOR OF PHOTOGRAPHY: Pierre Milon EDITOR: Thierry Faber & Marie-Hélène Dozo PRODUCTION DESIGNER: Daniel Raduta ORIGINAL SCORE: Emre Sevindik MAIN CAST: Michel Bouquet (Edmond), Florence Loiret-Caille (Rose), Eric Caravaca (Marc)
This is a story of the heart. Edmond’s is no longer strong. But it still beats with an independence which fights against the very idea of entering a retirement home, while at the same time refusing help from Rose, his home carer. Nonetheless she stands up to him. She knows the tumult that a heart undergoes when it is forced to accept the unacceptable. Hers hasn’t yet healed. One day, however, a bad fall forces Edmond to accept Rose’s support…
Production & Press: VEGA FILM AG Helenastrasse 3 / Postfach 8034 Zürich SWITZERLAND tel. +41 44 384 80 90 fax +41 44 384 80 99 info@vegafilm.com
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SELECTION www.vegafilm.com
THE LITTLE ROOM
Stéphanie Chuat & Véronique Reymond Stéphanie Chuat and Véronique Reymond work as a duo in the world of theatre and film. As trained theatre actresses, they have produced around a dozen plays, most recently a stage adaptation of Nancy Houston’s „Fault Lines“ in April 2010. They have written five screenplays for short films and filmed them for cinema, in addition to filming two documentaries.
Swiss Film Award (Quartz) 2011: Best Fiction Film, Screenplay
Portrait: Sylvain Juilland
Director’s Statement In this Little Room we want to tell a story, the story of two people who have a priori nothing in common. Edmond is an old man at the end of his life, Rose a young woman who cannot give life. Each enclosed in their solitude, they both feel useless and lost. Thanks to their bad temper they will find a common path of understanding and unexpected complicity. We are fascinated by the characters that convey life through their imperfect humanity, through their blunders and unintended clashes. This is what happens with Edmond and Rose. Despite their mutual suffering, they still deliver a message of hope.
Festival Participation/Awards: Cinefranco FF Toronto 2010 CINEQUEST San Jose FF 2011 Edinburgh French FF 2011 Festroia IFF: Silver Dolphin (Best Actress) & Signis Prize Fünf Seen FF 2011: Fünf Seen Filmpreis Hof IFF 2010 Int’l Debut FF Annonay: Prix Public Int’l French FF Namur 2010 Locarno IFF 2010, competition Los Angeles FF 2011 Minneapolis St.-Paul IFF 2011 Montreal World FF 2010 Newport Int’l Beach FF 2011 Palm Springs IFF 2011 Solothurn FF 2011 Transilania IFF 2011
Stéphanie Chuat & Véronique Reymond
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EUROPEAN FILM AWARDS 2011
LES PETITS MOUCHOIRS LITTLE WHITE LIES
France 154 min.
WRITTEN & DIRECTED BY: Guillaume Canet PRODUCED BY: Alain Attal DIRECTOR OF PHOTOGRAPHY: Christophe Offenstein EDITOR: Hervé de Luze PRODUCTION DESIGNER: Philippe Chiffre MAIN CAST: Gilles Lellouche (Eric), François Cluzet (Max Cantara), Benoît Magimel (Vincent Ribaud), Marion Cotillard (Marie)
Pictures: Jean-Claude LOTHER © LES PRODUCTIONS DU TRESOR - EUROPACORP - CANEO FILMS - M6 FILMS
Despite a traumatic event, a group of friends decide to go ahead with their annual beach vacation. Their relationships, convictions, sense of guilt and friendship are sorely tested. They are finally forced to own up to the little white lies they’ve been telling each other.
Production: Les Productions du Trésor 9 Bd. Richard Lenoir 75011 PARIS FRANCE tel. +33 1 43 38 48 84 fax +33 1 43 38 16 10
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World Sales: Europacorp 137 rue du Faubourg St Honoré 75008 Paris FRANCE tel. +33 1 83 53 03 03 fax +33 1 53 83 03 70 inter@europacorp.com
SELECTION www.lespetitsmouchoirs-lefilm.com www.littlewhiteliesmovie.co.uk
Director’s Statement: LES PETITS MOUCHOIRS is my third feature as a director and the most personal of the three. For this reason, I insisted on writing it alone and the process was uniquely intense. I say that it’s a personal film because the subject matter is particularly close to me. It’s close to people of my generation while resonating with younger and older people. Deceiving yourself comes very easy. It allows you to convince yourself you’re right, to bury or shelve issues that are too painful to confront. It’s when we develop the annoying, self-defeating habit of telling “little white lies”. This film talks about people who have accepted their life, job or sexuality without ever wondering if it’s really what they want from life or if they really are happy in their relationship. Through cowardice, force of habit or fear of the unknown, we often go through life without tackling these issues, without listening to our instincts or convictions and, above all, without listening to what our heart tells us. The importance of learning to listen is what I wanted to show through the characters in the film. They all have a weakness, a lie they’ve buried and don’t want to own up to. An awful incident, like the one they are confronted with, forces them to face up to their lies. I wanted to set this story in an atmosphere of comedy and friendship. But comedy underpinned with seriousness, and so with important nuances in the tone of the film as we switch from almost slapstick scenes to others that are, I hope, very touching. I grew up with movies like Lawrence Kasdan’s THE BIG CHILL, John Cassavetes’ HUSBANDS and Yves Robert’s NOUR IRONS TOUS AU PARADIS. They continue to be a source of inspiration, not just in their humour, but also in the sincerity their characters exude. That’s why, in this movie, I wanted to be as credible as possible in the portrait of friendships, for that credibility to fill every scene. Casting the movie, I chose people I like and admire, who share one vital qualification for being in the film - they all know each other. I insist on the fact that it’s a personal film because it’s so close to me. Either I see myself in the characters or I’ve met people just like them.
LITTLE WHITE LIES Festival Participation/Awards: Toronto IFF 2010 London FF 2010 Rome FF 2010 Glasgow FF 2011 Mostra de Valencia 2011
Guillaume Canet Filmography: 2002 MON IDOLE 2006 NE LE DIS À PERSONNE 2010 LES PETITS MOUCHOIRS
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EUROPEAN FILM AWARDS 2011
LA PIEL QUE HABITO THE SKIN I LIVE IN
Spain 118 min.
WRITTEN & DIRECTED BY: Pedro Almodóvar PRODUCED BY: Agustín Almodóvar & Esther García DIRECTOR OF PHOTOGRAPHY: José Luis Alcaine EDITOR: José Salcedo PRODUCTION DESIGNER: Antxon Gómez ORIGINAL SCORE: Alberto Iglesias MAIN CAST: Antonio Banderas (Robert), Elena Anaya (Vera), Marisa Paredes (Marilia), Jan Cornet (Vicente), Roberto Álamo (Zeca)
Ever since his wife was burned in a car crash, Dr. Robert Ledgard, an eminent plastic surgeon, has been interested in creating a new skin with which he could have saved her. After twelve years, he manages to cultivate a skin that is a real shield against every assault. In addition to years of study and experimentation, Robert needed a further three things: no scruples, an accomplice and a human guinea pig. Scruples were never a problem. Marilia, the woman who looked after him from the day he was born, is his most faithful accomplice. And as for the human guinea pig…
Production: El Deseo C/ Francisco Navacerrada 24 28028 Madrid SPAIN tel. +34 91 724 81 99 fax +34 91 724 13 51 eldeseo@eldeseo.es
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World Sales: FllmNation 150 West 22nd Street, 9th Floor New York, NY 10011 USA
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www.lapielquehabito.com
Director’s Statement: There are irreversible processes, roads of no return, one way journeys. The Skin I Live In tells the story of one of those processes. The protagonist travels one of those roads against her will, she is violently forced to set out on a journey from which she cannot return. Her Kafkaesque story is the result of a sentence handed out by a jury of just one person, her worst enemy. The verdict, therefore, is a form of extreme revenge. The Skin I LIVE IN tells the story of that revenge. Pedro Almodóvar He was born in Calzada de Calavatra in the heart of La Mancha in the 50s. When he was eight, he emigrated with his family to Estremadura. At seventeen, he left home and moved to Madrid, with no money and no job, but with a very specific project in mind: to study cinema and direct films. It was impossible to enrol in the Official Film School because Franco had just closed it. Despite the dictatorship that was suffocating the country, for an adolescent from the provinces Madrid represented culture, independence and freedom. He worked at many sporadic jobs but couldn’t buy his first Super-8mm camera until he got a “serious” job at the national telephone company of Spain in 1971. In the mornings, in the telephone company, he got an in-depth knowledge of the Spanish middle class at the start of the consumer era, the 70s, its dramas and its misfortunes, a real goldmine for a future story-teller. In the evenings and nights, he wrote, loved, acted with the mythical independent theatre group “Los Goliardos” and made films in Super-8. He collaborated with various underground magazines, wrote stories and was a member of a parodic punk-rock group, “Almodóvar and McNamara”. His films are the heirs and the witnesses of the brand new born Spanish democracy. After a year and a half of eventful shooting on 16mm, in 1980 he opened PEPI, LUCI, BOM, a no-budget film made as a cooperative effort with the rest of the crew and the cast, all beginners, except for Carmen Maura. In 1986, he founded the production company El Deseo S.A. with his brother Agustín. Their first project was Law of Desire. Since then, they have produced all the films that Pedro has written and directed, and has also produced other young directors.
THE SKIN I LIVE IN Festival Participation/Awards: Cannes IFF Karlovy Vary IFF Art FF St. Petersburg FF
Pedro Almodóvar Filmography: 1980 PEPI, LUCI, BOM 1982 LABERINTO DE PASIONES (Labyrinth of Passions) 1984 ENTRE TINIEBLAS (Dark Habits) 1984 ¿QUÉ HE HECHO YO PARA MERECER ESTO!! (What Have I Done to Deserve This?!) 1986 MATADOR 1987 LA LEY DEL DESEO (Law of Desire) 1988 MUJERES AL BORDE DE UN ATAQUE DE NERVIOS (Women on the Verge of a Nervous Breakdown) 1990 ÁTAME! (Tie Me Up, Tie Me Down) 1991 TACONES LEJANOS (High Heels) 1993 KIKA 1995 LA FLOR DE MI SECRETO (The Flower of my Secret) 1997 CARNE TRÉMULA (Live Flesh) 1999 TODO SOBRE MI MADRE (All About my Mother) 2002 HABLE CON ELLA (Talk to Her) 2004 LA MALA EDUCACION (Bad Education) 2006 VOLVER 2009 LOS ABRAZOS ROTOS (Broken Embraces) 2011 LA PIEL QUE HABITO (The Skin I Live In)
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EUROPEAN FILM AWARDS 2011
PLAY
Sweden 113 min.
WRITTEN & DIRECTED BY: Ruben Östlund PRODUCED BY: Erik Hemmendorff & Philippe Bober DIRECTOR OF PHOTOGRAPHY: Marius Dybwad Brandrud EDITORS: Ruben Östlund, Jacob Schulsinger PRODUCTION DESIGNER: Pia Aleborg ORIGINAL SCORE: Saunder Jurriaans & Daniel Bensi MAIN CAST: Anas Abdirahman (Anas), Sebastian Blyckert (Sebastian), Yannick Diakité (Yannick), Sebastian Hegmar (Alex), Abdiaziz Hilowle (Abdi), Nana Manu (Nana), John Ortiz (John), Kevin Vaz (Kevin)
Play is 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.
Production: Plattform Produktion Vallgatan 9d 41116 Göteborg SWEDEN tel. +46 701 711923 fax +46 31 7116660 mail@plattformproduktion.se
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World Sales: Coproduction Office 24 rue Lamartine 75009 Paris FRANCE tel. +33 1 56 02 6000 fax +33 1 56 02 6001 olimpia@coproductionoffice.eu
Press: Coproduction Office Mommsenstr. 27 10629 Berlin GERMANY tel. +49 30 3277 7879 fax +33 1 56 02 6001 claire@coproductionoffice.eu
SELECTION www.plattformproduktion.se
Director’s Statement: PLAY started out with a problem - my reaction to a newspaper article about five black boys who had robbed three white boys. Why did this affect me so strongly? Why did this image trigger such a huge response? The boys in question had robbed other children in broad daylight, in the middle of Göteborg. In spite of their youth, their ages at the time ranged from 12 to 14, they exploited their appearance and ethnicity in a sophisticated way, creating an implicit threat that allowed them to pull these crimes off. Playing on preconceptions and attitudes they had picked up on in society. PLAY deals with the type of events currently taking place throughout Europe, events that we have difficulty processing and thus tend to avoid. One reaction I’ve often encountered is when people assure me that they understand what PLAY is all about, but they’re afraid others may misinterpret the film. Shying away from the controversial aspects of events like these, either out of fear or kind-hearted concern, will only preserve and possibly fortify the fundamental problem. For this reason I’m happy that PLAY is chosen by the EFA Committee to be part of the films recommended for 2011. The world premiere in the Director’s Fortnight was a first important step to reach out to the European audience. The LUX Competition, which involves screening this film for the members of the European Parliament, is also a truly significant development. Hopefully their reaction to PLAY will pose a problem and prompt them to rise to that challenge. Ruben Östlund Ruben Östlund was born in 1974 on Styrsö, a small island off the West coast of Sweden. An avid skier, Östlund directed three ski films testifying his taste for long sequence shots. Östlund went on to study film at the University of Gothenburg where he developed his sense for constructed and well thought-out sequence shots which has continued to evolve in his short and feature films until now. The director has also become known for his humorous and accurate look at human social behaviour. His feature debut THE GUITAR MONGOLOID won the FIPRESCI Award at Moscow in 2005. INVOLUNTARY followed in 2008 making its premiere in Cannes’ Official Selection and went on to win 10 awards and be released theatrically in 16 territories. His short film INCIDENT BY A BANK, Golden Bear at the 2010 Berlinale, is the first film to explore the potential of new shooting and editing techniques made possible by the 4K Red camera, followed by his third feature PLAY, part of the 2011 Directors’ Fortnight selection.
PLAY Festival Participation/Awards: Cannes IFF 2011, Directors Fortnight: Coup de Coeur Venice IFF 2011: VENICE DAYS Toronto IFF 2011 Munich IFF 2011 Karlovy Vary IFF 2011 New York IFF 2011 Melbourne IFF 2011 LUX Prize official selection: competition
Ruben Östlund Filmography: 2004 THE GUITAR MONGOLOID 2005 AUTOBIOGRAPHICAL SCENE NUMBER 6882, short 2008 INVOLUNTARY 2010 INCIDENT BY A BANK, short 2011 PLAY
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EUROPEAN FILM AWARDS 2011
PŘEŽÍT SVŮJ ŽIVOT SURVIVING LIFE
Czech Republic/Slovakia 109 min.
WRITTEN & DIRECTED BY: Jan Švankmajer PRODUCED BY: Jaromír Kallista DIRECTOR OF PHOTOGRAPHY: Jan Růžička & Juraj Galvánek EDITOR: Marie Zemanová PRODUCTION DESIGNER: Jan Švankmajer MAIN CAST: Václav Helšus (Evžen and Milan), Klára Issová (Evženie), Zuzana Kronerová (Milada), Emília Došeková (Super-ego), Daniela Bakerová (Dr. Holubová)
Eugene, an ageing man, leads a double life – one real, the other in his dreams. He goes to see a psychoanalyst, who tries to interpret the meaning of his dreams. Eugene finds a way of entering his dream-world at will and finds out about his childhood and what really happened to his parents. When his wife forces him to make the decision between dream and reality, he finally chooses the dream-world.
Production & World Sales: ATHANOR – Film Production Company, Llc. U 5. baterie 21 162 00 Praha 6 CZECH REPUBLIC tel. +420 233 322 905 fax +420 224 313 383 athanor@nextra.cz
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Press: Bontonfilm a.s. Nádražní 23/344 150 00 Praha 5 CZECH REPUBLIC tel. +420 257 415 111 fax +420 257 415 113 petr.slavik@bontonfilm.cz
SELECTION www.prezitsvujzivot.cz
Director’s Statement: Fear of life is a basic human emotion. Religion, creativity, love, sex, the accumulation of objects (that we elevate to ‘collecting’, or denigrate to ‘hoarding’), the quest for fame, money, power – such are the substitutes with which we attempt to smother that deadly fear. Fear of life is far stronger than fear of death. Witness the frequency of murders and suicides – not only real ones, but those we see every day on television or in the cinema. Fear is a dark, subterranean river flowing through our innermost beings and influencing our every moment, whether waking or sleeping. If, as Freud tells us, the purpose of dreams is to fulfil our secret or manifest desires, then surely somewhere deep inside us that most basic of human desires must constantly be being fulfilled: to survive one’s own life. Jan Švanmajer Jan Švanmajer was born on 4 September 1934 in Prague. His studies at the College of Applied Arts in Prague in the Stage Design Department and at the Prague Academy of Performing Arts in the Department of Puppetry (directing and stage design) largely predetermined his own creative development. He did not study film and its technology perhaps this also contributed to Švankmajer’s not being weighed down by the “cinematic art” with its excessive dedication to the technical medium and resulting depressive receptiveness. In the Magic Lantern Theatre he experimented with some film procedures, including special effects, for the first time. He made his first film in 1964 at the Krátký film Studio in Prague. The creative diversity of Jan Švankmajer, however, exceeds the limits of film. The artist is active in autonomous visual expression which he has practised since the end of the 1950s. His literary expression consists mainly of scenarios and tactile poems, while his theoretical activity has focused on research of tactile phenomena and imagination. A considerable part of the imaginative strength of Jan Švankmajer consists of blasphemous black humour and a playful viewpoint which, together with extraordinary sensibility and a penetrating critical intellect, form the determining facets of his creative personality. His work, whether film, visual, or literary, is connected with the collective activities of the Czechoslovak Surrealist group.
SURVIVING LIFE Festival Participation/Awards: Venice IFF Sitges FF London FF Bucharest Int’l Experimental FF Los Angeles Animation Festival IFF Rotterdam Hong Kong IFF Wiesbaden goEast Dresden FF Int’l Festival of Animated Films Anifilm IFF Karlovy Vary
Jan Švankmajer
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EUROPEAN FILM AWARDS 2011
RUNDSKOP BULLHEAD
Belgium/the Netherlands 123 min.
WRITTEN & DIRECTED BY: Michaël R. Roskam PRODUCED BY: Bart Van Langendonck DIRECTOR OF PHOTOGRAPHY: Nicolas Karakatsanis EDITOR: Alain Dessauvage PRODUCTION DESIGNER: Walter Brugmans ORIGINAL SCORE: Raf Keunen MAIN CAST: Matthias Schoenaerts (Jacky Vanmarsenille), Jeroen Perceval (Diederik Maes), Jeanne Dandoy (Lucia Schepers), Barbara Sarafian (Eva Forrestier), Tibo Vandenborre (Antony de Greef)
Stills: Nikolas Karakatsanis
The young Limburg cattle farmer Jacky Vanmarsenille is approached by an unscrupulous veterinarian to make a shady deal with a notorious West-Flemish beef trader. But the assassination of a federal policeman, and an unexpected confrontation with a mysterious secret from Jacky’s past, set in motion a chain of events with far-reaching consequences. BULLHEAD is an exciting tragedy about fate, lost innocence and friendship, about crime and punishment, but also about conflicting desires and the irreversibility of a man’s destiny.
Production: Savage Film 2, Square Sans Souci 1050 Bruxelles BELGIUM tel. +32 473 598 531 info@savagefilm.be
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World Sales: Celluloid Dreams 2, rue Turgot 75009 Paris FRANCE tel. +33 1 49 70 03 70 fax: +33 1 49 70 03 71 info@celluloid-dreams.com
Press: Wolf Consultants (Gordon Spragg) Berlin GERMANY tel. +49 171 6466 970 gordon@wolf-con.com
SELECTION www.bullheadthefilm.com
Director’s Statement: BULLHEAD is a crime drama about gangsters and farmers against the backdrop of the Belgian cattle hormones mafia. It’s a film about friendship and loyalty, betrayal and lost innocence. It is also a film about cows and police informers, about bulls and headbutts, about WestFlanders meets Limburg. Although it is loosely based on the 1995 assassination of veterinary inspector Karel Van Noppen, BULLHEAD is not a true crime story. In the words of director Michael Roskam, “BULLHEAD relates to the hormones mafia like Hamlet relates to the Danish royal family.” Leading man Matthias Schoenaerts underwent two years of physical training and gained 27 kg to prepare for the role of Jacky Vanmarsenille, a young cattle farmer who, after a tragic event in his childhood, gets addicted to testosterone injections, turning him into a tormented muscle machine. Schoenaerts and his co-actors also worked hard at mastering the local dialects of Limburg and West Flanders. “BULLHEAD is a grotesque tragedy about fate and how our lives are sometimes determined by events over which we have no control,” Roskam says about his debut film. “It is a film about people being driven to extremes. It is not about cowboys and Indians, about good or evil, but about how seemingly small events can sometimes have huge consequences for the people Involved. Their fate is also their destiny.” Michaël R. Roskam Michaël R. Roskam was born in Sint-Truiden (B) in 1972. He obtained a Master degree in scriptwriting & development from the Binger Film Institute, Amsterdam (NL) in 2005. Roskam directed several short films, among which THE ONE THING TO DO (2005), CARLO (2004) and HAUN (2002); three shorts that were selected and awarded nationally and internationally. He is also teaching at the St. Lukas Film School in Brussels.
BULLHEAD Festival Participation/Awards: Berlin IFF 2011, Panorama Special IFF Breda 2011 Made in Europe FF Maastricht 2011 Beaune Int’l Thriller FF 2011: Jury Award & Critics’ Prize Transilvania IFF 2011 Karlovy Vary IFF 2011 Melbourne IFF 2011 Zagreb FF 2011 Puchon Int’l Fantastic FF 2011 Motovun FF 2011: Best film Fantasia IFF Montréal 2011: Best first feature Athene FF 2011 Two Riversides Film and Art Festival 2011 Helsinki IFF 2011
Michaël R. Roskam Filmography: 2002 HAUN, short 2004 CARLO, short 2005 THE ONE THING TO DO, short 2007 TODAY IS FRIDAY, short 2011 RUNDSKOP
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EUROPEAN FILM AWARDS 2011
SALA SAMOBÓJCÓW SUICIDE ROOM
Poland 110 min.
WRITTEN & DIRECTED BY: Jan Komasa PRODUCED BY: Jerzy Kapuściński DIRECTOR OF PHOTOGRAPHY: Radosław Ładczuk EDITOR: Bartosz Pietras PRODUCTION DESIGNER: Katarzyna Filimoniuk ORIGINAL SCORE: Michał Jacaszek MAIN CAST: Jakub Gierszał (Dominik Santorski), Roma Gąsiorowska (Sylwia), Krzysztof Pieczyński (Andrzej Santorski), Agata Kulesza (Beata Santorska), Bartosz Gelner (Alex),
Dominik is the product of a success-driven marriage between businessman Andrzej and CEO Beata. With only 100 days to go before the final school exams, Dominik is on target to graduate with top marks and gain entry into the finest university. However, 100 days to go still means 100 days to conform to school social rules. Through a series of humiliating events involving another male classmate Dominik’s world comes crashing down. He sees the online comments his classmates are making about him on various social networks. Daunted by the thought of returning to school he reverts from real life and logs into the virtual world. Cloaked in his avatar, Dominik meets Sylvia, a would-be suicider who hasn’t left this world in years, and joins her friends in the “Suicide Room’. Sylvia draws him into a dangerous game. The game gets out of hand as the Suicide Room serves more to shock the outside world than to comfort and heal. Soon enough Dominik struggles to decipher what is real as common virtual experiences bleed dangerously into reality. Not only do the lives of those around him become threatened but Dominik’s own life is at grave danger.
Production: Studio Filmowe Kadr Puławska 61 02-595 Warszawa POLAND tel. +48 22 845 49 23 fax +48 22 845 50 51 studio@kadr.com.pl maria.pulaska@kadr.com.pl
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World Sales: Level K Gl. Kongevej 137 B Ov. Grd. 3. Sal. 1850 Frederiksberg C DENMARK tel. +45 4844 3072 tine.klint@levelk.dk
SELECTION www.salasamobojcow.pl
Director’s Statement: Of all beautiful themes in global art, I was always greatly inspired by love during puberty. It was no different during the production of SUICIDE ROOM, where love, puberty and rebellion became intertwined with the hysteria of the internet communities, addiction to illusion, unrestrained obsession with another person, unlimited and in effect deadly dangerous possibilities of auto creation in the virtual world, and in truth, a great longing for love. Our team looked for inspiration mainly in Goethe’s “The Sorrows of Young Werther” and Shakespeare’s “Hamlet”in both cases these creations, when clashed with the digital world, took on a new, very modern meaning. Werther is a boy whose feelings for a girl lead him to insanity, and Hamlet is a young man who puts on a mask of madness to begin a very dangerous game with everyone around- both of these attitudes describe the main character of Suicide Room - Dominik, a representative of our times. In a world where everyone’s learned to express their needs and fight for oneself and everyone knows how to speak, not everyone wants to listen. As a result of these insane transformations, the modern man is lonely and in peace with loneliness. A man who kills himself like a suicide victim, every day, little by little, out of loneliness and lack of love, but one who is too busy to notice that. As it is believed, souls of suiciders wander the Earth, looking for consolation. Suicide Room is a hymn for all those who kill themselves every day, a hymn about stopping for just a short while and listening, since this could let one live for at least a second longer. Jan Komasa Jan Komasa is a child of the 80s. Born in 1981 in Poznan he graduated from the Leon Schiller National Film Television and Theatre School in Łódź where he made his debut short NICE TO SEE YOU (3rd Prize at Cannes Cinefondation in 2004). Komasa dug his roots into his adopted city of Warsaw and captured it in one of his first works, ODE TO JOY (Rotterdam Film Festival - Official Selection 2006). SUICIDE ROOM is his first feature film.
SUICIDE ROOM Festival Participation/Awards: Berlin IFF 2011, Panorama Special Transilvania IFF 2011 OFF Plus CAMERA 2011: FIPRESCI Award Gdynia Polish FF 2011: Silver Lions for Best Sound Brussels FF 2011 Art FF 2011: Best Director Giffoni FF 2011: Best Film & Score, Special Area Cinemagiovani Award European FF Palic 2011: Palic Tower for Best Director IFF New Horizons 2011: Best Debut
Jan Komasa
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EUROPEAN FILM AWARDS 2011
SVINALÄNGORNA BEYOND
Sweden/Denmark/Finland 96 min.
DIRECTED BY: Pernilla August WRITTEN BY: Pernilla August & Lolita Ray PRODUCED BY: Helena Danielsson & Ralf Karlsson DIRECTOR OF PHOTOGRAPHY: Erik Molberg Hansen PRODUCTION DESIGN: Anna Asp EDITOR: Åsa Mossberg ORIGINAL SCORE: Magnus Jarlbo & Sebastian Öberg MAIN CAST: Noomi Rapace (Leena), Ola Rapace (Johan), Outi Mäenpää (Aili), Ville Virtanen (Kimmo), Tehilla Blad (Young Leena)
Stills: Rolf Konow
A poignant story, told with sincerity and humour, about a young woman’s dramatic childhood, about her grief and the struggle to move on. A morning just before Christmas, Leena, 34, receives a phone call from a hospital in her childhood hometown telling her that her mother is dying. These news take her on a journey to face her mother for the first time in her adult life. Leena has fought all her life to let go of her grief over her lost and dark childhood. She is now forced to deal with her past to be able to move on.
Production/Press: Drakfilm Hepp film Cinema AB Helena Danielsson & Ralf Karlsson Kastellgatan 13 211 48 Malmö SWEDEN tel. +46 98 4462 emma@heppfilm.se
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World Sales: Trust Nordisk Susan Wendt Filmbyen 28 2650 Hvidovre DENMARK tel. +45 36 868 769 susan@trustnordisk.com
Press: Nordisk Film Annmari Bergmark Pyramidvägen 7 169 56 Solna SWEDEN annmari.bergmark@nordiskfilm.com
SELECTION www.heppfilm.se/beyond
Pernilla August Swedish actress Pernilla August made a smooth transition from stage to screen with Ingmar Bergman’s directorial swan song, FANNY AND ALEXANDER in 1982. In 1992 she won the Best Actress Award at the Cannes IFF for her performance in THE BEST INTENTIONS, directed by Bille August and written by Ingmar Bergman. In 1993 she worked with Bille August again, this time on JERUSALEM. In 1996 Pernilla did PRIVATE CONFESSIONS, again penned by Bergman but directed by Liv Ullmann. In 1999 Pernilla became Shmi Skywalker, mother of Anakin Skywalker in STAR WARS EPISODE 1 - THE PHANTOM MENACE and in 2002 in STAR WARS EPISODE 2 - ATTACK OF THE CLONES, directed by George Lucas. During the last years Pernilla has worked in Sweden as well as abroad. One of many happy and inspiring meetings was with the Danish director Per Fly, and with Per she made the award-winning MANSLAUGHTER and most lately the celebrated FORESTILLINGER. She also did the internationally appreciated DETAILS, directed by Kristian Petri, I AM DINA, directed by Ole Bornedal, DAY AND NIGHT, directed by Simon Staho, DAYBREAK and MOUTH TO MOUTH, both directed by Björn Runge. Recent titles include a leading role in A RATIONAL SOLUTION, premiering in Cannes Critic’s Week 2009, and Miss Kicki, awarded with the Flash Forward, Special Mention Award at Pusan IFF.
BEYOND Festival Participation/Awards: Venice IFF 2010, 25th Critics’ Week: Regione del Veneto per il cinema di qualità Award Filmfest Hamburg 2010: winner of Foreign Press Award Sao Paolo IFF 2010: Special Jury Award & Best Actress Valladolid IFF Nordic Film Days Lübeck 2010: NDR Award for Best Film Oslo IFF 2010 Cuenca Women 2010 Tallinn Black Nights 2010 Dresden Days of Northern Films 2010 Palm Springs IFF 2011, in competition Glasgow FF 2011 Dublin IFF 2011 Toronto International Film Festival 2011 Miami IFF 2011 Cine Nordica Paris 2011 Art Club New York 2011: Cristopher D. Smithers Foundation’s Ambassador of Hope Award Hong Kong IFF 2011 Febiofest Prag 2011 Warszawa skandinavfest 2011 Transilvania IFF 2011, in competition Portrait: Charlie Drevenstam
Director’s Statement: Our past will always catch up with us. When I started working with this film I thought that the obvious theme was ”growing up in an abusive family”. A story about how terribly difficult it can be to be poor, from another country and unable to master the language. But as I got deeper into the story it struck me that it would be more interesting to combine the childhood story with a contemporary about the adult Leena. Together they tell the story about self-deception, to lie to yourself and the people around you. It is this story I want to tell and how you reach your resolution and how you can move on in life despite your past. In the film the adult Leena’s memories are almost physical, as in the film Dolores Claiborne (by Taylor Hackford), where neither we, the audience, nor the mother (Kathy Bates) can protect herself from her memories, the past.
Pernilla August
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EUROPEAN FILM AWARDS 2011
TAMBIEN LA LLUVIA EVEN THE RAIN
Spain 99 min.
DIRECTED BY: Icíar Bollaín WRITTEN BY: Paul Laverty PRODUCED BY: Juan Gordon DIRECTOR OF PHOTOGRAPHY: Alex Catalán EDITOR: Angel Hdez Zoido PRODUCTION DESIGNER: Juan Pedro Gaspar ORIGINAL SCORE: Alberto Iglesias MAIN CAST: Luis Tosar (Costa), Gael García Bernal (Sebastián), Juan Carlos Aduviri (Hatuey/Daniel), Karra Elejalde (Anton/ Christopher Columbus), Carlos Santos (Alberto/Bartolomé de las Casas)
Costa and Sebastián arrive in Cochabamba, Bolivia, to shoot a period film about Columbus’s arrival in the Americas. They’re on the tightest of budgets, but the shoot gets off to a smooth start. But things get complicated when their extras and main actor, locals to Cochabamba, rise up against the privatization of their drinking water. Their battle to get their film made intertwines with the fight of their Bolivian crew members, deprived of their most basic rights, prohibited from collecting even the rain.
Production/Press: Morena Films Calle Fernando VI 17, 2°D 28004 Madrid SPAIN tel. +34 91 700 27 80 fax +34 626 681 227 mgcobo@morenafilms.com
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World sales: Wild Bunch Gael Nouaille 99 rue de la Verrerie 75004 Paris FRANCE tel. +33 1 53 01 50 20 fax +33 1 53 01 50 49 gnouaille@wildbunch.eu
SELECTION www.eventherainmovie.com
Director’s Statement: The script of EVEN THE RAIN has come a long way over several years. Paul began with a story set entirely in the age of Christopher Columbus, recounting his voyages and his first years in the “New World”, and continuing with Bartolomé de las Casas. It was a very focused and exciting story, but Paul decided to go further, to bring it into the present day, and to relate both the exploitation and indigenous resistance enacted and encountered by the Spanish in the 16th century to the contemporary situation in Latin America. The Water War, which took place in Cochabamba in 2000, furnished a perfect example of civil resistance to the privatization of a commodity more valuable than gold: water. Paul’s script manages to unite past and present In a story of the filming of a period movie in Bolivia that is disrupted when the water conflict breaks out. Directing Paul’s script presented an enormous and exciting challenge: to make three movies in one. Firstly, a period drama, secondly the near-contemporary story of the water conflict and finally, a film connecting the shoot itself to the personal journeys of the main characters, Sebastian and Costa, and the decisions they are forced to make. Maintaining the tension and drama within and between each of these three stories and leading the audience from one to the other was the greatest challenge. But in truth this complexity was a gift - a director is rarely given such an original story, with such compelling and multi-layered characters, and one that resonates so richly with one of the most crucial conflicts of this century. Icíar Bollaín Icíar Bollaín was born in Madrid in 1967. Her interest in cinema can be traced back to her teenage years and her roles in films such as Victor Erice’s EL SUR (The South) and Manuel Gutierrez Aragon’s MALAVENTURA (Misadventure). She subsequently appeared in TOCANDO FONDO, directed by José Luis Cuerda, TIERRA Y LIBERTAD (Land and Freedom) by Ken Loach, and Jose Luis Borau’s NIÑO NADIE (1997) and LEO (2000), for which she was nominated for the Goya for Best Actress. She made her debut as a director in 1995 with ¿HOLA, ESTAS SOLA? (Hi, Are You Alone?) at the Valladolid FF, where she won the Best New Director award. She subsequently directed FLORES DE OTRO MUNDO (Flowers from Another World, 1999), AMORES QUE MATAN (2000) and TE DOY MIS OJOS (Take My Eyes, 2003) - for which she won seven Goyas, including Best Director, Best Original Screenplay and Best Film. Her most recent film as director, MATAHARIS (2007), received two Goya nominations.
EVEN THE RAIN Festival Participation/Awards: Berlin IFF 2011: Panorama Audience Award Valladolid IFF 2010: Cultural Diversity Award Les Arcs IFF 2010: Best Actor, Public Prize & Young Jury Prize Palm Springs IFF 2010: Bridging the Borders Award FiSahara FF 2011: Jury Special Mention Pesaro FF 2011: Amnesty Italia Prize Toronto IFF 2010 Cartagena IFF 2011 Rapa Nui FF 2011, competition Istanbul FF 2011, Human Rights in Cinema competition Guadalajara IFF, competition Forqué Awards 2011: Best Actor CEC Awards 2011: Film, Director, Supporting Actor, Screenplay, DOP, Score Latin ACE Awards 2011: Best Film, Director, Supporting Actor GOYA Awards 2011: Best Production Supervision, Supporting Actor, Original Score Premio de la Conferencia Episcopal ABC: Best Film PROGIE Awards 2010: Best Progressive Foreign Film, Portrayal of People of Colour, Anti-Fascist Film, Progressive Picture New York Latin ACE Awards: Best Film, Actor, Director,
Icíar Bollaín
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EUROPEAN FILM AWARDS 2011
TILVA ROŠ
Serbia 95 min.
WRITTEN & DIRECTED BY: Nikola Ležaić PRODUCED BY: Uroš Tomić, Mina Đukić & Nikola Ležaić DIRECTOR OF PHOTOGRAPHY: Miloš Jaćimović EDITOR: Nikola Ležaić PRODUCTION DESIGNER: Nikola Berček MAIN CAST: Marko Todorović (Toda), Stefan Đorđević (Stefan), Dunja Kovačević (Dunja), Marko Milenković (Mare), Nenad Stanisavljević (Mekica)
Toda and Stefan are the best friends, skaters, who spend their first summer after finishing high school. Stefan’s going to Belgrade to the University in fall while Toda stays back home. They spend time shooting “Jackass-like” videos and hanging out with Dunja, who came back from France for her holidays, and get into a quiet battle for her attention. In that strange relationship of dying friendship and rivalry they try to get ahead of each other.
Production: Film House Kiselo Dete Dalmatinska 17 11000 Belgrade SERBIA tel. +381 11 275 12 30 office@kiselodete.com
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World Sales: Visit Films 89 Fifth Ave, Suite 806 New York, NY 10003, USA tel. +1 718 312 8210 fax +1 718 362 4865 info@visitfilms.com
SELECTION www.tilvaros.com
TILVA ROŠ
Director’s Statement: I was lucky to get my hands on a copy of home-made, one hour long “Jackass-like” film which was made by these guys themselves. I was impressed by a huge amount of unarticulated energy which erupted from them, and also by a complete lack of interest in actual social struggle going on around them. I remembered my own attitude from 10 years earlier, when I also lived in that same small town, and realized that it wasn’t much different from theirs – it was all about FUN. I remembered how everything was much simpler, social rights, health insurance, politics... those were all terms from some other, boring dimension. So I wanted TILVA ROŠ to be about that – waking the conscience you don’t want to wake, finding out about injustices you don’t care about, assuming social roles when you don’t want to participate, and about helpless struggle to save that carefree teenage world from any changes. That’s why I decided to make a feature film with them playing themselves. We started hanging out together and during that period I wrote a script based on the clips I saw in their film, stories they told me about and my own memories from my teenage years. And that’s TILVA ROŠ, it’s real, but not really. Nikola Ležaić Nikola Ležaić is born on 6 August 1981 in Bor, Serbia. He studied film directing at the Faculty of Dramatic Arts in Belgrade, Serbia. He made a couple of short films before making TILVA ROS which is his full-length debut.
Festival Participation/Awards: Sarajevo FF: Best Film, Best Actor Locarno IFF Warsaw IFF 2 in 1 FF Moscow: Best Film, Best Story Noordelijk FF: Best Film, Matad’Or FF Cottbus: Spirit award Estoril FF: Best Film, Cineuropa Award Gijon IFF: Special Jury Award Belfort IFF: Best Film, Audience award Thessaloniki IFF Festival Européen Les Arcs Trieste FF Rotterdam IFF Miami IFF Buenos Aires IFF San Francisco IFF Transylvania IFF: FIPESCI award Cinema City FF: Best Film, Best Screenplay FF Sopot: Best Film Motovun FF: Bauer Award
Nikola Ležaić Filmography: 2007 BOXER GOES TO HEAVEN, short 2008 NYLON-DRESSED GROUND, short 2008 BOR, WORKERS’ OASIS, mockumentary 2010 TILVA ROŠ
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EUROPEAN FILM AWARDS 2011
TIRZA
The Netherlands 102 min.
WRITTEN & DIRECTED BY: Rudolf van den Berg PRODUCED BY: San Fu Maltha DIRECTOR OF PHOTOGRAPHY: Gabor Szabo EDITOR: Job ter Burg PRODUCTION DESIGNER: Benedict Schillemans ORIGINAL SCORE: Bob Zimmerman MAIN CAST: Gijs Scholten van Aschat (Jörgen Hofmeester), Sylvia Hoeks (Tirza), Johanna ter Steege (Jörgen’s wife), Keitumetse Matlabo (Kaisa), Nasrdin Dchar (Choukri)
Jörgen’s world is crumbling. Forced into early retirement and harassed by his exwife, the only part of his life which made sense – raising his beloved daughter, Tirza – is disrupted when she disappears on holiday in Namibia. After weeks of terrified uncertainty, Jörgen goes searching for her, but the heat, his drinking and bad memories combine to unhinge him. His only ally is a child prostitute called Kaisa. Together they journey into the wilderness on Tirza’s trail and discover her fate.
Production & Press: FU WORKS Rapenburgerstraat 109 1011 VL Amsterdam THE NETHERLANDS tel. +31 20 530 7110 fax +31 20 530 7119 sanne@fuworks.nl
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TIRZA Festival Participation/Awards: The Netherlands FF: 2 Golden Calfs (editor, director) IFF Emden European Film Days Festroia IFF Setúbal: Golden Dolphin (Best Film) Cinema Mundi Brno Cinema Mundi Praha
Director’s Statement: When I first read the novel “Tirza”, I was struck by a vision of something bigger than the story: a film like a shockwave – as if your nerve endings were directly connected to those of the main character. TIRZA is at once a journey to the end of the night and a love story, not along the well-worn paths of romance but along the cliff edge of the mind-blowing love of a parent for his child. The film is not meant as an illustration of a theme. What I intended to express through the film is the aimless wandering of the hollow, modern man. The protagonist feels he is superfluous; Jörgen’s life is a failure. Then, a small black guardian angel appears in the wasteland of his life and gives him the strength to heroically free himself from the darkness in his heart. TIRZA does not aim to explain but to overwhelm – as only film can.
Rudolf van den Berg Filmography: 1984 BASTILLE 1987 ZOEKEN NAAR EILEEN 1989 DE AVONDEN 1992 DE JOHNSONS 1996 THE COLD LIGHT OF DAY 1997 FOR MY BABY 2002 SNAPSHOTS (The Hermit of Amsterdam) 2010 TIRZA
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EUROPEAN FILM AWARDS 2011
TOMBOY
France 84 min.
WRITTEN & DIRECTED BY: Céline Sciamma PRODUCED BY: Bénédicte Couvreur DIRECTOR OF PHOTOGRAPHY: Crystel Fournier EDITOR: Julien Lacheray PRODUCTION DESIGNER: Thomas Grezaud ORIGINAL SOUNDTRACK BY: Jean-Baptiste de Laubier (as Para One) MAIN CAST: Zoé Héran (Laure / Michaël), Malonn Lévana (Jeanne), Jeanne Disson (Lisa), Sophie Cattani (Mother), Mathieu Demy (Father)
Laure is 10 years old. Laure is a tomboy. On her arrival in a new neighbourhood, she lets Lisa and her crowd believe that she is a boy. Truth or dare ? Dare. Summer becomes a big playground and Laure pretends to be Michael, a boy like the others... different enough to get the attention of Lisa who falls in love with him. Laure takes advantage of her new identity as if the end of the summer would never reveal her unsettling secret.
Production: Hold Up Films & Productions 22, rue Rambuteau 75003 Paris FRANCE tel. +33 1 42 74 64 54
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World Sales: FILMS DISTRIBUTION 34 Rue du Louvre 75001 Paris FRANCE tel. +33 1 53 10 33 99 fax +33 1 53 10 33 98 Sanam@filmsdistribution.com
SELECTION www.filmsdistribution.com
Director’s Statement: Tomboy was made incredibly fast. I started writing the script at the end of March 2010 and we were shooting in August. It was shot in 20 days with an initial budget of 500 000 euros and a crew of 15 people. Those figures reflect the movie’s state of mind. This is both the radicalism and the dynamic we longed for. We wanted to believe it was possible to work in a different energy than the long journey of writing and financing for years. The project was designed this way. It was a philosophy. Since my first film Water lilies (2007), I had been working as a screenwriter mostly, writing TV series and co-writing with directors for their films. I already had the idea for Tomboy but I had only written a quick outline. At the time I didn’t think it would be my second feature film. It was just a story I had in mind. In March 2010 I went to see Bénédicte Couvreur, the producer of Water lilies. I told her I had an idea for a film that would be quick to produce and that I wanted to shoot during summer, only 3 months later. She was enthusiastic, even though the timing was crazy. We both were excited by the story and also by the challenge. I wrote the script in three weeks. I designed it so that the film would be easy and simple to prepare in such a short time frame. Two main sets, 50 sequences. I built it around a very simple and strong argument, the story of a lie, an undercover character, so that it would produce a powerful narrative with suspense and empathy. The character has a strong goal in a double play dynamic. This efficient story allowed me to take the time to relate a vivid chronicle about childhood, with documentary aspects, and unpredictable accidents. I was also very committed to the subject surrounding identity and the question of gender. Childhood is often referred to as the age of innocence. But I think it’s a time of life full of sensuality and ambiguous emotions. I wanted to portray that.
TOMBOY Festival Participation/Awards: Berlin IFF 2011: Teddy Jury Award Torino GLBT : Jury and Audience prizes Zlin : Jury Special Prize
Céline Sciamma
Céline Sciamma Céline Sciamma is born in 1978 and grew up in the Paris suburbs. After a master’s degree in French Literature, she followed screenwriting courses at the French film school La Femis. She shares her work between collaborations with directors and writing feature and television projects. WATER LILIES, her first feature film has been selected in Cannes / Un certain Regard (2007) and in more than 30 festivals world-wide (Toronto, London, New York, Tokyo, Rotterdam...). Acclaimed by the film critics, the film won the prestigious French Louis Delluc award. TOMBOY is her second feature film.
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EUROPEAN FILM AWARDS 2011
A TORINÓI LÓ THE TURIN HORSE
Hungary/France/ Switzerland/Germany 146 min.
DIRECTED BY: Béla Tarr WRITTEN BY: Béla Tarr & László Krasznahorkai PRODUCED BY: Gábor Téni, Marie-Pierre Macia, Juliette Lepoutre, Ruth Waldburger & Martin Hagemann DIRECTOR OF PHOTOGRAPHY: Fred Kelemen EDITOR: Ágnes Hranitzky PRODUCTION DESIGNER: Sándor Kállay ORIGINAL SCORE: Mihály Víg MAIN CAST: Erika Bók (daughter), János Derzsi (father)
In Turin in 1889, Nietzsche flings his arms around an exhausted carriage horse, then looses consciousness and his mind. Somewhere in the countryside: a farmer, his daughter, a cart and the old horse. Outside, a windstorm rises.
Production: T.T. Filmműhely Róna utca 174. 1145 Budapest HUNGARY tel. & fax +36 1 251 99 69 ttfilmmuhely@t-online.hu
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World Sales: Films Boutique Skalitzer Str. 54A 10997 Berlin GERMANY tel. +49 30 695 378 50 fax +49 30 695 378 51 info@filmsboutique.com
Press: Rendez-Vous Viviana Adriani 25, fbg Saint Honoré 75008 Paris FRANCE tel. & fax +33 1 42 66 36 35 viviana@rv-press.com
SELECTION www.filmsboutique.com
THE TURIN HORSE
Director’s Statement: Our film follows up the question. What did in fact happen to the horse? Ohlsdorfer, the carter, and his daughter live out their lives on their farmstead. They subsist on hard work: their only source of income is the horse and cart - that’s what they live on. The father takes on carting jobs, his daughter takes care of the household. It’s a very meagre life and infinitely monotonous. Their practiced movements and the changes in seasons and times of day dictate the rhythm and routine which is cruelly inflicted on them. The film portrays mortality, with that deep pain which we, who are under sentence of death, all feel.
Festival Participation/Awards: Berlinale IFF 2011: Silver Bear Grand Jury Prize, FIPRESCI Award Hong Kong IFF Istanbul IFF 2011 BAFICI Jerusalem IFF 2011 Durban IFF 2011 Melbourne IFF 2011 Sydney FF 2011 Toronto IFF 2011 Telluride FF 2011 New York FF 2011 Rio de Janeiro IFF 2010 Reykjavik IFF 2010
Béla Tarr Filmography: 1978 HOTEL MAGNEZIT, short 1980 SZABADGYALOG (The Outsider) 1982 PANELKAPCSOLAT (The Prefab People) 1982 MACBETH 1984 ŐSZI ALMANACH (Almanac of Fall) 1987 KÁRHOZAT (Damnation) 1989 CITY LIFE, segment AZ UTOLSÓ HAJO (The Last Boat) 1994 SÁTÁNTANGÓ 1995 UTAZÁS AZ ALFÖLDÖN (Journey on the Plain) 2000 WERCKMEISTER HARMÓNIÁK (Werckmeister Harmonies) 2004 PROLÓGUS (Prologue) 2007 A LONDONI FÉRFI (The Man from London) 2010 A TORINÓI LÓ (The Turin Horse)
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EUROPEAN FILM AWARDS 2011
DIE UNABSICHTLICHE ENTFÜHRUNG DER FRAU ELFRIEDE OTT THE UNINTENTIONAL KIDNAPPING OF ELFRIEDE OTT
Austria 112 min.
DIRECTED BY: Andreas Prochaska WRITTEN BY: Uwe Lubrich, Alfred Schwarzenberger, Michael Ostrowski & Andreas Prochaska PRODUCED BY: Danny Krausz & Kurt Stocker DIRECTOR OF PHOTOGRAPHY: Heinz Wehsling EDITOR: Karin Hartusch, Daniel Prochaska PRODUCTION DESIGNER: Maria Gruber ORIGINAL SCORE: Heinz Ditsch, Kollegium Kalksburg MAIN CAST: Michael Ostrowski (Toni Cantussi), Andreas Kiendl (Horst Wippel), Elfriede Ott (Elfriede Ott), Gerhard Liebmann (Gerry Dirschl), Angelika Niedetzky (Veronika Polster), Simon Hatzl (Kommissar Kramer)
Stills: © Dor Film / Petro Domenigg|filmstills.at
For two years Horst has been collecting his dead grandmother’s retirement pension to help make ends meet. Everything runs smoothly until a local politician announces he will be coming by to officially wish the 95-year-old a happy birthday. Without thinking twice, his friend Toni “borrows” an old lady from the hospital as a stand-in. But instead of just any old lady, he has unintentionally grabbed the famous actress Elfriede Ott, which leads to a series of mix-ups and complications.
Production/World Sales/Press: DOR Filmproduktion GesmbH Bergsteiggasse 36 1170 Wien AUSTRIA tel. +43 1 42710 11 fax +43 1 42710 50 office@dor-film.at
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SELECTION www.ott-derfilm.at
Director’s Statement: When the world is in trouble, we don’t just need horror (to show us that there are other people who are even worse off), more than anything we need comedies that give us 90 minutes of oblivion and let us temporarily forget the finance crisis, our uncertain job situations, the lousy weather, our stupid neighbour, and whatever else is getting us down. Pure escapism? Why not? There is a particular breed of human being: a thirty-something slacker who can’t really seem to get his shit together. Too late for the revolutionary 80s and unable to live up to society’s expectations, these people are lost somewhere in between. Some try to find their niche, Toni, for example, a go-getter who wants to give the world a little luxury with his stretch limo service, even though his own financial situation is far from rosy. Horst is a good guy too, despite the fact that he has been collecting his grandmother’s retirement pension even though she has been pushing up daisies, so to speak, for years. But if no one complains, what’s the problem? Right? Elfriede Ott - famous actress, idol in the Austrian theatre scene, a living legend of light entertainment - keeps our clumsy heroes anchored to reality. Like an Austrian version of BEING JOHN MALKOVICH, except in this case we are fortunately not confined to the popular actress’ head; her physical presence is enough. THE UNINTENTIONAL KIDNAPPING OF ELFRIEDE OTT fuses the elements of the classical boulevard comedy with slapstick, merges rural Austria with the visual narrative style of younger American movie comedies. Andreas Prochaska Andreas Prochaska was born in 1964 in Vienna. He began his career as a sound-editor, production- and editing-assistant and as an assistant director to improve his practical skills before he started to be an editor (FUNNY GAMES, 1997 und CODE INCONNU, 2000 by Michael Haneke) and director.
THE UNINTENTIONAL KIDNAPPING OF ELFRIEDE OTT Festival Participation/Awards: Annual Berlin & Beyond FF 2011 Cinema City IFF Novi Sad 2011 Austrian Film Awards 2011: Best film, screenplay & soundtrack Romy Awards 2011: Best film, director & screenplay Award from the Austrian Film Critics’Guild (AFCG): Best Film 2010
Andreas Prochaska Filmography: 1998 DIE 3 POSTRÄUBER 2006 IN 3 TAGEN BIST DU TOT 2008 IN 3 TAGEN BIST DU TOT 2 2009 DIE UNABSICHTLICHE ENTFÜHRUNG DER FRAU ELFRIEDE OTT
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EUROPEAN FILM AWARDS 2011
WE NEED TO TALK ABOUT KEVIN
UK 111 min.
DIRECTED BY: Lynne Ramsay WRITTEN BY: Lynne Ramsay & Rory Stewart Kinnear PRODUCED BY: Luc Roeg DIRECTOR OF PHOTOGRAPHY: Seamus McGarvey EDITOR: Joe Bini PRODUCTION DESIGNER: Judy Becker ORIGINAL SCORE: Johnny Greenwood MAIN CAST: Tilda Swinton (Eva), Ezra Miller (Kevin), John C Reilly (Franklin)
Pictures: Nicole Rivelli
Eva puts her ambitions and career aside to give birth to Kevin. The relationship between mother and son is difficult from the very first years. When Kevin is 15, he does something irrational and unforgivable in the eyes of the entire community. Eva grapples with her own feelings of grief and responsibility. Did she ever love her son? And how much of what Kevin did was her fault? Based on the winner of the Orange Prize for Fiction.
Production: INDEPENDENT 32 Tavistock Street London WC2E 7PB UK tel. +44 207 257 8734 fax +44 207 240 9029 mail@independentfilmcompany.com
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World Sales: INDEPENDENT 32 Tavistock Street London WC2E 7PB UK tel. +44 207 257 8734 fax +44 207 240 9029 sarahl@independentfilmcompany.com
Press: INDEPENDENT 32 Tavistock Street London WC2E 7PB UK tel. +44 207 257 8734 fax +44 207 240 9029 karina@independentfilmcompany.com
SELECTION www.independentfilmcompany.com
WE NEED TO TALK ABOUT KEVIN Festival Participation/Awards: Cannes IFF 2011, official selection
Lynne Ramsay Lynne Ramsay won the 1996 Cannes Prix de Jury for her graduation film, the short SMALL DEATHS. Her second short film KILL THE DAY won the Clermont Ferrand Prix du Jury, her third, GASMAN, won her another Cannes Prix du Jury in addition to a Scottish BAFTA for Best Short Film. RATCATCHER (1999), Ramsay’s debut feature, won critical acclaim and numerous awards. It was screened at the 1999 Cannes IFF and opened the Edinburgh IFF, winning her the Guardian New Directors prize. She also won the Carl Foreman Award for Newcomer in British Film at the 2000 BAFTA Awards, the Sutherland Trophy at the London FF and the Silver Hugo for Best Director at the Chicago IFF. Ramsay’s second film, MORVERN CALLAR (2002) won Samantha Morton the British Independent Film Award for Best Actress, and Kathleen McDermott the Scottish BAFTA Award for Best Actress. It also won the 2002 C.I.C.A.E. Award and the Award of The Youth at the 2002 Cannes IFF.
Lynne Ramsay Filmography: 1999 RATCATCHER 2002 MORVERN CALLAR 2011 WE NEED TO TALK ABOUT KEVIN
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EUROPEAN FILM AWARDS 2011
Index of films – Original Titles ALMANYA – WILLKOMMEN IN DEUTSCHLAND ..................................... AMÉRICA ............................................................................................. THE ARTIST ......................................................................................... AS IF I AM NOT THERE ........................................................................ ATTENBERG ........................................................................................ AVE ..................................................................................................... BALADA TRISTE DE TROMPETA ........................................................... BELI BELI SVET ................................................................................... CIRKUS COLUMBIA .............................................................................. CIRCUS FANTASTICUS ......................................................................... DREI ................................................................................................... ELDFJALL ............................................................................................ ЕЛЕНА (Elena) .................................................................................... ESSENTIAL KILLING ............................................................................. LE GAMIN AU VELO ............................................................................. HABEMUS PAPAM ................................................................................ HÆVNEN ............................................................................................. HALT AUF FREIER STRECKE ................................................................ HITGANVUT YEHIDIM .......................................................................... THE KING’S SPEECH ........................................................................... LE HAVRE ........................................................................................... LIDICE ................................................................................................. LOVERBOY .......................................................................................... MAJKI .................................................................................................. MELANCHOLIA .................................................................................... NEDS .................................................................................................. NOI CREDEVAMO ................................................................................ OSLO 31. AUGUST .............................................................................. Овсянки (Ovsyanki) .......................................................................... PA NEGRE ........................................................................................... LA PETITE CHAMBRE .......................................................................... LES PETITS MOUCHOIRS ..................................................................... LA PIEL QUE HABITO ........................................................................... PLAY ................................................................................................... PŘEŽÍT SVŮJ ŽIVOT ............................................................................. RUNDSKOP ......................................................................................... SALA SAMOBÓJCÓW ........................................................................... SVINALÄNGORNA ............................................................................... TAMBIÉN LA LLUVIA ............................................................................ TILVA ROŠ ........................................................................................... TIRZA .................................................................................................. TOMBOY ............................................................................................. A TORINÓI LÓ ..................................................................................... DIE UNABSICHTLICHE ENTFÜHRUNG DER FRAU ELFRIEDE OTT .......... WE NEED TO TALK ABOUT KEVIN ........................................................
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4 6 8 10 12 14 16 18 20 22 24 26 28 30 32 34 36 38 40 42 44 46 48 50 52 54 56 58 60 62 64 66 68 70 72 74 76 78 80 82 84 86 88 90 92
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Index of films – English Titles ALMANYA ............................................................................................ AMERICA ............................................................................................. THE ARTIST ......................................................................................... AS IF I AM NOT THERE ........................................................................ ATTENBERG ........................................................................................ AVE ..................................................................................................... BEYOND .............................................................................................. BLACK BREAD ..................................................................................... BULLHEAD .......................................................................................... CIRKUS COLUMBIA .............................................................................. ELENA ................................................................................................. ESSENTIAL KILLING ............................................................................. EVEN THE RAIN ................................................................................... HABEMUS PAPAM ................................................................................ IN A BETTER WORLD .......................................................................... INFILTRATION ...................................................................................... THE KID WITH A BIKE .......................................................................... THE KING’S SPEECH ........................................................................... THE LAST CIRCUS ............................................................................... LE HAVRE ........................................................................................... LIDICE ................................................................................................. THE LITTLE ROOM ............................................................................... LITTLE WHITE LIES .............................................................................. LOVERBOY .......................................................................................... MELANCHOLIA .................................................................................... MOTHERS ........................................................................................... NEDS .................................................................................................. OSLO, AUGUST 31st ........................................................................... PLAY ................................................................................................... SILENT SONATA .................................................................................. SILENT SOULS .................................................................................... THE SKIN I LIVE IN .............................................................................. STOPPED ON TRACK ........................................................................... SUICIDE ROOM ................................................................................... SURVIVING LIFE .................................................................................. THREE ................................................................................................ TILVA ROŠ ........................................................................................... TIRZA .................................................................................................. TOMBOY ............................................................................................. THE TURIN HORSE .............................................................................. THE UNINTENTIONAL KIDNAPPING OF ELFRIEDE OTT ......................... VOLCANO ........................................................................................... WE BELIEVED ..................................................................................... WE NEED TO TALK ABOUT KEVIN ........................................................ WHITE WHITE WORLD ........................................................................
4 6 8 10 12 14 78 62 74 20 28 30 80 34 36 40 32 42 16 44 46 64 66 48 52 50 54 58 70 22 60 68 38 76 72 24 82 84 86 88 90 26 56 92 18
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25th
See you next year for the European Film Awards in Malta!
Founded in 1988, the European Film Academy (EFA) now unites more than 2,500 European film professionals with the common aim of promoting European film culture. Throughout the year, the EFA initiates and participates in a series of activities dealing with film politics as well as economic, artistic, and training aspects. The programme includes conferences, seminars and workshops, and a common goal is to build a bridge between creativity and the industry. These activities culminate in the annual presentation of the European Film Awards.