Sarajevo Talent Campus #2 got talent, get knowledge 2008 7 days: August 17 – 23, 2008 80 Talents: 30 Directors/ 17 Scriptwriters/ 22 Actors / Actresses/ 11 Producers 4 fields of work: Directors, Scriptwriters, Actors and Producers 13 countries: Albania, Bosnia and Herzegovina, Bulgaria, Croatia, Greece, Hungary, Macedonia, Montenegro, Romania, Slovenia, Serbia, Turkey and UNMI Kosovo.
50 experts 55 lectures, panels, workshops, presentations, screenings and events A very important segment of the Talent Campus platform is also its virtual dimension – the Online Talent Database:
www.sff.ba (Talent Campus – Talents 2008)
The pool of Talents, which will be growing each year, serves primarily as a promotional and networking tool. The profiles of the participants display their general info, video samples of work and also the information about “Projects in development” and calls for co-operating partners, actors, producers, directors, cinematographers, editors and so on…
Sarajevo Talent Campus #2
Contents 2nd Sarajevo Talent Campus Editorial Welcome note from our co-operating Partner Berlinale Talent Campus About ASU - Academy of Performing Arts Talents 2008 Experts 2008 Programme Sunday, 17 Monday, 18 Tuesday, 19 Wednesday, 20 Thursday, 21 Friday, 22 Saturday, 23 Sponzori Oglas UNICEF - Call of Entries Thank you Impressum Sarajevo Talent Campus #2
Sarajevo Talent Campus #2
Editorial Looking ahead with confidence… The 2nd Sarajevo Talent Campus builds on the remarkable foundations of its launching year, when thanks to the help of our co-operating Partner, the Berlinale Talent Campus and the Berlin International Film Festival, we succeeded in creating the first platform for emerging film talents in the Region. Looking back, our path was not an easy one. After months of intense preparations and hard work, our collective of festival colleagues and friends was anxiously expecting the arrival of first Talents and Experts. Following an exciting week of lectures, workshops, panels and festival events, the Campus participants and experts responded with a very positive feedback, informing us about many fruitful co-operations resulting from this experience. Our expectations were fulfilled! We got the green light to launch Sarajevo City of Film, a new initiative which re-unites the participants of the Campus in the creation of low-budget short films inspired by the city of Sarajevo. The first tangible results of the Campus, 5 short film projects, will have their world premier at the 14th Sarajevo Film Festival and hopefully a bright and successful festival life afterwards. We have the pleasure to announce a newly established partnership with the Robert Bosch Foundation, which is also one of the co-partners of the Berlinale Talent Campus. Their recognition and support greatly contributes to the overall quality of the Sarajevo Talent Campus. Moreover, thanks to this collaboration, 9 young German producers will join our Talents in order to establish new connections and develop ideas for future co-productions with filmmakers from our Region. Determined to repeat last year’s success, we have invited film authors and professionals who will share their wisdom and encourage the Talents of 2008, each in their own special way. The beauty of the Campus lies in the fact that this is not a one-way communication. Same is with us, the Festival and Campus Team, devoted to one main goal - building a network for Talents and alumni, experts, advisors and friends, which would foster the creation of new films. We thank our Supporters and everyone who made the 2nd Sarajevo Talent Campus possible and whish you an exciting, successful and inspiring week! Mirsad Purivatra Director of Sarajevo Film Festival Ivana Ivišić Manager of Sarajevo Talent Campus
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Welcome from our Partner – Berlinale Talent Campus Words of Welcome
The Berlinale Talent Campus is delighted to continue its partnership with the Sarajevo Talent Campus Abroad initiative in 2008. The Sarajevo Talent Campus has developed into a highly important meeting point for young film professionals in eastern European countries, Turkey and Greece. And for the first time, scriptwriters will join this year’s Talent Campus, bringing attention to this extremely relevant field of the film industry. We are curious and excited to find out what this year’s Talents and Experts will discuss and debate, and we wish them fruitful results and ideas. One of the key elements of the Campus idea is to exchange experiences and share the common passion of filmmaking. With this in mind, the Campus offers an online platform (www. berlinale-talentcampus.de) for over 2800 young, up—and-coming filmmakers worldwide to stay in touch and present further projects to their colleagues. Yet it is the personal touch that brings people together - so we were very happy to welcome 7 participants from last years Sarajevo Talent Campus in Berlin this year. And to see former participants with their films being screened in all categories of film festivals worldwide: like Mexican filmmaker Fernando Eimbcke, Pablo Fendrik from Argentina, Lance Hammer from the USA, and Hungarian director Kornel Mundruczó whose film DELTA screened in the Cannes competition 2008. DELTA is co-produced by the German company Essential film, and co-funded by the Medienboard Berlin-Brandenburg. He worked on this project during the Co-Production Market as part of the Berlinale Talent Campus 2004, and in 2005 he returned to participate in the Berlinale Forum as the director of one of the six episodes in LOST&FOUND. We wish you inspiring days and an exciting, successful and intense Campus week! We are happy to welcome you as new members and, once it’s all over, recent alumni of the international Campus Community. Our sincere thanks go to Miro, Emina and Ivana and the entire team of the Sarajevo Film Festival! Christine Tröstrum Berlinale Talent Campus
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Academy of Performing Arts Home of the Talent Campus The Academy of Performing Arts, Sarajevo (Akademija scenskih umjetnosti) is again this year the main venue of the Talent Campus. ASU was established in 1981 and its Drama Studies Department in 1994. An important segment of work of the Academy was the Open Stage OBALA, a cult theatre that focused on student work, but also on enabling professional actors, directors and writers to enrich the theatre life of Sarajevo and Bosnia and Herzegovina. Its concept and direction moved beyond the exact meaning of the word “stage�, as it was the place which launched the career of some of the greatest names in BH film, and it continues to be the place which educates the future champions of the industry. The Academy of Performing Arts is located at: Obala Kulina Bana 11 Sarajevo
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Talents 2008 ACTORS / ACTRESSES
Alma Ferović, 30, Bosnia and Herzegovina Interested in networking, creative and open minded.
Jasenko Pašić, 25, Bosnia and Herzegovina
Male, 25, film actor. I would like achieve more than it can be done in Sarajevo.
Luka Peroš, 31, Croatia
We are Warriors of Beauty! - Jan Fabre
Nina Violić, 36, Croatia Arma Tanović, 30, Bosnia and Herzegovina
I am an actress in theatre, TV and short films, Professor Assistant on the Academy of Performing Arts in Sarajevo, visual and video artist with some directing experience (short videos, films and plays for youth and children).
Anđela Ramljak, 22, Croatia One line about my life?! Impossible!!!
Romina Vitasović, 29, Croatia Lana Barić, 28, Croatia
I am Romina and I am an actress and that says all, doesn’t it?
There is nothing coherent I can say about my life. I only hope I will reach some sort of stability at one point.
Edis Livnjak, 29, Bosnia and Herzegovina Putting Order Personality In Multiple My...
Stjepan Perić, 23, Croatia
Always be proud of your work in order to improve.
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Sven Jakir, 25, Croatia
So far I had opportunity to work with great Croatian and foreign theatre directors. However, lately I have discovered that film acting leads to the perfection in minimalism of expression (less is more); it´s a field I would like to explore.
Vesna Stanojevska, 27, Macedonia
Ivana Popović, 25, Serbia
I am harphist in the orchestra of the Macedonian National Opera and Balet House. I also cooperate with the Macedonian Philharmonic Orchestra and the French orchestra l’art l’part, which produces music for the film industry. I got the “Zlatna Bubamara” Award for 2007 best film actress, for my performance in Shadows by Milcho Manchevski.
Nebojša Đorđević, 26, Serbia
Vanja Alishpahić, 22, Croatia
“Actors are strippers: they do it all day long” - Martin Amis
Inti Šraj, 26, Slovenia Ivona Čović, 27, Montenegro
I acted in 2 movies, 3 television serials and about 20 theatre spectacles, and won a few prizes.
I’m in constant search and exploration of pure emotions in my personal and professional life!
Dimitra Kontou, 25, Greece
Seeking to experience both cinema and life through different cultures, I decided to pursue my dreams and moved to Paris, hoping to find the cinematic and personal richness I was dreaming of. I don’t look back on my choices not even for a second!
Ula Furlan Molk, 24, Slovenia Istodor Aaron Tudor, 24, Romania
I hope I will never reMAKE something (a scene, a take). I hope I will always reCREATE it.
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DIRECTORS
Asli Sahin, 29, Turkey
Love & shine and work for others to love & shine.
Kelmend Karuni, 27, Albania In order to see the furthest, you need to climb the highest.
Damir Nemir Janeček, 26, Bosnia and Herzegovina I feel obliged to visually tell stories about sorrow and joy, never neglecting ethics and morality.
Arber Shema, 26, UNMI Kosovo
I love working, I am going to make it to the top.
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Amela Čuhara, 34, Bosnia and Herzegovina Not afraid of a challenge unless it involves bullfighting.
Igor Drljača, 25, Bosnia and Herzegovina Interested in Alternative Narratives of all kind.
Ado Hasanović, 23, Bosnia and Herzegovina I am the TV and Youth Video Program Coordinator at the Youth Information Centre Srebrenica.
Mirza Pašić, 31, Bosnia and Herzegovina I try to be a good man and a good director and make a good movie that will influence people to be good.
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did some very successfull trash kung-fu nonsense, but in the last couple years things started to get serious. (see my filmography and projects).
Siniša Vidović, 29, Bosnia and Herzegovina In the next few days I will be (for the first time) a father. This is a line about myself, my work and my life.
Srđan Šarenac, 31, Bosnia and Herzegovina Born in Bosnia, lived in Croatia, studied in Serbia and Netherlands, now working with a French production company.
Vasilis Blioumis, 31, Greece Nothing great in the world has ever been accomplished without passion.
Sara Hribar, 21, Croatia. A passionate film student who’s trying to make her way as a film director.
Zacharias Mavroeidis, 27, Greece Eternally devoted to wishfull thinking.
Vanja Vascarac, 28, Croatia. “Hired gun.”
Daniel Beres, 33, Hungary Mathematics and film go very well together - at least in my case. Ivan Ramljak, 33, Croatia After ten years of professional journalism, curating of different cultural events, DJ-ing, and who knows what else, five years ago I finally got the courage to start making films. First I
Zoran Krema, 29, Croatia I make ugly movies for poor people!
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Marton Szirmai, 30, Hungary I try to learn how the world is working.
Szabo Reka, 30, Hungary
Dennis Todorović, 30, Montenegro Cultures Clash into great stories!
Nemanja Bečanović, 30, Montenegro Director, composer of pop and film music, journalist, novel writer etc.
Marko Sopić, 31, Serbia Always wanted to experiment, trying to be as close as possible to the edge and to look for special and unique feelings.
Marko Kostić, 35, Serbia Other than that, I am very charming guy once you get to know me.
Jane Kortošev, 29, Macedonia The life thing must be temporary, so I take it as much as I can on a daily basis. Adina Istrate, 22, Romania Talk less, watch more.
Marija Coneva, 24, Macedonia I wish I can talk with no words. Dane Komljen, 22, Serbia
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Sonja Blagojević, 27, Serbia Bad driver, good observer, in love with life and its imperfections.
SCRIPTWRITERS
Mirjam Hlastan, 23, Slovenia I am director, writer, editor working as a freelancer, gathering knowledge, experiences and contacts for directing features films.
Sonja Prosenc, 31, Slovenia For me film is a mirror image of invisible spots of a human mind.
Emine Emil Balci, 24, Turkey Passionate, sophisticated, inquiring, calm, pessimistic, interested in human and believes in human.
Faysal Soysal, 28, Turkey I write my own modern turkish poetry, beside making my own minimal cinema as a poetic cinema... I try to perpetuate the poetic cinema genre like Pasolini, Cocteau, Tarkovsky and Angelopoulos. In this process I want to find pictures which reflect the poetry...
Dženan Medanović, 26, Bosnia and Herzegovina All my life I´ve tried to be smart, but I’m not. I try to be a filmmaker and I’ll never stop trying.
Melina Mahmutagić, 22, Bosnia and Herzegovina A photo is worth a thousand words.
Naida Lindov, 26, Bosnia and Herzegovina I have been working as scriptwriter for Mebius Film, Sarajevo since 2004 on several TV projects. At the moment I am also working on TV serial for youth produced by Omladinska informativna agencija (OIA) and Flash Production. Sarajevo Talent Campus #2
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Tina Šmalcelj, 22, Bosnia and Herzegovina If you believe in it, you will be able to see it, and if you see it, it is only one step to the point where everybody will believe in it.
Antonio Gabelić, 24, Croatia All the ways you wish you could be, that is me; I look like you wanna look, I fuck like you wanna fuck, I am smart, capable, and most importantly, I am free in all the ways that you are not.” - Tyler Durder, Fight Club
Hrvoje Župarić, 27, Croatia Trying to do one thing at the time. Trying.
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Ivor Martinić, 24, Croatia Love to learn something new!
Despina Ladi, 29, Greece I like writing, watching films, and travelling.
Jasna Žmak, 24, Croatia ...I’m a work in progres...
Denes Orosz, 31, Hungary At the moment, as screenwriter-director, I am preparing for my first feature film.
Luka Rukavina, 26, Croatia Love and respect what you do, and it will love and respect you back.
Marko Škobalj, 33, Croatia Nothing is real, everything is possible. I fight the battles inside everyday and I always win even when I loose. Sarajevo Talent Campus #2
Helga Fodorean, 20, Romania If no, why? if yes, why not?
Simona Ghita, 27, Romania Trying to see clearly myself and life, to live/love better and work better.
PRODUCERS
Nenad Mikalački, 33, Serbia Everything about me can be seen in my films.
Mila Kirova, 24, Bulgaria Ana Banjac, 32, Bosnia and Herzegovina Hard worker, highly motivated for the integration of local artists and local scene into international framework. Artist as well. 100% HUMAN. Marko Sušac, 31, Croatia It’s not a shame to ask!
Vesna Perić, 35, Serbia “One can return back to the crime scene, but never to the love scene”, quote ascribed to poet Josif Brodsky. Vedran Fajković, 32, Bosnia and Herzegovina Father of two, loves art and hates sports.
Lura Limani, 19, UNMI Kosovo An avid reader, a cynic to the core who loves deconstructing everything, that’s me.
Sandra Grubić, 37, Croatia I believe that honest and brave documentarism can be a trigger for a change in people minds.
Dobriana Petkova, 30, Bulgaria Andrei Dascalescu, 24, Romania Life is a playground, and film is my favourite game. Sarajevo Talent Campus #2
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SPECIAL GUESTS OF THE 2ND SARAJEVO TALENT CAMPUS
Iva Plemić, 27, Serbia I tend to work with friends, and tend to make friends with people I work with.
Arber Zharku, 26, UNMI Kosovo I consider myself as being an open minded, flexible, consequent and explorative person.
Nataša Damnjanović, 26, Serbia If editing is the final draft of a script, production is the way to make everything happen, especially if you do both things.
Orkan Bayram, 23, Turkey I can do it!
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Christian Mueller, 31, Producer, Germany
Daniela Muck, 28, Producer, Germany
Fabian Gasmia, 30, Producer, Germany Work every day as if it were your last.
Felix Wernitz, 22, Producer, Germany On a move.
Franziska Specht, 27, Producer, Germany I really like to develop characters and their stories. Therefore, I want to work, to write and to discuss with screenwriters, on how to develop the story and the figures.
Martin Kleinmichel, 32, Producer, Germany The best things in life are free...or fund sponsored.
Tom Streuber, 32, Producer, Germany It´s all about creating magic moments.
Urte Fink, 29, Producer, Germany Gregor Hutz, 29, Producer, Germany “Quality is the best business-plan in the creative Industry” – John Lasseter
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Experts and Lecturers, who will share their experience and knowledge with the Talents of the 2nd Sarajevo Talent Campus, are:
ABRAM, IDO Head of Binger Filmlab.
Former director of CineMart, the co-production market of the International Film Festival Rotterdam.
BARENHOLTZ, BEN One of the key protag-
onists in America’s independent film scene, producer and distributor. Executive producer of several of the Coen brothers’ films, including the drama Barton Fink that won the Golden Palm in Cannes in 1991, Miller´S Crossing, and Darren Aronofsky´s Requiem For A Dream.
ALBERS, FRANK Managing Director of Robert Bosch Stiftung based in Stuttgart, Germany.
BEGIĆ, AIDA Director. Her first feature film
Snow world premiered at the 2008 Cannes Film Festival winning the Grand Prix of the Semaine de la critique. Snow will open the 14th Sarajevo Film Festival.
ARIJON, GONZALO Director. Among his
many documentaries are Lula: Managing A Dream, Far, Very Far From Rome, The Dark Side Of Milošević And Massaï: The Secret Of The Volcano God. His latest film Man On Wire will be shown in the Panorama Documentary programme of the 14th Sarajevo Film Festival.
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BILDHAUER, KATHI Member of the Berli-
nale Co-Production Market team since its first year, and manager of the Talent Project Market. Author of “Drehbuch reloaded”, her PhD thesis is on unconventional contemporary screenplays. Lecturer at German universities.
film, video and new media production from Sarajevo. Head of CineLink, the industry section of the Sarajevo Film Festival. The last film she produced, Čuvari Noći (Night Gouards), directed by Namik Kabil, will be premiered in the programme of the 23rd Settimana Internazionale della Critica in the framework of the 65th Venice International Film Festival.
BOBER, PHILIPPE Founder of Coproduction
Office in Berlin. As producer he was involved on films Europa, The Kingdom, Breaking The Waves by Lars von Trier, on Battle In Heaven by Carlos Reygadas, on Roy Andersson´s Songs From The Second Floor and You The Living, on Kornél Mundruczó´s Pleasant Days, Johanna and Delta, Jessica Hausner´s Lovely Rita and Ulrich Seidl´s Dog Days and Import Export. Selector of the New Currents programme of the Sarajevo Film Festival.
DRIESSEN, ELLIS Acquisitions Consult-
ant Europe & Middle East for sales company Fortissimo Films and international consultant for the Amsterdam based Binger Filmlab since it’s founding. Head of the Holland Film Meeting/Netherlands Production Platform, the annual gathering of Dutch and foreign film professionals during the Netherlands Film Festival.
CEYLAN, NURI BILGE Director. His films
Koza (short film), feature debut Kasaba, Clouds Of May and UZAK have won numerous key awards at festivals across the world. 3 MONKEYS, for which he received the Best Director Award at the Cannes Film Festival 2008, will be screened at the 14th Sarajevo Film Festival, while Ceylan will be presiding over the Competition Jury.
ČAMO, BAKŠIĆ AMRA Producer and one of the founders of Pro.ba, an independent
GEORGE, TERRY Director, Screenwriter
and Producer. Winner of numerous awards for the films In The Name Of The Father and Hotel Rwanda, including nominations for the Academy Award in the category of the best screenplay. At the 2nd Sarajevo Talent Campus, George will workshop with a group of Talents the Bosnia section of his latest script and directorial project - a biographical feature film about the UN diplomat Sergio Vieira De Mello who was the UN Political Adviser in Sarajevo from October 1993 to October 1994. Sarajevo Talent Campus #2
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GOLDERNSTERN, GEORGES Manager of
the Cinefondation, Festival de Cannes, created to support film creation throughout the world and help prepare the passing of the torch to next generation of filmmakers.
KAUFMAN, CHARLIE Director, Screenwrit-
er. Author of Being John Malkovich. Human Nature, Adaptation, Confessions Of A Dangerous Mind, and Eternal Sunshine Of The Spotless Mind for which he received an Oscar for Best Original Screenplay. At the 14th Sarajevo Film Festival, Kaufamn will present his directing debut Synecdoche, New York.
HOČEVAR, DANIJEL Producer. Manag-
ing director and producer of Vertigo and Emotionfilm is also a member of European Film Academy. Hočevar produced the latest film by Damjan Kozole, Za vedno (Forever), screened in the Focus programme of the 14th SFF.
KORMÁKUR, BALTASAR Icelandic actor
and director producer. Known for his films 101 Reykjavík, The Sea, A Little Trip To Heaven (starring Julia Stiles and Forest Whitaker), and Jar City, for which he won the Crystal Globe at the Karlovy Vary International Film Festival 2007. Jar City will be screened in the Panorama programme of the 14th Sarajevo Film Festival.
KAHN, IMRI Artist and filmmaker. Currently
attending the Fine-Arts department at the University of Berlin. Participated numerous times in the films of Lior Shamriz. The nobudget feature film, Japan, Japan will be screened in the Panorama programme of the 14th SFF.
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KOZOLE, DAMJAN Director of Usodni Tel-
efon (The Fatal Telephone), one of the first independent films in ex-Yugoslavia and Rezervni Deli (Spare Parts) which won a nomination for the Golden Bear at Berlin International Film Festival. Za Vedno (Forever), his latest feature
film, will be screened in the Focus programme of the 14th Sarajevo Film Festival. Currently working on a new project, an international co-production film Slovenian Girl.
awarded with the Golden Bear at the Berlin International Film Festival 2006. At the 14th SFF, he can be seen in three films: Buick Riviera by Goran Rušinović, to be premiered in the Competition programme, in Behind The Glass by Zrinko Ogresta, to be screened in the Focus programme, and finally in one of the Sarajevo City of Film projects, See You In Sarajevo by Vanja Juranić.
KRUGER, BEATRICE European casting di-
rector. Responsible for the European and/or Italian casting of Ocean’s Twelve, Hbo’s Rome, Casino Royale, Silk, The International, Asterix Aux Jeux Olympique, Miracle At St. Anna, Angels & Demons, Nine and many others. General Manager of www.e-talenta.eu.
LUSTIG, BRANKO Producer. A two-time
Academy Award and Golden Globe winner for the production of Schindler’s List And Gladiator. Produced numerous major film hits, such as HANNIBAL, Black Hawk Down, Kingdom Of Heaven, A Good Year, And American Gangster. In Croatia, he presides over the Jewish Film Festival London - Zagreb.
LEIGH, MIKE Film and theatre director,
screenwriter, and playwright. A five-time Oscar nominee and the winner of three BAFTAs and many other leading film awards, such as the Best Director Award at the 1993 Cannes Film Festival for Naked, the 1996 Palme d’or for Secrets And Lies, and the Golden Lion at the 2004 Venice Festival for Vera Drake.
MARSH, JAMES Director. His first dramatic
feature The King was an Official Selection at the Cannes Film Festival in 2005. Man On Wire is James Marsh’s third feature film and will be screened in the Panorama programme of the 14th SFF.
LUČEV, LEON Actor. One of the best and most wanted Croatian actors of his generation. Performed in Jasmila Žbanić’s Grbavica,
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developing If I Want To Whistle I Whistle and Dracula Deadly Dangerous and Very Original Tour.
MATANIĆ, DALIBOR Director and Sreen-
writer. Author of 5 awarded feature films: Blagajnica hoće ići na more (The Cashier Wants To Go To The Seaside), Volim te (I love you), Sto minuta Slave (One Hundred Minutes of Glory), Fine mrtve djevojke (Fine Dead Girls) and Kino Lika which will be screened in the Competition programme of the 14th Sarajevo Film Festival.
MUNDRUCZÓ, KORNEL Director of Pleas-
ant Days, awarded with the Silver Leopard at the Locarno Int. Film Festival 2002 and Johanna - a filmic opera adaptation of the story of Joan of Arc, presented in Un Certain Regard in 2005. Delta, his third feature film, was premiered at the 61st Festival de Cannes and is competing for the Heart of Sarajevo at the 14th SFF.
MATIĆ, BORIS Producer of Mondo Bobo,
Goran Rušinović´s first feature and Buick Riviera, Sve Džaba (All For Free) by Antonio Nuić. Currently in the production of Nuić´s second feature Kenjac (Donkey). Founder of Motovun Film Festival and Zagreb Film Festival.
PETRANYI, VIKTORIA Producer and found-
er of Proton cinema. Produced and co-wrote Pleasant Days and Johanna by Kornél Mundruczó. She has collaborated with Kornél as a producer and co-writer on all his projects since they met while at film school.
MITULESCU, DANIEL Producer of The Way
I Spent The End Of The World together with Les Films Pelleas, presented in the Official Selection of Cannes - Un Certain Regard 2006 and received the best Actress Award for Dorotheea Petre. Currently preparing the production of A Heart Shaped Balloon and is
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POWELL, NIK Producer. Co-founder of Pal-
ace Pictures and Scala Productions. Producer of many awareded films such as Neil Jordan’s Company Of Wolves, Mona Lisa and The Cry-
ing Game, Little Voice, Calender Girls and, most recently, Ladies In Lavander starring Dame Judi Dench and Dame Maggie Smith.
– Jerusalem. Also director and producer of critically acclaimed feature Late Summer Blues that won the Israeli Oscar for Best Film of the Year. Executive producer of the awardwinning films Miss Entebbe (Berlin Festival 2003) and James´ Journey To Jerusalem (Cannes 2003) In 2007. Directed and co-produced his second feature film The Loners, to be released in 2008.
RABARATS, MARTEN Artistic director of
Binger Filmlab, he is also a producer, screenwriter and script editor. As Head of studies at Amsterdam’s Maurits Binger Film Institute, he was instrumental in the realization of the film series Project 10 – Real stories from a Free South Africa.
SCHORY, KATRIEL Executive Director of
Israel Film Fund. His company Belfilms Ltd produced over 200 films including award winning feature films, documentaries, TV dramas, and international co-productions. Associate Producer and Line Producer of the Award winning feature film Beyond The Wall, nominated for Best Foreign Film, Academy Awards in 1985.
RODENKIRCHEN, FRANZ International
script advisor, teacher and tutor for workshops and individual projects. Currently Head of dramaturgy at the script development agency Script House in Berlin. As script advisor regularly works for the Binger Filmlab, Amsterdam, European workshop Script&Pitch, CineLink, the co-production market of the Sarajevo Film Festival, and the Deutsche Film und Fernsehen Akademie, Berlin.
SHAMRIZ, LIOR Director. Studied filmmak-
ing at the Jerusalem Film School (2002-2004, did not graduate) and at the Institute of Time Based Media in Berlin. Makes movies and music. His no-buget film JAPAN, JAPAN has been selected the Panorama section of the 14th Sarajevo Film Festival.
SCHORR, RENEN Founded and Director The Sam Spiegel Film and Television School
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Kahuna and most recently Sony Pictures’ 21 directed by Robert Luketic.
SLAMIČ, MARJUTA Actress. Graduated from Guildford School of Acting in London. Regularly engaged at the Slovenian National Theatre in Nova Gorica. Her latest film appearance in Zavedno (Forever) is her first main film role.
SPASIĆ, DEJAN Actor. Studied dramaturgy
at the Ljubljana Academy AGRFT. Directed several theatre shows. Spasić made four attempts to be admitted to the Ljubljana Academy of Acting (AGRFT), but failed entrance examinations repeatedly, so he decided to study dramaturgy instead. His first role in the student film My Little Sweethearts won him Vesna - best actor award at Slovenian Film Festival 2006.
SOLOMON, ADA Producer. Worked with
directors such as Christian Mungiu, Christian Nemescu and Razvan Radulescu. Founder of HiFilm Productions which has already produced a number of successful films. In memory of Christian Nemescu and Andrei Toncu, she also initiated the NexT Cultural Society, which organizes the Bucharest NexT Film Festival.
SPACEY, KEVIN Actor. Two-time Academy
Award Winner. Accomplished memorable roles in L.A. Confidential, Beyond The Sea, Hurly Burly, The Negotiator, Swimming With Sharks And The Shipping News. With his production company Trigger Street, he produced The United States Of Leland, The Big
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SPENGLER, PIERRE Producer. Within the
Salkind Organisation he was in charge of producing such international successes as The Three Musketeers, Superman I, Superman II, Superman III And Santa Claus. Since 1986, he has been independent and has produced such major motion pictures as Kusturica´s Underground that won the Golden Palm at Festival de Cannes 1995. In 2005 he co-produced Guy Ritchie´s Revolver.
credits as producer include True Miracle by Lukas Nola, Kino Lika by Dalibor Matanić to be premiered in the Competition programme of the 14th Sarajevo Film Festival. Currently producing Crnci (The Blacks) directed by Zvonimir Jurić and Goran Dević.
TANOVIĆ, DANIS Academy Award- and
Golden Globe-winning Bosnian film director and screenwriter. His first feature film No Man’s Land won 42 awards, including the Oscar for Best Foreign Film, the European Film Academy Award for Best Screenplay, the César for the Best First Feature film in 2001 and the Golden Globe Award for Best Foreign Language Film in 2002. Directed L’Enfer, his second feature project. Triage, his latest project starring Collin Farrell is currently in post-production.
TOTH, ORSI Actress. Graduated from the act-
ing programme of the Hungarian Academy of Film and Drama in 2004. Made her feature film debut after her first year at school in Kornél Mundruczó’s Pleasant Days and went on to star in all of his feature films. Currently shooting with Austrian director, Jessica Hausner.
TATARAGIĆ, ELMA Screenwriter, Producer.
Assistant at Academy of Dramatic Arts in Sarajevo, scriptwriter and selector of the Regional programme of Sarajevo Film Festival. She is also co-scriptwriter and producer of the feature film SNOW and the Selector of the Competition programme of the Sarajevo Film Festival.
TILIĆ, JURIĆ ANKICA Producer. Head of the
Croatian Association of Producers. Her latest
TROESTRUM, CHRISTINE Project Manager
of the Berlinale Talent Campus. Studied Theatre, Film and Communication and graduated in Cultural Studies. After working for film festivals in Germany and France, she was Project Manager of the Medienwoche Berlin-Brandenburg.
VEJNOVIĆ, SANJA Actress. Acted in nu-
merous Croatian feature films, among which Dalibor Matanić´s Sto Minuta Slave, television Sarajevo Talent Campus #2 25
films, TV serials and theatre plays. She is also a Casting Director for FBI Casting for Croatia, Bosnia and Herzegovina and Serbia.
ŽIŽEK, SLAVOJ Renowned Slovenian phi-
VILLIERS, CHRISTOPHER Actor. Appeared
in films such as Bloody Sunday, First Knight and Top Secret!. Wrote and co-produced feature film Two Man Went To War. Owns 2020 Casting Ltd, one of the largest film background agencies in the country. Company credits include Gladiator, Bridget Jones, Shakespeare In Love, Star Wars, United 93 etc.
WEEKES, CHRISTOPHER Director and Writer. Wrote and directed his debut feature Bitter And Twisted at the age of 24, which will be screened in the Panorama programme of the 14th Sarajevo Film Festival.
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losopher, sociologist, cultural critic and psychoanalyst. Published over 30 books, including Sublime Object Of Ideology, The Ticklish Subject, On Belief, And The Parallax View. His latest “film” book is Pervert’s Guide To Cinema. Žižek is also a guide through documentary films: The Reality Of The Virtual And Pervert’s Guide To Cinema.
Sarajevo Talent Campus in cooperation with
partner
with the support of
thanks to
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Programme Sarajevo Talent Campus #2
Events marked in green are reserved for Talents only. The ones marked in magenta are also open to accredited guests of the Sarajevo Film Festival.
SUNDAY, AUGUST 17
TALENT CAMPUS BRIEFING 10:00 // ASU - Open Stage At 10:00, the doors of the Talent Campus, located at the Academy of Performing Arts (Akademija scenskih umjetnosti – ASU), will open for the initial briefing - the introduction to the team members and to the general programme of the days to come.
Opening Ceremony Of The 2nd Sarajevo Talent Campus 10:30 // ASU - Open Stage A welcome address by the director of the Sarajevo Film Festival, Mirsad Purivatra, will officially open the 2nd Sarajevo Talent Campus. Talents and Guests will be introduced to the Campus the new Partner of the Sarajevo Talent Campus – the Robert Bosch Foundation and its Managing Director Frank Albers. Following the introductory speech, the Robert Bosch Stiftung will present the Co-Production Prize for Young German and Eastern / South Eastern European Filmmakers.
Opening Lecture: BRANKO LUSTIG in conversation with Nebojša Jovanović 12:00 // ASU - Open Stage
“Once I was told that doing producer’s work is not art. That is not true, since a producer of an artwork, a person who ought to clear the path for the artwork, cannot be someone deprived of an artistic trait.” Branko Lustig Branko Lustig life story begs for an opulent and meandering biography. Although he has been working as a film producer for more than fifty years now, the cinema lights did not always illuminate his life. Born in 1932 in a city of Osijek (Kingdom of Yugoslavia, today’s Croatia) in a Jewish family, Lustig’s childhood was eclipsed by two years of imprisonment in the Nazi concentration camps Auschwitz and Bergen-Belsen, while the most of his family perished in the death camps throughout Europe. Traumatic experiences of Holocaust could not but leave deep imprints on Lustig, who will return to the topic of the World War II and Shoah throughout his career. In 1955 he started to work as assistant director in Zagreb-based Jadran Film, one of the two biggest production companies in the socialist Yugoslavia. He was crew director in the 1956 DON’T TURN AROUND, MY SON (NE OKREĆI SE, SINE), a film destined to enter the canon of the best Yugoslav films. Another major Yugoslav film where he participated – as unit manager and actor – was WWII epic KOZARA (1962) directed by Veljko Bulajić. Lustig also worked in a number of co-productions that were shoot in Yugoslavia from the 1960s to 1980s. He moved to the United States of America in 1988, and quickly became rather disillusioned by the ways in which the market shaped cinema: “I have arrived in Hollywood far too late, in 1988. The first film that I produced there was anything but William Wyler type of movie; the times of Fritz Lang, William Wyler, and Billy Wilder were already irretrievably gone.” After doing low budget Sci-Fi thriller WEDLOCK, and a couple of TV productions, in 1992 Lusting has engaged in production of what would be the most notable Hollywood take on Holocaust, Steven Spielberg’s SCHINDLER’S LIST, which brought him the first Oscar. Four
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years later, he produced Mimi Leder’s action hit THE PEACEMAKER, and entered the 21st century with another Oscar – this time for Ridley Scott blockbuster GLADIATOR. This success marked the beginning of a collaboration that encompassed the most prolific and commercially most successful period of Ridley Scott’s career: after producing GLADIATOR, Lustig was executive producer and production manager of HANNIBAL (2001), BLACK HAWK DAWN (2001), KINGDOM OF HEAVEN (2005), A GOOD YEAR (2006), and AMERICAN GANGSTER (2007). After his “break-up” with Scott, Lustig participated in establishing an independent production company Six Point Films. Drawing on his immense experience, in a converstion with Nebojša Jovanović, Lustig will address the specificities of being a producer in such diverse political, ideological and economical milieurs, and elaborate more fully the various strategies of promoting a film in different contexts - from the art festival circuit to the run up for the Oscar.
I Hate Student Films Introducing Renen Schorr, Director of the Sam Spiegel Film & Television School - Jerusalem 15:00 // ASU - Open Stage The international acclaim of the Sam Spiegel Film and Television School - Jerusalem (since 1989) as one of the most outstanding film schools in the world, emerged form the remarkable foundations set by its Founding Director Renen Schorr, and supported by the Israeli Ministry of Education and Culture and The Jerusalem Foundation Within an amazingly brief time, the first independent film and television school in Israel, has left bold and impressive marks on the Israeli and international cinema by creating a whole new and, at the time, revolutionary movement, which was designed to put in action a commando unit of film students trained to rebel against the system and make films that were aiming straight at the viewer’s emotions. Paraphrasing Hitchcock, the job of a director was/is not just to work with the screenwriter, the actors, the cameraman, the editor and the composers, but to direct the audience. The Sam Spiegel Film & TV School is managing a triangular stream structure: A Comprehensive Director’s track, Creative Writing track and Entrepreneurs Producer’s track. This approach to film and TV making as well as school structure is considered very unique and innovative. Thanks to a firmly established policy, it is the first school ever selected for retrospectives by the Museum of Modern Art in New York, the Berlin International Film Festival, Rotterdam Film Festival. To date, the school had over 115 international retrospectives, while films are selected for around 130 film festivals each year, such as Cannes, Berlin, Venice, Clermont-Ferrand. Its students and alumni, as for e.g. David Ofek, Nir Bergman, Omry Levy, Oded Davidoff, Tali Shemesh and many more, are internationally recognized and awarded filmmakers. Renen Schorr, a leading architect of modern Israeli cinema, and a key figure in the Israeli film arena since the late 70’s as a film director and educator, will explain his critical view of student films and the ideology which stands behind The Best Film School, as voted in 14 different competitions around the world.
BACKSTAGE CONFIDENTIAL: LEON LUČEV Workshop for Actors 15:00 – 18:30 // ASU – 3 c
Following his brilliant performances in Croatian box-office hits, How The War Started On My Island and What´S A Man Without A Mustache, and in internationally awarded films like Žbanić´s Grbavica and Vinko Brešan´s Witnesses, Leon Lučev has become one of the most wanted and prolific Croatian actors of his generation. In the programmes of the 14th Sarajevo Film Festival, he can be seen in two feature films: Buick Riviera, directed by Goran Rušinović, playing the complex character of Vuko - a Bosnian Serb immigrant in the USA, and in Behind The Glass by Zrinko Ogresta, as Nikola - a sophisticated architect entan-
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gled in an adulterous affair. His third premiere in Sarajevo will be with the film See You In Sarajevo, one of the five short films of the Talent Campus project - Sarajevo City of Film. As a professional actor, who shortly jumps from one “skin” into another, transgressing boundaries of nationality, religion, language and states of consciousness, he doesn’t rely on talent and discipline alone. Leon strongly believes that good actors are those who are connected to themselves in a deep, compelling way and who have the courage and ability to consistently be present to themselves, in front of an audience, in front of a camera or a casting director. Leon will share with Talent Actors his personal techniques of how to use one’s one energy, positive or negative, and translate it into inspired action.
The Pervert´s Guide to Cinema (150 min) Talent Campus Special Screening 17:00 // Festival Centre Cinema
THE PERVERT’S GUIDE TO CINEMA takes the viewer on an exhilarating ride through some of the greatest movies ever made. Serving as presenter and guide is the charismatic Slavoj Žižek, the Slovenian philosopher and psychoanalyst. With his engaging and passionate approach to thinking, Žižek delves into the hidden language of cinema, uncovering what movies can tell us about ourselves. In three parts, The Guide offers an introduction into some of Žižek’s most exciting ideas on fantasy, reality, sexuality, subjectivity, desire, materiality and cinematic form. Whether he is untangling the famously baffling films of David Lynch, or overturning everything you thought you knew about Hitchcock, Žižek illuminates the screen with his passion, intellect, and unfailing sense of humour. THE PERVERT’S GUIDE TO CINEMA applies Žižek ‘s ideas to the cinematic canon, in what The Times calls ‘an extraordinary reassessment of cinema.’
SFF Celebrates Sarajevo City Of Film – Gala Screening of 5 films, World Premiere 23:30 // Cinema Meeting Point Hosted by Federation of Bosnia and Herzegovina Film Fund. Welcome by Srebren Dizdar, President of the Fund and SFF Director Mirsad Purivatra. * By Invitation Only Sarajevo City of Film is a project for young authors and film professionals, the Alumni of the Sarajevo Talent Campus, created to encourage regional integration and cross-border cooperation through film projects. This year, we proudly present, the world premiers of five short fiction films: ALENA´S JOURNEY, MAHALA, SARAJEVO SPRING. SEE YOU IN SARAJEVO and SHOPPING, realized by the participants of the 1st Sarajevo Talent Campus. The Project is supported by The Film Fund Sarajevo, Ministry of Science Education and Sport Republic of Croatia and Radio Television of Federation Bosnia and Herzegovina. Initiative and patrons: Federation of Bosnia and Herzegovina Government and Ministry of Culture and Sports FBiH. Project is carried by Sarajevo Film Festival and Sarajevo Talent Campus.
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MONDAY, AUGUST 18
HAPPY GO LUCKY, Director: Mike Leigh, 118min, English 9:30 // Cinema Meeting Point STC Special Screening for Talent Campus Only.
BERLINALE TALENT CAMPUS & TALENT PROJECT MARKET Presented by Christine Troestrum, Project Manager of the Berlinale Talent Campus and Kathi Bildhauer, Project Manager of the Talent Project Market, of the Berlin International Film Festival. 12:00 // ASU – Open Stage Berlinale Talent Campus does not need long introductions any more: it is the most popular networking summit of young filmmakers in the world. 350 selected Talents are invited to Berlin each year, during the Berlin Int. Film Festival, to reflect on their ideas about film in lectures, ateliers and panel discussions, and to work on their projects in specialized hands-on workshops such as the Volkswagen Score Competition, the Script & Doc Station, the Garage Studio, the Talent Press and the Talent Project Market. The Project Manager of the Berlinale Talent Campus, Christine Troestrum, will explain in more detail what are the application requirements and what does the Berlinale Talent Campus have to offer for its 7th edition. However, the participation on the Campus is not a one-time ticket to the Berlinale. The Alumni of the Campus are not only expected to submit their films to different programmes of the Festival, but are also encouraged to come back to the Campus to develop and pitch their projects through a hands-on training programme – The Talent Project Market. The TPM provides one-on-one coaching sessions by international professionals, as well as an insight into the workings of the co-production markets and offers a variety of informal networking opportunities. Kathi Bildhauer will introduce you to the function and the intention of the Talent Project Market and will explain the application and the selection process.
STC Special Screening Selection of Short Films from the Sam Spiegel Film & TV School – Jerusalem 15:00 // Festival Centre Cinema COCK FIGHT (KRAV TARNEGOLIM), Sigalit Liphshitz, 2000, 13:40min A hot summer day, Israeli chicken breeder Marziano is driving his stock to the market with his worker. Upon arriving at a Palestinian roadblock, they are brought to a halt. Marziano is forced to confront the commander in charge – Nabil, a former worker in his chicken-coop. * Screened at over 50 festivals worldwide, winning 14 prizes. THE RED TOY, Dani Rosenberg, 2004, 12:00min Mohamad, a Palestinian child from the old city of Jerusalem, finds a red toy and misplaces it. The toy is
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passed around the alleys of the city, handed from one person to another, while the police surveillance cameras are watching from above. SABBATH ENTERTAINMENT (ONEG SHABBAT), Mihael Brezis and Oded Binnun, 2003, 21:00min It’s the eve of the Sabbath: Rachel sneaks out of her religious parents´ home to meet her secular friends. On their way to a party, there is an accident – Rachel must now face the consequences of her decisions. * Screened over 30 Festivals worldwide, winning 6 prizes. HOME (BAYIT), David Ofek, 1994, 17:40min Ofek´s immigrant family from Iraq, sitting in the “sealed room” of their Israeli house during the gulf war, realizes that the ruin on the TV screen was once their home. *Screened at 60 festivals worldwide, winning 11 prizes. TOLYA, Rodeon Brodsky, 2006, 9:30min On International Women’s Day, when all his fellow alien workers call their distant wives to greet them, Tolya remains speechless as he calls Natasha, his wife. He can’t pronounce anything but a whistling mumble with his toothless mouth. Tolya is ready to give up on words, but not on his romantic message.
Recommended Screening - Focus 16:00 // National Theatre ZA VEDNO / FOREVER, Slovenia, 2008, 35mm, 82min Director and Screenplay: Damjan Kozole
Cast: Marjuta Slamič, Dejan Spasić, Peter Musevski, Mojca Parljič, Primož Petkovšek Tanya is 35, with a successful career. Her husband Mare is an architect. One Friday, Tanya comes home late at night. Mare confronts her and they exchange some edgy words; Mare is clearly jealous, he loses control of himself and slaps her in the face. Obviously, it is not the first such incident. * Case Study with the crew of Za vedno on Tuesday, 19 at 17:00 (ASU – 3c)
DISCOVERING TALENT: Philippe Bober in conversation with Amra Bakšić Čamo and Vanja Kaluđerčić. 17:00 // ASU – Open Stage
Philippe Bober is the Head of one of the most recognizable European sales and production companies The Coproduction Office - dedicated to daring and engaging award-winning films by directors with strong personal visions. The Coproduction Office has built a strong reputation on discovering and nurturing Talent. As creative producer, Philippe Bober, was involved in the early films of Lars von Trier (Europa, The Kingdom, Breaking The Waves), Lu Ye (Suzhou River), Carlos Reygadas (Japon and Battle In Heaven), Roy Andresson (Song Form The Second Floor, You The Living), Jessica Hausner (Lovley Rita, Hotel and Lourdes which is currently
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in production), Kornel Mundruczo (Plesant Days, Delta) and Urlich Seidl (Dog Days And Import Export). In addition to the above titles, as international discoveries and top sellers are Christi Puiu’s The Death Of Mr. Lazarescu and Corneliu Porumboiu’s 12:08 East Of Bucharest. Bober usually starts working with directors selected at an early stage of their careers, mainly by following their short films. What makes it different than other established art-house sales companies is that this one handles the smallest slate of films – by choice. It acquires one or two films per year and the collaboration with the authors continues on a long-term basis. During the conversation with Bober we’ll try to find out what are his favorite short films from authors he “discovered”, to understand his model of search for new talents, decision making in terms of sales and co-productions and the short and long term prospects of such a business.
Recommended Screenings – Panorama 21:00 // Open Air Cinema Vatrograsac DOUBLE FEATURE: NO-BUDGET FILMMAKING: JAPAN JAPAN, Lior Shamriz, Israel / Germany, 65min
In Japan Japan, Imri is a twentysomething gay man in Tel Aviv in crisis. Feeling an exile in his own society and sorely lacking in ambition, he creates the fantasy of a Japan where he could emigrate to and function fully. He learns that you take what you thought you’d left behind wherever you go. The film is experimental but accessible, with intentional non sequiturs forcing the viewer to fit the pieces together—much as Imri must do. (Howard Feinstein)
BITTER & TWISTED, Christopher Weekes, Australia, 85min Bitter & Twisted is an ensemble piece about a family’s reaction to son Liam’s untimely death three years
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before. It has none of the sentiment of The Son’s Room or others of the Grief Film genre. Astutely observed, beautifully shot, Bitter & Twisted hones in on the ongoing effects of such a trauma, those one thinks are forgotten or completely repressed. Weekes is masterful at showing how they continue to haunt survivors with nearly the same intensity as the memory of the loved one. Icon Noni Hazelhurst, the Australian Judi Dench, plays Penelope, the bereaved mother, who, at 53, has deluded herself into thinking she might be pregnant. The film is set in the far southern exurbs of Sydney, in sterile neighborhoods of ugly facades and atrocious interiors. (Howard Feinstein)
TUESDAY, AUGUST 19 Naturalism vs. Artifice in Film Moderated by Howard Feinstein 9:45 // Cinema Meeting Point * Breakfast for Talents served in the Cinema from 8:30 – 9:30
Panelists: Gonzalo Arijon, Aida Begic, Nick Broomfield, Baltasar Kormakur, James Marsh, Lior Shamriz, Danis Tanović In documentaries, re-creations are in vogue, and in the right hands, they are working better than they have since Errol Morris’s The Thin Blue Line. Yet the convention for docs is sparer, more immediate, in contemporary terms more in the public-television or perhaps the Michael Moore mode. Robert Flaherty’s naturalistic impulse in the first half of the 20th century was in many ways the model for the best documentarians. Fiction movies tend more and more to depend on controlled environments, that is, sets, not outdoors (or even real indoors), with special effects adding another dimension of artifice. The naturalism vs. artifice debate is a continuation of one that hovered over medieval painting, for example, or that marked the difference between the art of Islam (no reproductions) and that of the West (anything goes). In the 19th century, photography gave realism a boost, as did its more dynamic form, cinematography. To simplify, two traditions emerged in the cinema in the late 19th century, both in Paris: the naturalist one of the Lumiere Brothers, who simply filmed workers leaving a factory or a baby being fed; and one built almost entirely on artifice, pioneered by the filmed magic shows of Georges Melies, who used filmic means such as superimpositions to emphasize a world far from the factories or the high chair. The U.S. was ripe for the naturalist impulse. The cutting style perfected by D.W. Griffith by the mid-1910s relied for the most part on “realistic” scenes. Europe was moving more in the other direction, as the cinema borrowed from art movements like German Expressionism, or in France, French Impressionism. When German émigrés fled to Hollywood, they melded this heritage with a raw, Weegee-like photography, creating a fusion of the false and the real: film noir. And, as these things are cyclical, in Italy at the end of World War Two another school, Neo-realism, utilizing non-actors and outdoor locations, began to counter the heavy historical dramas that preceded it. The dialectic continues. On this panel we have both documentary and fiction filmmakers, some of whom rely mostly on naturalism, some more on artifice, and some on both, depending… And that depending is the issue to be discussed. When does one go with one or the other? And why?
The Journey of Making a Film Mike Leigh in conversation with Mike Goodridge 12:00 // ASU – Open Stage
Explaining the reasons for the “Tribute to Mike Leigh” programme at the 2002 Sarajevo Film Festival, Howard Feinstein described this prolific English director as “probably the most uncompromising supertalented feature filmmaker around”. Many things have changed over the past six years (Leigh himself made two new outstanding feature films, Vera Drake and Happy Go Lucky), yet Feinstein’s opinion should hardly be revised.
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Leigh remains the embodiment of authorial decidedness and ever-persistent commitment to principles and work that give shape to his filmmaking. An unrepentant realist who vigorously reminds us that entertainment does not mean escapism, Leigh likes to counter the Hitchcockian claim that people do not go to cinema to see a film which reflects their own everyday worries and other prosaic stuff of ordinary lives. However, this does not mean that Leigh’s directorial philosophy is based on a call for mere replication of reality. Asserting that a film should aspire to the “condition of documentary”, Leigh emphasizes that reality itself, as it were, does not suffice for a good realist art. The truth of reality, according to Leigh, is not to be rendered by means of a documentary style that aims to “capture” authentic events, but needs to be created in a joint effort of director and other members of the film crew. Leigh’s working process is an elaborate procedure that fully acknowledges the collaborative nature of the film medium. Instead of producing a script from a storyline, Leigh starts off with feelings and conceptions. He also does not start with clearly defined characters: they are created through intense work with actors, which includes both in-depth research of the topic and rehearsals comprised of innumerable improvisations, leading to the point where all characters are developed, in Leigh’s words, “from the moment they are born, throughout their entire lives in every detail, each as much as the others.” The same kind of “organic work” shapes other aspects of his films as well: visual palette, costume, mise en scene… Only after months of exhaustive preparation and rehearsal, the camera captures images and sights which are precise and anything but improvised. Using his last film - Happy Go Lucky - for a case study of his unique “organic” filmmaking, Leigh will explain more fully his working process in a conversation with Mike Goodridge. Goodridge works as an editor for Screen International, where he acts as chief film critic for the USA. He also writes columns in UK’s Evening Standard and the El Cultural magazine.
Tribute to Todd Haynes 15:00 // Cinema Meeting Point ASSASSINS: A FILM CONCERNING RIMBAUD Director: Todd Haynes, 43 min
SURPRISE FILM * Recommended Screening to all Talents
Producing Through Co-Productions: Pierre Spengler hosts and talks with Talent Producers 15:00 // Meeting point in front of Festival Centre (For Producers Only: Please sign-up) If we were to be detailed in providing all the interesting traits of Pierre Spengler´s biography and filmography, we would easily use up the rest of this Notebook’s pages. However, this limited space leaves no option but to be unjust and to make only a brief introduction: Pierre Spengler started in the industry in 1964 on the film Paris Secret and went on to work as an assistant director, assistant editor and a production assistant on such major films as The Madwoman Of Chaillot starring Katharine Hepburn (1968), Le Mans starring Steve Mc Queen (1969) and The Light At The Edge Of The World staring Kirk Douglas (1970). Among many international hits, he is best known for initiating the first three Superman movies and the “Musketeers” and producing them with Ilya and Alexander Salkind, his childhood friends. Since 1986, he has been independent and has produced such major films as Underground by Emir Kusturica, which won the Golden Palm in Cannes in 1995, Revolver by Guy Ritchie and many more popular titles. Spengler is a real expert in European co-productions: he dealt with all types - from bipartite to quadripartite - and has worked in England, Italy, Spain, France, Germany, The Netherlands, U.S.A., Canada, Russia, Czech Republic, Hungary, Poland, countries of ex-Yugoslavia, Bulgaria and Romania. The credits of Ljeto u Zlatnoj dolini (Summer In The Golden Valley), Srdjan Vuletić´s first feature film, which won the Tiger Award of the Rotterdam Int. Film Festival 2004, list Pierre Spengler as Executive Producer. He is of the belief that no single country can sustain its film industry independently and that
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more advanced and economically advantaged countries should intervene by providing access to funding and thus help the regional industry grow and meet the demands of the market. Our Expert invites the Talent Producers for an “excursion class” to the informal and cozy environment of his second home in Sarajevo, where he will share with them views on different aspects of co-productions with the countries of our Region.
Nik Powell: A to Z of Storytelling From a Producer´s PoV 17:00 // ASU – Open Stage
Before taking up on the role of the Director of the National Film and Television School, Nik Powell was one of the most prolific producers of British cinema of the last 20 years. He has produced three or more films per year, for many years, and has totaled 45 features in his career. Although he is no longer in the “risky business”, he carries out the leadership of the school with the same intensity that he brought to producing so many memorable and award-winning pictures including Neil Jordan’s Company of Wolves, Mona Lisa and The Crying Game. Nik’s films have garnered many awards and nominations, including an Oscar, several Oscar nominations and a Golden Globe. His more recent films include Little Voice, Calendar Girls and, most recently, Ladies in Lavender starring Dame Judi Dench and Dame Maggie Smith. Since becoming Director of the NFTS in September 2003, Nik has introduced several innovative new programmes, keeping the School at the leading edge of film and TV education in the UK. Alongside the day job, he is Chairman and Director of Scala Productions, a company founded together with Stephen Woolley in 1990s, Vice-chairman of the European Film Academy and elected member of several councils and associations in the UK. In this session with Talents Nik will explore the rules and conventions that have governed storytelling for centuries and how these apply to the more modern art of storytelling in cinema. Drawing on his experience as producer or executive producer of more than 40 films, Powell challenges the script gurus who fleece the young with their 3-act storytelling. He would rather take his inspiration from the great writers of the past such as Mark Twain and of modern cinema like the late Anthony Minghella. After delivering his lecture, Powell, a producer with a sense of humor and an eye for good ideas, will be all ears for the Talents who will want to pitch their stories.
Film in Focus: ZA VEDNO / FOREVER Case Study with the crew of Za vedno: Damjan Kozole, Marjuta Slamič, Dejan Spasić, Zora Stančić 17:00 // ASU – 3c Tanja: Mare, we can’t go on like this. This just keeps happening. This is no kind of life. Mare: What do you know about life? Tanja: I know enough to know I’m not happy. Mare: You know how many people there are in Ljubljana? Not all of them can be happy… (Introduction to the screenplay) Tanja and Mare, played by Marjuta Slamič and Dejan Spasić, a seemingly perfectly normal couple disclose what goes on behind locked doors of an apartment in Ljubljana. Za vedno, meaning either Forever or Aware, speaks about psychological violence, about mental abuse that is frequently tolerated in relationships, and not recognized as real violence that undermines interpersonal relations. Shot at the time when the entire film production in Slovenia was blocked or better bureaucratically forced to a standstill, the film could also be interpreted as a metaphor for the abuse of Slovenian film creativity and cinematography by the Slovenian government (as stated by the director in one of his interviews). On the other hand, the budget restrictions challenged the whole crew to come up with highly creative artistic solutions and deliver a true and emotional psychological drama, a film recognized for its quality and screened in the official selection of 37th International Film Festival Rotterdam.
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Director, actors and art director will analyze their intense creative process of delivering a film that was shot over only six April nights in the apartment of the director.
Recommended Screenings 20:30 // Heineken Open Air WALTZ WITH BASHIR
Director: Ari Folman, 90min
Panorama 21:00 // Open Air Cinema Vatrograsac LA LEON
Director: Santiago Otheguy, 85min
WEDNESDAY, AUGUST 20
Poverty Panel: Low-budget Filmmakers Share Their Tricks. A conversation with film writers and directors Chris Weeks (Bitter and Twisted), Lior Shamriz (Japan Japan) and the leading actor of Japan Japan, Imri Kahn. Moderated by Vanja Kaluđerčić. 10:00 // ASU – Open Stage Lior Shamriz, who made the brilliant, cutting-edge Japan Japan and Chris Weeks author of smashing debut Bitter & Twisted, opted for inexpensive modes of production. Israeli filmmaker Shamriz, whose shooting expenses totaled 200 euros (friends served as performers and crew), directed scenes as independent episodes without a script. Australian writer, director, and star Christopher Weeks, who financed Bitter & Twisted himself, remarkably captures the way a family can fold after an unexpected death. These filmmakers proved that exceptional features can be made for less than the cost of a short. With ample supplies of creativity, ingenuity, and determination, these writers-directors were able to complete outstanding features that achieved festival success, critical acclaim, and possible national distribution (Bitter & Twisted). Instead of spending years raising money from film companies, nonprofit sources, each of these filmmakers decided to make a film utilizing the limited resources they could easily and quickly put together. We will discuss their way of filmmaking, which brings the directors to a new level of prominence and their perspective on future projects.
Turning “Reality” Into Cinema Michele Ohayon in conversation with Documentary Filmmakers. 10:00 // ASU – 3c Michele Ohayon, an award-winning writer, director and producer, has over 25 years of professional filmmaking experience. Born in Casablanca and raised in Israel, Michele made her first film, Lo Naim, at the early age of 19. After serving in the Israeli army, she graduated from Tel Aviv University (Film and Television). In pursue of a film career, she moved to the United States where she directed the award-winning IT WAS A WONDERFUL LIFE, a feature documentary narrated by Jodie Foster, followed by her second feature-length documentary, Colors Straight Up, which was nominated for an Oscar in 1997, as well as for a Directors Guild of America award, IFP spirit award and 11 festival awards. In 2005, she made the documentary-comedy Cowboy del Amor, which garnered a Writers Guild Of America nomination for best documentary screenplay, as well as a nomination from the International Documentary Association and many other festival awards. During the making of Cowboy del Amor, she discovered a book called Steal a Pencil for Me: Love Letters from Camp, Bergen-Belsen and Westerbork, an epistolary history of Jaap Polek and Ina Soep’s triangu-
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lar love story in those camps (Jaap was at the time unhappily married to another woman in the Camp). Michele decided to take upon a challenge and turn this compelling story that took place 60 years ago, into a fresh tale and an engaging documentary, which continues to inspire audiences around the world. It received a Writers Guild and International Documentary Association nominations, The Yad Vashem award at the Jerusalem Film Festival and was screened at the United Nations. Michele is currently in postproduction on an new film YFGY, about USA National Security and Government. Drawing on her craft and experience all over the world, as well as being a fiction screenwriter, in this session with Talents, Michele will present her approach in producing and directing various genres of documentaries, analyzing the entire process, from the idea to the big screen, using tools and methods from fiction as well as cinema verite.
Open Lecture by Slavoj Žižek The Divine Details: Enjoyment and Ideology in Cinema 12:30 // Bosanski kulturni centar – BKC Cinema Slavoj Žižek’s fascination with cinema makes him the greatest movie buff among contemporary philosophers and the greatest philosopher among movie buffs. Where other philosophers indulge in murky ruminations that still gives the philosophy the bad name of tedious and boring intellectual practice, Žižek offers the jovial excursions through numerous references to films, directors and history of cinema: he combines Descartes with Blade Runner, Schelling with The Flintstones, Karl Marx with Groucho Marx, while Jacques Lacan is merged with virtually everything from Hitchcock to Stalinist musicals, from dazzling quips of Sam Goldwyn to Morpheus’ prophesies in Matrix, and from Spielberg to Kieslowski. Examples from cinema for Žižek are not only illustrations of some already existing theses and theories, but also means for challenging and problematizing them, the tools that enables us to ask new questions about the world we live in. If classical psychoanalysis saw dreams as royal road for inquiry of drives and motives that lurks beyond an indivudual consciousness, Žižek sees moving images are the royal road to ideological dimensions of today’s social and political phenomena. In his lecture THE DIVINE DETAILS: ENJOYMENT AND IDEOLOGY IN CINEMA Žižek argues that in our self-proclaimed post-ideological era, ideology is more alive than ever in cinema. However, in our search for ideology in cinema, we should not be blinded by the film’s great narrative line or its official message. Instead, we should search for easily overlooked details, such as formal aspects or specific marginal narrative twists: it is precisely these “divine details” (to use the expression of Vladimir Nabokov) that add to the film what Jacques Lacan called its plus-de-jouir, the specific form of »surplus-enjoyment« by means of which we are hooked onto the film’s universe. Žižek will illustrate his thesis and arguments with examples from classic and modern films: Casablanca, The Fall of Berlin, Psycho, The Birds, Titanic, Enigma, I Am Legend... Žižek is currently the International Director of the Birkbeck Institute for the Humanities at Birkbeck, University of London. An impromptu cannon of his work includes titles The Sublime Object of Ideology (1989), For They Know Not What They Do: Enjoyment as a Political Factor (1991), Tarrying With the Negative: Kant, Hegel and the Critique of Ideology (1993), The Indivisible Remainder: An Essay On Schelling and Related Matters (1996), The Plague of Fantasies (1997), The Ticklish Subject: The Absent Centre Of Political Ontology (1999), Repeating Lenin (2001), The Parallax View (2006), and In Defense of Lost Causes (2008). Although cinema is omnipresent in all of Žižek´s books, it has focal position in Enjoy Your Symptom! Jacques Lacan In Hollywood and Out (1992; 2000), The Art of the Ridiculous Sublime: On David Lynch’s Lost Highway (2000), and The Fright of Real Tears: Kieslowski between Theory and Post-Theory (2001), while he edited Everything You Always Wanted to Know About Lacan (But Were Afraid to Ask Hitchcock) (1993). His commentary on Alfonso Cuaron´s Children of Tomorrow is included on the film´s DVD. Žižek’s obsession with cinema came into focus of Sophie Fiennes’ docummentary Pervert’s Guide to Cinema (2006).
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e-Talenta – European Actors & Artists´ Connection Presentation of the online casting platform by Beatrice Kruger 15:00 // ASU – Open Stage Directors, Producers and Casting Directors know how important it is to actually be able to find the right actor for the right part. They need to know where to search for the actors, how to have access to all the professional material of an actor/actress – his/her photos, a résumé, a show reel, and where to contact the actor as fast as possible. This is fairly easy in Australia, in The UK and in the USA where actors are “visible” on central casting directories. However, when it comes to casting in Europe and in the countries of SouthEast Europe, we are confronted with other realities due to the different history of each country, its specific mentality and language. The cultural importance of films, TV and theatre coming out of Europe goes hand in hand with the recognition of Europe’s increasing pool of talented actors. Consequently, the circulation and “visibility” of these talents must be guaranteed: so that professionals can find and contact them – no matter what their native language is. Rome based FBI Casting and the UK casting directory, The Spotlight, founded the web portal e-Talenta in 2006. On this platform, European actors as well as European casting agents and directors can present themselves and easily contact each other with the aid of several interactive elements. A prominent Europe-wide board of casting experts guarantees the reliability of this Internet project. Beatrice Kruger, who has worked on such films as Casino Royale, The Life Aquatic of Steve Zissou, Ocean’s Twelve, Silk and Memoirs of Hadrian, is the founder and general manager of e-Talenta. She will present www.e-talenta.eu to the professionally accredited festivalgoers and give a practical seminar on casting to the participating actors.
Coffee With…Ari Folman 15:00 // Festival Square Terrace
Overwhelming the boundaries of traditional cinema, this animated masterpiece is a journey into the director’s own traumatic past. Waltz With Bashir (screening in Heineken Open Air, August 19th) tells the author’s autobiographical story of enlisting in the army when he was in his teens, marching on West Beirut after Lebanon’s President Bashir Gemayel’s assassination and witnessing one of history’s darkest hours, the Sabra and Shatila massacres. Ari Folman in coversation about the past, the present and the future of one man, his country, and Israeli cinema.
Regional Producers in Focus: Amra Bakšić Čamo, Ankica Jurić Tilić, Ada Solomon, Boris T. Matić, Dane Hočevar, Daniel Mitulescu 15:00 // ASU – 3c
How do they see their job? The usual obstacles? Pros and Cons of co-productions? How to run your own business? Local and international measures of success? Where is the fun in it? If they were in your shoes, how would they produce a first feature, today? Some of the best and busiest producers of our region will share their experiences and give answers to many more questions coming from the audience. * Please find more details about their accomplishments under Experts 2008.
Risky Business: 30 Lessons of a Producer According to Nik Powell 17:00 // ASU – 3b
When asked to give a conference speech about the cinema of tomorrow and the ups and downs of filmmaking, Powell said: “I know a lot about the downs and only little about the ups. I have found a saying and it is that inside every old person there is a young person screaming: What the fuck happened?” According to Nik, successful filmmaking is not just about making money, nor about any of its spin-offs like
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glamour, travel or sex. Filmmaking is about risk-taking, in the financial, artistic, and entertaining sense. One must be willing to fail in order to succeed and make sure that he/she has put all the cards on the table in order to rule out the possibility of getting to a certain age and hearing that young person inside screaming What the fuck happened? Nik Powell looks at his life first as co-founder of Virgin with Richard Branson and then as a producer of more than 40 award-winning films over the last 25 years. He draws from his experiences 30 lessons he has learnt that have stood him in good stead over the years. While Powells´ approach is light and often humorous the lessons he has learnt can help anyone in film or contemplating a career in the film or indeed in any creative business.
Independent As a State of Mind: Ben Barenholtz 17:00 // ASU – Open Stage
As a theatre owner, distributor and producer, Ben Barenholtz has been a key patron of US independent film, originating the “midnight movie” format at his Elgin Cinema in New York with the exhibition of El Topo, Pink Flamingoes and The Harder They Come managing the Village Theater in New York - a specialty and revival house that featured classic, independent, underground, cult and experimental films, as well as speakers, rock concerts and live acts. It was a home for the counterculture and a major music venue, with performances by The Who, Cream, Leonard Cohen, John Coltrane, Ornette Coleman, Nina Simone and many others. With his company Libra Films, he played a major role in the early careers of David Lynch (Eraserhead), John Sayles (Return of the Secaucus Seven), while with Circle Releasing, founded in 1984, he launched and distributed such “Amerindie” stalwarts as John Woo’s The Killer, Ward’s The Navigator and and Joel and Ethan Coen’s acclaimed first feature, Blood Simple. He went on to co-produce their following films: Raising Arizona, Miller’s Crossing and Barton Fink, which won the Palme d’Or at the 1991 Cannes Film Festival, for Best Director and Best Actor for John Turturro. Recently, Barenholtz was the Executive Producer of the highly acclaimed film, Georgia, directed by Ulu Grossbard and Co-Executive Producer of Darren Aronofsky’s Requiem for a Dream among others. After three decades screening and producing other people’s films, Barenholtz indulges his passion for jazz with a debut documentary, Music Inn, a New England retreat that became an epicentre of jazz, blues and folk in the 1950s. Barenholtz considers being independent as a filmmaker a state of mind and judges his decision to stay out of Hollywood as one of his best, since this independence has allowed him to be eclectic in his choices. Though he has no particular agenda in selecting a project, he portrays it as something he feels in his bones. Over two sessions our Expert will explore the themes of taking risks and the balance between art and money and will dedicate his time to Talent Directors and Scriptwriters to discuss their projects and give them inspiring feedback.
With or Without an Agent: Workshop with Chris Villiers 17:00 // ASU – Back Stage
Acting is not easy work, and neither is getting work as an actor. With or without and agent, actors need to self-promote and create an image within a highly competitive business, especially beyond one’s national boundaries. Christopher Villiers is an actor with a list of film and television credits spanning twenty years (ranging from BBC’s Mansfield Park, Paramount’s Top Secret!, Columbia’s First Knight, Faith in the Future, Stig of the Dump, The Vice, Murphy’s Law, Mile High, Paul Greengrass’s film Bloody Sunday, Casuality, Kidaulthood, and Judge John Deed). He has a thirst and an understanding for the industry inspired by his father being a film director, mother an actress, his sister is an Oscar-winning film producer, his brother an actor and his wife a theatrical agent. As well as acting, Christopher Villiers has also written for the screen
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and in 2002 had his first feature-film, Two Men Went to War which was released to much acclaim. He also owns one of the largest film background agencies in the UK, 2020 Casting Ltd. Chris will hold a workshop for Talent Actors and will provide an overview of casting related issues, focusing on the challenges when working in smaller countries without an agency networking system. He will counsel actors on how to raise their stock on the market and give concrete advice on the best way to prepare for a casting presentation: if you are seeking to introduce yourself to casting directors or agents for the first time, a well prepared set of marketing tools is undoubtedly imperative. He will review the show-reels of the actors and give his feedback. Later, he will discuss the approaches for film casting and how to present oneself paying attention to the do´s and the don’ts in the process. * The second session will take place on Thursday, 21 at 10:00 .
SCF Workshop: Write it Short! with Dalibor Matanić. 17:00 // ASU – 3c
Dalibor Matanić is the most prolific director and screenwriter of Croatia’s new generation of filmmakers. At the age of 33, his filmography counts 5 feature films, all of which theatrically released, critically acclaimed and awarded. His debut Blagajnica hoće ići na more (The Cashier Wants To Go To The Seaside, 2000), a widely awarded black romantic comedy, notable for its intelligent and rather unlikely mix of cynicism and humanism. His second film, Fine mrtve djevojke (Fine Dead Girls, 2002), relies on a similarly oxymoronic combination of acerbic social criticism and compassion. The plot follows a lesbian couple who move into a flat in Zagreb and the tension this provokes among other tenants in the house. This film, although hard to swallow, confirmed his title of “best newcomer”, earned with The Cashier. A winner of the Best Croatian Film Award, Fine Dead Girls has been named one of the best Croatian movies of the last decade, and garnered much attention due to its controversial, provocative themes. Filled with sarcastic jabs at the sociopolitical climate thriving in Croatia, his films often blur the line between comedy and drama in a manner even the most careful of viewers will struggle to decipher. The authentic, coarse and often hilariously funny dialogues delivered some of the most memorable lines that can still be heard in the conversations of the urban population in Zagreb. Dalibor is coming to the 14th Sarajevo Film Festival with his latest film Kino Lika, in competition for the Heart of Sarajevo. Once again, with a daring emotional story, set in the grotesque world of a bizarre village, his “invisible people” take the viewer back to the most hidden and also the most intense feelings he/she might have. In this session with the scriptwriters, he will open the topic of writing or choosing compelling stories for the Sarajevo City of Film project, and will analyze together with the participants the feasibility of bringing the pitched ideas (from script) to screen, taking into consideration the restrictions imposed by the length (max 15min) and the budget (max 15.000EUR). The group will analyze the challenges of writing a script for a short film.
Recommended Screening 20.30 // Heineken Open Air 3 MONKEYS, Director: Nuri Bilge Ceylan, 109min
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THURSDAY, AUGUST 21
Tribute to Todd Haynes 9:30 // Cinema Meeting Point ALL THAT HEAVEN ALLOWS, Director: Douglas Sirk, 89min * Recommended Screening
Katriel Schory (re-) Presenting Israel Film Fund 10:00 // ASU – Open Stage Israel is increasingly gaining recognition and gathering awards at festivals worldwide. 2007 turned to be a remarkable year for Israeli cinema with Israeli films winning awards at most of this year’s major film festivals: Sundance, Tribeca, Berlin, Cannes, Montreal, Karlovy Vary and Tokyo. Tehilim by Raphael Nadjar, The Band’s Visit by Eran Kolirin, Jellyfish by Etgar Keret and Shira Gefen, as well as Waltz With Bashir by Ari Folman, which was shown in competition at Cannes earlier this year. All of these films were financed by the Israel Film Fund. Israeli cinema clearly positioned itself as an integral part of Israeli culture. The statistics of cinema show that the local audience appreciates enjoys and encourages Israeli filmmaking. In 2006 more than 900,000 Israeli viewers bought tickets to Israeli films. For the first time in years Israel’s biggest box office success was an Israeli Film. Moreover, Israeli student film is proving to be a dynamic and creative force in its own right and provides an excellent opportunity to see everyday life in Israel Katriel Schory, the Managing Director of the Israel Film Fund, and one of the key-figures of Israeli cinema with an extended background in film production and education, will talk with us about the key factors in the growth of Israel’s cinema and the policy of the fund in investing into film education and young author’s films. He will also share his view and give advice on: how a young film professional should start on the market, what is the best strategy for making your first feature film and will discuss the “euro-pudding issues” of co-productions.
SCF Workshop: The Pitch Pitching session with Franz Rodenkirchen. 10:00 // ASU 3b Franz Rodenkirchen is a person who has meticulously infused quality into the screenplays of some of the best young directors of today, such as Jasmila Žbanić´s Grbavica, Teona Mitevska´s I am from Titov Veles, Ognjen Sviličić´s Armin, Suzhou River by Lou Ye, Noi the Albinoi by Dagur Kari and Hotel by Jessica Hausner. Franz is an international script advisor, teacher and tutor for workshops and individual projects. As script advisor for the CineLink co-production market at the Sarajevo Film Festival, he coaches selected writers on their projects. Rodenkirchen is here for a coaching session on pitching of your projects.
With or Without an Agent: Workshop with Chris Villiers 10:00 // ASU – 3c * Part II.
Masters of Contemporary Cinema Nuri Bilge Ceylan in conversation with Faruk Lončarević 12:00 // ASU – Open Stage Everything about the films of Nuri Bilge Ceylan seems to be on a small scale except the immense magnitude of their impact. Ceylan’s first four feature films – The Small Town (Kasaba, 1997), The Clouds in May (Mayis sikintisi, 2000), Distant (Uzak, 2002), Climates (Iklimer, 2006) – has usually been described as minimalist both
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in terms of their production and their content. In order to keep maximal control over his work, Ceylan has made his films on a shoe-string budget, far away from producers who would find that his melancholic, contemplative pieces need more action or dialogue. For a similar reason, his film crews were virtually one-man bands where Ceylan acted not only as director, but also as writer, producer, director of photography and editor. Another distinctive feature of Ceylan’s low-key approach to production was his preference for amateur actors instead of professionals. The fact that among those actors one could often find the members of Ceylan’s family (his parents Fatma and M Emin Ceylan, wife Ebru Ceylan, and cousin Emin Toprak), or that some film sets are actually parts of Ceylan’s everyday life (like his flat and car used in Distant), only contributes to intimist aura of work. The line between Ceylan’s private persona and his cinematic universe is additionaly blured – if not utterly disolved – with his scenarios by a rule centered on a male protagonist who is haunted by the same or similar ghosts that haunted Ceylan at some point in his own life. The experience of migration from the Turkish province to Istanbul, self-complacency and desolation of an artist, estranged marital relations and crumbling family ties, intolerance toward our neighbors – as Ceylan pointed out, all of these experiences are anything but new to him, and for that reason he believed that they will resonate in other people as well. The archetypical Ceylanian protagonist is a male middle-class intellectual/artist who is stuck in his own emotional stasis, unable to get through either to people around him or to himself. Little is done in Ceylan’s films, even less is said, and what is said is often not to be trusted. “I do not believe in words,” Ceylan admitted in an interview, “The truth lies in what is hidden, in what is not told. Reality lies in the unspoken part of our lives.” Thus in his films it is silences, natural sounds, elements and landscape that tell more than self-imprisoned people. In a conversation with Nuri Bilge Ceylan Talents will get an insight into his unique cinematic language, experiences as a film director and his perspective on contemporary cinema.
Casting for Film Beatrice Kruger and Sanja Vejnović 15:00 // ASU – Open Stage FBI Casting Director, Beatrice Kruger and Sanja Vejnovic, FBI Expert for Croatia, Bosnia and Herzegovina and Serbia, will do a real casting session. They are searching for actors for the roles of Jace and Alma (male and female) for a feature film in pre-production, directed by Menelaos Karamaghiolis. This casting session will also be your practical seminar, since Beatrice and Sanja will give you all the advice on how to pull it off as a true professional.
Excursion to CineLink 15:00 // Festival Centre Cinema Today CineLink represents the Industry section of the Sarajevo Film Festival. Its activities are spread throughout the year and are designed to meet the current need and expectations of Southeast Europe´s film in-
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dustry in reshaping. It includes: Project Development Workshops, Co-production Market, Awards, Insutry Screenings, Conferences and Industry Office Services. In its 6th edition CineLink will attract over 400 film professionals from all over Europe who have embraced CineLink as a platform for development of their projects and a true catalyst in the filmmaking process. Jovan Marjanović, the Executive Manager of CineLink will explain how one can participate in the platform by submit a project for the development workshops and look for co-production partners for its realisation. Following the tour, the Talents will be invited to stay at CineLink for an interview with one of the most successful European producers today: KARL BAUMGARTNER, award-winning producer from Germany (film titles include Underground, Pola X, Irina Palm) talks to ACE President of the Board, Simon Perry.
Independent As a State of Mind: Ben Barenholtz 16:00 // ASU – 3c part II
Meet the Experts at CineLink 17:00 // CineLink This year CineLink will host selected producers and directors, who have projects in development, and offer pitching sessions to industry professionals attending CineLink. Recommended Screening
Panorama 18:00 // Cinema Meeting Point SYNECHDOCHE NEW YORK, 124 min, Director: Charlie Kaufman Note: Please pick-up your tickets at the STC Info desk.
FRIDAY, AUGUST 22
Charlie Kaufman in conversation with Howard Feinstein. 10:30 // ASU – Open Stage Ever since those who inhabit the cinema world became flabbergasted after experiencing his fractured, mesmerizing screenplay for Being John Malkovich (1999), Charlie Kaufman has become one of the most paradoxical figures in contemporary Hollywood. He is at once one of its most emblematic figures and its enfant terrible. Overnight his screenplays became what everybody likes to read and discuss—but, at least as far as the decision makers go, rarely dare to shoot.
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The fact that his first screenplays were filmed not by Hollywood directors but by music video mavericks Spike Jonze and Michel Gondry, famous for some epoch-defining experiments, is rather telling. After their first path breaking collaboration on Being John Malkovich, Kaufman provided Jonze with the script for the astonishing formula-wrecker Adaptation (2002), while Gondry benefited from screenplays for the funky screwball pastiche Human Nature (2001) and the bewildering meditation on love and memory, Eternal Sunshine of the Spotless Mind (2004). Jonze and Gondry nurtured such bizarre and splendorous plot devices as the portal into the brain of the eponymous actor, best-selling writers transformed into serial killers, and white mice with table manners, but even more so, the motivation lurking beneath them: human creativity, doubt, and fallibility. In his films, Kaufman focuses on a male protagonist who is suffocated by doubt about his own abilities, and dwells in an uncanny zone where reality and fantasy mix. All his fears of his own impotence and mortality are additionally magnified by the presence of one or several strong, elusive female figures that show no particular interest or sympathy for his extensive and indeed obsessive musings. In his directorial debut Synecdoche, New York, Kaufman develops these motives and characters more radically than in any of his previous screenplays. The main character, a theatre director named Caden Cotard, is plagued by misgivings about his own competence to be a father, husband, artist, genius, and, last but not least, a conventional male? In order to cope with such profound self-mistrust, he creates an artistic universe of real-world proportions. It is not only that Cotard’s theatre set, called Synecdoche, is an obsessive replica of Schenectady, New York, but his own life is reproduced over and over in the play he is directing. The issue of artistic creativity is intertwined with his illness, deterioration and death, challenging the notion of sickness as obstacle: it is precisely illness and nausea that propel Cotard toward his greatest achievements. One could even venture that Cotard’s illness is his ultimate piece of art.
New Regional Cinema: SNOW and DELTA Aida Begić, Elma Tataragić and Kornél Mundruczó, Viktoria Petranyi, Orsi Toth in an open conversation about their films. 12:00 // ASU – Open Stage Delta is the third feature from young filmmaker Kornél Mundruczó, a former Talent of the Berlinale Talent Campus, author of Pleasant Days (Szép napok), which awarded with the Silver Leopard at the Locarno Film Festival in 2002, and Johanna, presented in Cannes, “Un Certain Regard” in 2005. Delta, the Hungarian entry in competition at the 61st Cannes Film Festival earlier this year, deals with an incestuous relationship in the dreary landscape of the Danube delta. A film about difference and its acceptance (or not) proves that universal themes can still be enriching and enlightening, as João Antunes concluded in his Screen review. Kornél Mundruczó has also shot a movie about death. The first male actor cast as Mihail died during the shooting. Snow, Aida Begić´s debut depicts the daily hardships of a war-torn Bosnian village where all that remains are widows and their memories through female insights and a local point of view on the aftermath of the Balkan war and the terrible emotional toll of ethnic cleansing. Show, premiered and won the Grand Prix of the Semaine de la critique sidebar of the Cannes Film Festival. The screenplay was written by Aida and Elma Tataragić who is also produced the film. Their first common project realized in 1999, The First Mortal Experience was screened at more than 20 international film festivals including the Cinefondation programme of Cannes. The core members of both films crews will discuss with us the making-of process of such wonderful and successful films.
Casting for Film – 2nd Session Beatrice Kruger and Sanja Vejnović 15:00 // ASU – Open Stage * For actors only
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Recommended:
Tribute to Todd Haynes Career Interview with Todd Haynes. Intervied by Howard Feinstein. 15:00 // Cinema Meeting Point * Please come at 14:45h in order to secure seats.
SCF Workshop: The Pitch 2nd Pitching Session with Marten Rabarts. 17:00 // ASU – 3b Marten Rabarts entered the film industry in the mid-80’s in New York as an assistant editor on the Oscar winning short Molly’s Pilgrim (1985). Several years working freelance in production including for LA’s Propaganda Films, brought him into the PolyGram Filmed Entertainment group, when he moved to London in 1990, working as TV Sales Manager for ‘Manifesto’. Rabarts has been resident in the Netherlands since the Mid-90’s, continuing to work as a producer, screenwriter and script editor, and has been Head of Studies at the Binger Film Institute 2001-2005. In January 2006 Rabarts was named Artistic Director of the newly branded Binger Filmlab. At the Berlinale Talent Campus, Rabarts is a mentor for the Script Station, a hands-on workshop that provides concrete feedback to documentary filmmakers and screenwriters. Rabarts will lead the second coaching session on pitching.
Sales & Distribution: Ellis Driessen 17:00 // ASU 3c Ellis Driessen has been active in various fields of the international (European) and Dutch film industry since 1975. Through her privately owned company Proctor Film & TV she works as an independent feature films sales agent for individual producers and sales companies, specialized in the German speaking territories. She also is Acquisitions Consultant Europe & Middle East for sales company Fortissimo Films and international consultant for the Amsterdam based Binger Filmlab since its founding. Since 1999 she heads the Holland Film Meeting/Netherlands Production Platform, the annual gathering of Dutch and foreign film professionals during the Netherlands Film Festival. The Talents have the opportunity to discuss with the Expert what is what is the role of a sales agent in the process of sales and distribution of a film, what are the criteria for acquisition of films for a sales company such as Fortissimo Films, and how to get the film in the hands of the right sales agent.
SATURDAY, AUGUST 23
Opportunities for Project Development Presenting: Atelier de la Cinéfondation, Binger Filmlab, TorinoFilmLab and CineLink Moderated by Amra Bakšić Čamo, Head of CineLink 10:00 // ASU – Open Stage Meet the Experts: Georges Goldenstern is the Manager of the Cinéfondation of the Festival de Cannes, created to support film creation throughout the world and help prepare the passing of the torch to next generation of filmmakers. In 2005, the Festival confided the Cinéfondation with the mission of organising the Atelier: about twenty filmmakers, chosen on the basis of an accomplished film project, are invited to the Festival to attain production and international production under highly favourable conditions. Ido Abram, will present the Binger Filmlab - an Amsterdam based international feature-film development
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centre where talented writers, directors, producers and script editors from around the world can place both their projects and their usual working practices within an inspiring environment of fellow film-makers, to be coached and supported by internationally acclaimed mentors and advisors. Franz Rodenkirchen, is Head of Selection of the TorinoFilmLab - a new, year-round, international laboratory that supports emerging talents from all over the world working on their first and second feature films, through training, development and funding activities. Amra Bakšić Čamo, Head of CineLink - the industry section of the Sarajevo Film Festival.
Festival Closing Lunch 13:00 // Atmejdan Hosted by Federation of Bosnia-Herzegovina Minister of Culture and Sports Sarajevo Canton, H.E. Emir Hadžihafisbegović
* By Invitation Only
Festival Coffee With…Kevin Spacey 15:00 // Festival Square Terrace
One of the greatest actors of our time, two-time Oscar winner Kevin Spacey, talks to us about his outstanding body of work and challenges left ahead for a man who seems to have done it all.
2nd Sarajevo Talent Campus Closing Session 17:00 // ASU – Open Stage Festival Closing Party Please see Festival Calendar of Events * by invitation only
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SARAJEVO CITY OF FILM iniciative and sponsoring
Federalno Ministarstvo kulture i sporta / Fond za kinematografiju Federacije BiH Vlada Federacije BiH supported by
Ministarstvo znanosti, obrazovanja i športa Republike Hrvatske
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THANK YOU: 1. Gimnazija, Sarajevo, Akademija scenskih umjetnosti // Academy of Performing Arts, Ambasada Kraljevine Norveške u Sarajevu (The Royal Norwegian Embassy in Sarajevo), Art Servis, Berlin International Film Festival, Berlinale Co-Production Market, Berlinale Talent Campus, Berlinale Talent Project Market, Binger Filmlab, Cinefondation, Croatia Airlines, Croatian Audiovisual Centre // Hrvatski audiovizualni centar, e-Talenta, FBI Casting, Federalna Televizija, Federalno Ministarstvo kulture i sporta / Fond za kinematografiju Federacije BiH, Film Centre Serbia // Filmski centar Srbije, Grad Sarajevo, Greek Film Centre, Heinrich Böll Stiftung // Heinrich Böll fondacija u Sarajevu, Holandska ambasada u Sarajevu (The Royal Netherlands Embassy in Sarajevo), Israel Film Fund, Klas d.o.o. , Ministarstvo znanosti, obrazovanja i športa Republike Hrvatske, OPA, Pro.ba, Red Bull, Robert Bosch Stiftung, Sam Spiegel Film and Television School – Jerusalem SONY, TEAM Consulting, TorinoFilmLab, UNICEF – Sarajevo, Vlada Federacije BiH Ada Solomon Adi Tunović Adnan Ćehić Ahmet Boyacioglu Aida Begić Aida Memović Aida Shalabi-Ljubičić Albert Kapović Alma Hadžić Almir Palata Altijana Marić Amela Sejmenović Amer Bećirbegović Amna Veledar Amra Bakšić Čamo Anđelija Andrić Ankica Jurić Tilić Antonio Santičević Armin Hujić Baltasar Kormakur Beatrice Kruger Ben Barenholtz Boris T. Matić Branko Lustig Bruno Anković Charles L. English Charlie Kaufman Christina Janitz Christine Troestrum Christopher Villiers Christopher Weekes Dalibor Matanić Damir Puzić Damjan Kozole Dana Budisavljević Dana Shafar Daniel Mitulescu Danijel Hočevar Danis Tanović Dejan Ćorič Dejan Spasić Dieter Kosslick Dino Čolaković Dorothee Wenner
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Dragan Primorac Džemal Šabić Dževad Mujan Ellis Driessen Elma Tataragić Emela Burdžović Emina Dobraca Emina Ganić Emir Hadžihafisbegović Emir Pekmez Enrico Battaglia Ešrefa Gačanin Esther Bannenberg Evi Lazari Feđa Purivatra Ferenc Pusztai Fikreta Zec Frank Albers Franz Rodenkirchen Gavrilo Grahovac Georges Goldenstern Gonzalo Arijon Goran Juriša Bašić Hajrudin Ajkunić Haris Kitanović Howard Feinstein Hrvoje Laurenta Ibrahim Smajlagić Ido Abram Iliana Zakopoluou Imri Khan Ivan Hrkaš Izeta Građević Jadranka Hrga James Marsh Jan Braathu Jana Daedalow Jasmila Žbanić Jasna Lubura Jelena Mitrović Jovan Marjanović Juliette Binoche June Kunugi Karel Vosskuhler
Sarajevo Talent Campus #2
Karl Baumgartner Kathi Bildhauer Katriel Schory Kevin Spacey Kornel Mundruczo Labina i Teona Mitevska Lejla Begić Lejla Karišik Lejla Pašović Leon Lučev Lior Shamriz Maja Begtašagić Majda i Musa Beširović Marjuta Slamić Marten Rabarts Martina Petrović Menisa Delić Michele Ohayon Mike Goodridge Mike Leigh Mila Petkova Minja Mirković-Husić Mira Staleva Mirela Gruenther- Dečević Miroljub Vučković Miron Sršen Mirsad Purivatra Moamer Kasumović Mohamed Didović Nataša Popović Nebojša Jovanović Nedim Kovač Nedžad Branković Neira Pašić Nela Kačmarčik Nik Broomfield Nik Powell Nikolaj Nikitin Nuri Bilge Ceylan Ognjen Dizdarević Ognjen Džinić Olinka Vištica Orsi Toth Philippe Bober
Pierre Spengler Pjer Žalica Press Team Rada Šešić Renen Schorr Riada Asimović Rusmir Efendić Sanja Ravlić Sanja Vejnović Santiago Otheguy Šejla Masnić Semiha Borovac Senad Alihodžić Simon Perry Slavoj Žižek Snežana Marić Sonja Heinen Srdan Golubović Srđan Vuletić Srebren Dizdar Stefan Kitanov Stojan Pelko Tatajana Sauka-Spengler Tatjana i Ante Ivišić Terry George Thomas Kist Timka Grahić Timur Makarević Tina Hajon Todd Haynes Vanda Štambuk Vanja Kaluđerčić Viktoria Petranyi Violeta Mitulescu Zajenik Plakalo Zijad Mehić Zora Stančić Accrediation Team SFF BOOM! Produkcija CineLink Team SFF Press Team SFF Protokol Team SFF Transport Team SFF
IMPRESSUM:
TEAM 2008 Project Manager: Ivana Ivišić Project Co-ordinators: Ivana Biloš, Adnan Beširović Selection: Ivana Ivišić, Timka Grahić, Elma Tataragić, Amra Bakšić Čamo, Izeta Građević Moderators: Howard Feinstein, Mike Goodridge, Amra Bakšić Čamo, Vanja Kaluđerčić, Nebojša Jovanović, Jovan Marjanović, Faruk Lončarević Programme Co-ordinator: Lejla Mekić Location Managers: Haris Berbić, Sead Karkelja (ASU) Guest Management: Anisa Kerken, Nina Šeremet Project Assistants: Luna Mijović, Aida Fazlagić Workshop Co-ordinator: Vuk Mitrović STC Video Documentation: Srđan Kovačević STC Notebook: Nebojša Jovanović, Ivana Ivišić
SARAJEVO CITY OF FILM: Project Co-ordinators: Ivana Biloš, Timka Grahić
SARAJEVO FILM FESTIVAL: Director: Mirsad Purivatra Creative Director: Izeta Građević Executive Director: Emina Ganić Administrative Director: Dževad Mujan Executive Producer: Almir Palata Head of Programming: Amer Bećirbegović Press Office: Altijana Marić Hospitality Office: Lejla Karišik IT Manager: Nedim Kovač
IMPRINT: Documentation: Sarajevo Talent Campus Team Translation and Proofreading: Ivana Ivišić Graphic Design and DTP: BOOM Produkcija Print: Dar Prirode d.o.o. Zenica Print run: 500
Sarajevo Talent Campus #2
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