Talents Sarajevo Programme 2018 by Sarajevo Film Festival

Talents Sarajevo #12

TALENTS SARAJEVO PARTNER

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Contents 5 Welcome to Talents Sarajevo 2018

8 Talents Sarajevo at a Glance 10 Acting Studio 11 Camera Studio 13 Directors Summit 15 Editing Studio 17 Film Stage Studio 18 Pack&Pitch 19 Producers Summit 22 Script Station 24 Talent Press

Participants: 26 2018 Talents 34 Mentors 37 Experts and Moderators 44 Talents Sarajevo Team

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Talents Sarajevo 2018: The Freedom of Chaos As filmmakers, as artists, and fundamentally as storytellers, it is our place to make order out of chaos â&#x20AC;&#x201C; to create narratives that help us make sense of our world, to persuade, to lead, to be heard. By extension, it is for us to determine the models that will allow us to accomplish our noble task. There are tried-and-true structures in place, built by those who have gone before us â&#x20AC;&#x201C; but received knowledge is always to be questioned, and making chaos out of order can bring about new and perfect synthesis. We seem to be living today amid great disorder â&#x20AC;&#x201C; in a world where violence, deception, and greed have bastardized models of solidarity, compassion, and understanding. But there is hope: worn-out and irrelevant structures are being challenged; new models are rising on the rubble of the old. Indeed, scandal and outrage in our film industry have inspired an international movement that is allowing previously silenced voices to be heard and listened to. Emerging filmmakers must persist in asking what models are needed if they are to tell their stories. Do models of creativity need to be retooled to catch up with perpetually evolving technology? Are there better ways to make work when faced with shrinking funding sources and more hands held out seeking backing? Audience appetites are constantly changing; what can be done to satisfy the hunger? Making and viewing films is a communal experience, and one that is predicated on collaboration. What uncharted territory can we explore to find new ways of working together, of sharing knowledge, and of exchanging expertise across borders?

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Welcome to Talents Sarajevo 2018

A very warm welcome to Talents Sarajevo 2018 In recent weeks, we asked all of you about your relationship to, and your ways of approaching, chaos. How, we wondered, would you feel about dismantling the familiar, challenging the established, making a mess and then cleaning it up? In a world that increasingly seems to believe that desires, likes, dislikes – in a word, taste – can be calculated via logarithm, it was heartening and inspiring – emboldening, even – to receive such an array of thoughtful, often very personal responses. Your replies ran the gamut from the philosophical to the mathematical; from the emotional to the analytical. There are those of you who embrace chaos with open arms; some of you seek to make order of it posthaste. We hope, during this lively week of sessions with filmmaking experts from around the world, that you will examine what is around you – in your world, in your peer group, in the structures of making films – both the industrial and the artistic – and discover new and better ways of telling your stories, of having your voices heard, and of working together to create fresh and inspiring work. We ourselves have been busy making order out of chaos for the past several months, in order to create this year’s edition of Talents Sarajevo in the hopes that it will provide a solid, if flexible, structure within which to explore your thoughts, experiment with new ideas, cross paths with your peers, and expand your network of professional contacts. I must point out that chaos would certainly have reigned were it not for the tireless efforts of my partnerin-crime Dina Ćerić, whose cheerful approach to everything Talents keeps our whole team afloat. Our erstwhile colleagues Anida Devedžić and Šejla Lajlani have provided a depth of support and insight that has been much appreciated as we wound our way through building this year’s programme; and our delightful team of coordinators are also to be thanked for their dedication and enthusiasm. Florian Weghorn and Christine Tröstrum of Berlinale Talents have been instrumental in providing advice; and we owe many thanks as well to the Sarajevo Film Festival’s own Izeta Gradević, Jovan Marjanović, and their entire teams. And of course, we owe a great debt of gratitude to you, our 2018 Talents, for your enthusiasm and engagement, as well as to the many mentors and experts who will so generously share their experience and wisdom to pass along the torch of visual storytelling we all love and cherish. See you at the movies! Nicholas Davies

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Welcome from our Partner – Berlinale Talents

Berlinale Talents Welcome to the 12th edition of Talents Sarajevo. We look forward to meeting all of you in the coming days and cannot wait to get to know more about you and your work. The Talents programme is once again as diverse as you, its participants, and we hope that you will benefit greatly from the sheltered space for inspiration and collaboration that Talents Sarajevo provides. Reflecting on this year’s theme, “The Freedom of Chaos”, we encourage you to be active, passionate, and critical contributors to every element on offer. There is a lot to take home if you team up with your colleagues and learn from their ways of creating structures and models in our complex worlds. At the same time, we invite you to share your thoughts openly, and to create the best of ‘chaos’ by challenging the solutions and opinions that arise. Your new ideas are urgently needed these days. We want to express a heartfelt ‘Hvala Puno’ to Mirsad Purivatra, the lovely team of the Sarajevo Film Festival, and to Nicholas Davies, Dina Ćerić, and our other dear colleagues who have worked day and night towards another successful edition. We welcome you to our huge family of more than 7,500 Talents from around the globe, and encourage you to stay in touch with us in the future. Should you consider joining us in Berlin for Berlinale Talents 2019, you are welcome to apply at www.berlinale-talents.de until 3 September 2018. Several Berlinale colleagues are attending this year’s Sarajevo Film Festival, so please don’t hesitate to talk to us if you have questions or would like to show us your new work. We wish you all an inspiring week and myriad unforgettable encounters, Florian Weghorn, Berlinale Talents Programme Manager Christine Tröstrum, Berlinale Talents Project Manager

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Academy of Performing Arts - Home of the Talents Sarajevo

The Academy of Performing Arts The Academy of Performing Arts in Sarajevo started activities in 1981, with the enrolment of the first generation of students in its Acting Department. This was followed by the opening of the Directing Department in 1989, with the Department of Dramaturgy established during the war in 1994. An important segment of the Academy’s activities has been realized at the Open Stage Obala, the legendary Sarajevo theatre and the place where students present their work and where professional actors, directors and writers contribute to the theatre repertoire of Sarajevo and Bosnia and Herzegovina (BiH). The Academy is the oldest acting school in BiH. The work of Acting Department was established on the foundations of experiences at prestigious acting schools in Europe and around the world. Given the number and importance of the prizes awarded to the achievements of its alumni, the Directing Department can be numbered among the most prestigious schools of its kind in the world. The department offers the study of multi-media directing as a unique artistic profession practiced in theatre and cinema, and on television and radio. At the Department of Dramaturgy, studies are based on the complexity and synthetic character of the dramatic arts, as well as on the positive world experiences and original working methods from the fields of dramaturgy, and theatre and film arts. The programme brings together classic and modern principles and procedures.

Open Stage Obala The Open Stage Obala is the place in Sarajevo for students to train and present their examination work and projects to the public. Part of the students’ training is implemented in co-operation with theatre, television and film companies from Sarajevo, which enables students to realise their practical work and projects, including works for both theatre and cinema. Professors and students continued to work at the Academy throughout the siege of Sarajevo, directing plays and documentary films, or collaborating on art projects. From 1992 to 1996, the teachers and students of the Directing Department contributed to events and productions at the MESS International Theatre Festival; the first Sarajevo Film Festival; productions of the SaGa film company; Radio and Television of Bosnia and Herzegovina; and various Sarajevo theaters, as well as various other art and documentary projects. The alumni of the Academy’s Directing Department have received more than 200 awards, including an Academy Award, a European Film Award, and prizes at the Cannes Film Festival, the Berlin International Film Festival, the Festival del Film Locarno and the International Film Festival Rotterdam. Recently, the Academy has established departments of Production, Management and Editing, with the intention that students will soon find success in those fields as well. Pjer Žalica Dean of the Academy of Performing Arts

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Talents Sarajevo at a Glance While for much of the week, Talents will be in sessions appropriate to specific disciplines and their concerns, there are a number of moments when the group comes together as one.

OPENING SESSION The 12th edition of Talents Sarajevo will be inaugurated by Palme d’Or-winning Turkish filmmaker and photographer Nuri Bilge Ceylan, whose body of work is also the subject of the Sarajevo Film Festival’s Tribute programme this year. Ceylan’s elegant, deeply pensive cinema has been the subject of much analysis and celebration since his arrival on the international film stage in 1995. A discussion of his œuvre and practice will be followed by a question-and-answer period for Talents. The festival is also pleased to host an exhibition of this filmmaking master’s photography, which Talents are encouraged to attend; Turkey Cinemascope, a selection of photographs taken by Ceylan between 2003 and 2009, is on display throughout the week at the Art Gallery of Bosnia and Herzegovina.

ICEBREAKER Sixty-one Talents … nine streams of programming … six days. Participants are going to be busy busy busy with projects, assignments, and screenings, so to ensure everyone gets to know each other at the start – and to answer all those what, where, when, and who questions that will make the festival experience a smooth one – we’ll gather together and play a goofy game. Channel your inner first-grader, find out who your colleagues are, and let the networking begin!

FILM SCREENINGS Talents Sarajevo is pleased to be able to provide you with one ticket to a Festival screening every evening as part of your Talents programme. Please be sure to attend, as many of the selected films will inform your conversations and sessions over the course of the week. Tickets are distributed daily by your Talents coordinators. In addition, you can visit the main box office, where your accreditation will permit you to obtain one ticket per day to an additional film of your choice.

EVERYBODY GOES TO EVERYBODY KNOWS One of the great joys of the Sarajevo Film Festival is its truly gigantic Open Air Cinema, so we’re sending Talents there to take in EVERYBODY KNOWS, the latest film from celebrated Iranian director Asghar Farhadi, who attends the festival this year in the role of Jury President for the Competition Programme – Feature Film. When Laura and her children travel from Buenos Aires to an Argentinian village to attend a wedding, unexpected events lead the family gathering towards crisis.

FILM STAGE STUDIO PRESENTATION Talents in the Film Stage Studio work with three scripts in a five-day scene workshop, going through casting, directing and rehearsals with mentors Gyula Gazdag and Ermin Bravo – all of which culminates in a live-shoot presentation of everything they have developed over the course of the lab, with Talents participants as the audience. Come see what your Film Stage Studio peers have accomplished! For more details, see page 17.

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WRAP UP We close Talents Sarajevo as we began: all together. Perhaps a little weary, but loaded up with new knowledge, and now full-fledged Talents alumni. In this final session, Berlinale Talents Programme Manager Florian Weghorn outlines the opportunities that await Talents who apply to attend the Berlin International Film Festival, as well as the benefits of being part of the international Talents network. Weâ&#x20AC;&#x2122;ll ask for your feedback on your experiences over the past week to capture your input and insight; then, some casual time to catch up with peers, wish everyone well, catch a final screening â&#x20AC;&#x201C; and hit the closing night festivities.

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Talents Sarajevo at a Glance

Acting Studio Acting Studio Talents participate in sessions where they exchange insights, rethink their craft, and enhance their acting skills. They are also prevailed upon to develop their artistry within the Film Stage Studio programme, where they help realise scenes directed by six other Talents, and deliver the final product to an audience at the culmination of the programme. Mentor: Ermin Bravo

DIRECTING ACTORS The relationship between a director and the members of a cast is a pivotal element of any film production. How can one professional transmit to another their creative vision with precision to capture exactly the expression, emotion, and tone required for any given moment? Ermin Bravo demonstrates how a single, carefully selected word can sometimes give an actor everything they need to deliver a pitch-perfect performance.

EDITING FOR ACTORS How is an actor’s performance handled and evaluated in the editing room? Why does an editor prefer one take to another in terms of its acting? And how does an actor’s on-camera performance shape editing? These are some of the questions addressed in this talk. Often, actors do not have access to the editing suite, but it is here that their performances are scrutinised, shaped, and enhanced – and occasionally cut out altogether. Editor Çiçek Kahraman highlights the editing process to help actors equip themselves better in front of the camera.

FILM STAGE STUDIO Under the tutelage of distinguished screenwriter and director Gyula Gazdag, the Film Stage Studio sessions provide Talents with a cross-disciplinary experience that brings together actors, writer-directors, and cinematographers in a series of casting exercises, scene workshops, rehearsals, and a live performance to conclude Talents Sarajevo. For further details, see page 17.

GLORIA MAGAZINE PHOTO SHOOT Over the course of the week, Acting Studio participants are photographed by Croatian magazine Gloria; photos will be displayed at next year’s Sarajevo Film Festival during the annual Gloria welcome reception.

LANDING THE JOB Debbie McWilliams, whose career as a casting director spans the last 35 years, provides Talents with pointers on packaging their performance skills. Topics include how to make an effective self tape, and other industry insight that will help you ensure you always wind up on the short list.

MULTIPLE MANIPULATIONS Preparatory Screening: SRBENKA (Nebojša Slijepčević, 2018) Deriving a performance from a morass of emotions, knowledge, and research is the hallmark of successful acting practice – but laid over this process when working in a group setting is the far-reaching element of manipulation. Storytelling in and of itself is a manipulation of thoughts, time, and points of view; performances are a manipulation of memories and feelings. Drawing on their experiences as participants and observers of this chaos of multi-directional manipulation, Ermin Bravo and SRBENKA director Nebojša Slijepčević lead participants through exercises and discussions of maintaining balance while directing, workshopping, improvising, and delivering scenes – all of which require compromise and defined boundaries, alongside the freedom to explore and experiment.

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Talents Sarajevo at a Glance

Camera Studio Together with director and cinematographer George Chiper-Lillemark, Camera Studio participants conduct a series of exercises and experiments that get back to the roots of cinematographic exploration. Working within defined limits and with assigned themes, Talents develop and deliver visual elements, and collaborate with Editing Studio participants to explore non-script-based storytelling. Cinematographers also assist with the final presentation of the Film Stage Studio workshops.

Mentor: George Chiper-Lillemark AWAY FROM THE ACTION: SHOOTING SRBENKA Preparatory Screening: SRBENKA (Nebojša Siljepčević, 2018) In capturing the preparations for provocative theatre director Oliver Frljić’s play about the murder of young Alexandra Zec during the Yugoslav Wars, director Nebojša Siljepčević made shooting choices that might seem almost counterintuitive – often turning his camera away from the action during rehearsals to look at the reactions and exchanges among those observing, reflecting, and judging – and so capturing not what was happening, but how it was perceived, and leading to a fascinating interplay of gazes that draws the viewer in.

MEET THE EXPERT Talents have the opportunity to meet an expert in their field for a casual chat about their specific experiences and work in cinematography. This year’s guest is Slovenian cinematographer Marko Brdar.

RECONSTRUCTING THE SHORT FORM Four successful female film professionals – all of them, we are proud to note Talents alumnae – share their thoughts on a range of topics, among them the short film as an art form; festival strategies for short films; the relationship between the industry in the East and the West; finding exposure for your upcoming work during pre-production; development programmes and assistance; and the urgent and timely issue of women working in the film industry and how attitudes and reactions to activism differ in different regions of the world. Film critic Tara Karajica moderates a panel with the members of this year’s jury for the Sarajevo Film Festival’s short film competition – filmmakers Konstantina Kotzamani, Antoneta Kusijanović, and Ena Sendijarević.

The Talents Sarajevo Camera Studio sessions are generously supported by the Academy of Performing Arts of Sarajevo. Talents Sarajevo #12

Talents Sarajevo at a Glance

SHOOTING TOUCH ME NOT Preparatory Screening: TOUCH ME NOT (Adina Pintilie, 2018) Ten years after they first worked together, director – and Berlinale Talents alumna – Adina Pintilie and cinematographer George Chiper-Lillemark collaborated on the provocative, Golden Bear-winning TOUCH ME NOT. In this session, Chiper-Lillemark discusses the ideas and concepts that went into the visuals of the film, and returning to his earlier partnership with the director.

TALENTS CIRCLES Preparatory screening: Sarajevo City of Film 2018 With a week of sessions behind them, Talents come together to discuss issues of particular interest that they encountered, solved, or are sure to contemplate in the future. As well, a conversation about what support Talents Sarajevo can provide its alumni in the future is on the agenda. Relax, brainstorm, and find out what your colleagues have been up to.

TO POST OR NOT TO POST? THAT IS THE QUESTION Despite the mind-blowing advances in today’s tech-crazy world, the phrase ‘we can fix it in post’ should be anathema to producers and film crew alike. Avanpost Digital Cube CEO Cristian Nicolescu chats with Talents about how relying on the post-production phase to remedy shortcuts taken during production can take an unexpected toll on budgets and getting films to the screen.

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Talents Sarajevo at a Glance

Directors Summit The Directors Summit features a series of seminars, discussions, and presentations throughout the Sarajevo Film Festival that provide directors with skills-building knowledge gathered from industry experts with extensive experience, accomplished filmmakers, and their Talents peers attending other programme sections.

COLLABORATING WITH CASTING DIRECTORS Debbie McWilliams, whose career as a casting director spans the last 35 years, opens a discussion with producers and directors about how to get the most – and the best – out of a collaboration with a casting director, based on her keynote speech at the Berlinale, when she discussed how to get the best cast for a project based on budget and script. The discussion will also turn to how independent films can survive in this difficult market, and if there is any longer a place for the “art film”.

DIRECTING ACTORS The relationship between a director and members of their cast is a pivotal element of any film production. How can one professional transmit to another their creative vision with precision to capture exactly the expression, emotion and tone required for any given moment? Acting Studio mentor Ermin Bravo takes Talents directors through a workshop that demonstrates how, sometimes, a single, carefully selected word can give an actor everything they need to deliver a pitch-perfect performance.

INTRODUCTION TO CINELINK INDUSTRY DAYS Join Head of Industry Jovan Marjanović for a familiarisation tour of CineLink Industry Days, the Sarajevo Film Festival’s multi-platform sessions and programming tooled for networking, support and development of the film business in Southeast Europe and the Southern Caucasus.

MAHDI FLEIFEL: XENOS AND A DROWNING MAN After the success of his first feature-length documentary, A WORLD NOT OURS, director Mahdi Fleifel sought funding for his first feature narrative. In support of this endeavour, he crafted the short documentary XENOS to demonstrate the foundation of what his intended feature would rest upon. Unexpectedly, a commission to create a short fictional work based on XENOS arose; so begins the story of the Silver Bear-winning A DROWNING MAN. In this session, Fleifel examines the interplay between the two short films, and delves into the story of their making.

OGNJEN GLAVONIĆ ON THE LOAD Preparatory Screening: THE LOAD (Ognjen Glavonić, 2018) In THE LOAD, director Ognjen Glavonić takes a story inspired by the real-life events he examined in his earlier documentary DEPTH TWO to create a tense and disturbing film. In this discussion, Glavonić explores his experience with making a first feature, balancing what collaborators want from the film, writing (and rewriting), and the importance of the soundscape in THE LOAD – and welcomes analysis of the film from Talents.

PACK&PITCH The Pack&Pitch module supports emerging directors and producers in preparing their projects for the marketplace. Participants learn how to analyse and prepare their projects for effective written and oral presentation, then pitch their projects at the end of the programme to a jury and an audience of peers and industry professionals. For more details, see page 18. Talents Sarajevo #12

Talents Sarajevo at a Glance

Q&A WITH ASGHAR FARHADI Master filmmaker Asghar Farhadi joins Talents directors and screenwriters for an intimate, casual discussion of his work and approach to filmmaking. The session will take direction organically, so you are encouraged to arrive with all your burning questions.

RESHAPING REALITY: DEVELOPING THE WRITER-DIRECTOR RELATIONSHIP The director-screenwriter duo seems like it should be a natural, organic element in the filmmaking process – famous long-term pairings are easy to find throughout the history of cinema - and yet this relationship can be both precarious and antagonistic. Screenwriters want their scripts - their children! - to be treated with utmost care, while directors want vast freedom to realise their personal visions. How can these seemingly disparate attitudes be reconciled? In a seminar-cum-pitch-session environment, script analyst and co-production expert Teresa Cavina talks with screenwriters and directors about their expectations of each other, how to bridge gaps, and how to find harmony when working together to bring the written word to the screen.

SHARED FUTURES In the name of Chaos, critics and directors – supposed arch-enemies – sit down with Talent Press mentors Dana Linssen and Yoana Pavlova to discuss what the future holds – or perhaps the future is plural? As filmmaking becomes more and more about storifying the personal, and criticism 2.0 encompasses increasingly diverse formats and methodology, this year’s Talent Press and Directors Summit participants will chat about – as well as experiment with – audio-visual approaches to cinema and its critique. Through simple exercises and relying on examples from the Sarajevo Film Festival screening line-up, hopefully these two disparate but interwoven groups will discover a common language to provide a foundation for future alliances.

SHOOTING TOUCH ME NOT Preparatory Screening: TOUCH ME NOT (Adina Pintilie, 2018) Ten years after they first worked together, director Adina Pinitilie and cinematographer George Chiper-Lillemark collaborated on the provocative, Golden Bear-winning TOUCH ME NOT. In this session, Chiper-Lillemark discusses the ideas and concepts that went into the visuals of the film, and returning to his earlier partnership with the director.

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Talents Sarajevo at a Glance

Editing Studio Freed from the boundaries of time and space, I co-ordinate any and all points of the universe, wherever I want them to be. My way leads towards the creation of a fresh perception of the world. Thus I explain in a new way the world unknown to you ― Dziga Vertov With this thought from the Soviet master in mind, participants of the Editing Studio will go back to the roots of editing in a series of exercises and experiments that explore non-script-based editing. In the spirit of the freedom of chaos, Talents will be sent out into the field to capture images, collaborate with the participants of the Camera Studio, and craft stories from random elements of real life.

Mentor: Redžinald Šimek DOCU ROUGH CUT BOUTIQUE OBSERVATION The CineLink DOCU Rough Cut Boutique sessions include screenings and discussions of near-final assemblies of works-in-progress. Editing Talents attend book-end presentations of this process to gain insight into the reactions of seasoned experts from the documentary world, who provide their thoughts on what next steps the filmmakers might take to lock the film. Romanian director Cătălina Tesăr’s THE CHALICE provides the focus of this year’s observation.

EDITING FOR ACTORS How is an actor’s performance handled and evaluated in the editing room? Why does an editor prefer one take to another in terms of acting? And how does an actor’s on-camera performance shape editing? These are some of the questions addressed in this talk. Often, actors do not have access to the editing suite, but it is here that their performances are scrutinised, shaped and enhanced – and sometimes cut out altogether. Led by Çiçek Kahraman, this session highlights the editing process to help actors equip themselves better in front of the camera.

IN CONVERSATION WITH MILA TURAJLIĆ: WORKING WITH ARCHIVES Preparatory screening: THE OTHER SIDE OF EVERYTHING (Mila Turajlić, 2017) Mila Turajlić’s THE OTHER SIDE OF EVERYTHING had its premiere at the Toronto International Film Festival in 2017, and went on to win 20 awards, including the prestigious IDFA Award for Best Documentary Film. Previously, her CINEMA KOMUNISTO won awards including the FOCAL Award for Creative Use of Archival Footage. In this presentation, Turajlić discusses the intricacies and pleasures of working with archival material during the filmmaking process.

Talents Sarajevo at a Glance

WRITING AND EDITING Screenplays are the first word on a film – but not the last. After the screenplay, the second telling is in the filming; the final, definitive one is in the edit. What lessons can writers learn from editors and the editing process? Editor-turned-writer Olivia Hetreed leads a discussion to illustrate the lessons that can be taken from the cutting room, from the power of juxtaposition to the virtues of brevity.

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Talents Sarajevo at a Glance

Film Stage Studio The Film Stage Studio provides Talents with a cross-disciplinary experience that brings together actors, writer-directors, and cinematographers in a series of casting exercises, scene workshops, and rehearsals that culminate in a live performance. Over the course of the lab, Talents explore the nature of dramatic structure, character development and visual forms. The Film Stage Studio develops creative interaction among participants in a safe workshop environment. Under the tutelage of Film Stage Studio mentor Gyula Gazdag and Acting Studio mentor Ermin Bravo, three scenes, submitted by Talents, are each workshopped twice, under the direction of six directors. This allows the writing to be considered from differing directorial, cinematographic, and performance points of view. The Studio emphasis is on exploration of the scene-building experience, rather than on the final product – the possible permutations are limitless, and the live presentation represents six realisations of the cinematic creative process.

Mentor: Gyula Gazdag COLLABORATING WITH CASTING DIRECTORS Debbie McWilliams, whose career as a casting director spans the last 35 years, opens a discussion with producers and directors about how to get the most – and the best – out of a collaboration with a casting director, based on her keynote speech at the Berlinale, when she discussed how to get the best cast for a project based on budget and script. The discussion will also turn to how independent films can survive in this difficult market, and if there is any longer a place for the “art film”.

CINELINK TALK: ACE INTERVIEW WITH MEINOLF ZURHORST Meinolf Zurhorst is one of the most experienced professionals in the world of European television. A wellknown producer and film critic in the 1980s, in 1992, he became the commissioning editor of the cinema department of ARTE in Strasbourg, and in 1994 was appointed head of that department. In 2000, he moved to German TV ZDF to direct the film department in charge of ARTE, where, under his supervision, ZDF/ARTE co-produced films including THE UNTAMED by Amat Escalante, THE OTHER SIDE OF HOPE by Aki Kaurismäki, A FANTASTIC WOMAN by Sebastian Lelio, GRAIN by Semih Kaplanoğlu, and THE SQUARE by Ruben Ostlund. He is joined in conversation by moderator Simon Perry.

The Talents Sarajevo Film Stage Studio sessions are generously supported by the Embassy of the United States in Bosnia and Herzegovina. Talents Sarajevo #12

Talents Sarajevo at a Glance

Pack&Pitch Since 2010, Pack&Pitch has supported emerging directors and producers in preparing their projects for the marketplace. Participants learn how to analyse and prepare their projects for effective written and oral presentation. Talents are mentored in group and one-on-one session by pitching trainers, who instruct them in the creation of one-pagers and the analysis of their projects, and provide insight into the all-important subjects of how to pitch, and to whom. Over the course of several days of intensive sessions, Talents prepare written and oral presentations of their projects, which they pitch at the end of the programme to a five-member jury and an audience of their peers and industry professionals. The Talent who makes the most successful pitch is invited to participate in the Sarajevo Film Festival’s CineLink programme in 2018, and receives an in-kind award worth €4,000 from Studio Chelia.

Mentors: Gabriele Brunnenmeyer and Selina Ukwuoma CINELINK TALK: MAKE YOUR PITCH CUSTOM-MADE Whenever you do something that comes from the bottom of your heart, all the energy you pour into it is reflected in the form of excellent results. There are no general rules to define a great pitch. The keys are knowing your story inside and out, and accessing your passion during your pitch. During this lecture, Michaela Sabo provides a guide for determining your pitching strengths and weaknesses, and taking advantage of both, so you can tailor a truly heartfelt pitch.

TALENT PRESS INTERVIEWS Once the week’s intense preparations are complete, and Talents have delivered their public pitches, Talent Press participants interview the pitchers to provide radio reportage about the experience.

The Talents Sarejevo Pack&Pitch sessions are generously supported by Studio Chelia and CineLink Industry Days.

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Talents Sarajevo at a Glance

Producers Summit Under the guidance of Israeli Film Fund director and long-time producer Katriel Schory, Producers Summit participants attend a series of lectures, dicsussions, shadowing opportunities, and presentations throughout the Sarajevo Film Festival, with an emphasis on involvement with the activities of CineLink Industry Days, the festival’s industry platform. The sessions provide Talents with skill-building knowledge gathered from industry experts with extensive experience, accomplished filmmakers, and their Talents peers in other programme sections.

Mentor: Katriel Schory ACE INTERVIEW WITH MEINOLF ZURHORST Meinolf Zurhorst is one of the most experienced professionals in the world of European television. A well-known producer and film critic in the 1980s, in 1992, he became the commissioning editor of the cinema department of ARTE in Strasbourg, and in 1994 was appointed head of that department. In 2000, he moved to German TV ZDF to direct the film department in charge of ARTE, where, under his supervision, ZDF/ARTE co-produced films including THE UNTAMED by Amat Escalante, THE OTHER SIDE OF HOPE by Aki Kaurismäki, A FANTASTIC WOMAN by Sebastian Lelio, GRAIN by Semih Kaplanoğlu, and THE SQUARE by Ruben Ostlund. He is joined in conversation by moderator Simon Perry.

ADVANTAGES AND DISADVANTAGES OF PARTNERING WITH MAJOR NETWORKS A network can be a powerful partner – but can also claim too much influence. What can you do to keep your network happy and on board, but maintain a healthy distance at the same time? Jacqueline de Goeij, an experienced Belgian producer and the founder of Ciné Cri de Cœur, offers guidance on maintaining balance in this crucial relationship.

CASE STUDY: THE HOME GROUND Norwegian Broadcasting (NRK) won the first Emmy Award for Norway for Best International Drama Series in 2017 for MAMMON 2. NRK’s drama chief Ivar Køhn and Arild Anderson, the director of the high-profile Norwegian series THE HOME GROUND, present a case study on the rise of the high-end Norwegian drama series. THE HOME GROUND had its world premiere at the Berlinale Series section in 2018, after which it was aired on NRK’s primetime drama slot.

CASE STUDY: THE PAPER 2 A close look into the development and financing path of this high-end television drama from a small national market, the challenges faced in its second season, and the prospects that arose from its success with international sales.

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Talents Sarajevo at a Glance

CONVERSATION WITH SINIŠA JURIČIĆ: WORKING ON FILMS THAT TACKLE SENSITIVE ISSUES Siniša Juričić founded Nukleus Film Croatia in 2003, Nukleus Film Slovenia in 2012 and Jaako dobra produkcija (JDP) in 2013. Juričić’s focus is on producing films and helping talented filmmakers from the Balkans and the wider region achieve their full potential on the international stage. In 2012, he was awarded the annual Albert Kapović Award by the Croatian Producers Association for his contributions to the promotion of Croatian film. Join him for a talk about realising films that work with sensitive topics from the past.

CUTTING TO THE CHASE: FILM, TELEVISION, AND COLLUSION IN THE 21ST CENTURY Since co-creating BAND OF BROTHERS in 2001, Erik Jendresen has worked continuously in film and television, witnessed the recent and dramatic evolution of both mediums, and watched as the industry has scrambled to adapt. The art and the business of storytelling for screens both large and small is at a delta moment. Never before have artists been so overwhelmed by possibilities, nor so challenged by an industry seeking to understand and to monetise the public’s taste for relevant content. Jendresen’s adventures at each of the major studios and most of the broadcast and cable networks have been at times harrowing, often comical, and certainly instructive for writers and producers alike.

EVERYTHING YOU ALWAYS WANTED TO KNOW ABOUT PRODUCING (BUT WERE AFRAID TO ASK) In these sessions, Talents have the opportunity to ask questions and explore ideas with producers from Southeast Europe and beyond, in casual conversations designed to deflate the pressure to perform that can be an intimidating hallmark of professional industry gatherings.

INTRODUCTION TO CINELINK INDUSTRY DAYS Join Head of Industry Jovan Marjanović for an overview of CineLink Industry Days, the Sarajevo Film Festival’s multi-platform sessions and programming tooled for networking, support, and development of the film business in Southeast Europe and the Southern Caucasus.

SHADOWING VISITING PRODUCERS How do producers operate on the ground? What are the questions, considerations, and personal connections that lead to involvement in bringing a film to the screen as a producer? To provide real-life, real-time experience of the producing process, Talents take several meetings with established industry professionals who are exploring the options and opportunities of becoming involved in projects presented in the CineLink Co-Production Market sessions.

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Talents Sarajevo at a Glance

TRUE STORIES MARKET The True Stories Market connects filmmakers with organisations that are documenting and researching the Yugoslav wars of the 1990s, with the aim of bringing these stories to wider audiences. Several such organisations will present six cases that have not yet been the subject of film or television productions, serving as an open source for filmmakers to weave stories that can be brought to a larger audience relying on the urgency and power cinema offers.

WHAT KIND OF PRODUCER DO YOU WANT TO BE? The Executive Director of the Israeli Film Fund since 1999, and the producer of more than 130 films over a career spanning more than four decades, Katriel Schory brings his wealth of experience to Talents producers in a conversation about defining a career path generated by considering the kind of producer you want to become.

Talents Sarajevo #12

Talents Sarajevo at a Glance

Script Station The Script Station sessions are designed to provide a space for constructive discussions about specific script issues to support and encourage their further development and bring them to the next level of completion. The lab consists primarily of one-on-one meetings with mentors Teresa Cavina, Jan Forsström, and Olivia Hetreed during Talents Sarajevo, time during the festival for rethinking between sessions, and follow-up conversations in the future.

Mentors: Teresa Cavina, Jan Forsström and Olivia Hetreed CHANNELLING THE CHAOS Writing for the screen means dealing with chaos, both in the more philosophical sense of channelling one’s experiences and impressions of a chaotic world into a logical story construction, and in the more concrete sense of trying to manage the chaos of the screenwriting process itself. There are well-known general tools for tackling this – the three-act structure, for example – but instead of those, in this lecture Jan Forsström shares his own idiosyncratic toolbox – which features elements like the rubber-band change, the +/- ending, and the secret guide beginning – which he utilises in dealing with both process and content, as well as methods for maintaining some element of chaos in the script to retain it truthfulness.

CINELINK TALK: ADVANTAGES AND DISADVANTAGES OF PARTNERING WITH MAJOR NETWORKS A network can be a powerful partner – but can also claim too much influence. What can you do to keep your network happy and on board, but maintain a healthy distance at the same time? Jacqueline de Goeij, an experienced Belgian producer and the founder of Ciné Cri de Cœur, offers guidance on maintaining balance in this crucial relationship.

DEVELOPMENT HEAVEN Ivan Knezević had no formal screenwriting education, no industry connections, and lived in a small town in Serbia. But within a year of getting fired from his job, he managed to score multiple television development and screenwriting deals, move to Berlin, and get a degree. Now one of the lucky few who make a decent living from screenwriting, he is here to discuss how to make your first steps in the European television industry without excessive elbowing, trampling on people, or sucking up to them.

OGNJEN GLAVONIĆ: MAKING THE LOAD Preparatory Screening: THE LOAD (Ognjen Glavonić, 2018) In THE LOAD, director Ognjen Glavonić takes a story inspired by the real-life events he examined in his earlier documentary DEPTH TWO to create a tense and disturbing film. In this discussion, Glavonić explores his experience with making a first feature, balancing what collaborators want from the film, writing (and rewriting), and the importance of the soundscape in THE LOAD – and welcomes analysis of the film from Talents.

PACK&PITCH The Pack&Pitch module supports emerging directors and producers in preparing their projects for the marketplace. Participants learn how to analyse and prepare their projects for effective written and oral presentation. Talents pitch their projects at the end of the programme to a jury and an audience of peers and industry professionals. For more details, see page 18.

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Talents Sarajevo at a Glance

Talent Press Talent Press sessions are tailor-made for emerging regional film critics and journalists. Through the platform, film criticism is introduced as a tool for the contextualisation of filmmaking practices in Southeast Europe and the Southern Caucasus, and its relation to other European countries, as well as for further enhancement of film language. Five Talents review films and events throughout the festival, coached by three prominent film critics. Via group and individual sessions, participants further develop their skills with articulating their impressions and insights in the form of written articles, interviews, and radio reportage for the Talents Sarajevo website and those of its media partners.

Mentors: Dana Linssen, Matt Micucci, Yoana Pavlova Feature-length films eligible for review: CHRIS THE SWISS (Anja Kofmel / Switzerland, Croatia, Germany, Finland / 2018) COLD WAR (Paweł Pawlikowski / Poland, France, UK / 2018) EVERYBODY KNOWS (Asghar Farhadi / France, Spain, Italy / 2018) GIRL (Lukas Dhont / Belgium, The Netherlands / 2018) LEMONADE (Ioana Uricaru / Romania, Canada, Germany, Sweden / 2018) LET THE CORPSES TAN (Hélène Cattet, Bruno Forzani / France, Belgium / 2018) SRBENKA (Nebojša Slljipčević / Croatia 2018) THEATRE OF WAR (Lola Arias / Argentina, Spain, Germany / 2018) TOUCH ME NOT (Adina Pinitilie / Romania, Germany, Czech Republic, Bulgaria, France / 2018) THE WILD PEAR TREE (Nuri Bilge Ceylan / Turkey, France, Germany, Bulgaria, Macedonia, Sweden, Qatar, Bosnia and Herzegovina / 2018) Short films eligible for review: Breath (Ermin Bravo / Bosnia and Herzegovina / 2018) Dust (Jakub Radej / Poland / 2017) The Forest (Lia Tsalta / Greece / 2018) I Signed the Petition (Mahdi Fleifel / UK, Germany, Switzerland / 2018) Morski Briz (Cecilia Ştefănescu / Romania / 2018) Off Season (Orsolya Láng / Hungary / 2018) Sog (Jonatan Schwenk / Germany / 2018) The Song (Tiphaine Raffier / France / 2018) Untravel (Ana Nedeljković, Nikola Majdak Jr. / Serbia, Slovak Republic / 2018) White Bone Death (Filip Mojzeš / Croatia / 2018)

FILM FREQUENCY Matt Micucci leads participants through the process of the recording and production of film-related content for radio broadcast and podcasting, including interviews, reviews and reports. This workshop includes aspects of preparing segments, for example preparation, co-ordination, timing for radio and the challenges that may be encountered during recording. An overview of the role and functioning of radio presentations at film festivals rounds out the workshop; finally, participants are assigned pre-scheduled radio interviews with high-profile festival guests.

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Talents Sarajevo at a Glance

PACK&PITCH The Pack&Pitch module supports emerging directors and producers in preparing their projects for the marketplace. Participants learn how to analyse and prepare their projects for effective written and oral presentation, then pitch their projects at the end of the programme to a jury and an audience of peers and industry professionals. After the pitch, Talent Press critics interview the participants for radio segments. For more details, see page 18.

RETHINKING SHORT FILM CRITICISM The short film form has a special status in the world of cinema – it is a site of hope for future greatness; of some of the most radical experiments in filmmaking and storytelling; of the creation of new technologies that later become commonplace. Some of the most elegant films in the history of cinema last but a few enchanting minutes. And yet, critique of short fimls is consistently overshadowed by the more accessible – and, let’s face it, more lucrative – consideration of feature-length work. Belgrade-based critic Tara Karajica discusses her successes with remedying this situation via her website Yellow Bread, and offers her thoughts regarding approaches to writing about short films.

The Talents Sarajevo Talent Press sessions are generously supported by the Goethe-Institut in Sarajevo.

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Talents 2018

Actors

Ayris Alptekin TURKEY

Hrvojka Begović CROATIA

Abdulaziz Capkurt TURKEY

Pavle Čemerikić SERBIA

Angela Dimitrova MACEDONIA

Liza Marija Grašič SLOVENIA

Elit Işcan TURKEY

May-Linda Kosumovic KOSOVO*

Alfredo Constantin Minea ROMANIA

Leon Ristov MACEDONIA

Zlatko Teskeredžić BOSNIA AND HERZEGOVINA

Pavel Ulici ROMANIA

* This label does not prejudge the status of Kosovo and is in accordance with Resolution 1244 and the opinion of the ICJ on Kosovo’s declaration of independence.

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Talents 2018

Directors

Hanis Bagashov MACEDONIA

Kostas Chaliasas GREECE

Berrak Çolak TURKEY

Hani Domazet CROATIA

Svetislav Dragomirović SERBIA

Daniel Hever HUNGARY

Anja Kavić BOSNIA AND HERZEGOVINA

Andreea Lacatus ROMANIA

Yana Lekarska BULGARIA

Alexandra Matheou CYPRUS

Dritero Mehmetaj KOSOVO*

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Talents 2018

Producers

Sinem Altindag TURKEY

Ani Kashia GEORGIA

Čarna Vučinić SERBIA

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Katarina Prpić CROATIA

Fani Skartouli GREECE

Andrijana Sofranić SERBIA

Talents 2018

Screenwriters

Areg Azatyan ARMENIA

Răzvan-Gabriel Dutchevici ROMANIA

Livia Diana Plopeanu ROMANIA

Vahit Saritas TURKEY

Selma Karadža BOSNIA AND HERZEGOVINA

Vahagn Karapetyan ARMENIA

Daria Keršić CROATIA

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Talents 2018

Editors

Martin Ivanov MACEDONIA

Smaro Papaevangelou GREECE

Letitia Gabriela Stefanescu ROMANIA

Cinematographers

Uğur Becer TURKEY

Eszter Natasa Csepeli HUNGARY

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Asimina Lydia Dionysopoulou GREECE

Stefan Đorđević SERBIA

Ioannis Karabatsos GREECE

Talents 2018

Film Critics

Barbara Majsa HUNGARY

Jovan Marković SERBIA

Victor Morozov ROMANIA

Nadina Štefančič SLOVENIA

Mirela Vasileva BULGARIA

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Talents 2018

Pack & Pitch

Alexa Bakony HUNGARY

Athanasia Kokolaki GREECE

Fisnik Maxhuni KOSOVO* / SWITZERLAND

Athanasios Psichogios GREECE

Ana-Maria Voicu ROMANIA

Pinar Yorgancioğlu TURKEY

Pack & Pitch Projects “Tobias“ by Alexa Bakony HUNGARY (Director) “Kerr“ by Athanasia Kokolaki GREECE (Producer) “The Land Within Me“ by Fisnik Maxhuni KOSOVO/SWITZERLAND (Director) “Remember“ by Athanasios Psichogios GREECE (Director) “Those Who Whistle After Dark“ by Pinar Yorgancioğlu TURKEY (Director) “The Day the Child in Me Died“ by Ana-Maria Voicu ROMANIA (Producer)

* This label does not prejudge the status of Kosovo and is in accordance with Resolution 1244 and the opinion of the ICJ on Kosovo’s declaration of independence.

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Talents 2018

Film Stage Studio

Ryan Gatt MALTA

Hayk Matevosyan ARMENIA

Eleni Molfeta GREECE

Nadya Todorova BULGARIA

Ana Trebše SLOVENIA

Andreas Vakalios GREECE

Film Stage Studio writer-directors and their scenes: “Love Me Please” by Eleni Molfeta GREECE (Director) “The First Ride Is Free” by Hayk Matevosyan ARMENIA (Director) “Kokoshka” by Nadya Todorova BULGARIA (Screenwriter)

Film Stage Studio directors: Ana Trebše SLOVENIA Andreas Vakalios GREECE Ryan Gatt MALTA

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Mentors ERMIN BRAVO – Acting Studio Ermin Bravo has worked extensively in theatre and film, and is the recipient of more than 20 acting awards, among them three Golden Laurel Wreaths for Best Actor at the MESS International Theatre Festival. Bravo has received praise for his appearances in Jasmila Žbanić’s GRBAVICA, ON THE PATH, and LOVE ISLAND; Dino Mustafić’s REMAKE; Alen Drljevic’s MEN DON’T CRY, Semih Kaplanoğlu’s GRAIN, and Angelina Jolie’s IN THE LAND OF BLOOD AND HONEY. BREATH, his directorial debut, appears in the festival’s Short Film Competition this year. GABRIELE BRUNNENMEYER – Pack&Pitch Gabriele Brunnenmeyer works for the Kuratorium Junger Deutscher Film as a freelance project and script advisor. Since 2013, she has acted as the conference co-ordinator for the IDM’s Incontri Film Conference in Italy. She works as a consultant for script development, packaging, and presentation, and for the First Films First script development programme, Berlinale Talents, Talents Sarajevo, the Midpoint International Script Development Forum, the Baltic Pitching Forum, Euro Connection, and the Sam Spiegel Film & Television School, Jerusalem, among others. TERESA CAVINA – Script Station Teresa Cavina is a veteran of festivals including Abu Dhabi, El Gouna, Locarno, Rome, and Venice, and the Festival International de Programmes Audiovisuels. She has extensive experience with co-production forums, having launched Open Doors in Venice and directed the New Cinema Network in Rome; and with analysing screenplays for funds including Abu Dhabi’s SANAD and Grants Programme of the Doha Film Institute (DFI). She currently works as a screenplay and film project analyst with Premio Solinas, DFI, and the Italian Ministry of Culture. GEORGE CHIPER-LILLEMARK – Camera Studio Romanian cinematographer and director George Chiper-Lillemark studied philosophy and cinematography. He co-directed THE SANDPIT #186, with Adina Pintilie; his graduation film, THE PALM LINES, was selected for the Locarno Festival and the International Film Festival Rotterdam, among others. His credits as cinematographer include Emin Alper’s BEYOND THE HILL, and Erol Mintas’s SNOW and SONGS OF MY MOTHER, which won the Heart of Sarajevo in 2014. A decade after their first collaboration, he worked with Pintilie on TOUCH ME NOT. JAN FORSSTRÖM – Script Station Jan Forsström is a Finnish screenwriter, director, script editor, and author. His screenwriting credits include J-P Valkeapää’s THE VISITOR; THE PRINCESS OF EGYPT, which Forsström himself directed; and Zaida Bergroth’s LAST COWBOY STANDING, THE GOOD SON, and MIAMI, as well as her upcoming feature, which is slated to premiere in 2019. As a script editor, Forsström has been involved in dozens of Finnish and international productions. He has published a collection of short stories, and is currently working on his second book and his second feature as a director.

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Mentors

GYULA GAZDAG – Film Stage Studio Scriptwriter and director Gyula Gazdag is a Distinguished Research Professor at UCLA, Artistic Director of the Sundance Filmmakers Lab, and an advisor for Berlinale Talents, and was named one of the 10 best film teachers in the USA by Variety in 2010. Most of his films, among them THE LONG DISTANCE RUNNER, STAND OFF, A HUNGARIAN FAIRY TALE, LOST ILLUSIONS and HUNGARIAN CHRONICLES, were banned in Communist Hungary. For the stage, he has directed Candide, The Bald Soprano, The Tempest, Tom Jones, and Hothouse, among others. OLIVIA HETREED – Script Station Olivia Hetreed is the multi-award-winning screenwriter of GIRL WITH A PEARL EARRING and WUTHERING HEIGHTS. Recent films include FINDING ALTAMIRA; Bosnia and Herzegovina’s first animated feature, BIRDS LIKE US; and THE JOURNEY, the first Iraqi-made film to screen in Iraq in 27 years. She has a number of projects in development with Sympathetic Ink, her company with Andy Paterson. The president of the Writers’ Guild of Great Britain, Hetreed is an experienced mentor of new writing talent. Previously, she worked on numerous films as an editor. DANA LINSSEN – Talent Press Dana Linssen is a film critic, curator, writer and teacher from the Netherlands. She is a long-term critic for the daily newspaper NRC Handelsblad and editor-in-chief of the independent film magazine de Filmkrant. She is the founder of The Slow Criticism Project, a counterbalance against the commodification of film criticism. With Jan Pieter Ekker, she programs the Critics’ Choice at the International Film Festival Rotterdam, and the Director’s Forum at the Netherlands Film Festival. She is currently writing her second libretto for a “fear cantata” called She Had a Great Sense for Disaster. MATT MICUCCI – Talent Press Matt Micucci is a film and music journalist, and the director of programming and a reporter at FRED Film Radio. He also programs art-house film screenings at Nun’s Island Theatre in Galway, Ireland, and covers numerous international film and music events every year. With a background is in film history, film theory, and filmmaking, he has a keen interest in film preservation, exhibition, and education. He has worked on several films, including a collaboration with Mark Cousins on a short film inspired by the work of Pier Paolo Pasolini. YOANA PAVLOVA – Talent Press Yoana Pavlova is a Bulgarian journalist, critic, and researcher. Her field of work includes cinema, new media, digital culture, and the New East – topics she covers in Bulgarian, English, and French for several print and online publications. She is the founder and a contributing editor of Festivalists.com, a playform for experimental media criticism. Pavlova co-authored The Bulgarian Nouvelle Vague (2012), Eastern Promises (2014), and Cinemas of Paris (2016).

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Mentors

KATRIEL SCHORY – PRODUCERS SUMMIT Katriel Schory studied at the NYU Film School and returned to Israel in 1973, becoming Head of Productions of Kastel Films, Jerusalem, at that time the nation’s leading production company. In 1984, he formed Belfilms, which has produced more than 130 films, including award-winning features, documentaries, and television dramas. In 1999, he became Executive Director of the Israel Film Fund, which supports and promotes Israeli feature-length films. There, he has authorised the support and production of more than 240 Israeli films. REDŽINALD ŠIMEK – EDITING STUDIO Redžinald Šimek was born in Sarajevo. After studying electrical engineering and telecommunications, he attended the film editing and directing programme of the Academy of Performing Arts, Sarajevo. His professional experience includes positions ranging from sound engineer to video editor, to motion graphics designer, post-production supervisor to new-media producer. Among his many credits as an editor are Danis Tanović’s SUCCESS and DEATH IN SARAJEVO; Travis Beard’s ROCKABUL; Reem Saleh’s WHAT COMES AROUND; and Aida Begić’s NEVER LEAVE ME and BRIDGES OF SARAJEVO. SELINA UKWUOMA – PACK&PITCH Selina Ukwuoma is a freelance script consultant who has advised on projects ranging from the BAFTA-winning BOY A (2008) and Teddy Award winner THE WAY HE LOOKS (2014) to last year’s Berlinale Best First Feature, SUMMER 1993. As well as consulting for production companies and designing and running development initiatives with a number of organisations, Ukwuoma teaches screenwriting at the National Film and Television School in the UK and leads pitching workshops at various film festivals worldwide.

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Experts and Moderators ARILD AMNDERSEN Arild Andresen was born in Kristiansand. In 2006, he directed the youth miniseries BOYS WILL BE BOYS, the first Norwegian production nominated for an Emmy. THE LIVERPOOL GOALIE won the Crystal Bear and a special mention at the Berlinale, and COMPANY ORHEIM won the Dragon Award for Best Nordic Film at the Gothenburg Film Festival. In 2014, he directed two episodes of the acclaimed NRK series STRUGGLE FOR LIFE. Recent works include the feature film HANDLE WITH CARE and two episodes of the Norwegian series THE HOME GROUND. MARTICHKA BOZHILOVA Martichka Bozhilova has worked as a producer with Agitprop in Bulgaria since 1999, and has co-produced films with partners throughout Europe, as well as in the United States and the UAE. Her high-end, author-driven films have been selected for and won awards at major festivals, and broadcast all over the world. She produced the first original Bulgarian television series for ARTE, as well as Galin Stoev’s feature film THE INFINITE GARDEN. She is a member of the executive committee of the EDN and Chair of DokuFest, Prizren. MARKO BRDAR Marko Brdar is a Slovenian cinematographer based in Ljubljana. His work has been screened at, and won awards from, numerous international film festivals, including the Festival de Cannes, the Berlin International Film Festival, the Venice Film Festival, the International Film Festival Rotterdam, and the Locarno Festival, among others. He is a member of the Slovene Society of Cinematographers and the European Film Academy. Since 2016, he has worked as a mentor and trainer at the prestigious TorinoFilmLab.

NURI BILGE CEYLAN Nuri Bilge Ceylan was born in Bakırköy, Turkey. His first film, THE SMALL TOWN, was followed by CLOUDS OF MAY and DISTANT, the latter of which earned Ceylan the Grand Jury Prize at the Festival de Cannes in 2003. His subsequent works include CLIMATES, THREE MONKEYS, and ONCE UPON A TIME IN ANATOLIA, a police procedural filtered through Tarkovsky and Chekhov, which earned him another Cannes Grand Jury Prize. WINTER SLEEP was awarded the top prize at Cannes, the Palme d’Or. THE WILD PEAR TREE is his latest feature. NICHOLAS DAVIES Nicholas Davies obtained a BA in cinema studies from the University of Toronto, then spent 10 years at TIFF as Director of Creative Services and the programmer of its Dialogues section, with guests including Guy Maddin, Isabella Rossellini, Ousmane Sembène, and Vilmos Zsigmond, among many others. In 2018, he edited the museum publication Past Disquiet: Artists, International Solidarity, and Museums-in-Exile, and is currently Programme Manager of Talents Sarajevo and Publications Manager for the Marrakesh Film Festival.

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Experts and Moderators

JACQUELINE DE GOIEJ Jacqueline de Goiej has been working as an independent producer for over 25 years, and has produced many hours of television series, as well as several films, among them the Academy Award-nominated comedy ZUS&ZO. Her company Ciné Cri de Coeur is focussed on developing and producing high-end television series and authordriven international features. In 2017, she co-produced Brian de Palma’s DOMINO and the Dutch box-office hit THE BANKER. Currently Ciné Cri de Coeur is shooting Era iklis’s feature SPIDER IN THE WEB. ASGHAR FARHADI Asghar Farhadi was born in Isfahan, and earned a master’s degree in theatre direction from Tarbiat Modares University in Tehran. He directed and wrote television series, produced short films, and penned the screenplay for LOW HEIGHTS before making his feature-length film debut with DANCING IN THE DUST. He received numerous awards, including a Golden Globe, a Golden Bear, and two Academy Awards for Best Foreign Language Film for A SEPARATION and THE SALESMAN.

MAHDI FLEIFEL Mahdi Fleifel is a Danish-Palestinian film director who graduated from the UK National Film and TV School. His debut feature, A WORLD NOT OURS, had its premiere at the Toronto International Film Festival and won more than 30 awards, including the Peace Film Prize at the Berlinale and the Edinburgh, Yamagata, and DOC:NYC festival Grand Jury Prizes. In 2016, he won the Silver Bear at Berlina for A MAN RETURNED. A DROWNING MAN, was selected for the Official Competition at the Festival de Cannes in 2017.

OGNJEN GLAVONIĆ Ognjen Glavonić was born 1985 in Pančevo, Serbia, and graduated in film directing from the Faculty of Dramatic Arts, Belgrade. His documentary ŽIVAN MAKES A PUNK FESTIVAL was screened at the International Film Festival Rotterdam, Cinéma du Réel, IndieLisboa, and CPH:DOX, among others. After premiering at the Berlinale in 2016, his documentary DEPTH TWO was screened at more than 60 festivals, and won 20 awards. His first fiction feature film, THE LOAD, premiered in the Director’s Fortnight at the Festival de Cannes in 2018. ERIK JENDRESEN As co-creator, lead writer, and supervising producer of the miniseries BAND OF BROTHERS for HBO in 2001, Erik Jendresen was one of the recipients of that year’s Golden Globe and Emmy Award for Outstanding Miniseries. As a writer/producer for film, his current projects include THE MARINER, AUTONOMO, MISSIO : BLACKLIST, SAINT-EX, SOLO, an adaptation of Walter Tevis’s THE MAN WHO FELL TO EARTH, and Robert Redford’s ALOFT. Jendresen is also an advisor for the Sundance Screenwriters Lab.

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Experts and Moderators

SINIŠA JURIČIĆ Siniša Juričić focusses on producing films and helping talented filmmakers from the Balkans and the wider region achieve their full potential on the international stage. He regularly receives international film awards from institutions such as the Festival de Cannes and the Berlinale, and has successfully funded numerous films, both domestic and international. In 2012, he was awarded the annual Albert Kapović Award by the Croatian Producers Association for his contributions to the promotion of Croatian film. ÇIÇEK KAHRAMAN Çiçek Kahraman is an award-winning film editor based in Berlin and Istanbul. She has been working as a professional film editor for almost two decades, and has edited more than four dozen feature films. Many of her films have been selected for festivals in Europe, and have won awards. She teaches university film classes, and master classes on film editing. Kahraman has a master’s degree on filmmaking from Boston University, and occasionally writes on film for film magazines.

TARA KARAJICA Tara Karajica is a Belgrade-based film critic and journalist. Her writings have appeared in Indiewire, Screen International, Variety, Little White Lies and Film New Europe, among many other media outlets, including Close-up, the European Film Academy’s online magazine. She is an alumna of the Locarno Critics Academy in, Talents Sarajevo, and Berlinale Talents. In September 2016, she founded Yellow Bread, a magazine dedicated entirely to short films, and is currently running Fade to Her, a magazine about women in film. IVAN KNEZEVIĆ Ivan Knezević is a screenwriter based in Berlin. He works in television, animation, and Virtual Reality. He is currently developing the television series THE ISLAND with HBO Europe as creator and head writer, and is a staff writer on another HBO Europe series he is not sure if he can mention legally. A Talents Sarajevo alumnus, Knezević is also developing the series THE VOW with the Munich-based company H&V Entertainment.

IVAR KØHN Ivar Køhn is a Norwegian production manager, producer, and screenwriter. He was appointed Head of Drama at the Norwegian Broadcasting Corporation (NRK) in 2013, after six years leading the Development and Production Department at the Norwegian Film Institute. He is currently Chair of the Board at the Nordisk Film and TV Fond. He has also been a writer/creator for three television drama productions. Køhn is an executive producer of the 2018 NRK series OSLO ZOO.

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Experts and Moderators

KOSTANTINA KOTZAMANI Konstantina Kotzamani graduated in film after completing a degree in pharmacy. Her short films have premiered in major festivals including the Festival de Cannes, the Berlinale, and the Locarno Festival, and have received numerous awards. For her short films WASHINGTONIA and LIMBO, she was awarded by the Greek Film Academy with the best short film prize, and nominated by the European Film Academy for the award for best short film of the year. LIMBO, her most recent short, qualified for an Academy Award nomination in 2017. ANTONETA KUSIJANOVIĆ Antoneta Alamat Kusijanović is a writer and director from Dubrovnik. Her short film INTO THE BLUE won awards at the Berlin International Film Festival, the Festival Premiers Plans d’Angers, and the Oberhausen Film Festival, and took the Heart of Sarajevo for Best Short Film at the Sarajevo Film Festival. She was also nominated for a Student Academy Award. She is developing her first feature film, MURINA, with support from the Cinéfondation residence of the Festival de Cannes, First Films First, and the Jerusalem Film Lab. CATHERINE LE CLEF Catherine Le Clef set up the Paris-based documentary sales company CAT&Docs after leaving Fortissimo Films, where she was Head of TV & Ancillary Sales. After stints at Films Transit and Doc & Co., Le Clef is one of the best-connected figures in the world of documentary sales. She has assembled a formidable slate of awardwinning docs, including CITIZENFOUR, CAMERAPERSON, COMMUNION, SONITA, 5 BROKEN CAMERAS, LAST TRAIN HOME, HOUSTON WE HAVE A PROBLEM, and THE GOOD POSTMAN. JOVAN MARJANOVIĆ Jovan Marjanović has been involved in the Sarajevo Film Festival since 1999, and is currently its Head of Industry. He has produced several award-winning films, and consults for a variety of international film institutions. He was on the Board of Management of the Bosnian National Film Fund from 2011, and headed it from 2014 to 2016, and is the representative of Bosnia and Herzegovina to Eurimages. He holds an MSc from the Cass Business School in London, and teaches film business at the Academy of Performing Arts in Sarajevo. DALIBOR MATANIĆ Dalibor Matanić is an acclaimed Croatian film director and screenwriter. His bestknown film is the 2002 feature FINE DEAD GIRLS, which won the Special Jury Prize at the 2003 Sochi Film Festival. His 2015 film THE HIGH SUN was screened in the Un Certain Regard section at the Festival de Cannes in 2015, when it won the Jury Prize. He also directed the critically acclaimed croatian television series THE PAPER.

Talents Sarajevo #12

Experts and Moderators

PAULA MCHARG Paula McHarg works as a senior sales manager at Keshet International. She is responsible for the sales of many Keshet International scripted television formats and series. McHarg is in charge of a wide catalogue, which includes the drama series WAR PRISONERS, the BBC remake of the family drama THE A WORD, the crime drama THE PAPER, the comedy series TRAFFIC LIGHT, and the romantic comedy THE BAKER AND THE BEAUTY. She is also in charge of the TV quiz shows WHO’S ON TOP, BOOM, and SURE OR INSURE. DEBBIE MCWILLIAMS Debbie McWilliams has been casting feature films since 1980. Her first film was SUPERMAN 2, quickly followed by FOR YOUR EYES ONLY, the first of 13 Bond films she has cast. She has worked with Stephen Frears, Oliver Hirschbiegel, Derek Jarman, Sam Mendes, and Anthony Minghella, among many other directors. McWilliams is an active member of the Casting Society of America, the Casting Guild UK, and the International Casting Directors Network. She is also a member of BAFTA and the Academy of Motion Pictures and Sciences. TUE STEEN MULLER From 1975-1996, Tue Steen Müller worked for the National Film Board of Denmark (Statens Filmcentral) as press secretary, distributor, festival manager and consultant. He was part of the team behind the Balticum Film/TV Festival in Bornholm, Denmark, from 1990 to 2000, as well as the set-up of Filmkontakt Nord, Documentary and the European Documentary Network, of which he was the first director. Since 2006, he has been a consultant and teacher in documentary matters around the world. He writes for filmkommentaren.dk CRISTIAN NICOLESCU Cristian Nicolescu is the CEO and co-founder of Avanpost Digital Cube. He has more than 14 years’ experience in post-production cinematography, as an editor, and postproduction and audio-visual workflow consultant. He is the youngest editor nominee to the Gopo Awards – the most important distinction awarded by the industry to Romanian professionals. He co-produced DONBASS, winner of the Un Certain Regard prize at the Festival de Cannes; Golden Bear winner ANA MON AMOUR; and ALBÜM, the Semaine de la Critique prize winner. SIMON PERRY After an early career in theatre and television production, Simon Perry worked as a filmmaker, trade journalist, and Head of the National Film Development Fund. In 1982, he set up his own production company, Umbrella Films. From 1991 to 2000, he was CEO of British Screen Finance, and is currently President of Ateliers du Cinéma Européen, and CEO of the Irish Film Board. He holds the French honour of Chevalier de l’Ordre des Arts et Lettres and is a Commander of the Order of the British Empire.

Talents Sarajevo #12

Experts and Moderators

MICHAELA SABO Michaela Sabo studied at VŠMU in Bratislava, DAMU in Prague, and UCLA. In 2014, she moved to Berlin to be part of the Serial Eyes programme. She found her network during her studies and currently lives in Berlin. Sabo was part of the EPI European TV Drama Series Lab in 2013. Apart from her own work as a freelance writer and creative producer, she works as a pitching trainer for the Sarajevo Film Festival, Serial Eyes, Series Mania, the MIDPOINT workshops, and the Odessa International Film Festival.

ENA SENDIJAREVIĆ Ena Sendijarević is an Amsterdam-based Bosnian filmmaker. She has directed several successful short films, including TRAVELLERS INTO THE NIGHT (2013) and FERNWEH (2014). Her most recent short, IMPORT (2016), had its premiere in the Directors’ Fortnight at Cannes, and has travelled to numerous festivals since. It was the official Dutch short film entrant for the 2017 Academy Awards.

NEBOJŠA SLIJEPĆEVIĆ Nebojša Slijepčević was born in Zagreb. He has directed numerous creative documentaries, including SOMETHING ABOUT LIFE, REAL MAN’S FILM, IN 4 YEARS, and OF COWS AND PEOPLE. His films have won awards at many international festivals, among them two awards at the Sarajevo Film Festival and two at ZagrebDox. His first documentary feature, the international co-production GANGSTER OF LOVE, premiered internationally at Hot Docs and was one of the biggest documentary box-office successes in Croatia.

NEBOJŠA TARABA Nebojša Taraba is a succesful Croatian journalist and television producer. He is known for the critically acclaimed Croatian series THE PAPER. Taraba’s previous work includes the reality TV shows DVORNIKOVI and POLICE PATROL, as well as the crime drama MAMUTICA. He is a co-founder and a co-owner of Drugi Plan production, which produces original content for three major Croatian televisions – HRT, Nova TV, and RTL. In recent years, Drugi Plan has focussed on making drama and documentary television series. CĂTĂLINA TERĂR Cătălina Tesăr earned a PhD in social anthropology from University College London, with a thesis about the sexual, political, and economic dimensions of arranged marriages among Roma. She has more than a decade of experience with Roma in Romania and abroad. She speaks the Romani language, and has published extensively on central topics of Roma culture. In 2016 she was granted a Fejos Postdoctoral Fellowship in Ethnographic Film of the Wenner Foundation USA for the realisation of her first feature-length documentary.

Talents Sarajevo #12

Experts and Moderators

MILA TUREJLIĆ Mila Turajlić was born in Belgrade. Her THE OTHER SIDE OF EVERYTHING had its premiere at TIFF in 2017, and went on to win 20 awards, including the IDFA Award for Best Documentary. It was HBO Europe’s first co-production with Serbia, and had a record-breaking theatrical release there. Her debut, CINEMA KOMUNISTO, premiered at IDFA and the Tribeca Film Festival, and went on to win awards including the Gold Hugo at the Chicago International Film Festival in 2011, and the FOCAL Award for Creative Use of Archival Footage. FLORIAN WEGHORN Florian Weghorn is the Programme Manager of Berlinale Talents, and a programme advisor for its seven international offshoots including Talents Sarajevo. He read theatre, film, and television studies at the University of Cologne, and graduated with an MA, majoring in the visual language of melancholy in film. After he joined the Berlinale in 2002, Weghorn was the co-director and curator of the Generation section from 2008 to 2014, and remains a member of the selection committee for the festival’s Official Competition. ROBERT ZUBER Robert Zuber was born in Pula in 1972. As a journalist and editor, he has twice won awards from the Croatian Journalism Society. Through his work, he began making documentaries. In 2001, he directed NA STANICI U PULI, the most-watched documentary in cinemas that year. AN ACCIDENTAL SON received the Oktavijan Award for Best Documentary at Croatian Film Days, and MILA SEEKS SENIDA won a human rights award at the Sarajevo Film Festival. Until 2016, he was Commissioning Editor at HRT, where he now freelances. MEINOLF ZURHORST A well-known producer and film critic, in 1992 Meinolf Zurhorst became the commissioning editor in the cinema department of ARTE in Strasbourg, and in 1994 was appointed ead of that department. In 2000, he moved to German TV ZDF to direct the film department in charge of ARTE. Under his supervision, ZDF/ARTE co-produced THE UNTAMED by Amat Escalante, CLAIR OBSCUR by Yesim Ustaoğlu, THE OTHER SIDE OF HOPE by Aki Kaurismäki, A FANTASTIC WOMAN by Sebastian Lelio, GRAIN by Semih Kaplanoğlu, and THE SQUARE by Ruben Ostlund.

Talents Sarajevo #12

Talents Sarajevo Team

Nicholas Davies

Dina Ćerić

Anida Devedžić

Nejra Branković

Šejla Lejlani

Kerim Mašović

Benjamin Poturković

Jakub Salihović

Adna Aličić

Anja Drljević

Emina Emily Džindo

Merima Kutlovac

PROGRAMME MANAGER

TALENTS ADMINISTRATOR

PACK&PITCH COORDINATOR

SCRIPT STATION COORDINATOR

PROJECT COORDINATOR

GUEST ADMINISTRATOR AND TECH COORDINATOR

FILM STAGE STUDIO COORDINATOR

ACTING STUDIO COORDINATOR

Talents Sarajevo #12

CAMERA STUDIO COORDINATOR

DIRECTORS SUMMIT COORDINATOR

TALENT PRESS COORDINATOR

EDITING STUDIO COORDINATOR

Sajra Bilajac

PRODUCERS SUMMIT COORDINATOR

Livina Tanović INFO DESK

Amna Pašanović INFO DESK

Aziz Čeho

Muhamed El-Mordeha

Mirza Begić

Dino Latić

VIDEO DOCUMENTATION

TECHNICAL COORDINATOR ASSISTANT

FIELD TECHNICIAN

Armin Zimić

FIELD TECHNICIAN

Din Gušmirović

FIELD TECHNICIAN

Talents Sarajevo #12

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Snimi kratki video i osvoji kameru! Snimi kratki video (do jedne minute) koji pokazuje bez čega bi tvoja svakodnevnica bila još ljepša i podijeli ga na svom profilu na Facebooku i Instagramu, uz hashtag #ArgetaSarajevo. Autori dva najkreativnija filma osvojiće kameru i tako moći nastaviti svoj umjetnički put! Profili i objave na Facebooku i Instagramu moraju biti javni, kako bi žiri mogao vidjeti tvoj rad. Žiri će ocjenjivati samo videe sa odgovarajućim hashtagom (#ArgetaSarajevo), između 10. 8. i 17. 8. 2018. Imena pobjednika biće objavljena 19. 8. 2018. Više o ovoj nagradnoj igri možeš pročitati na Argeta FB stranici.

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Talents Sarajevo #12

02/07/2018 09:25

Talents Sarajevo #12

Talents Sarajevo #12 THE FREEDOM OF CHAOS 11â&#x20AC;&#x201C;16 August 2018 61 Talents in 7 fields of work: 12 actors; 5 cinematographers; 20 directors; 3 editors; 5 film critics; 8 producers; 8 screenwriters. 15 countries: Armenia, Bosnia and Herzegovina, Bulgaria, Croatia, Cyprus, Georgia, Greece, Hungary, Kosovo, Macedonia, Malta, Romania, Serbia, Slovenia, and Turkey 47 experts 66 conversations, events, panels, presentations, screenings, and workshops A very important segment of the Talents Sarajevo platform is its virtual dimension â&#x20AC;&#x201C; the Online Talent Database. The international pool of Talents, which grows every year, serves primarily as a promotional and networking tool. The profiles of the participants display their general information and video samples of their work. sff.ba https://www.berlinale-talents.de/bt/find/talent

Talents Sarajevo #12