WEMW CATALOGUE 2012

WHEN EAST MEETS WEST january 19-20, 2012

organized by

with the support of

under the patronage of

in collaboration with

partners

Savoia Excelsior Palace

WHEN EAST MEETS WEST january 19-20, 2012

CONTENTS

4

foreword

6

projects

8

final line-up

74

follow-up

118

warm-up

154

decision makers

186

industry professionals

206

staff

212 INDEX PARTECIPANTS

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FOREWORD

When, not more than two years ago, the idea to hold WHEN EAST MEETS WEST was born, we were worried that we might appear presumptuous. There are many cinematographic events, perhaps even too many, and our intention to add to this list could have been construed as presumptuous, a confidence that we were offering something better than the rest.

But it certainly was not the desire for competition that inspired us, but rather the knowledge that this occasion offered by the Trieste Film Festival, that has been hosting for more than twenty years the best productions from this part of Europe, could be used to create a new bridge between producers from the East and the West. A bridge where ideas could be exchanged, projects could be shared, and new films created. Our aim was, and still is, for the different cultures (cinematographic, but not only) to defend themselves by becoming aware of each other and by collaborating together: not by closing them inside boxes that, as strong as they might be, cannot hold off the wish for homogeneity that globalisation attempts to realise. Last year we received 92 applications from 18 countries, and this made us recognise that the desire, or better, that the necessity to work together to co-produce films and documentaries, had found the perfect meeting place. For the 2012 edition we received 182 projects from 29 countries.

Well, perhaps sometimes we can allow ourselves to be a little presumptuous‌ Organised by the Friuli Venezia Giulia Audiovisual Regional Fund, together with the Trieste Film Festival, EAVE, Antenna Media Torino, with the patronage of EURIMAGES and the support of CEI - Central European Initiatives, the 2012 edition of WHEN EAST MEETS WEST consists of three days dedicated to producers, broadcasters, markets, and Italian, East-European and Scandinavian regional funds from Denmark, Finland, Iceland, Norway and Sweden.

This year the idea is to create again an opportunity which will generate strong links between the regions and countries involved in each edition. Through round-tables, masterclasses and case-studies, professionals from various countries will meet in Trieste, making Friuli Venezia Giulia a reference point for Eastern European producers looking to initiate collaborations with Western businesses, and vice-versa.

Together with feature film and documentary producers from Bulgaria, Croatia, Georgia, Hungary, Macedonia, Poland, Romania, Russia, Serbia, Slovakia, Slovenia, Turkey, Denmark, Finland, Iceland, Norway, Sweden and Italy, other participants will include broadcasters, distributors and funds and markets representatives, thus featuring the whole spectrum of production and distribution possibilities, as well as available financial resources.

Last year’s edition pleasantly surprised us thanks to the considerable participation and interest shown by industry insiders. We are confident that the 2012 edition of WHEN EAST MEETS WEST will prove just as successful and will consolidate what is, in our opinion, an unmissible opportunity for audiovisual companies of the New Europe to meet up and develop.

PAOLO VIDALI Director FRIULI VENEZIA GIULIA AUDIOVISUAL FUND

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PROJECTS

8

final line-up

74

follow-up

118

warm-up

7

FINAL LINE UP

18 feature film and documentary projects selected for the pitching

10 3xTONINO 12 ALL THAT REMAINS 14 BOSNIA EXPRESS 18 BRIDES 20

BY THE POOL 24 CIRCLE 28 DIANA’S LIST 30 GRANNY’S DANCING ON THE TABLE 34 HEARTSNATCHER 38 HERALDS FROM THE BIG WORLD 42 HORSEMEN 44 LOVE AND ENGINEERING 48 MY WORLD IS UPSIDEDOWN 52 SWORN VIRGIN 58 THE LOSS OF INNOCENCE 62 THE QUATRARO MYSTERY 66 THE UNDERTAKER 68 WHOREBUS

Sweden Italy Italy Georgia Poland Turkey Croatia Sweden Hungary Russia Iceland Finland Slovenia Italy Slovenia Denmark Serbia Finland 9

3XTONINO Attending: Klara Björk

SYNOPSIS Three times Tonino is a documentary movie about one of Europes most significant screenwriters, Tonino Guerra, who wrote scripts to more than 120 movies, by Fellini, Antonioni, Tarkovskij and Angelopoulos. The movie is 84 minutes and consists of three parts.

In the first part, we meet Tonino at the age of 87, still roguish, he recalls his meeting, as a young man, with the great artist Giorgio Morandi. Tonino shows his epical side by telling an episode from life which becomes an illustration of the genesis of poetry and a tribute to art and creativity.

In the second part, we meet Tonino some years later, in a conversation about the co-operation with the great directors. Through archival material we get a glimpse of his major work as a screenwriter.

In the third part, we meet Tonino in 2011, where he, due to his physical limitations no longer is able to travel. Instead he travels within his own home through his stories. Some of them reach across the borders, where roads cease to exist, towards something illusive. The conclusive part, de-

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Genre: Documentary Director: Andreas Kassel Writer: Tonino Guerra and Andreas Kassel Producer: Klara Björk Budget: € 302.167,00 Company: Filmkreatörerna scribes the poetry that is always present in Tonino. He has returned to his childhood places and uses humble words to describe what it is to be human. Smalltalk has been stripped away and only the essential and existential questions remain. All three movies are displayed with death as a setting. In the beginning as a story, and later it grows closer. Finally it is just a thin membrane - like a water mirror that reflects the observer.

DIRECTOR’S NOTES OF INTENTION My relation with Tonino spans over ten years and has turned into a deep friendship and mutual respect. We have become close through our dialogue about art and poetry. To compensate the lack of a mutual language we let my pictural poetry and his written poetry communicate. Out of this emanated a visual language with a poetical logic.

It started during my studies in the nineties, when I was spirited away by two names in the European cinematography - Andrej Tarkovskij and Tonino Guerra. The former, I could not meet in persona, as he was no longer alive. The latter, was, however, fully active - yet, restrictive when it came to new collaborations. His work included the former, and a series of other directors works, which spoke to me. Each of these stories held a secred I

longed to uncover. The thought of a collaboration captivated me. Through the twist of fate, I met Tarkovskijs son and was befriended. Tarkovskij junior opened up the contact with Tonino Guerra. My intention, initially, was to make a short movie. Script upon script was sent to Guerra without any response. On the rack, and nearly giving in, I desperately started to communicate with other expressions - poems, paintings, sketches and fragments of all sorts. Something magical happened! From one small piece of white paper, a seed was sowed that grew into a film. And I realized that all standards and conventions are worthless, how well packed they may be. Instead, it was the true and deeply personal that reached its aim. The dialogue between my pictural poetry and Guerras written poetry turned into our artistic material. The secret was never defined, it was dimly seen in a glance or a catch of breath. The result will be a feature film in three parts, which also reflects a documentary process, both formally as well as thematically and human.

COMPANY PROFILE FILMKREATÖRERNA is an independent production company based in Göteborg, on the west coast of Sweden, with office in Stockholm.

FILMKREATÖRERNA produce feature drama as well as creative documentaries. In close collaboration with script writers and directors, we develop storytelling with a personal voice.

PRODUCER’S PROFILE The producer Klara Björk works in the independent production Company Filmkreatörerna; a company owned and run by her self and producer Daniella Elmqvist Prah since 1996. Both Daniella and Klara are EAVE graduates. Among the films Klara Björk have produced are the feature film “The Quiet Game” (2011) by director Görel Crona, “Made in Yugoslavia” (2005) by director Miko Lazic, “White as blood” (2010) a documentary by director Hanli Prinsloo shoot in South Africa and “It usually ends well” (2010) a documentary by the Swedish/Norwegian author Beate Grimsrud. www.filmkreatorerna.com

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WRITER & DIRECTOR’S PROFILE Writer Legendary Italian screenwriter was born Antonio Guerra on the 16th of March 1920 in Sant’Arcangelo, Italy, south of Ravenna. He wrote several short stories, poetry and novels and in 1956 his first screenplay “Man and Wolves” (cowritten by Elio Petri) was directed by Giuseppe De Santis. Three years later he wrote the masterpiece, “L’Avventura”, which began his long collaboration with one of the greatest directors of all time Michelangelo Antonioni. Tonino Guerra earned Oscar nominations 3 times: for the Casanova ‘70 (1965), for Blow-up - förstoringen (1966) by Antonioni and for Fellini Amarcord (1973) directed by Federico Fellini. He has worked with many other masters such as Francesco Rosi on _Lucky Luciano (1974)_ and and Andrey Tarkovskiy on Nostalghia (1983).

Tonino Guerra is a poet and one of busiest and the most important screenwriters of cinema who won Cannes Film Festvial’s Best Screenplay award for the “Voyage to Cythera” by Theo Angelopoulos and received an honorary award of the Venice Film Festival. Tonino Guerra is a great fan of two persecuted film geniuses Andrey Tarkovskiy and Sergei Parajanov.

Director Andreas Kassel (Stockholm 1968-), artist, architect, writer and director. Attended privat art-schools since he was very young. He graduated at the University of Arts and Craft in Stockholm and the University of Architecture in Aarhus, Denmark. He lives and works in his own studio with his wife the artist Anna Söderberg Kassel and there three children, Anima, Marina and Aljosja a few steps from the ocean in the countryside between Göteborg and Malmö in Sweden.

After the University he collaborated with the french painter Jean Bazaine. He practises communication through poetry in all senses. He works for the moment with documentary and fiction scripts, paintings and architecture.

Contact details: Filmkreatörerna Anekdotgatan 19 42241 - Hisings Backa, Sweden T: +46706779467 klara@filmkreatorerna.com www.filmkreatorerna.com

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All that remains Attending: Patrizia Di Lenardo Maria Silvia Bazzoli

SYNOPSIS In October 1991, in the ex-barracks Monte Pasubio in Cervignano del Friuli, a refugee centre was set up for refugees from ex-Yugoslavia.

The idea that the war in ex-Yugoslavia was going to be a brief affair and the emergency housing of refugees a short-lived operation, initially gave rise to a generous out-pouring of aid by institutions and by society in general. But the realisation, soon to be felt, that the duration of the conflict - and consequently of the influx of refugees - was destined to overtake the initial estimate, very swiftly changed attitudes, also of the civilian population.

The very concept of “barracks” - a space separated from the rest of the world by barbed wire, a space projected for training young men in the art of war - is sufficient to evoke the dimension of the quality of life inside a camp transformed into a permanent residence for families, women and children.

The Refugee Camp of Cervignano del Friuli ended up as a sort of “ghetto” where the visitors were permitted to live whilst awaiting a hypothetical return to the place they came from. A “world apart” artificially implanted in the heart of the city with the risk of becoming a sort of “social powder-keg”.

After almost twenty years, the story of the refugee camp at Cervignano,

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Genre: Documentary Director: Maria Silvia Bazzoli Writer: Maria Silvia Bazzoli Producer: Dorino Minigutti Budget: € 192.693,00 Company: Agherose S.R.L. condensed, in spite of everything, to a list of numbers, a tale with no face to it and no voice.

What is left of that experience, the effect of a tragedy of international proportions? What is left embedded in the life of the city, in recollections and relationships? How have those who have remained managed to reconstruct their lives? What remains in the hearts of the people regarding those who have left?

All that remains seeks to try to find the faces and the voices of the protagonists. It is the only way this story can find once again a sense of the community and be reborn.

All that remains is necessarily a return to the past with a view to filling a “void” by reconstructing a section left incomplete, both in personal accounts and in the many communities that lived it.

Looking back at what has been can help us to understand what we have become - ourselves and the society we live in.

DIRECTOR’S NOTES OF INTENTION In 1995 the Town Council of Cervignano del Friuli engaged me to conduct an enquiry into the Centre for Refugees in the local area.

This commitment allowed me to delve into the heart of the reality of the most debated and complex refugee acceptance programme in the region and in the country.

In my eyes this represented an exciting chance to solve a puzzle, a puzzle still in the making, of a diverse society founded on cultural and racial intermingling; an adventure of discovery of the foreigner and the discovery, even more fascinating, of ourselves seen through the eyes of the other.

In the resulting document, the only report ever compiled in Italy, I reconstructed as best I could the complexity of an extraordinary historical, human and social episode.

For many years now I have been coveting the desire to go back and search for those who lived the refugee camp experience, either in their native countries or in the countries they travelled on to, to gather the accounts of their experiences and tell their story. Rediscover the face, the voice, the thoughts of the otherwise faceless wandering “form” in search of asylum, of whom all that remains are just numbers, percentages, diagrams.

The episode of the refugee camp in Cervignano is not a “story of the past”, nor is it a “story of refugees”. It is rather “the story of a city, of its people, of people who come and people who go”. As is, fundamentally, the history of every city.

So, rather than roaming afar, I would prefer to start right here, start from all that is left embedded in the folds of the city, in the memory of the place, in the heart of the people.

PRODUCER’S PROFILE PATRIZIA DI LENARDO. Since 1995 She is Specialized in production of low budget films, TV fictions and documentary.

She has collaborated with prestigious national and foreign Company as: Lucky Red, Fandango, Indigo Films, Eikon Media.

Since 2008 she lives in Friuli Venezia Giulia and collaborates with Friuli Venezia Giulia Film Commission. In 2010 she founded with Dorino Minigutti the production company ‘Agherose’.

WRITER & DIRECTOR’S PROFILE Maria Silvia Bazzoli, journalist and film critic, has directed the Visions Elsewhere Udine review and has collaborated as a consultant in various festivals in Italy and abroad. In 2005 she went on to become a director and together with Christian Lelong she has made various creative documentaries: Amour, sexe et mobylette (2008), Moustapha Alassane, cinéaste du possible (2009), Bon Séjour (2010), Floby, une étoile au pays des hommes intègres (2001).

COMPANY PROFILE Agherose is a young Indipendent and dynamic production company based in Udine, Italy. It was founded in 2010.The mission Company is to produce Historical Documentaries, culture and current affairs for an International audiance.

Agherose is producing in co-production with Zavod-Kinoateljie (SLO) and Focus-Media (HR) ‘Over the line’ a documentary on an italian concentration camp.

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Contact details: Agherose S.R.L. Viale Palmanova 73/R 33100 - Udine, Italy T: 0039 0432 1841718-1743790 patrizia.dilenardo@agherose.com www.agherose.com

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BOSNIA EXPRESS Attending: Massimo D’orzi

SYNOPSIS Through the eyes of the writer Luca Leone, author of the book “Bosnia Express”, which is the inspiration for this movie, we will travel through some halts of a charming journey taking our inspiration from the stops of the old Express 451, the train which in Tito’s Yugoslavia time connected Sarajevo and Belgrade and created brotherhood among the people who lived along this railway. Today the train is working again, twenty years after the end of the war, but from jewel of the avant-garde it became a symbol of decadency and immobility.

Our journey is made of the fundamental stops in the towns and the places symbols of Bosnia-Herzegovina, from one side through an humanity which is moving to design again a new profile of the Country, from the other side in a theatre of the horrors which doesn’t finish to remind to the world all the huge tragedy which has shocked Bosnia with the war of 1992-1995.

Balkan paradoxes while something is moving… but in which direction?

Unluckily, the one of bitterness. Because today trains, buses, planes take the young people far away. And with them the future of Bosnia-Herzegovina.

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Genre: Documentary Director: Massimo D’orzi Writer: Luca Leone Producer: Massimo D’orzi Budget: € 165.678,48 Company: Il Gigante soc. coop. with Infinito edizioni DIRECTOR’S NOTES OF INTENTION Bosnia Express. From the book to the movie.

The documentary movie Bosnia express comes from the homonym book of Luca Leone who is also in charge of the movie adaptation for the screen. A best seller coming from an passionate and detailed research of the author, an enquiry book and of “training”, of journey and of exploration. The documentary was born with the same structure of the book, a journey by some halts in the present and in the memory of a population, the Bosniac one, which has passed by the biggest European tragedy of the second half of XX century and that somehow, if we can say it this way, it has anticipated some tragedies even more deep that have gone through the populations of this last decade. First of all the mystical delirium of the last religion wars that yet now torture the entire world. Bosnia has been a melting pot of not human experimentations in the hearth of Europe, but it is at the same time the first example of cultural melting pot, of comparison between the East and the West, of cultures, of people, traditions, colors of an infinite variety.

The documentary appropriates on its own the author’s eyes taking his point of view as the narrating voice in the hearth of Bosnia, voice which comments and touches, which is affected and describes the beauty of the

landscapes even if when these are fatten up with the skin of a thousand innocent victims. Bosnia Express is the contradiction becoming metaphor; it is the Arabic Phoenix which continually rebirths from her ashes, it is pure Balkan creativity in the places you think and you expect the less, it is desperate vitality and deep culture, it is spasmodic run-up to build minarets and bell towers. The shape is the classical one of a journey documentary, but inside it makes explode exactly those contradictions to make them be visual perspective between what rebirths and lives and what continues to be unanimated and immobile, in the tragedy of the war but also in the absurdity of a straggle for the affirmation of an unique God. COMPANY PROFILE The Giant (Il Gigante) was created in 2000 from an idea of Elisabetta Amalfitano, with intents related to the organization of cinema events and the promotion of independent works.

With time it enriches itself with experiences, meetings, collaborations that have allowed to realize festivals, conferences, productions of documentaries and movies. In 2002 it organizes the cinema event of the European Social Forum in Florence with the title "An image of rebellion." In 2004 it produces the documentary movie on the rom "Adisa or a thousand years old story" by director Massimo D'Orzi, editor Paola Traverso; followed, in the same year, by the organization of the festival "Tony Gatlif and the nomadic cinema" and a conference whose proceedings will give life to the book "For a nomadic cinema" edited by E. Amalfitano. In the same year the director and the film editor Paola Traverso become part of the society driven by the idea to produce their own works of cultural and artistic engagement. In 2009 the movie 'Sàmara' is produced, written and directed by Massimo D'Orzi, edited by Paola Traverso and interpreted

by Filippo Trojano who, from that moment onwards, becomes part of the Giant society, contributing to develop besides the cinema sector also the photographic one. By different roads we arrived at cinema united by the passion and idea that it deals with a language, a free expression, a demand and a form of the imagination. We are convinced that the cinema must not bend to confirm the inevitability of reality, the cinema is creation

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that allows to think, to excite, to set questions, to propose thoughts and new images on the reality and on the human beings. We want to support brave and talented authors, the cinema that continually tries to be independent and free from commercial ties. We aim at all this without losing the concreteness of doing, of the job, of the construction of relationships and comparisons to face the problems related to the production and distribution of a movie or a documentary. We try to find in our job and in that of the others a point of view, a not impersonal look, the thought that hides behind the illusion of the images in movement.

Infinito edizioni is an italian publishing house created in Rome in 2004 from an idea of Maria Cecilia Castagna and Luca Leone with the intent to propose to the italian and European audience good books about human and civil rights, childhood rights, international politics, migrations, East of the World, etc. Actually Infinito edizioni has got a catalogue of eight series of books (including a photographic one), about 130 book (in the first part of 2012 will be about 150) and more than 50 e-books (in the first part of 2012 the e-books will be about 100). Every year our catalogue enhances of not less than 30 new titles. Infinito edizioni’s books are distributed in the bookshops of all Italy and in Canton Ticino (Switzerland). It is possible to find some our books in Paris too. More, we sell and send our books directly in other countries and we normally sell and send our books in Northern Europe as in the Usa or in Australia.

It is possible to buy our books from the best web shops too, like – for example – Amazon, Ibs, etc. In 2011 we published our first book all in serb-croat but we already have published books in english. Abroad, foreigners publishing houses have translated our books in Slovenia, Bosnia and Hercegovina, Germany, Spain. We have an agreement with Canarian government to translate every year, from Spanish to Italian, some important Canarian authors. From 2009 we publish boxes with book and movies in dvd or with book and music cd. Our first project was called, in 2009, “Come un uomo sulla terra” (“Like a man on heart”), a box about the terrible drama of migration from Africa to Italy across the Lybia of Mohammar Gheddafi. Our last project – in november 2011

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– is called “Ribelli!” (“Rebels!”), a comparison between the twenty-year period of Mussolini and the twenty-year period of Berlusconi in Italy. This is our first project with The Giant (Il Gigante); the next one is on 2012, february, with a project called “Adisa”, a new box, this time the story of some Bosnian Romany people.

Infinito edizioni is very interested in discovery of new authors but we publish above all affirmed authors. Among our authors we can cite very important writers and journalists well known in Italy and all over the world too: Andrea Camilleri, Erri De Luca, the singer Franco Battiato, the singer Andrea Satta (Tetes de Bois leader and vocalist), Marco Scarpati (Ecpat), Daniele Scaglione (Amnesty International and ActionAid), father Giulio Albanese, (famous missionary man, journalist and writer), Francesco De Filippo (winner of many prizes in France, Cech Republic, Italy), Corrado Ruggeri, Jovan Divjak, Enisa Bukvic´, Senadin Musabegovic´, Emma Dante, the vice president of the European Parliament Gianni Pittella, Luca Leone and many others.

We discovered many authors, but above all we cite the names of Gabriele Del Grande (translated in Spain and Germany) and Elvira Mujcˇic´. It is possible to find and read informations and news about our publishing house on the web site www.infinitoedizioni.it, visited every month by about 20.000 users.

For any further information: info@infinitoedizioni.it PRODUCER’S PROFILE Massimo D’orzi as president of the company Il Gigante since 2002 has produced four documentaries and a feature film distributed in various European countries and Italy, as well as having participated in numerous projects as associate producer. He is currently working on the project Bosnia Express, on the documentary film Guinga, pra que mentir an international co-production of one of the greatest Brazilian musicians and to the feature film L’inganno. Over time he has developed working relationships with numerous national and international film institutes as Cinecitta Luce, RAI Cinema and the French CNC.

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WRITER & DIRECTOR’S PROFILE Massimo D’orzi lives and works in Rome.

He begins his carrier as a theatre director early on, putting on stage important authors works such as “Morts sans sepolture” by J. P. Sartre– “Some kind of a love story” by Arthur Miller and “Exiles” by James Joyce. In 1997 he shoots his first short film “The red hand” In 2002 he interviews at length Marco Bellocchio and films the encounter. This videointerview is currently being transformed into a film about the director and his career. In June 2003 he makes “Our garden’s most beautiful rose”, a documentary film about war made from images shot in Bosnia in 1996 and inserts from films by Kurosawa, Rossellini, Tarkovskij. In August 2004 he finished his first feature documentary “Adisa or a thousand years story”, shooted in January 2004 in the Roma communities of the Balcans.

In 2009 he made his first feature film “Sàmara”.

Sàmara is a “phantasy”: the journey of three characters, original in their way, street artists, who try to reach a mythical town, Sàmara, where they can realize themselves as artists and as human beings. In 2010 he makes a documentary film, Shadows Light, set within the University La Sapienza of Rome. The 2011 is the year of the Rebels! a documentary about Italian partisans out in bookstores by Infinito Edizioni. His next projects Guinga, pra que mentir, a documentary on one of the greatest composers of Brazilian popular music, and Bosnia Express.

Luca Leone (born in 1970 in Albano Laziale, near Rome) is an italian professional journalist, writer and publisher. Graduated in Political Sciences with a graduation thesis about the Chilean constitutions of 1925 and 1980, he began as journalist in 1989 and wrote more than 10.000 articles, published by some of the most important Italian newspapers and magazines.

He wrote, from 2002, 11 books (the last one published on 2011, October). His most important books are “Srebrenica. I giorni della vergogna (Srebrenica. The days of shame), that sold from 2005 to 2011 about

10.000 copies in 4 editions, and “Bosnia Express”, 3 editions (the first one in 2010, October) and about 3.000 copies. His last book is “Saluti da Sarajevo” (Greetings from Sarajevo), published on 2011, October.

Luca Leone is co-founder of Infinito edizioni publishing house and publishing editor. He is director of the three-monthly magazine “Buk” and author of a column about publishing on the web magazine Golem Informazione.

His blog is lucaleone.blogspot.com His facebook page is: Luca Leone (with the cover of “Bosnia Express”). e-mail address: direzione.editoriale@infinitoedizioni.it

Contact details: Il Gigante soc. coop. with Infinito edizioni Via Braccio da Montone 85 00176 - Rome, Italy T: 0039 3929672532 F: 06/295774 ilgigantecinema@gmail.com www.ilgigantecinema.com FINAL LINE UP

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Brides Attending: Tinatin Kajrishvili

SYNOPSIS Nutsa and Goga are young couple with two kids. They would have ordinary family if not the fact that Goga is arrested. Nutsa, as all other women, has to get married to see him in prison. Marriage is held in one room, for all couples together, attended by guards and lasts for fifteen minutes.

Nutsa takes care of Goga, brings food for him in prison, does his laundry and visits him once in a month together with Goga’s mother and kids.

Kids know that father is in the army.

They see each other for one hour divided by window. Everyone forgets Goga, only wife and mother keep taking care of him. After some time even kids are annoyed by long distance travel and waiting for hours in frost or heat.

Four years pass, new regulation is established, couples can spend one night together once in six months. Nutsa and Goga stay 24 hours in the cage kind of cottage, closed from outside and guarded by the soldiers.

Marriage in prison followed by one day honeymoon after four years was not their dream but it became their reality.

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Genre: Drama Director: Tinatin Kajrishvili Writer: Tinatin Kajrishvili Producer: Tinatin Kajrishvili Budget: € 500 000 Company: Gemini DIRECTOR’S NOTES OF INTENTION Brides will be film about prisoners families, mostly about wives spending years in waiting for their husbands.

Main character in Nutsa, she has to take care of his husband in prison and kids at home. Title Brides underlines that she is not the only one and it’s not story of exceptional heroism, this is fortune shared by all wives of prisoners. These are Brides, not Wives because they become wives after their beloved men get arrested. So it’s clear decision made by heart not by force or obligations.

Story starts with marriage where we see women making this decision understanding what will be their life later on. We even see young girl who gets married to the guy she loved but never lived with him.

In one of the scenes Goga, husband of Nutsa mentions “Patriotism” by Missima, the story of devotion and secret bind between husband and wife. Where both sides understand that they are for each other and have to die together if one of them has to do so.

Brides tell the story of true love of husband and wife and real family relations which gets stronger when they are apart. They become more romantic and more devoted than being together, living under one roof.

We don’t see any other people around them. As reality of life shows in big troubles people stay alone to face it, only family members stand by them.

In Georgia during last years number of prisoners increased hundred times.

It’s not because that there are a lot of criminals but because the justice is not correct. Punishment is not equivalent to the guilt, ten and fifteen years which in other countries is punishment for sever crime, here could be for stealing bicycle or taking drugs. It will show once again how regulations which are changed from time to time can ruin peoples life while new rules come and ordinary people have to cope with it showing examples of heroism which they even don’t call so, it’s just their nature and can’t live in another way.

Story is based on my personal experience and if not the idea to make film about it and imagining that this reality is great source for good story it would be rather difficult to cope with it.

COMPANY PROFILE Gemini was established in 2006, by the producer Tinatin Kajrishvili in Tbilisi, Georgia. In spite of difficulties and lack of film funds, Gemini has made several short films, co-produced with France and presold by French TV channels. Also made several feature documentaries shown at number of festivals. Company develops feature films for international markets.

PRODUCER’S PROFILE Tinatin Kajrishvili was born in Georgia in 1978. After graduating from State University of Theatre and Film in 2011, as a director continued her studies at number of short and long term workshops worldwide in film producing. In 2007 attended IFASC trainings for producers. In 2009 was participant of EAVE workshop. In 2010 takes part in Torino Film Lab, EAVE, Dubai IFF Interchange programme. During these workshops developed number of projects and made several short and doc films.

WRITER & DIRECTOR’S PROFILE Same as above, Tinatin Kajrishvili has made several short films and documentaries as a director-writer.

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Contact details: Gemini 7 Svanidze str 0179 - Tbilisi, Georgia T: +995 32 223 16 26 gemini@gemini.ge

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BY THE POOL Attending: Gosia Sandecka

SYNOPSIS Warsaw, Poland. 13-year old PIOTR lives in an upper-class household with his single mother KARINA and his 16-year old brother MAX. Piotr is an ambitious but unsuccessful kid at the local swimming hall.

He secretly wants to become a swimming champion, but is easily distracted, disappointed. NINA (13) is the new girl next door. She and Piotr occasionally hang out, not saying a lot, but feeling increasingly confident in each other’s presence. Piotr confides to Nina that he is thinking of quitting swimming. A new and charismatic coach, BOGDAN, arrives at Piotr’s swimming club and starts training Piotr’s team. Bogdan has unique coaching skills and a manner of speaking which quickly makes him a popular figure. He gains the trust of the swimmers. Bogdan inspires them, especially Piotr. Piotr’s low confidence is slowly boosted as he continues his swim trainings under Bogdan’s stimulating leadership. Bogdan shows an increasing interest in his swim-team and particularly Piotr, who tells Karina about this great new coach at the swimming hall.

One day after the swim training, Bogdan selects Piotr and co-swimmer JANEK to go for an individual run in a nearby park. An intense summer rain suddenly falls over them and they seek shelter under a tree, getting

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Genre: Drama Director: Mikael Lypinski Writer: Mikael Lypinski Producer: Gosia Sandecka, Kuba Chilczuk Budget: € 1 mln Company: Neseser soaked. As Piotr starts to shiver from the dampness, Bogdan embraces him: “Can I put my arm like this?”, he asks. Piotr has increasing difficulties at school, while at the same time being a target of Max’s frustration and contempt - Max is attempting to establish a permanent link with their absent father PAWEL who has been living in Paris for many years. Piotr refuses to acknowledge Pawel, as he feels betrayed by him. Instead, Bogdan is slowly becoming a father figure for Piotr, who adores him and the attention he is getting. But during a short training-trip to Malmö in Sweden, Bogdan sexually assaults Piotr behind closed doors, an incident which is covered-up by Bogdan as being part of the training.

Back in Warsaw, Bogdan is invited home to Piotr’s house to meet Karina, who eventually falls in love with Bogdan. He moves in with the family, much to Max’s frustration.

Bogdan’s sexual assaults continue without Karina’s knowledge - she is head over heels into her career. Max is the only one who is getting increasingly suspicious about Bogdan. Piotr - on the other hand - starts to manipulate and seduce Bogdan, cleverly using him to achieve his own goals, to fulfill his own agenda. One day, Piotr discovers that Bogdan is also having an intimate relationship with Janek, Piotr’s main rival at the swimming pool.

Piotr comes second in an important race - a silver medalist for the first time ever. Max tells Piotr that he is moving out of the house, that he hates Bogdan’s guts. Bogdan tells Piotr that he loves Piotr as if he would be his own son. Piotr meets Nina at a deserted fun-park. Piotr tells Nina that the only time he feels happy is when he is with her. Piotr says he wants to move to the other side of the world with her, to escape from “all this shit”. Nina tells him not to be silly and get back to the swimming pool: “That’s where you belong.”

10 years later. Piotr has just won a bronze medal at the Olympic Games. The reporter asks Piotr about his plans for the future. Piotr says that he will train even harder. The camera pans over to Bogdan, who is standing nearby, observing in silence, not happy with the media attention. The reporter asks Piotr about Bogdan. Piotr says, “I wouldn’t be here without him.”

DIRECTOR’S NOTES OF INTENTION “By The Pool” is a psychological drama for adult audiences, set in contemporary Warsaw. It’s about a boy who pays a high price to become a champion.

Rather than making an outspoken film about pedophilia in teen sports, I’d like to explore the troubling and intriguing aspect of the bond between a promising apprentice (Piotr) and his ambiguous coach (Bogdan).

The coach becomes a twisted father-figure for the boy. He inflicts pain and causes irreparable damage, but he also launches a remarkable career. Piotr has been living in isolation and neglect for years and here is an adult who actually cares about Piotr, a coach who is a strong rolemodel, an inspiration. Piotr has been raised without a father.

In meeting Bogdan, he discovers all that he has been missing: care, attention, affection, perhaps even love.

Where is the boundary line between love and hate in a deranged relationship? Why is the boy protecting his coach and their secret?

Why is the coach abusing the boy, where did the chain break for him?

Will anyone find out – and if so, what will be the consequences for Piotr, for Bogdan?

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COMPANY PROFILE Neseser is a film production company created in 2010 by Gosia Sandecka and Kuba Chilczuk, both educated and experienced in film production, post production and promotion. Before establishing Neseser its creators were working on i.e. “War Games” by Dariusz Jablonski, “Janosik.

True Story” by Agnieszka Holland, “Unmoved Mover” by Lukasz Barczyk and “Mother Teresa of Cats” by Pawel Sala, to name a few titles.

Neseser’s first credits as company came with release of “Essential Killing”

by Jerzy Skolimowski as the film’s post-producer, followed by “View From the Closet” by Tomek Suwalski as the producer (short) and “The Lake” by Jacek P. Blawut as associate producer.

Currently working on features: “By The Pool” by Mikael Lypinski (producer), “Cien” by Krzysztof Rzaczynski (co-producer) and “Day of Chocolate” by Jacek P. Blawut (co-producer), “SZNOW” by Tomek Suwalski (producer) and a documentary “Radwan S.” by Teresa Czepiec (producer) and several other projects in different stages of development.

Although the company is also happy to provide production and post-production services, Neseser’s main and foremost aim is to develop original ideas and create films with both commercial and artistic potential.

PRODUCER’S PROFILE Co-founder of Neseser. Filmmaking experience includes production, post production, promotion and sales of films by J. Skolimowski, A. Holland, T. Suwalski, Jacek P. Blawut and P. Sala. Employers include: European Postproduction Connection, Brussels (2010 onwards); Apple Film Production/ Independent Film Foundation, Warsaw (20072010); Film & Culture Promotion Association, Porto (2003 – 2004).

Graduated from the Jagiellonian University, Cracow (Master’s Degree); National Film School, Lodz (post-graduate) and Middlesex University, London (scholarship).

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WRITER & DIRECTOR’S PROFILE Born in Stockholm, Sweden in 1975. A graduate of the Directing Department of the Polish National Film, Television and Theatre School in Lodz, Poland. His graduate film from film school, “My Name is Jurek”, premiered at Göteborg Film Festival in Sweden and participated in various international festivals. It was awarded a Grand Prix at the Klaps Short Film Festival in Turek, Poland. He has directed several shorts and over 150 commercials.

Contact details: Neseser ul. Ogrodowa 31/35 00-893 - Warszawa, Poland T: +48 661 663 768 F: +48 22 620 32 55 gosia@neseser.net - neseser@neseser.net www.neseser.net

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CIRCLE Attending: Derya Tarim

SYNOPSIS Overview Social mobility is almost never a ladder which individuals climb up or down, but mostly a grand social wheel. The motion of which is a circular one. When some groups go up, by necessity some have to come down.

Revolutions, coups, regime changes, political landslides almost always yields to such circular change of fate. Especially in countries where most aspects of socio-economic life is determined by the political power grid they who hold the office hold the fates of fortunes. Circle is a story which is set in New Turkey amid such drastic social changes due to rise of political islam to power and its sweeping reconciliatory settlement with whatever it sees as the “other” which is basically the westernized old middle class.

By this token, when society’s circle rotated new religious breed came up, some oddly westernized and urbanized old breed came down. Ours is the story of this ousted and bewildered kind looking for ways to survive at this new depths of the society where they found themselves.

A short definition of the project “Circle” aims to tell about a system in which hopelessness, submission and

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Genre: Drama Director: Atil Inac Writer: Atil Inac Producer: Derya Tarim Budget: € 513.000 Company: Lacivert Film courage become existential methods. It aims to describe people who on a daily basis do the irrational and inconceivable to survive, and a system which forces people to do so. “Circle” is the story of people in the characters of Feramuz, Arif and Betul who conjure up interesting solutions to the extraordinary situations and obstacles generated by the turn of the social wheel.

Synopsis “Circle” is essentially the story of Feramus, Betul and Arif; 3 very different characters who come together as a consequence of irrational enforcements of the system they live in and who change each other’s life deeply.

Feramus is a former philosophy teacher who couldn’t adapt to the new political reality in Turkey and had to quit his job in Istanbul. After quitting his job, Feramus tries to sell a piece of land bequeathed from his grandfather and buy a roof over his head but after he fails following lots of official difficulties, he starts to work as security guard in the empty airport of this small town. Arif also works in the inoperative airport as a cleaning staff. He is a local man with little to none educational background. Betul, a widow actress, tries to hang on to life on her own, but after having lost her job in Ankara, she desperately moves to the town. After some questioning about financial rewards and job security, Betul decides that funeral undertaker

course is most suitable for her. Betul continues the undertaker course and tries to look after her ailing daughter.

The bureaucratic system forces Arif – an ignorant man who has always lived in the middle of despair -, Feramus – a philosophy teacher who has recently faced with the cruelty and irrationality of the system – and Betul – an actress who always lived in the capital city of Turkey – to come together in the same frame which defines the ironic and sarcastic outlook of the Turkish social life which has completely changed due to the new government in the recent years.

Feramus and Arif improve an unusual friendship as they work for the airport and they change each other’s lives eternally. In the meantime, Feramus realizes Betul and takes a liking in her since there is quite a striking similarity in their personal deterioration of social and economical standing.

Feramus, having no room to express his own and to make his naive yearnings come true in real life, has colorful, innocent and emotional dreams expressing his hunger and desperate need for humanity and warmness.

Feramus and Betul try hard to battle against the system forcing them to disappear, but despite their determination and new improved acceptance on adapting to the irrationality, nothing goes any better. The system keeps digesting them. The point break of the Circle arrives when Feramus discovers that there are no point breaks approaching in his future. Feramus decides to put an end to all. He hangs himself but he survives following a tragic-comic failure.

Betul’s daughter’s illness gets worse. Looking for a solution to Betul’s tragic situation, Feramus decides to put on this circus-like charade “hang myself for money” shows to peculiar small audiences. The countless coffee and beer houses in the city are home to countless unemployed people. Among this audience he’s become known as “the man who hangs himself for money”.

Everything once again gets worse for all the 3 characters. Feramus, who failed an actual suicide fails once again during his show which’s about surviving. Feramus dies. At the same time, Betul suffers from her daughter’s death due to her illness. As the “circle” gets completed, all of the characters in the story end up with definite failures in their battles as they had no chance to succeed because of the enforcements and irrationality of the system.

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DIRECTOR’S NOTES OF INTENTION There are systems that define who we are. Despite all their complexities, mistakes, incomprehensible weirdness, extraordinariness, weaknesses, and illogical aspects, these systems somehow fulfill their functions and render life liveable no matter how hard or easy, and define who we are.

Sometimes newspapers serve these weird aspects as black humor, sometimes we exchange them via forward emails to learn from others’ mishap, sometimes we don’t even think to question them and we accept them as regularities of our lives. Some examples of these weirdness: flight of fire escape staircase made out of wood or construction of an Olympic stadium with eighty thousand seats in a small city in a far corner of Anatolia where drastically less population resides or a extravagant train station in a city where no rail tracks has or will ever been laid.

When the system we inhabit generates weird and incomprehensible obstacles and regularities, we tend to strive to adapt to the system instead of trying to change it. We strive to survive by creating weirder and extraordinary solutions. In a way, this attitude is the hope for hopelessness, solution for insoluble. A character of this nature has always come to be worth telling.

Against the backdrop of a slow justice system, unruly work life, and complexity of the social system, the individual is forced to be alert, take risks, and think the unthinkable. Anatolia is a land that produced an idiom to laud people who have the power to earn life and survive under adverse conditions. It reads as follows “squeezing the juice out of rock”. It has been home to people who “squeeze the juice out of rock” to survive, and to a system who makes them squeeze it. “Circle” is a small experiment to describe this system and its people without alienating, judging, and distancing them.

The seemingly single stories about each character that tell their lives, needs, goals, and methods in fact take us to the picture of a system that makes people think and do the extraordinary. Hopelessness, submission, humbleness, courage, and tenacity have come to comprise the life capital of the majority in this country. “Circle” focuses on these concepts. The weird decisions, situations, and experiences it presents have happened in real life and it is believed that similar situations continue to exist. It is for these reasons I believe that this fictional story which feeds on real, tangible

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and big structural causality is worth telling.

Atıl Çayan Inaç Scriptwriter - Director COMPANY PROFILE Lacivert Film is an experienced Turkish film production company emerging today with new projects, prestigious film awards and international collaboration initiatives.

Our 2020 vision in light of new multilingual, and multi national freedoms, is to produce for the under-recognized regions and untold stories in the Mediterranean, Middle East, and the world through documentaries, TV educational programs, cultural documentary series, commercials and feature films.

The film company, with managing and creative producer, Derya Tarım, and award winning director, multi talented story teller ATIL INAC, have produced and continue to produce prestigious award winning projects. Lacivert Film is also a leading full service production and post-production house.

Lacivert Film ltd. is the successor to the prominent Turkish production company of the 80’s thru the 90’s, Konsept Film A.S. After a string of successful feature and TV productions and co-productions Konsept Film, which was primarily a family venture, has evolved into a more heterogeneous company structure under the new Lacivert Film formation. Under the director brothers Atıl and Ulas Inaç’s creative collaboration and partnership Lacivert Film ltd. has been both co-producing independent feature titles such as award winning “Türev” (Derivative), “Büyük Oyun” (A Step into the Darkness), Ortak (Partner) and concurrently providing post-production services to many independent productions in the industry, such as “Kanımdaki Barut”, “En Mutlu Oldugˇum Yer”, “Ada”, “No Offside”, “Büyük Oyun”, etc. With Derya Tarim’s producership, Lacivert Film ltd. is currently working on the new projects “Ortak” (Partner) which has started to shooting in February 2010 and “Daire” (Circle), development of the production, and securing initial financial resources.

The project is expected to set on a production time table in August 2012.

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PRODUCER’S PROFILE Derya Tarım (Producer) is a founder of The Lacivert Film Company, and she has been producing and managing several award wining projects and productions which have brought success. As the executive producer of the movie “A Step Into the Darkness” the company celebrated a new recognition of talent. Current projects include the “CIRCLE” an EEFA Training Network for this year in the EEFA Scholarship program.

DERYA’s commercial business background since 2000 as a System Development Engineer in the financial sector, and a position at Yapı Kredi Group in 2006, where she became the coordinator and the executive producer of corporate and commercial movies or TV projects, leads the organization into growth and new projects.

WRITER & DIRECTOR’S PROFILE Atıl Inaç (Director, Writer) As a seasoned bilingual Turkish/English director, writer and producer, ATIL has established a reputation as a multi talented story teller balancing projects in Los Angeles, Istanbul and the Middle East. He recently accepted 2010 Best Film Awards for Buyuk Oyun in several world film festival in USA [A Step into The Darkness ] which had its world premiere at the Montreal Film Festival in Canada, Inaç’s second feature film shot in Iraq and Southeast Turkey in 2009.

The director has completed his first long feature film “Zincirbozan” in 2007. In 2003-2007 Atıl created and directed Tv Series for Turkey’s major television networks. A Programming and Broadcast Manager position in Los Angeles between 1999-2003 is where Atıl’s skills, interests and many project ideas developed.

A graduate from Bogˇaziçi University, Istanbul, Turkey in Philosophy with studies at Claremont University and the University of Missouri-Kansas City

FILMOGRAPHY

INTERNATIONAL PRESS

“Circle” (2011) Script Writing, Directing “Partner” (2010) Script Writing, Directing - Currently Post Production “A Step into the Darkness” (2009): Script Writing, Directing, DOP International San Francisco Tiburon Film Festivali Best Film award International Los Angeles South East European Film Festival Best Film award International EAST AFRICA Zanzibar Film Festival Signis award-first commendation International Ankara Film Festival Best Supporting Actress Best Promising Actress Best Music International Adana Golden Boll Film Festival at competition section Best Promising Actress “Yasar Ne Yasar Ne Yasamaz” 2007 Directing, Dop “Zincirbozan “(2007) Directing

Today's comments from the Montreal World Film Festval is the Turkish movie Buyuk Oyun, from Atil Inaç. It is as beautiful as the subject matter is harsh: women brought into service as suicide bombers. One quick exchange between two women near the end in this trailer is a heartbreaker.

The Gazette - Denise Duguay Plays like A Hurt Locker from opposite vantage point Indepent Film Quarterly A unique film shot on location inside Iraq in the midst of an ongoing war.

Indepent Film Quarterly Answer for some questions are often not able to make comprehend.

The Turkish movie of Atil Inaq, ‘A step in to darkness’ is a film which shows the way to the answer of such some difficult questions. It tries to answer some thorny question like, why terrorism, who is a terrorist, what is and what for a nation.. more. The director reflectively brings the emotions and passions of an in secured life, entangled in the war. It disturbs the spectator mind of human being on others’ conflict. Even though, the film has not a tragic end, it remains some elements of tragedy in our mind. Though the space Atil used is beautiful, we can never simply enjoy it, because of the terror of uncertainty, that the story reveals. These types of some remaining elements are the novelties of the film “A Step in to Darkness” Cinemawithoutborders

About A Step into the Darkness A Step into the Darkness has won the best film in South European Film Festival in LA and in Tiburon film Festival in San Francisco.

This film also won three awards in Ankara international Film Fest, Adana Golden Ball International Film Festival A step into the darkness has screened many film festival as Montreal, Kerala, Kiev, Thessaloniki, Tokyo Digital film Fest, Istanbul, Ankara, Berlinalle Market, Cannes Market etc. The movie is already expected to steer extensive debate in the media due to its controversial content.

A Step Into the Darkness” reached the international audience by DVD release in USA and Canada. The US distributer Vanguard introduces the movie as an opposite point of vision in respect to “The Hurt Locker”, winner of six Academy awards.

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Contact details: Lacivert Film Yeni carsi cad. Kısmet Apt. no:21 Kat:1 Dr:2 34425 - Galatasaray- Beyogˇlu – Istanbul, Turkey T: +90212 2445732 - +905323051064 F: +90212 2445732 deryatarim@lacivertfilm.com www.lacivertfilm.com

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DIANA'S LIST Attending: Dana Budisavljevic´ Miljenka Cogelja

SYNOPSIS 14 June 1942 It was the most wonderful gift of my life – a chance to save people from imminent death...” a quote from Diana’s diary Fifteen years ago, atop a box containing worn-out children’s clothes, a diary of an extraordinary woman was discovered – a wartime testimony of a charity taking at that time incredible proportions. On a cold winter day, in February 1942, Diana Budisavljevic´ decided to do something for thousands of children who were dying in camps every day from hunger, sickness and cold. She launched an action that saved 12,000 children by 1945 and took careful records of all the information available so that the children could safely return to their families once the war was over. But when the war ended, the database was taken away from Diana by the secret Yugoslav police. The fact that new “owners” didn’t know how to work with the database provoked huge chaos and series of kidnapping of the children. Diana herself couldn’t help any more since she was prohibited from working as her Austrian origin was not welcomed in the new circumstances. Few years after, Diana left Zagreb and returned to Innsbruck, town where she was born and where she died in 1978.

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Genre: Documentary Director: Dana Budisavljevic´ Writer: Dana Budisavljevic´, Miljenka Cogelja Producer: Dana Budisavljevic´, Miljenka Cogelja Budget: --Company: Hulahop COMPANY PROFILE HULAHOP Film and Art Production was founded in 2006 by Dana Budisavljevic´ and OlinkaVištica. Both experienced as producers of film festivals, short films and theatre pieces, they decided to found a company that would give them liberty to choose projects they believe in.

Hulahop today has four full time employees and has 4 major projects: organisation of World Festival of Animated Film – Animafest Zagreb (www.animafest.hr), managing the art project Museum of Broken Relationships (www.brokenships.com), production of documentary series for Croatian television, and creative production of several artistic short films and documentaries.

In 2011, at Croatian Film Festival, Hulahop received Best Producer Award and Grand Prix for the film THEN I SEE TANJA. PRODUCER’S PROFILE Miljenka Cogelja was born 1978 in Podgorica, Montenegro, and grew up in Šibenik, Croatia. She is a graduate student at the Faculty of Law in Zagreb. From 2005 to 2009 she worked as a journalist at the Nacional political weekly magazine. In 2009 she joined Hulahop team to work as

researcher and scriptwriter for the documentary series CHANGING THE WORLD. As a scriptwriter, she is currently developing a short documentary film for Croatian Television and European Broadcasting Union and feature length documentary DIANA’S LIST for Hulahop.

From 2009 on, Miljenka also worked as a production assistant on several documentary projects. Recently, as a one of the producers, she finished a documentary WE WANTED WORKERS, WE GOT PEOPLE joint production of Hulahop and Center for Peace Studies Zagreb. She is also producer for the feature length documentary project in development DIANA’S LIST. Attended EX ORIENTE workshop, EURODOC Transregional, STORYDOC workshop.

WRITER & DIRECTOR’S PROFILE Dana Budisavljevic´ was born on 1975 in Zagreb, Croatia. Graduated from Academy of Drama Arts, Department of Film and TV editing. Worked as editor, director and producer of creative documentary films and TV series.

Documentary film work (selection): 2009 -2011 / FAMILY MEALS, creative documentary, director (post production, awarded at Docu Rough Cut Boutique at Sarajevo Film Festival 2011) 2007-20011 / CHANGING THE WORLD documentary series (28x26'') for youth commissioned by Croatian national television (HTV), producer of the series, director of several episodes 2006-2007 / GREAT SHIPWRECKS OF THE ADRIATIC SEA documentary series (6x40') broadcasted at Croatian national television (HTV), editor and co-director, Awarded for Best Croatian Documentary Programme 2005 / EVERYTHING' S FINE (Sve 5!), creative documentary, 45 min, director Awarded with Grand Prix at Days of Croatian Film, Special Award for Human Rights at Sarajevo Film Festival, shown on IDFA and many other festivals, Broadcasted in Croatia (HTV), Serbia (B-92) and Bosnia (TV BiH) 2000 / THE YEARS OF RUST (Godinehrde) creative documentary, 35 min, co-scriptwriter and editor. Awarded for Best Documentary and Best Editing at Days of Croatian Film and shown at One World Prague, Munchen Documentary FF, Milano short FF and many others.

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Contact details: Hulahop Nova Ves 18 10 000 - Zagreb, Croatia T: +385 (0)1 390 70 74 F: +385 (0)1 466 64 43 production@hulahop.hr www.hulahop.hr

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Granny’s Dancing on The Table Attending: Helene Granqvist

SYNOPSIS This is a dark coming-of-age fairy tale about Eini, a girl who grows up in the deep Swedish forests, isolated and schooled only by her father, who fears the outside world. In the attic, Eini finds boxes with things from a woman, including a book about the earthquake in Messina, Italy in 1908. She starts to dream about an Italian granny and her evil twinsister.

At the age of 17, Eini runs away from home and enters society, alone and completely unaware of its social codes. But Eini has developed a special gift, a supersensitivity to everything in her surroundings that also makes her able to predict the smallest earthquakes. This becomes her most important tool to help her survive on the journey towards becoming able to feel her own body and emotions. Because Eini´s ability is both a gift and a curse; she senses other people’s feelings, yet is unable to connect with her own. It’s like she is missing a limb. What keeps driving her forward is her dream of her dancing Granny in Italy and the house that may be waiting for her there.

When Eini meets Tekla, an old woman, make-up artist and wig-maker, Tekla becomes her guide through a world filled with unwritten rules and codes. Eini gets to try on different disguises on the search for her identity.

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Genre: Fiction - claymation Director: Hanna Sköld Writer: Hanna Sköld Producer: Helene Granqvist Budget: € 3,14 m Company: Good World AB Film & Post Production Here she meets Anna, a female creature that fascinates Eini, and the question of friendship becomes another challenge for her. When Tekla dies, and Anna turns out to be not just a woman, but also a man, Eini struggles to let go and to accept these changes. Inspired by her grandmother's destiny in the Messina-earthquake, and by her growing sexual awareness and sense of self, she is compelled to return to her childhood home and confront her father. She senses a new earthquake is on it's way, and warns him that the house will collapse. Her father chooses to stay, and Eini walks away for the second and final time.

Journeying back to Anna and the new promise of their love and friendship, Eini doesn’t even notice that she is leaving her ability to predict earthquakes behind in the rubble. She has become whole now - ready to explore her own vulnerabilities.

DIRECTOR’S NOTES OF INTENTION Hanna Sköld: When granny dances, the world is trembling I grew up with very little connection to other people, except for my family, and I know what it’s like to be outside of the world. This is why I am

deeply engaged in themes of identity, and our relations with the rest of the world. This is why I want to know what a child, who lives under isolated circumstances in Sweden, has to do with a historical event that occurred 100 years ago in Messina.

Eini grows up in the forest, isolated by her father. But she has a special gift; she is so sensitive to the world around her and other people’s feelings, she can even predict earthquakes. This becomes her most important tool for survival when she escapes from home and enters a society she doesn’t know anything about – driven by her dream of her dancing Italian granny. This ability is both a gift and a curse – she feels other people’s feelings, but is unable to connect with her own. Guided by her fantasies and her deep need to belong, she goes on a journey to explore her past and her own emotions.

I know what it’s like to feel outside the world, but the day I realized that I share this feeling with many other people, was also the day I realized that I’m not just a guest in other people’s reality. This is my world too. I want to tell a story about how to belong. Belong to ourselves, yet also to the rest of the world. And in order to belong we need to become and dare to be vulnerable. This is Eini’s journey, and I think this is also what transmedia is all about: when we share our stories with each other, we might also find a way to belong – to each other.

COMPANY PROFILE Good World AB is a film & post production company based in southern Sweden, producing documentaries, short- and feature films. The main idea and vision for starting Good World Post & Film in 2000 was to establish an alternative web-TV channel. At the same time Good World started to produce film and eventually film production became the main activity. In 2005 Good World started a post-production department. Projects that have been in post-production at Good include the Oscar-nominated feature "Maria Larsson’s Everlasting Moments" by Jan Troell and the documentary "Bananas" by Fredrik Gertten.

Good World’s vision is to focus on artistic quality and a dedication to clas-

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sical storytelling and by this secure a safe delivery in production and postproduction. Good has for some years been interested in finding new talents.

Good has produced several successful productions such as “Lady Crush” (short 12 min), “Papa’s bag of rhythm” (doc series 6x45 min), “The Art of Being Human” (doc 58 min) and ”Nasty Old People” (feature 90 min).

In development right now, among other projects is ”Granny's Dancing on The Table”, winner of ARTEs Power to The Pixel Pitch Prize 2010 in London and MEDIAs "European Talent Award 2011 for best script" in Cannes.

The vision for the future is to continue to produce features with national and international co-producers, continue our close co-operation with SVT and through the postproduction department invest in national and international productions.

Granny's Dancing on The Table will be a co-production with Denmark, France, Germany and Poland.

PRODUCER’S PROFILE After graduating from The Royal Theatre School in Copenhagen in 1988 Helene Granqvist spent a decade working as a set designer for film, theatre and national television. In 1999 she started realizing her vision of an alternative, interactive and Internet based TV-channel. That was the first step towards building Good World and her starting point as a producer.

Helene is innovative as a person and talented as a networker with connections within various Scandinavian cultural spheres. She is devoted and engaged in developing talents, social innovation, sustainable development and in developing alternative economies. As a producer she always seeks the true motivational forces; the spirit and the joy. She produces documentaries, shorts and feature films.

WRITER & DIRECTOR’S PROFILE Hanna Sköld is known for the unconventional way of producing and distributing her first feature Nasty Old People, which premiered in 2009 on the front page of The Pirate Bay. The movie was spread online in 113 countries, translated by the audience itself into 17 languages, screened all over the world (arranged by audience) and finally screened on Swedish television.

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With Granny’s Dancing on the Table the relation with the audience started already from the beginning of the scriptwriting process through Facebook, blogs and websites. Through a collaborative process and storytelling the audience takes part in the creation practically, creatively and economically.This is her second feature and the short Lady Crush recently premiered at Fantastic Fest in Austin, Texas. “I grew up isolated with almost no contact with other people - except for my family. This is why I’m deeply engaged in the themes of identity and how to belong - to other people, but also to ourselves and to our own body. I think this is what transmedia is all about.

When we share stories with each other and build story-worlds together, we also might find a way to belong to each other”. Hanna Hanna Sköld received ARTEs Power to The Pixel Pitch Prize 2010 and MEDIAs European Talent award for best script in Cannes 2011

Contact details: Good World AB Film & Post Production Stora Kvarngatan 8 211 29 - Malmö T: +46 40 29 87 40 helene@good.se www.good.se

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HEARTSNATCHER Attending: Andrea Taschler

SYNOPSIS Dr.Jacquemort, the psychiatrist arrives to a little island called Heartsnatcher.

In a house at the seaside, he helps Clementine laboring in giving birth to a triplet, later he finds and rescues her husband, Angel who had been captivated by her, because of her shame of being pregnant. The two men make friends, so the psychiatrist moves in the house with them, and decides to help the couple suffering from emotional problems.

Visiting the village, Jacquemort finds inhuman local habits which he can not undertake. Peasants humiliate elder people, torment their kids, and animals joyfully in different ways. They put their shame of being sinners on Glory, the ostracized hermit, who warns Jacquemort of that he will similar to the locals if he stays.

Jacquemort doesn't get scared but feels even a stronger mission to help them, and change things in the village. He fails with his psychoanalysis.

The harder he tries, the more sin he commits. Clementine doesn't take care of the children properly, she even bans her husband from seeing them.

Their realtionship gets inflamed, and Angel leaves the island.

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Genre: Drama Director: Pater Sparrow Writer: Pater Sparrow, Boris Vian Producer: Andrea Taschler Budget: â‚Ź 1.350.000 Company: Mirage Film Studio 4 years later...

Clementine has changed, she spends all her time with worrying about the children. She gets so obsessed with it that at first she crucifies herself, then later she even restricts the freedom of the children, in order to get peace.

The children escape to a separate world, where they learn to have magical powers. Having learnt how to fly, they dodge their mother in secret, but she feels that the kids are being dishonest with her. Jacquemort gradually realises to have become similar to the peasants, and in his despair he starts to psychoanalyze Glory, who, while becoming more and more transparent, disappears completely one day.

The psychiatrist discovers the children's secret, and without betraying them, he tries to persuade Celementine that her constantly watching over them is maleficent, and unnecessary. The paranoid mother having a growing suspicion, locks the children into a cage, and Jacquemort takes over the place of Glory in the village. The dark and bizzare story takes place in an unknown, original and wonderful environment where everything could be idyllic but there's no idyll.

The film visually based on the tension of its mixed (natural but at the same

time absurd) atmosphere.The countryside is ecletically unidentified, separeted from time and space. It could take place anywhere, civilazition is only a distant influence. The created but realistic folklore has exciting leads, grotesque support characthers, absurd motivations, suspense, drama and humour, generating an aching but warm ending.

DIRECTOR’S NOTES OF INTENTION Of all of Boris Vian’s works, Heartsnatcher is the most notably ontological; for me, it is also one of his most personal works. My ambitions are directed towards enhancing the level of the way we see things, as I would like to make the novel into a feature film. Over the course of my ‘film endeavors’ so far, I have always searched for the possibility to break away from narrative traditions, since I constantly felt that the visual communication of film could be expanded. This does not equal the dismissal of the story; I would like to create a wider scope for interpretation by changing the function of the narrative.

The story of Heartsnatcher is built upon the indispensible visual code-system of Vian novels which creates unique analogies, specifying the dramaturgy of the story. One might say that his style is ‘consciously ad lib.’ Or, in my opinion, with regards to the story’s visual metaphors, the synthesis precedes the thesis and antithesis. Comedy and drama become synthesized in an unusual way. Neutral and surreal elements are balanced in such an irregular manner, that meanings are reflected within each other infinitely, multiplying and almost inverting sensations, thus generating a painful and heart-warming outcome simultaneously.

As I am primarily interested in truth expressed by contradictions, I have found the novel to be especially suited for film material: an ideal foundation to construct a unique and captivating film. The film I envision is one where the subject of inquiry is able to surpass its own devices, thereby allowing me to convey information to the audience that is higher in quality and more relevant.

Due to the complex wordplay in Vian’s works, they are a challenge to even translate, while their motion picture adaptations consecutively fail to reproduce the author’s soaring imagination. Not to mention the peculiar fact that

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Vian died watching the preview of the last film adaptation of one of his novels, after he voiced his disapproval. In spite of this, it is widely known that he was very interested in film, and in the final years of his life – during which he wrote Heartsnatcher – he was thinking primarily in film scripts.

I feel that the root of the cult status his works enjoy can be found in his visual way of thinking. He boldly incorporates sci-fi, crime, fantasy, and horror elements, while the dialogues are endowed with a greater degree of importance with regards to conveying information compared to descriptive passages. In addition, he consciously applies the feature of suspensebased films in which the direction of the outcome (in accordance with the American paradigm) is broken, consistently diverted at two points, thus making it unpredictable. He also refreshes Biblical, mythological and ontological references quite playfully, doing this, in my view, especially for those young people for whom the sacred tradition is more interesting and digestible in a modern form.

For me, Vian discusses human nature in Heartsnatcher. This is the feature of our nature which Jacob Böhme calls ‘centrum naturae,’ which states that the essence of nature is fear: ‘fear of the unknown.’ Nothing is more characteristic of modern man than fear of the light; therefore, nothing can be more distinguishing than fear of the truth. The ‘ego’ is the spirit of our age, while the most important instinct for most of us is to restore an idyll within ourselves and in the world.

I consider it important to adapt this novel to film because it is capable of communicating compromised and blurred concepts like sin and normality in a consumable manner. No matter how much or in what way the world changes, feelings of guilt cannot be liquidated. This film wishes to be a ‘universally awakening moment’ conveying the message that love is the original, normal state of existenceMy second feature film Heartsnatcher is a more complicated enterprise then any other film I made before and it can be only realized within the framework of a European co-production.

Heartsnatcher is a universal story, which is not bound to a specific territory in terms of location and casting. I would like to put great effort in develop-

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ing the project in workshops and forums where I can meet the professionals in the field of screenwriting and production (such as Binger Film Lab, Torino Film Lab or ScriptEast). Trieste seems a perfect forum to present my project at this stage of development with my producer Andrea Taschler to production companies and sales professionals from Europe - especially concentrating on French professionals. who might later become our partners in this ambitious film.

COMPANY PROFILE Mirage Film Studio is a Budapest based production company, recently founded by director Szabolcs Hajdu, producer Andrea Taschler and two young filmmakers. The aim of the company is to produce feature, short and documentary projects on the highest possible standard, with the contribution of international partners. Mirage Film Studio also intends to function as a creative workshop by developing projects of young Hungarian talents with the involvment of acknowledged international writers and directors.

Our line-up consists of a feature film in production (The Gambler, Dir: Szabolcs Hajdu) which is a coproduction with the US. We have a feature (Mirage, Dir: Szabolcs Hajdu) in pre-production which is a co-production with Germany and Romania. There are two projects in development: one is Symbiotica (dir: Balázs Lengyel) which is developed at Binger Film Lab 2011 and the other is Heartsnatcher by Pater Sparrow.

PRODUCER’S PROFILE Andrea Taschler graduated from the University of Theatre and Film, Budapest in 2000. She has started making films at production company and creative workshop called Katapult Film, and worked together with some of the most acclaimed talents of Hungarian cinema’s new generation, such as Szabolcs Hajdu (Bibliotheque Pascal), György Pálfi (Taxidermia), Ferenc Török (Overnight), Bálint Kenyeres (Before Down), and Attila Gigor (The Investigator). After many years of collaboration with Szabolcs Hajdu they have founded a production company called Mirage Film Studio in 2010.

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WRITER & DIRECTOR’S PROFILE Starting as a amateur filmmaker, Sparrow made his first two short films (WITHOUT WITH 1998, THE SOMETHING 1999,) which were nominated both year in competition in the biggest film festival in Hungary. During the years he had experienced working in different fields of professional television and film crews, such as assistant for director Zoltán Kamondi in THE ALCHEMIST AND THE VIRGIN (1999) or assistant art director for academy award winner Luciana Arigghi in BEING JULIA (2004). Since being intertested in the boundaries of conventional filmmaking he applied to the very pragmatic London Film School. While studying in London he had made two short films SENSE (2001) LIMIT (2002) and worked in several film projects as a production designer. He graduated as a MA director and production designer with his diploma film called T?ICK (2004) and wrote dissertation in the topic of non-narrative film theories. After living and studying in the United Kingdom, he returned to his hometown, Budapest where he started developing on his first feature film based on a Stanislaw Lem essay, with the help of his former mentor Zoltan Kamondi’s company Honeymood Films. Meanwhile he was making several experimental films and visual projects like RECYCLEd – Pro – Reo – Neo (2006) which also attracted attention to him. His first feature film 1 (2009) reached a big success for a debut film in Hungary, and also collected awards abroad.

He is primarily interested in unique experimental style of mystic and surreal elements in shifted space and time with visual allegories and codes. He considers himself a fimmaker who approaches filmmaking as a visual communication in the face of storytelling.

Contact details: Mirage Film Studio Berzenczey Str. 37 3/8 1094 - Budapest T: +36 30 270 0270 mirage@miragefilm.hu

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Heralds from the Big World Attending: Vladislav Ketkovich

SYNOPSIS How does it feel to sail on the ship for half a year, if you are not a sailor, but a normal woman and you have a small child at home? Doctors, mostly women, are on a shift work – sail on the ship called a floating clinic that goes to Siberian rivers.

Siberia is a territory with rigid climate, and further to the north you go, the tougher is the situation – impassable taiga, swamps, midges and mosquitoes, winter half a year. Oil is being excavated here, that’s why regional capital Khanti-Mansiysk, where our doctors reside, is a beautiful city, with modern big hospital, theater and University.

Villages in the area have less luck – there are even no roads to many of them. It’s impossible to reach doctor, not to talk about theater. Only in May, when river ice goes down, the connection with these villages appears – the waterway. And doctors from the big city go on a shift work that lasts half a year – until river gets frozen again. They go by the ship to village dwellers, leaving their own families and comfortable life behind.

Residents in all the villages along the river wait for the ship: to them it is the only connection with the big world. Children are ready to meet the vessel – they here stories about it all winter through, typical winter punishment is

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Genre: Director: Tatyana Soboleva Writer: Tatyana Soboleva Producer: Vladislav Ketkovich Budget: € 145.000 Company: Ethnogeographic Research Foundation “If you don’t behave, I won’t let you go to the ship when it comes”. They go to the river banks when ice starts to move – to hurry up the nature. Old women, who cure themselves with traditional medicine and herbs wait for normal medical help.

There live two brothers in one village, Misha and Tolic, 4 and 6 years old.

They dream to become sailors and to escape to the faraway countries on this ship. Or old woman Manya lives in another village – she’s helped to her neighbors when they were sick all her life, never went to a doctor, but now she needs professional medical help herself. She waits for the ship and is afraid of it. Or in another village there is a group of local men, they wait to have an annual football match with a team of doctors and sailors.

Ship’s team is their only rival throughout a year.

For the doctors this half a year is not a fun. They live like sailors, according to the rules. They live in cabins, wake up and go to bed according to the ship schedule, react to false emergency alarms that captain sometimes switches on, listen to his strict disciplinary reprimands. Clean fish that sailors catch. There is friendship and quarrels among them, there is love as well.

Nurse Victoria left two-year old son at home, with grandmother. She worries that he will forget her during this half a year. Some doctors have adult children. Tatiana Petrovna’s grandson was born at home, while she was

on a ship. Husband waits for Alexandra Arturovna. It is her first sailing, it’s not clear yet – will she survive, will she stay with the team further? Many women-doctors are divorced or not married at all, like young nurses.

Nurse Nataliya has found her love last year in one of the local villages.

And she decided to stay with her man in the small taiga settlement. Women on the ship guess now, how Nataliya has spent this winter, will she escape from the village and her love if the ship manages to reach that place?

Therapist Ludmila is homesick at the ship, but when she gets home, she wants to go back to the ship – she feels lonely at home. Actually, in the fall everybody is tired of the sailing and miss home a lot – tension grows, each day doctors even put a cross in the calendar – marking how many days are left till the end of the shift, they all dream about home and the big land.

Another village, another people, new stories, and an emergency call in the night. They don’t sleep, operate patient all night-trough, than call the motor boat and finally get to the ship and have half an hour nap – and at 6 o’clock hear boatswain’s voice: “Good morning! Floating hospital Nickolay Pirogov is greeting you, wake up! ” The ship moves, river bend slowly unfolds, two worlds meet each other – people from the big land and residents of small villages. What will be brought here from the outer world, what will be left here in the small world?

DIRECTOR’S NOTES OF INTENTION I am interested in these northern villages, in the stories of these people because it is actually a history of my country and my own history. I was born and raised in Moscow, but my parents met in another place. My mother’s great grandfather was sent from Moscow into exile, to Siberia, during the Tsar times, he stayed there till the end of his days. And his family stayed there, and my mother was born in Siberia. My father’s father was sent to Uzbekistan in 1937th, and then he was removed to Kirgizstan, where my father was born. Two people from Siberia and Kirgizstan accidently met each and together returned to Moscow.

I am also interested in the ship, because from my childhood I wanted to become a sailor. (I understand it can sound hilarious). I am very interested, what drives these women to leave children and relatives at home and to

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sail for half a year?

And what is also important to me – most of the sailors and doctors from the ship are Siberians, like my mother. And in Russia being Siberian has a special meaning, it’s a distinct character.

COMPANY PROFILE Ethnogeographic Research Foundation produces documentaries for Russian and International TV market. The Foundation was registered in 2000.

ERF has produced more than 10 documentaries that are broadcasted on number of Russian TV channels. Ethnogeographic Research Foundation has won a number of prizes and diplomas of different International cinema and television Film Festivals. Since 2010 ERF is focused on Co productions with International partners.

PRODUCER’S PROFILE Vlad Ketkovich, Producer Date of birth: 20.09.1971. Graduated Moscow State Teacher Training University, studied at Higher Courses of Scriptwriters and Directors. First filming experiences - visual anthropology: pigmey people, peruan Indians, nomadic kazahs, etc. In 2000 founded Ethnogeographic Research Foundation. As a journalist, published articles and photos at GEO, National Geographic and other magazines.

Vlad Ketkovich is a member of EDN, International Federation of Journalists, Russian Geographical Society and Eurasian Academy of Television and Radio. In 2010-2011 participated in number of International Documentary Workshops and Pitching sessions, like Dragon Forum (pitching at Krakow IFF), Ex-Oriente (pitching at Ihlava IFF), LeipzigDoc Co-Production meeting, INPUT, and EDN’s professional events (Tromse, Thessaloniki, Baltic Forum, etc.)

WRITER & DIRECTOR’S PROFILE Tatyana Soboleva, director Tatyana Soboleva was born on 1975 in Moscow.

She learned drama and psychology, studied at the Literature University. In

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1999 she entered the All-Russia State Institute of Cinematography (VGIK) where she pursued a degree in Film Directing.

Shortly after graduation from VGIK in 2004, she directed documentary 'FRANCOIS: RESIDENS PERMIT' (her first out of school project) which became participant of more than 20 International Film Festivals, and deserved awards, including «The best documentary film» (International Film Festival in Teheran).

Tatyana Soboleva is a member of Directors Guild, Russia.

Her films are broadcasted on number of TV channels and participate in different International Film Festivals.

Contact details: Ethnogeographic Research Foundation Novatorov, 36-3, 171 119421 - Moscow, Russia T: +7 495 735 9568 F: +7 495 735 9568 ethnofund@mail.ru www.ethnofund.ru

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Horsemen - Saga of Riders Attending: Fridrik Thor Fridriksson Gudrun Edda Thorhannesdottir

SYNOPSIS Horses and men together witness each other’s destinies, sometimes as victims, sometimes as saviours. The aim is to depict the lives of men through the eyes of the horse and show how the coexistence of men and horses weaves a strange web of fate. Stories of men and horses, both humorous and dramatic, that deal with their struggles and the mystical bond between them.

DIRECTOR’S NOTES OF INTENTION HORSEMEN is a 90 minute feature film about the horse in the man and the man in the horse. In the film, stories are intertwined. They all tell of the struggles in the life of men and horses in this fleeting world. The theme is a classic story of the fight between man and nature, the efforts of humans to harness the animalistic powers of nature for their own gain…or fall.

The narrative mode of the script is inspired by works such as Robert Altmann’s SHORT CUTS from ’93, Paul Thomas Andersson’s MAGNOLIA from ‘99 and Pasolini’s DECAMERON from ’71.

The point of view is often the one of the animal watching the man. In this manner, the film medium will show the human through the eye of the ani-

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Genre: Comedy Drama Director: Benedikt Erlingsson Writer: Benedikt Erlingsson Producer: Fridrik Thor Fridriksson, Gudrun Edda Thorhannesd Budget: € 1.000.000 Company: Spellbound Productions mal. Our vision is both lyrical and beautiful. The mise en scene is elaborate of a certain form; painting of an animal, the sky and a mountain. The movement and speed of events are in contrast to long beautiful takes. The visual narrative is a combination of glorified beauty and ironic realism. The idea is to show the beauty of the union of man and animal as well as to present the peculiar and the ludicrous. The imagery is in that way meant to underline the heart of the story, which is, in its core, tragicomical. A number of age-old Icelandic folk tales tell stories of men and horses. Although the stories cover a range of subjects, they have the same core elements and theme: they project an intricate spectrum of human life and a varied struggle for existence. In this rainbow of conflicts—death, happiness and sorrow—lies the essence of this film. I believe that the multi-voiced form and its subject matter, the story I wish to tell, complement each other.

This subject is dear to me. I have ridden horses since I was very young, and I have always been fascinated by this exquisite animal and its partnership with humankind in a wild and rugged country.

COMPANY PROFILE The company, Spellbound Productions, is an Icelandic production company founded in January 2009. It is owned by Oscar nominated film director,

Fridrik Thor Fridriksson, one of Scandinavia‘s most distinguished directors and producers, and Gudrun Edda Thorhannesdottir who has a long experience in the film business as a buyer, promoter, director of film festivals and now a producer. Their first project, the feature film Mamma Gógó, directed

by Fridrik Thor Fridriksson premiered both in Iceland and internationally 2010 to critical acclaim. Their second project, Season of the Witch, a TV series, had its first broadcast in Iceland 2011 and will air in the other Nordic countries 2012. They now have six feature films in development.

PRODUCER’S PROFILE FRIÐRIK ÞÓR FRIÐRIKSSON Friðrik Þór is an award-winning film director and one of Scandinavia’s most distinguished directors and producers with a track record of over 30 feature films and several short and documentaries. As a director, Friðrik Þór gained international recognition and critical acclaim with his second feature “Children of Nature” (1991) which was nominated for an Oscar® as Best Foreign Language Film.

GUÐRÚN EDDA ÞÓRHANNESDÓTTIR Guðrún Edda Þórhannesdóttir is a graduate from Cambridge University with a BA and MA in literature and history, later she studied film theory at the British Film Institute.

In 1997 Guðrún became a project co-ordinator for the Icelandic Film Fund and in 2000 she worked for the Icelandic Film Corporation, the most prolific production company in Iceland. In 2001 she became a buyer for the Icelandic National Broadcasting Services TV and in 2003 she was appointed Head of International Relations for the Icelandic Film Centre.

In 2007 Guðrún formed her own production company, Duo Productions, and was one of the main producers of Country Wedding directed by Valdis Oskarsdóttir. In 2008 Guðrún formed the production company, Spellbound Productions, with Oscar nominated film director, Friðrik Þór Friðriksson. Their first project together, Mamma Gógó, a feature film, was released January 2010.

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WRITER & DIRECTOR’S PROFILE Benedikt is one of the most successful stage directors of the last decade in Iceland and has several times been awarded for his work both as a director, author and actor. Benedikt has also been sought after as a director abroad and has worked with theaters in Sweden and Denmark. As an actor he has played number of roles on the stages of the Icelandic National Theater and Reykjavik City Theatre. Benedikt was also the artistic director of “New Stage”, the experimental department of The Reykjavik City Theater 2002- 2004.

As a director of films and television, Benedikt has directed one short TV drama for The Icelandic National Broadcasting Services, RUV, but he is best known for his writing and acting in the comedy TV Series “Blood Brothers” which won numerous Edda Awards, The Icelandic Film and TV Awards.

His solo performance “Wormstongue–A Love Story” was, after few years on the stage in Iceland and tours around the Nordic countries, recreated into a TV film which was nominated for an Edda Award, The Icelandic Film and Television Awards. His first short film “Thanks” was produced by Zik Zak in 2007 and was well received, travelling extensively on the festival circuit receiving the Jury Prize and Audience Award at the BE-Film Festival in New York in 2008.

“The Nail” his second short film, produced by Markell in 2008 also travelled extensively and received a Special Mention at the International Short Film Festival Clermont Ferrand in 2008. Benedikt has also participated in numerous films and TV-series as an actor, for example, Lars von Trier’s film “The Boss of it All”.

Contact details: Spellbound Productions Skildinganes 11 101 - Reykjavík T: +354 820 4957 F: +354 562 5086 duo@simnet.is

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Love & Engineering Attending: Martichka Bozhilova

SYNOPSIS Digital geeks looking for analogue love.

Love & Engineering is a documentary film (cinema version 80 min/TVversion 52 min) about getting re-introduced to real life.

Love & Engineering follows four engineers (from different countries – all living in Finland and working for big companies like Nokia and Ericson) participating in a course mentored by Atanas, 34, a Bulgarian mathematician, who is – on the basis of his own experiences – trying to structure a (pseudo) scientific formula of love and dating.

The students date – which we follow also – and return to Atanas who tells them what went wrong or why did they succeed and how they should act in future. And on this experiment Atanas is trying to formulate his theory and make application for mobile devices so every person in the world can learn how to find love.

The film is Finnish-Bulgarian-German co-production.

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Genre: Documentary Director: Tonislav Hristov Writer: Tonislav Hristov & Kaarle Aho Producer: Kaarle Aho, Martichka Bozhilova Budget: € 430 000 Company: Making Movies Oy, Agitprop DIRECTOR’S NOTES OF INTENTION Love & Engineering is a film about very current phenomenon; men who are very active on the Internet and have very active and social “second life” but who have problems approaching women in the real world. They have education in natural sciences so they approach the problem in scientific way. But does it work? This is the question.

I want to make a film about their effort in overcoming this problem. The film will be funny and emotional but also deep in a way that it touches the most crucial question: how to find love?

COMPANY PROFILE Making Movies Oy was founded in 1996 by Kai Nordberg in Helsinki.

Since that the company has produced over 50 documentary films and programs, four feature film and several tv-dramas and short fiction. The feature films include films like Black Ice by Petri Kotwica (Berlinale 2008, official competition) and documentaries films like A Decent Factory and Damages by Thomas Balmès, In the Dark by Sergey Dvortsevoy and Mechanical Love and Free the Mind (as co-producer) by Phie Ambo as well as Tonislav Hristov’s first feature length documentary Rules of Single

Life (Best documentary, Sofia Film Festival 2011.

Many of the films have been international co-productions. The films produced by Making Movies Oy have been distrubutd and broadcasted in over 50 countries.

AGITPROP unites a group of professionals from different areas related to filmmaking, photography, music, and graphic design. Throughout the years we have found our own room in the visual and creative industry market in Bulgaria and Europe. Currently AGITPROP is a well-known production company working on creative documentaries, TV programs, commercial video spots, as well as art and advertising photography, graphic design, pre-press and print. AGITPROP was set up in 1997 by cinematographers Boris Missirkov and Georgi Bogdanov. Since its inception the activities of the company were intertwined with the work of the Bulgarian Photographic Association, another major offspring of the tandem Missirkov/Bogdanov.

One of the first major projects of the company was Photomaton, 1999 – a monthly programme for Channel 1 of the Bulgarian National Television.

From them on, in parallel with developing the company’s first feature-length creative documentary, AGITPROP’s team was working on TV programs, such as Central Express, 2003 - a series of short documentaries on Bulgaria for RAI and the European Commission, and several productions for the CARE foundation human trafficking campaign. One of them was The Story of Olga, which premiered in 2004 alongside the film that turned out to be the first major international success for the company - Georgi and the Butterflies. It was followed by several intense years, during which were produced and premiered Family Fortune, 2007 and Goodbye to all that, 2007, as well as the two other international strikes of AGITPROP, The Mosquito Problem and other stories, 2007 and Corridor#8, 2008. At the same time AGITPROP was producing numerous social, educational and advertising campaigns, various commercial and art photography projects.

They included several photoshoots for Brava Casa, EDNO magazine, video and print advertising for major companies. Throughout the years AGITPROP’s efforts were primarily aimed at promoting open-minded and talented directors and filmmakers. The company has produced a number of films, mainly creative documentaries with a strong author’s style. During the

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last years most of the company’s projects are in co-production with leading TV broadcasters such as: Channel 4, Sundance Channel, ITVS, ARTE, RAI, CBC, SVT, YLE, NRK, HOS. Currently AGITPROP is actively involved with the management of an independent Balkan Documentary Center that will support and nurture documentary filmmakers from the Balkans.

PRODUCER’S PROFILE Martichka Bozhilova has been producer of AGITPROP since 1999. Her films include the multi-awarded Georgi and the Butterflies (Silver Wolf Award, IDFA 2004), The Mosquito Problem and other stories (World Premiere: Cannes 2007; Grierson Award, London Film Festival 2007; Grand Prize, Sunny Side of the Doc 2008), Corridor #8 (World Premiere: Berlinale 2008 – FORUM, Ecumenical Jury Award; HOTDOCS 2008 - HBO Documentary Film Emerging Artist Award), as well as See You at the Eiffel Tower which premiered at IDFA 2008 – Reflecting Images Panorama. She is one of the producers of the first BG omnibus film 15. The short fiction film Omelette produced within 15 won Honorable Mention at Sundance 2009. She is also producer of the first original Bulgarian productions for HBO, Concrete Pharaohs and Paradise Hotel.

Her latest films are Dad Made Dirty Movies (World premiere: Visions du Reel 2011) and The Boy Who Was a King (World premiere: Toronto IFF 2011, The Times BFI London FF 2011, IDFA 2011). AGITPROP’s films are broadcast and have cinema release worldwide. In 2006 Martichka Bozhilova received the International Trailblazer Award, launched by Robert Redford and Sundance Channel at MIPDOC in Cannes for creativity, innovation, originality and breakthrough in the field of documentary cinema. Lecturer at various European workshops and events in the field of documentary cinema. Director of the Balkan Documentary Center (BDC) for supporting documentary filmmakers from the Balkans www.bdcwebsite.com. Ambassador of the European Documentary Network (EDN) to Bulgaria. www.agitprop.bg Kaarle Aho was born in Helsinki 1968. He has a Master degree in His-

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tory. He has produced four feature films and over 50 documentary films and programs. He is the co-writer of Tonislav Hristov’s Rules of Single Life (2011).

WRITER & DIRECTOR’S PROFILE Tonislav Hristov was born in Vraza Bulgaria 1978. Since 2000 he moved to Finland. He has a Master degree in Engineering and BA in filmmaking.

He started his career by making tv-documentaries on emigrants for YLE. His first documentary film Family Fortune was released on YLE and Bulgarian Television in 2007 and his first feature length documentary Rules of Single Life in 2011. Both films have been Finnish-Bulgarian co-productions. Rules of Single Life had cinema distribution in Finland and Bulgaria.

Contact details: Making Movies, Agitprop Ratakatu 1 b/A 5 00120 - Helsinki, Finland T: +358 9 6829540 F: +358 9 68427870 kaarle.aho@mamo.fi www.mamo.fi

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My world is upside down Attending: Petra Seliškar Brand Ferro

SYNOPSIS “MY WORLD IS UPSIDE DOWN” is a musical documentary film, a combination of live performances by world’s leading alternative musicians performing Ježek’s songs entwined with his amazing archive material from the ‘60s to the ‘80s. Ježek was popular actor, timeless writer, unique performer; he even had audience as a prisoner, a person who lived always on the edge, poet and above all, master of songs. Poor as church mouse like most of artists of his dimensions, Ježek combined irony and comedy to scratch the surface of reality, being always on the side of “little man”.

“We comedians are not the kind of people who have a flat on Mount Olympus, a weekend cottage on Parnassus, or the other way around. Our place is at the foot of the slope, where ordinary people are grinding their way through the pressures of everyday life”, he used to say.

The world that he describes has not changed much in 30 years, it is still upside down and we get to know it through the musical journey that goes from a “one man band” classical guitar player to a sixty pieces orchestra performance, to underground rock band from Australia, to Italian crooner, to experimental accordion sounds of Finland, through hard-core punk sound of Macedonia, magical Arabic - Gipsy lyricism and American

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Genre: Creative music documentary Director: Petra Seliškar Writer: Petra Seliškar Producer: Petra Seliškar and Brand Ferro Budget: € 226.487,02 Company: Petra Pan Film Production avant-garde. This film creates a feeling of unconventional beauty that frees from schemes. You breathe some fresh air and feel like going to the theatre, to an exhibition or attend street performances; it almost makes you feel hungry of art as if one had forgotten that we are all made of art and that our soul and spiritual dimension needs art as one’s body needs food and water. It’s like a revelation. The film tries to explain how difficult and pure it is to make art.

DIRECTOR’S NOTES OF INTENTION “MY WORLD IS UPSIDE DOWN” is inspired by Slovenian Charlie Chaplin, my hero; a person who is part of my childhood…and my future work, a person that made me think about the meaning of life. That encouraged me to insist, create and fight for my beliefs. By watching his TV shows as a child I recognized my inner need to create.

30 years after Frane Milcinski Ježek’s death I went back to my childhood memories. I remembered the TV shows on early morning television, where he was performing. I researched the archive materials, on TV shows, radio recordings and books. I was more than inspired by Jezek’s radio and TV shows, where he explained his life through songs and stories. I translated several of his songs, together with Chris Eckman (lead singer of group

Walkabouts in Seattle, who currently lives in my hometown), and send them to musicians from all over the world. I searched for artists with similar sensibility, with huge audience but not mainstream; artists who are song writers and emotionally strong just like Ježek. I wanted some reaction from modern artists and I was thinking of a film that would have brought back to life Ježek and his world, through musicians I like and feel close to him.

They loved the project, found a lot of inspiration in Ježek’s idea and added music layers to his lyrics. Together we brought him back to life.

Ježek expresses his thoughts, that art is intended for everybody not just for the elite, that art should reach all ages, all people and speak to everyone, not just stay in the closed circles…and thus lose its meaning and place…

His inspiration for creation has influenced musicians and actors from around the globe, to create new songs with his lyrics.

In my documentary film “My world is upside down”, I want to show the fight of a “little man”, his fight to be able to create and be recognized by ordinary people. My desire is that this film encourages artists to insist, create and fight, so that in the future our culture should recognize our signs just like drawings in Altamira caves. Our children need to know how it was and how we lived.

COMPANY PROFILE Petra Pan Film Production is a Slovenian film production company. It was founded in 2003 by director Petra Seliškar and director of photography Brand Ferro.

The company produces creative documentaries and art house fiction films focusing on the Balkan’s and international market. Petra Pan’s long term focus is developing creativity through education (Creative house) and promotion of documentary films (MAKEDOX FILM FESTIVAL).

It is composed by a dynamic and ambitious international group of people; creative people focusing on a strong author's signature and a high artistic profile in every field of filmmaking. Through its years of existence is continually aiming to produce a high quality innovative films with sense of humor.

With our films we are succeeding in finding the proper way to communicate and reach our audience, by expressing our vision on the world

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around us. We aim to create films beyond the norms of documentary film.

Our production policy is to work internationally and be part of the multinational production network that focuses on high quality films with the same motivation and goal – to help create a better world for the generations to come!

PRODUCER’S PROFILE Brand Ferro – Producer of My world is upside down A cinematographer educated in Skopje and Belgrade. He began his film activities as an cine amateur behind the camera in "Courtyard", "Unusual Day", "One Way Ticket" and "Water" and received the highest recognition at domestic amateur film festivals. Later on he worked as a cinematographer of several video achievements including: "Subway" (1993), a musical underground series, awarded “the Gold Antenna" at the festival in Bulgaria, "After" (1994), a piece of video art, which won an award from the Council of Europe at the Festival in Locarno, "N.E.P." (1995), a full-length experimental documentary film was in the official selection of the London Film Festival in 1995.

He was working as a cinematographer on many documentary films for A1 private Macedonian television as well as short films and TV series for many independent film productions and televisions. In 2003 he established Petra Pan Film Production, an independent film production based in Ljubljana (Slovenia) and Skopje (Macedonia).

WRITER & DIRECTOR’S PROFILE Petra Seliškar – Director/Producer of My world is upside down Petra Seliškar studied film directing BA Hons. Nederlandse Film en Televisie Academie –NAFA, Amsterdam –moved to UK finished MA Screen Arts as director producer at Sheffield Hallam University - Northern Media School. Produced and directed several international film productions.

Other education: IEDC International school of management for young Graduates, Master Class with Dušan Makvejev, Master Class Michael Radford (EFA), Master Class z Julian Temple entered the first Berlinale talent

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campus, attended Script factory with Wim Wenders.

2006 Eurodoc graduate scholarship by Media plus. Participated on many markets and pinching sessions such as Medimed Mipcom Cannes, East European Forum, EDN Forums.

In 2002 had founded her own company Petra Pan Film Production that produces creative documentaries and art house fiction films for the international market. Petra Pan is a dynamic and ambitious international group of people focusing on a strong author's signature and a high artistic profile in every field of filmmaking. Aiming to produce a high quality innovative program beyond the norms of documentary film. Petra hold Master classes of storytelling on National Slovenian television RTV Slovenia, workshop on Šipanj Film School in Croatia; hold master classes on creative documentary filmmaking in Gorizzia Italy and Tirana, Albania at the Akademia e Filmit & Multimedias Marubi. Petra Seliškar and Petra Pan Film Production team are specialized on co production with Balkan region and EU countries. Currently working on a project aiming to develop creativity -CREATIVE HOUSE an artistic exchange between artists from Slovenia, Macedonia and Turkey. Petra Seliškar is a selector and organizer of documentary festival MAKE DOX in Skopje Macedonia.

Contact details: Petra Pan Film Production Dunajska 195 1000 - Ljubljana, Slovenia T: + 386 41 770 715 F: + 386 15 426 155 petra@petrapan.com www.petrapan.com

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SWORN VIRGIN Attending: Serena Alfieri

SYNOPSIS Sworn Virgin is a journey inside femininity told in its thousand fold and contradictory forms. It is the story of a woman who sacrifices her femininity to be free and then sacrifices her honour to go back to being a woman again. Without ever annulling her heart.

Hana Doda, still a girl, escapes from her destiny of being wife and servant which is imposed on the women in the inhospitable mountains in Albania.

She refuses the arranged marriage her uncle has decided for her. She appeals to the old law of the Kanun and swears her eternal virginity thus becoming a “sworn virgin.” She turns into a man, takes up a rifle and becomes Mark, Mark Doda. It is in exchange for this sacrifice that Hana is allowed to be considered at the same level as other men. Her battle does not only mean that she must rebel against what destiny has been writing on her body for centuries, but she must also reject, in name of this rebellion, every form of love. A refusal that becomes her prison. After more than ten years spent in solitude in the mountains as a man, she becomes brutish and she transforms to survive the hardship, the cold and misery, until something returns to awaken her again…

Hana decides to change life and painstakingly regain her body. She

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Genre: Drama Director: Laura Bispuri Writer: Francesca Manieri, Laura Bipsuri Producer: Alessandro Usai, Serena Alfieri Budget: € 1.600.000 Company: Colorado Film Production Srl knows that leaving the mountains is the price she will have to pay to be able to go back to living. A journey drags her away from her arid land, a journey that will mean she will have to revisit her past and exhume memories and feelings that she was made to bury in oblivion. Following a path that is a continuous and subtle crossing of two different and distant worlds, of the past and the future. In a modern Milan metropolis, she struggles to leave her man’s clothes and learns to be woman. She experiences the heady sensation of physical contact with others, and she finds dear and beloved people that life had taken from her and there opens an unexpected and forbidden possibility of love. Mark not only returns to being Hana, but she is also able to piece the two souls back together that for years have lived inside her body and she is reborn as a new, free and complete creature.

DIRECTOR’S NOTES OF INTENTION Sworn Virgin is a journey inside femininity told in its thousand fold and contradictory forms. It is a journey that allows us to understand how difficult it is to succeed in being free, how difficult it is for a woman and especially for a woman who is born in a particular environment like Hana’s, our protagonist. Hana faces many trials to regain her own liberty as a human

being and as a woman.

The point of view from which the story is told is rather original as it is that of a protagonist who is divided in two, between two identities, between the past and the present, between the lost mountains of Albania and today's Milan.

The duality that characterises and fragments the film should remain inside the emotional continuity which is driven by our protagonist.

It is with her that we pass from one side to the other and it is with her that we move to different stories and states of mind. In every change the spectator is constantly accompanied by her. And it is for this reason that the first scenes are wrapped in a mystery that revolves around the character.

It is only later that her inner self and story are revealed little by little, thus making us accomplices.

The story of the film, which is inspired by the homonymous book by Elvira Dones, starts with an analysis of real aspects that belong to Albanian culture, particularly that of the mountains in Albania; Socio-cultural aspects that still exist today, albeit sporadically. The part of the film that tells Hana’s past is in fact set in Albania and it delves into a world that is still totally unknown for many people. The Kanun and its laws, blood, honour, revenge, the concept of women, the family clans, etc... all subjects that have rarely been seen in cinema and which I have chosen to use as symbols of a more general condition, a metaphor of the relationship between female liberty and the world.

The aim of the film is that of telling this special story while making it as close to as many people as possible. There is no desire to make an art film in the most absolute sense of the term, however, there is a strong desire to share and disseminate the full story. For this reason a structure has been chosen that, even though half of the story alternates with the other, has an elliptical but linear progression with a precise emotional crescendo.

In regard to the tone of the film, I would like the poetry of the story to accompany its vision; a poetry that is moving, but also a poetry that is raw and, at times, severe. In short, a film that gives "a gut feeling" first of all, which then passes to a more complex reflection.

The style of directing will be very rigorous, essential. I would work with subtraction rather than with emphasis, always choosing to position the camera in one place and using the strength of that specific angle. I would

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like to tell and therefore also shoot the movie in a simple and direct way, as if we were in her subjective POV. Not a POV in the technical sense of the term, but in the sense of travelling through the story and the changes that it presents to us with the state of mind of the protagonist. The specific point of view of the camera will therefore be linked to her constant presence and the description of her reactions. There will be no scenes in which she does not appear and our vision will almost always coincide with hers.

The language used should be very natural but also very visual, knowing exactly why a certain character (and a certain image) with a specific shot can best be described not only to me but to everybody, in regard to the space and to what is happening around him. Every day we look at the world through our own eyes, from only one point of view. In this sense, therefore, the language that I propose is very close to a new idea of realism, but it is not only based upon this. The way in which I want to follow her is not by simply shadowing her. In fact, using this "realistic" structure, I would like to insert one or two moments in which the attention can suddenly take in the bigger picture, leaving behind the visceral ties with the character, to see her from a greater distance and so insert her in a less real, more poetic context; thus passing from a subjective POV to an objective POV. From a photographic point of view the film will entail working in two very different environments; that of the Albanian mountains and a modern metropolis. The very choice of the locations will make the differences in light in the two environments natural and evident, that is, the difference in brightness. Dimmer lights in Albania, brighter lights in the city. In general the Albanian part of the film will be made in a rougher starker way, using greater contrast, with deeper blacks, while there will be greater softness in the Milanese part of the film; a less rough, smoother sheen.

The temperature may also contribute to the differentiation between the two places; warmer in Albania, colder in Milan. However, besides these natural differences, I would like to maintain a certain photographic continuity throughout which would give a specific internal character. The costumes and scenography will help to generate colours that will follow similar tones. The colours I imagine must be harmonious and not too intense.

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The sound of the film will follow the same principle I described earlier in the passage from realism to the breaking away from it. That is, the sound will pass from something linked to reality to something that is linked to the character’s state of mind. For example, when Mark arrives at the airport, as he has never travelled before, all the noises are amplified, strange, intrusive, and it will be the same for us.

The music will be the soul of the film. There will be a clear cut difference between the intradiegetic and extradiegetic music. There will be one main extradiegetic music; marking the musical theme of the film, the melancholy and pregnant feeling of the search for one’s own centre that accompanies Hana in her trials. It will be used sparingly, but when it is used, it will absolutely dominate. Simple music for the soul that sticks in the mind and speaks of her, Hana, as an unforgettable person.

COMPANY PROFILE Colorado film is a leading independent production Company of motion picture, tv products and commercials. Colorado film was created in 1986 by three friends: independent producer and talent agent Maurizio Totti, actor Diego Abatantuono and director Gabriele Salvatores.

Gabriele Salvatores is nowaday one of the most popular Italian directors.

He was born in Naples in 1950 and the moved to Milan where he was graduated National Academy of Drama. In 1972 he was among the founders of the Teatro dell’Elfo which, in only a few years, became a point of reference for a whole generation of young audience. Between the Seventies and the Eighties, Salvatores directs 21 theathre pieces.

After the foundation of Colorado film, he continued a brilliant career in Italian cinema: his film “Mediterraneo” was Academy Award Winner in 1992 and his movie “Io non ho paura” (I'm not scared) was the Italian nominee to the 2012 Academy Award.

Colorado film production is part of the IVEN SPA group, an holding company chaired by Maurizio Totti, that after Colorado film production has founded other collateral companies also involved in the entertainment business: - Moviement, a talent agency, representing actors, writers, directors and authors, among the best renown in the Italian entertainment. The agency

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manages big Italian names such as Diego Abatantuono, Claudio Bisio, Fabio De Luigi, Antonio Catania.

- San Isidro Edizioni Musicali that produced the soundtracks for the following pictures: “Puerto Escondido”, “Sud”, “Nirvana”, “Denti”, “Amnesia”, “Io Non Ho Paura”, “Quo Vadis, Baby?”

- Colorado Commercials & Service, which, since 1997 has realized tv commercial directed (among the other) by Spike Lee, Gabriele Muccino, Paolo Virzì and Gabriele Salvatores.

In 2002 the Colorado Cafè tv show was created and still represents today a cult for live-show and comedians lovers. Diego Abatanuono, the artistic director, presents and hosts performances both of upcoming comedians and new talent, as well as famous names in the Italian cabaret world.

Since September 2003, Colorado Cafè is being aired on the national TV channel Italia Uno. In 2004 the publishing company Coloradonoir has been created, aiming to publish books that may eventually become motion pictures. The first novel published by Coloradonoir was “Quo Vadis, Baby?” by Grazia Verasani, that became a movie directed by Gabriele Salvatores. From the movie was also created a tv series directed by Guido Chiesa, (six episodes for Sky Cinema). Similarly the book written by Andrea Cotti “Un gioco da ragazze”, published by Coloradonoir, also became a feature film directed by Matteo Rovere. After 25 years of activity, with more than 20 films produced Colorado film production has a leading position in the Italian market and continues to obtain both great reviews and box office results. The Company recently produced the Box Office hit (around 10 million euros) “La peggior settimana della mia vita”, released in Italy by Warner Bros. This success is probably linked to the continuos research of new talents carried by Colorado Film.

Discover new talents (as Academy Award Gabriele Salvatores was in the Eighties) seems to be the Colorado film winning formula.

In 2010 Alessandro Usai joined Colorado team as CEO.

PRODUCER’S PROFILE Alessandro Usai has a long and rich experience in Italian cinema. He produced (with a producer credit) in the last years the following feature films: - “Ti stimo fratello”, directed by Giovanni Vernia and Paolo Uzzi, (in post production); - “La peggior settimana della mia vita”, directed by Alessandro Genevosi (2011); - “Io sono l’amore (I am love)”, (2009) directed by Luca Guadagnino; - “La seconda volta non si scorda mai”, (2008) directed by Francesco Martinotti; - “Albakiara”, (2008) directed by Stefano Salvati; - “Aspettando il sole” (2007) directed by Ago Panini.

He has previously appointed CEO at Mikado Film, the production and distribution company owned by De Agostini Media and Publishing Group (2006-2009). He was also Managing Director of Cinecittà Holding (2003-2006), the State company responsible for promoting and supporting Italian cinema in Italy and abroad. Alessandro Usai earned a Business Degree at Bocconi University in Milan and a joint Phd in Business Management at Bologna University and the University of Minnesota.

Since 1996 Alessandro is also Professor of Arts and Cultural Management at the Bocconi University of Milan. He wrote a number of academic publications both in Italy and abroad regarding the movie business. Besides the managing role in Colorado, he is currently sitting in the board of the independent distribution company Filmedia srl.

WRITER & DIRECTOR’S PROFILE FRANCESCA MANIERI scriptwriter Literary Diploma of Secondary Education (Maturità Classica), 60/60.

She graduates in 2002 in Philosophy at “La Sapienza” University, Rome with 110/110 cum laude.

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In 2004 she succeeds in accessing the scriptwriting course of the Centro Sperimentale di Cinematografia, Rome (highest rank amongst participants), where she obtains her diploma (three year course 2005-2007).

In 2010 she assists Gloria Malatesta in the Seminar “ Development of a subject” which takes place at the Centro Sperimentale di Cinematografia; she holds different seminars on the development of subjects and their transformation into screenplays.

Professional experience: Authorship Full-length films and television.

- “Il Rosso e il blu” (Red and blue) screenplay written with Giuseppe Piccioni for Giuseppe Piccioni’s direction. Subject by Marco Lodoli, Francesca Manieri, Giuseppe Piccioni, Bianca Film (Production) 2011.

- “La Guarigione” (Healing) screenplay written with Peter Del Monte for Peter Del Monte’s future direction, 2009.

- “La Foresta di Ghiaccio” (Ice Forest) screenplay for Claudio Noce’s second film, Ascent Film, Rai Cinema, 2011.

- “Una Passione Sinistra” (A Sinister Passion) screenplay written with Gloria Malatesta, Bianca Film Production October 2010.

- “Oliver Trans” subject, Solinas prize 2006.

- “Sirlei”, full-length film screenplay, written with the collaboration of Elisa Amoruso, special jury nomination Sonar Script 2007.

- “Palude” (Swamp) screenplay written with Elisa Amoruso and Stefano Lorenzi for the direction of Stefano Lorenzi, Kipling, 2008.

Short films and Documentaries.

- “Passing Time” directed by Laura Bispuri, Bonivento FIlm 2009, winner of David di Donatello prize for best Short Film 2010.

- “The Cricket” directed by Stefano Lorenzi, selected for Venice Film Festival, 2011.

- “Salve Regina” director Laura Bispuri, Cineclub Teramo Productions, projected at Rome Cinema Festival, 2010.

- “ Zanzibar, una storia d’amore” (Zanzibar, a Love Story) documentary directed along with Monica Pietrangeli, 2009, winner of Some Prefer Cake Film Festival, Bologna 2010.

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- “Solo per oggi” (Only for today) documentary selected for Bellaria Film Festival 2005 in collaboration with Andrea De Sica (CSC).

- “Grande Spettacolo Stasera” (Great Show this Evening) (25’ 35mm) directed by Andrea De Sica projected at Cinema Farnese, January 2009.

- “L’esame” (The exam) (15’ 35mm), directed by Andrea De Sica, it receives an award at Lincoln Centre in New York.

LAURA BISPURI director - David di Donatello best short film 2010 with Passing Time - Nastro d'Argento 2011 "nascent talent of the year" - Académie des César of Paris, Passing Time selected for the tournée of the world best seven short films.

- F.I.C.E. Federazione Italiana Cinema d'Essai Prize (Italian Federation of Essai Cinemas) RECENT FILMOGRAPHY Biondina (Little Blond Girl), 2011, 10min, short film within PerFiducia Project promoted by BancaIntesa - with the supervision of Gabriele Salvatores: Nastro d’Argento 2011; Special Jury Prize at the Compétition Européenne of Nice Festival; Salve Regina, 2010, 10 min, short film: Festa del Cinema Rome - Extra; Passing Time, 2010, 10 min, short: David di Donatello 2010; Nastro d'argento 2011; Festival di Arcipelago Best Short Film 2010; The Short Film Golden Nights (Les César) European Tour; EDUCATION/TRAINING - Degree in Cinema - Fandango Laboratory (10 directors selected out of 800 applicants). Two year school within Fandango with lectures by directors: Garrone, Sorrentino, Crialese, Muccino, Chiesa, Vicari, Ken Loach. The Laboratory included working on full-length film sets in direction and production teams and finally the shooting of a short film produced by Fandango and Sky.

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Contact details: Colorado Film Production Srl Via Monteleone, 3 20149 - Milano T: 390248921595 F: 390248010271 a.usai@coloradofilm.it www.coloradofilm.it

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The Loss of Innocence Attending: Jan Cvitkovicˇ Miha Cernec

SYNOPSIS The feature film ominbus The Loss of Innocence is a project initiated by the European Capital of Culture 2012 as the prime film project in the programme.

Established authors form the region (Slovenia, Italy, Austria, Hungary and Croatia) each contribute a 15-20 minute author’s film on the same subject matter – loss of innocence. There are no dialogues in the film, however, there is a narrator who ties the strings into a homogenous whole. Our goal is not to make five short films, but to produce a feature film with a wide variety of well-harmonized authors’ views; the project’s artistic director being Slovene director Jan Cvitkovicˇ.

The connecting element of all five stories is also the location – all stories take place in Maribor, exploring the variety the city offers (the urban, the rural and in the end, the industrial).

The film will attempt to open up a new field of presenting the erotic, not being direct or vulgar, but using ‘filmic beauty’ (as A. Kurusawa would call it) as its language of expression.

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Genre: Feature Film Director: Jan Cvitkovicˇ - artistic director, Antonio Nuic´, Gyorgy Palfi, Michael Glawogger, Roberto Dordit

Writer: Jan Cvitkovicˇ, Antonio Nuic´, Gyorgy Palfi, Michael Glawogger, Roberto Dordit Producer: Miha Cernec Budget: --Company: Staragara

The subject matter of the loss of innocence is so basic to all human beings that it requires an elementary approach to the narration of film stories, which is, deep in its core, poetic – filmically poetic.

DIRECTOR’S NOTES OF INTENTION Producing an omnibus with some of the big authors from the region - my friends from the world of film - has always been a challenge. At the same time I see the subject matter I chose as one of the basic questions of our existence, since all further human development and world view depends on it. The loss of innocence, the common thread of all five stories of the omnibus, has of course been approached in different ways. It can be looked at from several different angles. Loss is a sort of a milestone - at least I see it that way.

The omnibus is at the same time an opportunity to establish permanent cooperation in the region which has produced quite a few exceptional achievements in this field lately.

COMPANY PROFILE After the success of the films IDLE RUNNING and BREAD AND MILK directors Janez Burger and Jan Cvitkovicˇ established an independent film

production company STARAGARA in 2003 with the aim to produce their own films and at the same time enable and support artistic work and development of artistic potential of the people who contribute crucially to the quality of their films. The first film in production of STARAGARA was GRAVEHOPPING, directed by Jan Cvitkovicˇ and produced by Janez Burger.

Since then STARAGARA has expanded its field of activity through international coproductions to production of short, documentary and TV films as well as production of contemporary dance projects, experimental and commercial theatre. We strive to establish a network of long-term coproductions which are not based on short-term interest only but on common artistic affinity.

STARAGARA also acts as producer of advertising actions for selected partners.

PRODUCER’S PROFILE Miha Cernec was born in 1975 in Ljubljana. He finished primary school in Grosuplje, secondary school in Ivancˇna gorica. He studied Slavic languages and literature at the Faculty of Arts, University of Ljubljana. During his studies he wrote reviews and translated. He was one of the founders of the cultural journal Balcanis which covered current events and issues from the countries of former Yugoslavia and was published is several languages. He was member of the editorial board for five years. During this period he became increasingly involved in film production where he is still active today.

Since 2006 he has been involved as producer or executive producer in eight film projects. Besides that he worked also with five full-length feature films.

WRITER & DIRECTOR’S PROFILE Jan Cvitkovicˇ, born in Ljubljana 1966. Archaeologist, writer, actor, director.

Filmography: 2011 – Arheo, feature film, writer & director; Slovenian Film Festival 2011 Vesna Awards for: Best Feature Film, Best Director and Best Photography 2008 – I Know, short film, writer & director, premiered at Locarno FF – Piazza Grande; Special Jury Award at Sarajevo Film Festival, Best Slovene Short Film 2005 – Gravehopping, feature film, writer & director; (23 awards, incl.

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Altadis Award – Best New Director, San Sebastian, 2005). Slovenian candidate for Oscar Award and EFA Award 2003 – Heart is a Piece of Meat, short film, writer & director (3 awards), Corto-Cortissimo, In Competition, Venice 2003, Slovenian candidate for EFA Award 2002 – Death is Far Away, TV series, writer & director, (nominated as one of the 3 best TV series in Europe, Prix Italia, 2002) 2001 – Bread and Milk, feature film, writer & director (10 awards, incl.

Lion of the Future, Luigi de Laurentis Award for Best First Film, La Mostra, Venice 2001), Slovenian candidate for Oscar Award 1999 – Idle Running, feature film, script and leading role (20 awards), Slovenian candidate for Oscar Award Antonio Nuic´, born in Sarajevo, BiH, 1977. Lives and works in Croatia.

Filmography: 2009 - Donkey, feature film, director & writer; Bronze Rosa Camuna at Bergamo Film Meeting (2010), Golden Arena at Pula Film Festival (2009) 2006 – All For Free, feature film, director & writer; Bronze Rosa Camuna at Bergamo Film Meeting (2007), Big Goledn Arena for Best Movie (2006) at Pula Film Festival, Golden Arena for Best Director, Best Female Supporting Role and for Best Screenplay at Pula Film Festival (2006), Heart of Sarajevo at Sarajevo Film Festival (2006) 2004 - Sex, Drink and Bloodshed, feature film, director & writer 1998 - Na mestu dogadjaja, short film, director & writer Gyorgy Palfi, born in Budapest, Hungary, where he lives and works. Apart from feature films he also makes TV series and dramas.

Filmography: 2009 – I Am Not Your Friend, feature film, director & writer, nominated for Cristal Globe at Karlovy Vary International Film Festival (2009) 2006 - Taxidermia, feature film, director, Don Quixote Award at Cottbus film festival (2006), Audience Jury Award at Fantasporto (2007), "Gene Moskowitz" Critics Award, Best Supporting Actor, Best Supporting Actress and Grand Prize at Hungarian Film Week (2006), Best Direction at Transilvania International Film Festival (2006)

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2002 – Hukkle, feature film, director & writer, (17 awards, incl. Audience Award at Cottbus film festival (2002), Goleden Firebird Award at Hong Kong International Film Festival (2002), Best new director Award at San Sebastian International Film Festival (2002) Michael Glawogger, born in Graz, Austria, 1959. He lives and works in Vienna. He is known for his documentary work, but also writes screenplays.

Filmography: 2011 – Whores’ Glory, documentary film, director & writer.

2009 - Contact High, feature film, director & writer.

2006 - Slumming, feature film, director; Best Screenplay Award at Ghent International Film Festival (2006), nominated for Golden Berlin Bear at Berlin International Film Festival (2006) 2005 - Workingman’s Death, documentary film, director & writer; Grierson award at British Film Institute Awards (2005), Special Jury Award at Gijon International Film Festival (2005), Film Award in Gold at German Film Awards (2007), FIPRESCI Prize at Leipzig DOK festival (2005), Grand prix – Golden Apricot for best documentary film at Yerevan International Film Festival 1996 - Megacities, documentary film, director & writer; Vienna Film Award at Viennale (1998), Best Documentary Feature at Vancouver International Film Festival (1999), International Jury Award at Sao Paulo International Film Festival (1998), Golden spire at San Francisco International Film Festival (1999) 1989 - Krieg in Wien, documentary film, director.

Roberto Dordit, born in Venice in 1964, spends his childhood in Friuli Venezia Giulia, then Gorica, Slovenia, until graduation. He studies architecture at the IUAV in Venice where he also works as a photographer and doing documentary work.

In 1997 he moves to Rome where he works on several productions as assistant director.

In 1997 he moves to Paris and together with the illustrator Susana Beléndez Bieler he specializes in preparation of storyboards for feature films. He also shoots several music and advertising videos.

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In 1998 he produces the storyboard and the découpage for the feature film ‘Sotto la luna’ (directed by F. Bernini, production Tangram Film and Rai Cinema). This work leads to courses of direction and screenplay writing led by Franco Bernini.

He lives and works in Bologna where he works with Cineteca Comunale and University of Bologna.

Filmography: 2007 – Scoasse, feature film, writer.

2005 – Apnea, feature film, director; the Premio Qualità Award of the Associazione Articolo 21 for Best Director, awarded by the President of the Republic; Premio Alma Award for Best Screenplay and Premio Sintonia Award for Best Music at Santandér International Film Festival; Best Film at ForFilmFest 2001; nominated for Nastri d'Argento for Best Debut Film; nominated for Ciak d’Oro for Best Debut Film; Best Actor Award for Emilio De Marchi at the Gallio Film Festival; Premio de Qualità Award, awarded by the Italian Ministero dei Beni Culturali 1999 – Nella Polvere, short film, director; the film receives Best Actress Award for Francesca Gamba at the Festival Int. di Trevignano, Special Jury Mention at the Festival Int. di Siena; the film is screened at several international festivals, among those Montréal, Manchester and Philadelphia. Distributed by Vitagraph, it is released in regular distribution in Italian cinemas in 2001 as part of the 'Gusto Corto' initiative.

1993 – Zoo, short film; Leopard of Tomorrow Award at Locarno Film Festival (1995) 1992 – Bàdia, director of photography

Contact details: Staragara Tržaška 42 1000 - Ljubljana, Slovenia T: +386 1 421 00 24 F: +386 1 421 00 25 miha@staragara.com www.staragara.com

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The Quatraro Mystery Attending: Julie Elmquist

SYNOPSIS ”Why did Antonio Quatraro die,” is the simple question which forms the narrative drive of a very disturbing, intriguing and darkly funny journalistic muckraking of an unsolved fraud case, which is seen amongst the Eurocrats in Brussels as the mother of all fraud cases. ”The Quatraro Case forever changed the way we talked and interacted with each other,” as a former high ranking civil servant of The Commission says.

Looking for the answer to their question, two Danish journalists travel in and around Europe to get to the bottom of this unsolved fraud – and possible murder – case, which has haunted The European Commission for more than 16 years. During their Tintin’esque quest they will meet with European mandarins, Greek tobacco gangsters, a former Italian mafiarelated minister, paranoid bureaucrats, Israeli voice analysts, a whistleblower and many more. From all of this will come a thrilling, never seen before cinematographic and journalistic exposé of the dark side of The European Community.

But who is Antonio Quatraro?

In March 1993, a small, bulky, Italian man named Antonio Quatraro, flew out of an office building in Brussels. He soon landed on the pavement of

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Genre: Crime investigative documentary Director: Jeppe Rønde Writer: Mads Brügger, Jeppe Rønde Producer: Peter Engel, Julie Elmquist Budget: € 954,689 Company: Zentropa Real ApS Rue de la Loi (The Street of The Law) - the main power artery in Brussels - his face was smashed.

This was the end of Antonio Quatraro, the 59 year old Head of The European Commissions’ office for tobacco subsidies. At the time of his death he had been suspended from his post as Europe’s tobacco czar and placed under investigation for possible corruption and fraud. The investigation lasted three years with no substantial evidence found – however, people in the hallways of The Directorate for Agriculture still spoke of mafia involvement, links to Masonic lodges and fraud worth millions and millions of Euros. Antonio Quatraro was known amongst his colleagues to be the first high ranking EU Commission civil servant to come under public suspicion for fraud.

Shortly after his death, he was scheduled to appear in front of a disciplinary committee under The European Commission to get his verdict. The committee had been composed according to secret, almost occult guidelines of the bureaucracy of The European Commission. These men were to ask Antonio Quatraro; who he had conspired with? – As, it was evident to everybody, that if he was guilty, he could not have been acting alone.

Someone within The Commission would have been in on it - possibly higher up in the hierarchy.

Quatraro never got to answer – instead he fell out the window and died.

And ever since people in Brussels have been wondering; jumped or pushed, guilty or not guilty.

To this day these questions remain unanswered – ”The Quatraro Mystery” is about to change that.

DIRECTOR’S NOTES OF INTENTION In the movie it will be shown that: ––Quatraro had dinner the night before he died with his political godfather, Vito Lattanzio, who flew to Brussels just to meet with Quatraro. On two occasions, Lattanzio has been indicted for ties to The Mafia. Lattanzio has never been interviewed before about this dinner - not by press or police. We are the first to ask him about what happened that night.

––A fire-sale auction of surplus tobacco was hold just after Quatraro’s suspension, selling it off in enormous lots, which only the most powerful tobacco players would be able to finance and handle. The tobacco was bought by two Italian unknown companies; Boselli Salto and Agroindustria. Both were headquartered in Bari, Italy, the stronghold of Lattanzio!

–– A few weeks before Quatraro dies, the kingpins of European tobacco meet in suite 913, just opposite Quatraro’s office building. The only agenda is Quatraro. The meeting’s draftsman says; that ”Quatraros head has to be cut of”. A source has independently identified the same draftsman, as the person who had ”the will, the power and the means” to get Quatraro eliminated.

–– The Belgian police report about Quatraros death is full of dubious testimonials.

––The European Commission official asked to spearhead the disciplinary committee against Quatraro, was so terrible afraid of the tobacco mafia.

–– An alarmingly high number of civil servants in The Commission have “fallen” out of windows in the same building - the latest case was six months ago.

COMPANY PROFILE Zentropa is founded by director Lars von Trier and producer Peter Aalbæk Jensen. It is one of the largest production companies in Europe, having established a platform for young filmmakers and veteran directors alike and is greatly acknowledged for having reinvigorated the industry with Dogme95.

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Zentropa Real is a subsidiary to Zentropa. The catalogue includes The Five Obstructions (2003) and Trier’s Dogumentary Code (2002), equivalent to Dogme95. Release 2011: The Ambassador by Mads Brügger.

PRODUCER’S PROFILE Peter Engel: Peter Engel (1963) is a versatile Danish journalist, who has produced a series of award-winning, international documentary films and TV-series. He has worked for the two national broadcasters; national radio; The Danish Film Institute; and for some of the greatest TV and film production companies in Denmark. Engel has worked together with Mads Brügger for many years and has amongst other before The Ambassador (opening film and nominee at IDFA 2011 & in competition at Sundance 2012) produced Brügger’s satirical docu-series Danes for Bush (2004) as well as the highly acclaimed feature-length documentary, The Red Chapel (winner at Nordisk Panorama 2009 & Sundance 2010).

Julie Elmquist E. Neergaard: Julie Elmquist (1982) graduated from Roskilde University, Denmark, in early-2009 as Master of Arts in Communication and International Relations.

She has been at Zentropa since her graduation working closely together with Peter Engel. Elmquist has worked on several documentary projects including The Ambassador (opening film and nominee at IDFA 2011 & in competition at Sundance 2012) as associate producer and the highly acclaimed feature-length documentary, The Red Chapel (winner at Nordisk Panorama 2009 & Sundance 2010).

WRITER & DIRECTOR’S PROFILE Mads Brügger: (writer & co-director) Mads Brügger (1972) is a Danish journalist, TV-host, author and filmmaker.

He has written several books, worked for magazines and newspapers, produced award winning radio programmes and hosted the critically acclaimed late night TV-programme The 11th hour as well as the daily news/ debate programme Deadline. Furthermore, he has created satirical docu-

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series as Danes for Bush (2004) as wel as the feature-length documentaries The Red Chapel (winner at Nordisk Panorama 2009 & Sundance 2010) and The Ambassador (opening film and nominee at IDFA 2011 & in competition at Sundance 2012). Brügger is reknown for his distinctive methods of “performative journalism” as he infiltrates various milieus.

Jeppe Rønde: (writer & director) The Quatraro mystery (TV series documentary) - Director, Cinematographer (2009) The Swenkas (award-winning documentary) - Director, Writer, composer (2004) Jerusalem My Love (award-winning documentary) - Director, Writer, Cinematographer, Composer (2003) Dancing in the Midst of War (TV documentary) - Director, Writer, Cinematographer, Composer (2003) Stargazer (documentary) - Camera Operator second unit (2002) Søn (documentary short) - Director, Writer, Cinematographer, Executive Producer, Producer, Sound (2001)

Contact details: Zentropa Real ApS Filmbyen 22 2650 - Hvidovre, Denmark T: +45 29 25 84 24 julie.elmquist@filmbyen.dk www.zentropa.dk

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THE UNDERTAKER Attending: Jovana Nikolic

SYNOPSIS “The Undertaker” is a creative documentary about Drnda’s international funeral business built on migrant workers’ lost dream of coming home and Drnda’s own dream of earning an airplane - to expand his business from Europe to other continents. (Longer synopsis is also attached).

DIRECTOR’S NOTES OF INTENTION Growing up in Vlach environment where the strong tradition of death cult has persisted, I have always considered life and death as inseparable sides of the same coin (head and tail). Those coins are us with all our dreams that make our harsh, bitter realities.

Opposing the dreams of Vlach emigrants (who consider Drnda’s job as a symbol of success) with two Drnda’s firends (who look down at his job envying him at the same time), and Drnda’s professional and personal dreams, I want to open the question of the rising need of people to be happy in others’ eyes while their own lives are slipping away.

This is the crucial question of the film, though on the level of meaning, the themes of migrations, friendship and materialism are also interlacing, the latter being so pervasive that today even death has become a matter

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Genre: Creative Documentary Director: Dragan Nikolic Writer: Dragan Nikolic Producer: Jovana Nikolic Budget: € 147,463.00 Company: Prababa Production of prestige. In their lifetime Vlachs build bombastic toms, choose funeral equipment, cars that would transport their bodies or they marry the living and the dead (so called ’white weddings’).

Also should be mentioned that this will be the first creative documentary about Vlachs. As there aren’t even any fiction films that treat Vlachs as a subject this film will make a contribution toward documenting a tradition which dissapears with the first generation of Vlach emigrants from this region.

COMPANY PROFILE PRABABA PRODUCTION is independent production company specialized in creative documentaries, founded in 2007 by Jovana and Dragan Nikolic. Since than Prababa Production has realized Lords of the Danube (2011), The Caviar Connection (2008), National park (2006) and Hard Choir (currently in post-production). These films have been awarded and shown at the biggest film festivals as IDFA 2008, IDFA 2006, Berlin Film Festival 2007, and many others (including Trieste Film Festival 2009); have been done in co-production with ITVS International (USA), and in association with Channel 4 (UK), YLE (Finland), SVT (Sweden), Lichtpunt (Belgium), Jan Vrijman Fund (The Netherlands), World Wide Fund, European Cultural Foundation, Films Transit International and Serbian Film funds; and

have been broadcasted by PBS, NRK, BHT, RTS, Channel 4, SVT, YLE, Lichtpunt, NHT etc . In our focus are stories that deals with humen interests, envoirmment, politics and culture.

PRODUCER’S PROFILE JOVANA NIKOLIC/producer Experienced film and theater producer who has done her previous documentary projects The Lords of the Danube, The Caviar Connection and National Park in co-production with ITVS International (USA), in association with Channel 4 (UK), SVT (Sweden), YLE (Finland), with financial support of Jan Vrijman Fund (Netherland), Serbian Film Center, City Councile of Belgrade, Swiss Cultural Programme, European Cultural Foundation, World Wide Fund and with Films Transit International (Canada).

Born in 1976 in Belgrade, Serbia. Post-garduated (and graduated) at Faculty of Drama Arts, University of Arts Belgrade – Department for Production. Final year student at Faculty of Law, also in Belgrade.

WRITER & DIRECTOR’S PROFILE DRAGAN NIKOLIC / director, scriptwriter, camerman Achieved a great success with previous projects: as a complete author of documentary films – The Caviar Connection, National Park and Hot Line shown and awarded at the big world festivals (IDFA competition 2008, Berlin Film Festival 2007, IDFA 2006...); as an author of a play Transylvania, which is performed in Belgrade Drama Theatre (2006; already 6th season) and as on author of a play Waiting for Chinese (2011, Serbian National Theatre); as a co-scriptwriter and director assistent of a short fiction film - Run Rabbit Run, which received the first award in Cannes in sinefondasion category in 2003.

Born in 1974 in Zajecar, Serbia. Graduated at Faculty of Arts, University of Arts, Belgrade – Department for Dramaturgy. Final year student at the Faculty of Philosophy, also in Belgrade.

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Contact details: Prababa Production Boul. Zoran Djindjic 153/25 11070 - Belgrade, Serbia T: +381 60 0250009 F: +381 19 435107 jovana@prababa.rs www.prababa.rs

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Whorebus Attending: Leila Lyytikäinen

SYNOPSIS On a cold winters day in a small village in Finnish Lapland Mirja (45), the parish hall keeper, is preparing a funderal reception for the next day.

There is a knock on the door and this is the start of an very eventful day.

Mirja opens the door and 10 young women from Russia are standing outside. Their minibus has broken down in front of the parrish and they need shelter. Mirja who has tried to fit into the small society has to fear loosing her face with theese guests that turn out to be prostitutes, but at the same time her teenage daughter wants to save the world and especially theese women. Mirjas shameful past is lifting it’s head and during this day she has to decide who she is and who she will stand up for.

DIRECTOR’S NOTES OF INTENTION This film is about a woman who tries to start a new life in her home region after years around the world. As support and safety, but also as a bitingly sharp critic, she has her teenage daughter, a young woman who sees a bright flawless morality of right and wrong. With a mother's life experience, however she knows that not everything can be colored in black and white.

She builds the future on a catering service and has to prove herself to the

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Genre: Drama comedy Director: Maarit Lalli Writer: Karolina Lindgren & Niklas Lindgren Producer: Leila Lyytikäinen Budget: € 1,5 m Company: Kinoproduction Oy mayor of this tiny community city who has hired her services. But the plans are messed up by a bus full of prostitutes, whom she tries to hide from the people of the community with the help of her daughter. Finally, the mother and the daughter run into a conflict, but what is fundamentally the problem? The mother’s sharp attitude makes the daughter start digging in her secret past. And the secret is not the most beautiful one, but is it something to be ashamed about?

As director I concentrate on the difficult relationship of the mother and the daughter. The difficulty is that loving and fighting is done with the same passion. I am interested in what happens when secrets from a family’s past are revealed. In this case it is painful for the daughter but even more painful for the mother to watch her daughter realize the truth. It goes without saying that the chemistry of the main actors is the most important thing for this film. A hilarious, even comedy like, series of events in the background counterbalance the tragic main storyline.

As such, prostitution is a tough way to provide for oneself, but I look at it as an observer of life. Moralizing, or improving of the world is not the point of this film. But I want to leave the audience to think about things people may need to do to survive.

The picturesque landscapes of Lapland will create a great contrast to these colourful people's fates. This is a film based on a true story.

PRODUCER’S PROFILE Leila Lyytikäinen is a producer and has worked with films since 1999. She has produced a number of feature films as well as short films and documentaries. Feature films include “Shades of Happiness “(2005) “Mystery of the Wolf”(2007), and “Colorado Avenue” (2009). Currently Lyytikäinen is developing two feature films at the production company Kinoproduction Oy, one of them a children’s film called “We are the Pirates of the roads”.

Lyytikäinen is a member of the European Film Academy, an EAVE graduate and recent member of the ACE network.

WRITER & DIRECTOR’S PROFILE SCRIPTWRITER’S CV Name: KAROLIINA TORVINEN Year of birth: 1981 EDUCATION 2009: Master of Arts. University of Art and Design/School of Motion Picture, Television and Production Design, Screenwriting.

2006: Bachelor of Arts. University of Art and Design/School of Motion Picture, Television and Production Design, Screenwriting.

2002-2003: Theatre Academy of Finland, Open University, Theatre history and drama 20 cr.

2000: Tornion yhteislyseon lukio: High School Graduate WRITER 2010: OHIKULKIJA, feature film (in pre-production), 90 min./ Screenwriter (HELSINKI-FILMI, prod. Aleksi Bardy) 2009: GHOST TOWN, animation, 10 x 22 min./Screenwriter (UNDO OY, prod. Ville Rousu)

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2007: TÄSSÄ LEPÄÄ AINO KOSKI, film for television, 60 min. /Co-writer (JUONIFILMI/YLE, dir. Marja Pyykkö) 2006: DIILI, short film, 20 min/Screenwriter (UIAH, dir Juha Lankinen) 2005: SURU, short film, 12 min/Screenwriter (UIAH, dir. Antti Pesonen) OTHER PROFESSIONAL EXPERIENCE: 2009: WASTELAND, music video/Costume designer & photographer (Fullsteam records, dir. Niklas Lindgren) 2007: CITY & THE STREETS, Music video/Costume designer (Fullsteam records, dir. Niklas Lindgren) 2004: LEX MANIA, Theatre play/Costume designer (Ylioppilasteatteri, dir. Minna Harjuniemi) 2003: VALASMYRSKY, Theatre play/Costume designer (Ylioppilasteatteri, dir. Aune Kallinen) 2003: JOUTILAISUUDEN ARVOKKUUDESTA, Play/Costume designer (Ylioppilasteatteri, dir. Atro Kahiluoto) 2003: DEUS EX MACHINA, Theatre play/Costume designer (Ylioppilasteatteri, dir. Minna Harjuniemi) 2002: CHE-OOPPERA, Theatre play/Costume designer (Ylioppilasteatteri, dir. Minna Harjuniemi)

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CURRICULUM VITAE, director NAME: Maarit Lalli year of birth 1964 EDUCATION 1983: Rauma high school graduate 1991-93: Studies in the Sibelius Academy (music university in Helsinki) Studies in the Theatre Academy of Helsinki 1993-94: University of Helsinki, faculty of theatre and drama 1994-97: School of Art and Design, faculty of Film, scriptwriting and directing FILMS and TV series as DIRECTOR and SCRIPTWRITER FILMS 1999: Hard men (fiction 20 min, Sputnik Oy) Remnants, director, scriptwriter (fiction 5 min, GNUfilms Oy) 2002: Island prisoners (documentary 50 min, GNUfilms Oy director and scriptwriter together with A. Kuivalainen) 2006: The Lake, director (fiction 9 min, Lasihelmi Filmi Oy) 2009: Sway with me, director&scriptwriter (fiction 29 min, Lasihelmi Filmi Oy) TV-sarjat 1999-2001: Homestreet tv-series teamscript (45 min/week, YLE -TV 1) 2003: Tie Eedeniin ohjaus (TV-sarja 30 min x 8, TV 2) 2004-2005: Cockoo’s nest director(TV-series 45 min x 12, Jarowskij Finland Oy) 2006-2007: Heart of Ice (Sydänjää) director (TV-series 45 min x 6, Jarowskij Finland Oy) IN PROGRESS: Taste of blood, fiction feature film Le Grand Sancy, Aurora Karamzin, fiction feature film Soon 18 years of age, fiction feature film

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TEACHING 2005-2007: Stadia, 3 week course in directing for 2nd year students POSITIONS OF TRUST 1995-1998: School of Art and Design, faculty of Film, student representative in board 2001: Festival de Cine Huesca, Spain, international jury Nordic Glory festival, Jyväskylä, jurymember European Film Academy, member PRIZES 1999 Remnants

State quality award 2000- Hard men 2001 State quality award

KETTUPÄIVÄT, Helsinki 1. Prize

TAMPERE SHORT FILM FESTIVAL, 4 prizes

FESTIVAL DE CINE HUESCA, Spain 2 prizes

SHORT FILM FESTIVAL IN DRAMA, Greece

FESTIVAL OF FESTIVALS, Denmark 1.prize

CINEMA TOUT ECRAN, Geneve 1. prize

RECONTRE INTERNATIONALE DU

COURT-MÉTRAGE; La Reunion, audience prize

LEUVEN KORT SHORTFILMFESTIVAL, 1.prize

EUROPEAN FILM ACADEMY, nominee for best shortfilm 2000 2006 The Lake

KETTUPÄIVÄT, Helsinki, honorary prize

State quality award 2010 Sway with me

Arktista vimmaa, Rovaniemi(Finland), 2. prize

Contact details: Kinoproduction Oy Pasilan vanhat veturitallit 00520 - Helsinki T: +358 9 6850460 F: + 358 9 6850 4610 leila@kinoproduction.fi www.kinoproduction.fi FINAL LINE UP

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NOTES

SKETCHES

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10 strong projects already presented in other European co-production markets

76 AUGUST FOOLS 80 DUAL 84 ERTO (BALLAD FOR A GHOST TOWN) 86 INSHALLAH - GOD WILLING 94 LAZAR 98 MITCH - DIARY OF A SCHIZOPRENIC PATIENT 102 OTHERS 106 THE HIGH SUN 108 THE STEP COUNTER 112 UNO (ONE)

Finland Slovenia Norway Italy Macedonia Croatia Serbia Croatia Bulgaria Italy

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AUGUST FOOLS Attending: Markku Flink

SYNOPSIS August Fools is the story of ELSA, a middle-aged milliner and part-time clairvoyant in total control of her life-until the man she once loved and lost walks in through the door of her little hat shop, in Helsinki, in 1962. JAN a Czechoslovakian jazz musician, is in town to perform at the “International Festival of Peace and Friendship of the Youth of the World.” For more than two decades Elsa has believed the man to be dead.

Initially, Elsa wants to stay away from Jan – and especially from the Festival, which for her is just another attempt by the International Communists to brainwash the good, unsuspecting citizens of Western countries, such as Finland. But Jan is persistent, persuasive, and charming.

As Elsa eventually overcomes her fear of love and commitment, she realizes there is only one solution if the two of them want to be together for more than seven days of the Festival. Jan has to defect to the West.

However there are few issues to be solved: Elsa’s niece and apprentice MINNI has meanwhile fallen in love with ADAM, the young Communist

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Genre: Romantic comedy Director: Taru Mäkelä Writer: Raija Talvio Producer: Markku Flink Budget: € 2 m Company: Kinosto Oy Party watchdog ofthe Czechoslovakian delegation. And during the hectic Festival days, Elsa has to share her time between Jan and another man – her neighbour. Police chief Ståhl, who is responsible for the policing of the event. Elsa has promised to use her clairvoyant’s skills to help him to cope with the task. Furthermore, Ståhls private life is in a total mess.

The intoxicating blend of hot August nights, music, dance and the ice-cold political paranoia of the Age of the Iron Curtain form the circumstances in which Elsa has to make her final choice. Will she yield to the wishes of the Finnish Police, who, under pressure from the KGB, wants her to track down two Czechoslovakian defectors Jan and Adam, or will she opt for an entirely new life herself?

DIRECTOR’S NOTES OF INTENTION August Fools is a romantic comedy set against the political backdrop of the Cold War. It deals with every one’s right to individual happiness. It opes a story about three different couples: one young and two middle-aged. The film portrays the Cold-War era of Europe, but it can easily be interpreted as opposing all totalitarian ways of thinking, whatever the political system or era.

As a director I am a story-teller who likes social satire and sharp humor.

I have done a lot of comedies for Finnish television. Besides that I have made some art house films. I have the gift of making my audiences either laugh or cry, sometimes both at the same time.

I want to give my audiences entertainment and something to think about also after the film has finished and the curtain closes. August Fools will sparkle with love and happiness and plenty of good music – both score music and pop classics from the early sixties.

The role of Elsa will be played by Kati Outinen, Jan by Miroslav Etlzler, Minni by Elena Leeve and Adam Krystof Hadek.

August Fools will be a well-planned cocktail of bright colors, something akin Les Parapluies du Cherbourg by Jacques Demy. It is going to be like a present to the audience, a present containing happy and intense moments for people’s eyes, ears and hearts. August Fools will definitely be a happy, sometimes even crazy film with a bitter-sweet touch of warm human understanding.

Why August Fools? There are certain films I love to see with my teenagechildren, films like Four Weddings and Funeral, or the comedies by Billy Wilder. There should be a lot more of films like that and August Fools is my contribution to the genre I love.

COMPANY PROFILE Kinosto is the oldest film company in Finland. The Mäkelä family started in the film business in 1920. During the decades that followed their company Kinosto grew to one of the major owners of cinema chains in Finland. The company also produced and distributed films. Nowadays Kinosto concentrates on producing. The company is owned by film director Taru Mäkelä and director of photography Jouko Seppälä. Kinosto produces both drama and documentaries for both domestic and international market.

The first internationally acclaimed feature film was Little Sister (1999) directed by Taru Mäkelä. It won the Finland Prize in 2000 and was nomi-

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nated to the contest of the best Nordic film 2000. The upcoming feature film the Storage (Varasto) will have its domestic premiere 30th December 2011. The latest feature length documentary was a two-hour documentary film The Unknown Woman (Tuntematon emäntä) by Elina Kivihalme. It is a story of war effort of rural women. Film was released theatrically february 2011 and it has been a nation-wide succes in Finland.

PRODUCER’S PROFILE The producer Markku Flink (born 1964) has recently moved to Kinosto and has completed several international co-productions both documentaries and feature films. The latest film is Eurimages supported romantic comedy Garbage Prince (dir. Raimo O Niemi) which opened domestically 29th July 2011. Coming soon Finnish-Swedish co-production Miss Blue Jeans, directed by Matti Kinnunen. Flink graduated as a documentary film director in Norway in 1993 and as a producer from EAVE 2004. In 1999, Flink founded a regional film fund and a film commission in Oulu.

He acted as the Executive Director of POEM 1999-2008. During these years POEM developed, co-produced and co-financed around 100 films: shorts & docs, tv-series and feature films.

WRITER & DIRECTOR’S PROFILE RAIJA TALVIO Writer, film editor, tutor, researcher Master of Arts, 1987 – University of Art and Design, Helsinki, Film and TV Department Writing: Feature film: Pikkusisar (Little Sister), 1999 (dir. Taru Makela) Tv films: Amor ampuu ohi (Amor Aims High), 1989; Viimeinen pisara (Last Drop), 1991 (both dir. Marjo Valve) Tv series: Huomenna on paremmin (Better Tomorrow), 1992 (dir. Marjo Valve); Siinä näkijä missä tekijä, 2011, (dir. Kari Paljakka) Play: Viimeinen juna länteen (Last Train to the West) Finnish National Theatre 2006, Savonlinna Theatre 2010

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Film Editing: Feature films: Rosso, 1985 (dir. Mika Kaurismaki) Calamari Union, 1985; Shadows in Paradise, 1986; Hamlet Goes Business, 1987; Ariel, 1988; Leningrad Cowboys Go America, 1989 (all dir. by Aki Kaurismaki) Rakkauselokuva, 1984; Morena, 1987, (dir. by Anssi Manttari) plus several long documentaries 1986-99, television drama and documentaries etc.

TARU MÄKELÄ director The Storage (Varasto), the latest film from a filmmaker Taru Mäkelä, continues her successful career in directing comedies with a social satire and sharp humor. Storage is an (un) romantic comedy about people in a paint store. It will open domestically 30th December 2011. Her first feature film Little Sister (written also by Raija Talvio) won the Finland Prize in 2000.

Little Sister was a nominated as the Finnish competitor to the contest of the best Nordic film 2000. In 2007 was Taru Mäkelä selected to the Media New Talent programme with a film August Fools.

Contact details: Kinosto Oy Linnankoskenkatu 23 A 12 00250 - Helsinki, Finland T: +358 40 51 66 504 markku.flink@kinosto.fi www.kinosto.fi

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79

Dual Attending: Ales Pavlin

SYNOPSIS Because of a general terrorist threat the planes are forced to land all over Europe. A plane with passengers from Denmark heading to Greece therefore lands at the Ljubljana airport. Among them IBEN (25), a quiet, beautiful young Danish girl. The passengers are temporarily being taken to a hotel in Ljubljana and this is how she meets TILEN (25), who is driving a shuttle as a summer job, and exactly on that day in the morning he has a job interview, which is very important for his future. When TILEN drops off all the passengers and wants to leave, he notices that IBEN has stayed in the shuttle. IBEN asks him to give her a tour around Ljubljana and TILEN concurs even though it seems a bit odd. He drives her to the Ljubljana Castle, where IBEN walks on a bench, jumps around and acts peculiar.

When TILEN drives her back to the hotel, he thinks that the story is over, but then TILEN notices her on a street in the city again. He follows her to the Ljubljana main marketplace, where IBEN is involved in a fight with the security guard, and TILEN is able to get her out of the situation. This is how their relationship begins. IBEN is a peculiar, at times aggressive girl, who gets involved in weird situations - while strolling in the park, she takes a baby out of a pram and takes a look at it, TILEN has to protect her

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Genre: Drama Director: Nejc Gazvoda Writer: Nejc Gazvoda, Janez Lapajn Producer: Ales Pavlin, Andrej Stritof Budget: € 816.100 Company: Perfo Production from very tense parents. From their conversations we find out that TILEN is quite pessimistic about his future, that he is afraid of the job interview.

IBEN comforts him but when TILEN is at the job interview thinking about IBEN confuses him. He performs quite terribly for he notices IBEN through the window walking in the opposite direction he had told her the hotel was located. When TILEN returns from the interview, IBEN is nonetheless waiting for him in front of the building. They go on together, meet TILEN’S friends, who are discussing life at a terrace bar in Ljubljana and turn out to be lost cases, there is a lot of unresolved issues among them. IBEN finds out that TILEN is a very good singer.

TILEN and IBEN continue their journey. They talk about language. TILEN explains dual and declension to IBEN. IBEN is sad because her name doesn’t change (isn’t declensional) in Slovene. IBEN asks TILEN to sing for her but he refuses.

TILEN and IBEN go for lunch. Their conversation develops and TILEN suggests that they tell each other their biggest secrets in their own languages.

Before IBEN tells her secret, they are interrupted by the waiter and TILEN meanwhile presses a button on his cellphone. TILEN tells IBEN that he is completely lost in life. IBEN tells TILEN that she is dying and has only two more months to live, that is why she is traveling. TILEN is listening to her

confession with a smile on his face and in the end he says that her secret sounds very beautiful.

Before they part TILEN starts singing for IBEN. He is singing in a public space, where everyone is supposed to hear him but nobody turns around.

IBEN is looking a him, she is happy. In her head he is singing only for her and we see how she perceives the events. TILEN tells IBEN that he has to go home and admits that he is still living at his parents’. IBEN surprises him by saying that she would like to meet them.

IBEN meets TILEN’S MOM and TILEN’S DAD and TILEN’S YOUNGER BROTHER (7). TILEN’S DAD is proud of his son once after a long time, otherwise he thinks he is a looser. TILEN’S MOM feels that there is something peculiar about IBEN and tries to find out some more about IBEN but she doesn’t succeed. To crown the evening TILEN and IBEN attend a toy performance, which TILEN’S YOUNGER BROTHER prepared and persistently wanted to perform the whole evening. The performance is surreal and absurd but as TILEN’S YOUNGER BROTHER says at the end that he hasn’t thought of the end yet, IBEN burst into tears.

After the night, we are not aware what happened during the night, TILEN and IBEN head back to the hotel, where there is panic because they are being late for the plane. TILEN drives the shuttle back to the airport but he doesn’t get to talk nor say goodbye to IBEN. IBEN manages to give him an envelope. TILEN should drive a new group of tourists back to the city but doesn’t do that - he shuts the door of the shuttle and drives to the Ljubljana Castle alone, where he opens the envelope. There is only an empty sheet of paper in the envelope. TILEN is looking at the envelope for a while; then he takes his cellphone and presses some buttons. We hear IBEN’S voice, the confession about her death in Danish. TILEN is listening to it with a smile on his face.

DIRECTOR’S NOTES OF INTENTION Dual is a love story about the fact that whatever happens around us in the world, we will always seek to realise our love - and at the same time this happens to two people, TILEN and IBEN, who won’t be able to do so because of the unpredictability of life. While shooting my debut film The Trip I

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realised that I am fond of the realistic style and the hand held camera, that is why I intend to continue with this technique. The naturalistic photography with minimal use of artificial light will give the actors enough freedom to realise their potentials. I don’t want to immerse in technology and become its slave, the story is strong and speaks for itself, and therefore I will keep the film language as basic as possible and in support of the situations.

In the beginning, when the main characters are getting to know each other, I will use teleobjective lenses and put the audience in the characters’ position - they are not together yet, they are getting to know each other, they are distant from each other. Their situation in not realistic, it is almost dreamlike, like it is always, when people are getting to know each other you discover a new world, a new person. When their story develops, for example when they start to talk to each other for the first time, we will come closer to them with the camera, like they came closer to each other. The camera will be in the function of the observer and not the omniscient spectator, for the turns, moves, zoom-ins and similar things will be based on the situation itself, as if an observer would be observing the event - the camera movements will follow the characters movements, therefore the director of photography or the cameraman will be subordinate to the actors in the situation and not the other way around. A big inspiration for me is the Danish cinematography of the Dogma movement, but also Terrence Mallick and his way of playing with natural light, although his poetics is quite different, but the most important thing is that I would like to detach myself from the film vision as being a controlled, light-corrected and thoroughly thought out choreography, instead I will bet on rawness, directness and unpredictability. Every artificiality in this film would eventually boost the pathetic, every fully lit close-up of the actress would mean underlining love, which has to come about like it does in real life - spontaneously, with troubles and tribulations which come along the way. And this of course doesn’t mean that the shoot will be improvised - I will be practicing the scenes with the actors very precisely, as I did while shooting The Trip, I will talk about the situations with the actors, they will be involved in character development and will get to know their characters in detail, and this way they will be able to react to the unforeseen situations, which I will (or we will) encounter

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at the shoot. The director of photography will also be an important creative partner, for he will have to simulate the eye of the coincidental observer, as I mentioned above, and there are little coincidences allowed concerning that - especially this has to be perfectly thought out, for only in this case the possible coincidences, which happen during the shoot, come to light and the whole crew is able to react to them. And at the same time while being as prepared as possible one always stays in production outlines and doesn’t endanger the production itself.

The poetics and moments, which are possible only in film language, are very important to me in this film, therefore I also integrated dream scenes into it. These scenes won’t stand out in the film, for I don’t intend using slowmotion shots, fog or special effects - it will be obvious from the situation itself that we are in a scene, which is not happening the way it would be happening in reality. For instance the scene, when TILEN sings a song for IBEN in public, will be of this kind - it will be based on their close-ups and a total shot of their surroundings, which will make it clear that the people passing by are not reacting to TILEN because the scene is IBEN’S intimate wish - and not because they would not be hearing him for real.

The music in the film will be used tacitly and only then, when it is absolutely necessary. TILEN and IBEN will each have their own theme, which will be based on the musical heritage of each country they come from, therefore Denmark and Slovenia, in a subtle manner of course. The film won’t be needing a musical score for the background which would underline feelings, for the scenes are already emotional enough, and therefore it is necessary to be careful for the story not to become pathetic for a single moment but that it stays an honest story about two people, who met at the moment, when they absolutely shouldn’t have - but they are nevertheless a bit more happy because they did.

With this film I am staying in the story framework of our generation and its troubles, which this time incorporates the average indifference and apathy that is lurking at all ends of the Slovene and worldwide society. The film DUAL won’t be avoiding burning questions about which it is important to talk in films but at the same time it will be based on the most important film features to me - story, emotion and sincerity.

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COMPANY PROFILE Perfo is a production house established in 1996 and owned by Ales Pavlin and Andrej Stritof. Since then they have made hundreds TV commercials and music videos for several Slovenian and foreign agencies. In last few years Perfo produced a very successful sitcom “It’s Good to be a Neighbor”, aired for last three years in prime-time at CME television POP TV. Perfo also expanded their production to film area with two short films “Smile” and an award-winning and internationally acclaimed film “E Pigs”.

In 2011 they presented their first feature film “Izlet” (“A Trip”), directed by one of the most talented and promising Slovenian film-maker Nejc Gazvoda. At the moment PERFO is shooting Slovenian version of internationally acclaimed TV drama: In Treatment and is in process of finalizing feature film “D minor” and in process of pre-production of Nejc Gazvoda’s second feature film “Dual”.

PRODUCER’S PROFILE Aleš Pavlin, born in 1970, got degree at University of Economics, Ljubljana and PhD at University of Drama Arts, Belgrade.

In years 1999-2002 he was Director of Theatrical Distribution and Marketing at Karantanija Cinemas, official Slovenian representative of United International Pictures, London.

From 2002 to 2004 he was Executive Director of Golden Drum-International Advertising Festival, Portoroz.

He was also Managing Director of Festival of Slovenian Films in 2004.

From 2004 to March 2006 he was Member of the Board of company Kolosej, the biggest cinema exhibitor in Slovenia.

From April 2006 is associate partner in Production house PERFO. He is also an author of many articles in the most prestigious Slovenian marketing magazine “Marketing Magazin” and daily “Delo”-mostly writing about connections of advertising and film industry.

From 2007 is professor of “Media Production Planning” at Institute and Academy of Media in Ljubljana.

WRITER & DIRECTOR’S PROFILE Nejc Gazvoda was born in 1985 in Novo mesto, Slovenia.

When he was in high school, he wrote a short fiction stories collection called „Nothing Escapes the Squirrels“, which earned him Fabula 2006 (for best short fiction book) and Golden Bird 2005 award (for innovative writing).

He is also an author of three novels and a drama play, all three novels were shortlisted or long-listed for “Kresnik” award (Slovenian highest award for best novel of the year) and in media, he is often referred as a leading writer of his generation.

He has finished his study as a film and TV director on Academy of Theather, Radio, Film and Television in Ljubljana. His third year student movie is titled „Burgundy Red“ (2007), his graduate movie is titled „Caretaker“ (2008). He directed two student TV dramas, the graduate drama is titled An Ounce of Luck (2008), for which he won “Preseren” (highest academy award) academy award. He is also an awarded scriptwriter, his short movie script „It is easy“ won Grossman award 2009 for best short screenplay. He also co-wrote a script for a movie „Personal Baggage“ (2009) with one of the leading Slovenian film directors Janez Lapajne.

He is currently promoting his first feature film, titled „A Trip“, who has gained attention of festival selectors in Cannes market 2011 and has had a successful world premiere in 17th Sarajevo film festival in competition program and received excellent reviews in Variety and Screen International. A Trip has also been accepted to 27th Warsaw Film Festival (recognised by FIAPF as A category festival as one of just thirteen international competitive film festivals in the world), 19th Filmfest Hamburg in Germany, 12th Plan-Séquence Arras Film Festival in France and 22th Ljubljana International Film Festival (all competition program).

He is currently working on his second feature film “Dual”.

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Contact details: Perfo Production Malgajeva 17 1000 - Ljubljana, Slovenia T: +386 40 425 140 F: +386 1 232 14 69 ales.pavlin@perfo.si www.perfo.si

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ERTO (Ballad for a ghost town) Attending: Edoardo Fracchia

SYNOPSIS Erto, a village as steep as its name (Erto means “hanging on” in Italian), is made up of bizarre and genuine characters who survived an attempt to eliminate their town from the geographical map in the name of profit.

This is a portrait of a village and its inhabitants whose lives were marked forever – not only by the man-made Vajont tragedy, but also by their desire to regain their homes, their abandoned houses and their strange origins.

DIRECTOR’S NOTES OF INTENTION From the distance, while approaching Erto, the village looks like a fairytale place. Then you arrive, and you start wandering among the empty alleyways and the abandoned houses - and you end up thinking that the fairytale had been stolen by someone, some long time ago.

I want to create a portrait of this bizarre village marked by the Vajont tragedy maintaining that feeling: Erto as a stolen fairytale. Everything carried on beautifully in this village surrounded by the mountains, until they started to build the infamous dam.

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Genre: Documentary Director: Alessandro Negrini Writer: Alessandro Negrini, Elisa Nocente Producer: Tor Arne Bjerke, Edoardo Fracchia Budget: € 270.343 Company: Pang produksjoner AS (Norway), Stefim (Italy) And then everything changed.

I have always been fascinated by what is untold and concealed.

The history of the aftermath of the Vajont Tragedy has never been narrated and never been depicted. By listening to the people who decided to go back illegally to their town, a common thought emerges that time is running short for Erto once again - and they have to do something, in order to continue to tell the “fairytale of survival” to the next generations. I want to help them in doing so by unveiling their story.

I want to tell the story of ERTO in a dreamlike atmosphere, with poetry but also irony, unveiling in an entertaining way the lives of the people in this secret corner on the Dolomites Alps.

COMPANY PROFILE Stefilm is one of the leading documentary production companies in Italy. It is committed to creating and distributing documentary programming which brings Italian themes and talent to the rest of the world and to re-establishing a thriving documentary culture in Italy. Stefilm’s productions have been co-financed with over 50 broadcasting, institutional and independent partners in Europe and North America.

The company produces one-offs and series on historical, social and cultural issues.

Pang produksjoner (Norway) is the leading production company which has produced some 30 documentary-and shortfilms over the last 10 years, being distributed on national and international television and festivals, claiming some 15 international prizes.

PRODUCER’S PROFILE Born in August 1953, Turin - Italy, where he graduated in Medicine in 1979.

In 1984, together Elena Filippini and Stefano Tealdi, he founded Stefilm.

Since 1988 he wrote several treatments for documentaries shot in Italy and around the world following them up as line-producer and/or co-director. All the films were aimed at the international market. He has also worked in writing voice off texts for documentaries. As a producer he trained and followed most of Stefilm’s productions “first director film” and this is already his main job.

The last films produced are “Mostar United” by Claudia Tosi (IDFA 2008) and “Vinylmania” by Paolo Campana, co-produced with ZDF/ARTE (2011).

WRITER & DIRECTOR’S PROFILE Italian film director and poet. Born in Turin, he defines himself a Film Director by mistake. He spent much of the late 1990s travelling Europe writing and in 2001 he moved to Northern Ireland.

His works combine documentaries, fiction and poetry.

His last documentary “PARADISO”, produced by Margo Harkin (Besom Productions) and commissioned by BBC, has become a worldwide success winning 15 international awards so far, including Best Documentary and Audience awards in Hungary, Germany, India, Bangladesh, Austria, London and Rome.

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Contact details: Stefilm Via Galliari 5/b 10125 - Torino T: +39 011 6680017 F: +39 011 6680003 edoardo@stefilm.it

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INSHALLAH - GOD WILLING Attending: Costanza Coldagelli Valentina Avenia

SYNOPSIS A 5 years old boy is kidnapped in his own garden in a sunny and snowy morning in Warsaw while his mother Alina is inside the house answering the phone.

Her husband Wojciech is in Prague for a conference.

The police interrogate Alina. She has no idea who might want to harm the family. But as soon as she is alone in the empty house, Alina starts to remember her past.

She remembers a man. An Algerian guy, his name was Ibrahim. They met 6 years before, in Rome.

The whole story is told through two lines, going back and forth: the present in Warsaw and the past in Rome.

In the past the intense and controversial love relationship between Alina and Ibrahim, in the present Alina and Wojciech’s marriage that is about to fall apart.

But the key of resolution of the kidnapping is in the past, in the secret Alina kept for years.

When arriving in Rome Alina was still a shy girl, very religious coming from a little Polish village: a convinced believer with a special relationship

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Genre: Drama / Noir Director: Elisa Amoruso Writer: Elisa Amoruso – Giovanni Robbiano Producer: Valentina Avenia – Costanza Coldagelli Budget: € 1.500.000 Company: Relief – Our Films with God. She used to pray, asking for protection and guidance especially since she was now living in a new, stranger country, where she often felt lost and out of place.

Her mother’s cousin, Father Kristof, served in the Polish Church in Rome.

Teresa, Alina’s mother, sent her to Italy to find a job and a better life.

Everything changed when she met Ibrahim: the bar manager of a luxurious downtown hotel where she was hired, through Kristof’s connections, as a cleaning woman.

Ibrahim is a handsome, thirthy years old, charming and kind man.

They were immediately attracted to each other despite differences in culture, country, religion: they started an intense love relationship, at the beginning strongly grounded on physical attraction.

Alina experienced conflict between her love for the Arab young man and the expectations and beliefs of her community, priest, mother, country.

Nevertheless Ibrahim is tolerant, reasonable and tender to her.

To him it seems her differences mean nothing when compared to love.

But when she announced him she was pregnant something unexpected happened: Ibrahim started to take care of her in a thorough, rather exclusive and someway oppressive way.

They entered a deep crisis. While Ibrahim was in Algery to break a previ-

ous arranged marriage, Alina had an abortion and come back in Poland without even informing him.

The next morning in Warsaw Alina wakes up very early. Wojchiek is not there because during the night they had a very harsh argument and he left.

She enters Marek’s room: the child is sleeping in his bed, his breath is calm, the atmosphere is peaceful. Everything is in its place again...

Alina can’t believe this, she caresses his head and she cries.

Then she realizes: she goes downstairs and Ibrahim is there, sitting in the dining room, waiting for her.

He has been looking for her everywhere for four years. Finally he has found her and the baby.

He can’t imagine that the child is not his son.

DIRECTOR’S NOTES OF INTENTION The idea of this film originated from a personal meeting I had with a Polish girl who had moved to Rome some years ago from Kracow.

What touched me about her personal story was the relationship that she had with an Algerian boy she had met in Rome and her special relationship with God and the Christian faith.

The love story between her and this man about such a unique environment intrigued me; that two people belonged to two worlds so far apart from one another, and that in a strange and subtle way they had found each other compatible and were able to connect, even for a short period.

What struck me above all was that this girl had made such a strong effort to confront abortion, despite her culture and religious convictions, and especially how this act of liberation and rupture of value was reflected in her journey, having given her life a unique and unexpected turn.

Defining religion, fanaticism, and love as the dominant themes of the film, the journey of this character embodies all of these themes through the relationship of this girl with her mother, her origins, and her son--but above all with herself.

The story begins in Warsaw, showing the apparently peaceful life that Alina, the protagonist, had chosen after having broken all of her ties with the past; a life less tiring, with an honest and respectable husband who

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has a well-off job, a beautiful house in a calm area of the city and a son to whom she dedicates a large part of her emotional life.

Something changes unexpectedly one calm winter morning when the baby, in the garden area of her house, disappears. Alina is forced to confront her past from which she had escaped without having left a trace, and in turn is therefore forced to deal with the ties of the present--her relationship with her husband as well as her mother.

The film is in some way divided half in the present and half in the past.

The present takes place in Warsaw, the calm and snow-covered city, and has some harsh tones; the tension is always very high and the characters risk imploding in the cages that they themselves created, in a universe made of apparent securities and only material things--a beautiful, yet completely cold and empty house. At their hands there is also a mystery to be solved that holds the characters prisoners of their own lives.

The past instead is set in Rome where it is extremely hot, muggy, and crowded--full of dreams and full of color. It contains a sort of chaos in which an Arab and Catholic world are mixed together against the background of a broken and multi-formed and eternally chaotic city. At the same time it has at times some lighter and romantic tones that are tied to the discovery of both love and sexuality, but also to the sacred world of the forbidden. The sacred places are an integrated part of the whole film, from the point of view of the narrator and cinematographer. Also visually, from the point of view of the camera, the two tones of the film build the strength and support of the various narratives.

The conflicting and passionate relationship in the past is told through the using of a “living camera”, following the characters in an intimate way with a rough style, thus feeling the atmosphere of a forbidden love story, set in the chaotic and multicultural Rome. Whereas in the present, we’ll have the feeling of a well-established occidental setting, a quiet family, living in a society in which safety and harmony are the main values. This part will be shot in a clean and balanced style, with rigorous choices of camera’s setting and a distance from the main actors.

From the beginning we can feel that the perfect world of Alina is threatened by something that happened in the past. Through a psychological

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tension, we’ll discover the deepest aspects of a love relationship facing issues of fanaticism, in faith and life.

In parallel to the work of writing I attempted to do a documentary in Italy on some couples, of whom the women are Polish and the men Arabic, which is a very widespread and common situation above all in Rome.

I started developing the script at the MFI SCRIPT 2 WORKSHOPS 2010 in Greece, where my tutor was Christina Lazaridi (Professor of screenwriting at Columbia University, New York).

The project was then selected at the EKRAN PROGRAMME at the School of Cinema of Andrej Wajda in Warsaw, which I attended in 3 sessions during 2011. This workshop allowed me to shoot and edit two film sequences, and to work with famous Polish actors (Malgorzata Buczkowska and Robert Więckiewicz) , therefore entering in direct contact with real polish life in aspects of both religion and culture.

In Warsaw I also met the producer Lukasz Dzieciol of OPUS FILM, who expressed his interest in the project.

In 2011 we were selected to take part in the New Cinema Network of the Rome Film Festival, were we could meet French and German producers.

Throughout the framework of a psychological thriller and against the background of strong social thematic elements--the collision between culture, religious affiliation, the role of Christianity and that of Islam--the film tells the journey of the identity of a woman, inevitably reflecting her role as a mother.

These themes are all part of my research as screenwriter and director and they are an integral part of the poetry in my current and past works.

A reference movie for the present-part, especially regarding visual style and atmosphere, is Cachè by Haneke; for the scenes set in the past is Head-On by Fatih Akin.

COMPANY PROFILE OUR FILMS s.r.l. is a production company based in Rome founded by Costanza Coldagelli and Francesco Di Giacomo.

Costanza Coldagelli has been working as production coordinator/supervisor for features films and commercials since 1997 with other companies (recent titles as production coordinator: La Prima Cosa Bella, I più grandi

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di tutti with INDIANA PRODUCTION COMPANY, La Passione, La Vita Facile with FANDANGO).

Francesco Di Giacomo is a director of photography (Special Mention at Controcampo Italiano, Venice Film Festival 2011 for the cinematography of Pugni Chiusi).

OUR FILMS has just completed the documentary Prenestino 81, by Jacopo Lo Faro and has 2 features films in development: Roma K.O. by Fulvio Molena and Inshallah – In God Willing by Elisa Amoruso.

RELIEF s.r.l. was founded in 2009 by the producer Valentina Avenia and the Italian actor Valerio Mastandrea.

The company co-produced in 2008 "Good Morning Aman", first feature film by Claudio Noce presented at the Venice Film Festival 2009.

The next year it produced the first two episodes of the project "L' Aquila bella me", a documentary about the earthquake of April 5 2009 in Abruzzo filmed by young directors of the town of l 'Aquila.

In 2010 Relief produced "Qualche nuvola", first feature film by Saverio Di Biagio, screened at the Venice Film Festival 2011 – Controcampo Italiano.

At the moment Relief just ended the shooting of "I Padroni di casa" a film

by Edoardo Gabbriellini with Elio Germano and Valerio Mastandrea, coproduced with RAI CINEMA. PRODUCER’S PROFILE COSTANZA COLDAGELLI (producer) 2011 -Production Supervisor film “I più grandi di tutti”, directed by Carlo Virzì prod Indiana Production -Production Coordinator commercials TIM, directed by Harald Zwart prod Indiana Production 2010 -Production Coordinator commercial PERONI directed by Gabriele Muccino prod Indiana Production -Production Coordinator film “La Vita Facile” directed by Lucio Pellegrini

prod Fandango -Production Coordinator commercial BANCA INTESA directed by Paolo Virzì prod Indiana Production 2009 -Production Coordinator film “La Passione” directed by Carlo Mazzacurati prod Fandango -Production Coordinator film “La Prima Cosa Bella” directed by Paolo Virzì prod Indiana Production -Production Coordinator commercials “TIM” directed by Gabriele Muccino prod Indiana Production 2008 -Production Coordinator film “Ce n’è per tutti” directed by Luciano Melchionna prod AMovie Production -Production Coordinator film “Aspettando Godard” directed by Alessandro Aronadio prod AMovie Production 2007-2008 -Production Coordinator TV “Carabinieri 7” directed by Raffaele Mertes prod Fidia Film -Production Coordinator film “Ne Te Retourne Pas” directed

by Marina De Van prod StudioUrania (Italy) -Production Executive film “Go Go Tales” directed Abel Ferrara prod Bellatrixmedia 2006 -Production Coordinator film-TV “La Sacra Famiglia” directed by Raffaela Mertes prod Fidia Film -Production Manager pilot “Il Quarto Sesso” directed Marco Costa prod Amoebas 2005 -Production Executive prep. Film “Go Go Tales” directed by Abel Ferrara prod Gruppo Pasquino -Production Coordinator film “Arrivederci Amore, Ciao” directed by Michele Soavi prod StudioUrania -Production manager theatre show “Miss Alice” directed by Abel Ferrara prod La Compagnia delle Ortiche 2004-2005 -Production Supervisor film “Mary” directed by Abel Ferrara prod De Nigris Productions -Production Manager documentary “Sergio Amidei” directed by Ettore Scola prod Luna Rossa Cinematografica

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-Production Coordinator film-TV “Posso chiamarti amore?” directed Paolo Bianchini prod Titania 2003-2004 -Production Coordinator film “Vento di Terra” directed by Vincenzo Marra prod R&C -Production Coordinator Commercial “Meiji” prod Inigo Lezzi 2002 -Production Secretary film “Giornalino Romano” directed by Ettore Scola prod Roma Cinematografica - Production Secretary film “Dillo con parole mie” directed by Daniele Luchetti prod StudioCanal Urania -Production Manager film-doc “Un Giorno in Palestina” directed by 11 Italian directors (E.Scola, F.Maselli, M.Monicelli, W. Labate..) prod Luna Rossa Cinematografica -Production Coordinator film-doc “La primavera del 2002” directed by 40 Italian directors prod Luna Rossa Cinematografica 2001 -Production Coordinator film "L`Inverno" directed by Nina di Majo prod dodicidicembre 2000 / 1999 New York -Production Assistant VSFX Manuel Rey Gonzalez -Production Assistant film TV "A Huey P. Newton Story" directed by Spike Lee prod Luna Ray -Production Assistant film "And She Was" directed by Frank Rainone prod “And She Was” -Production Assistant film "Prison Song" directed by Darnell Martin prod New Line 1998 -Second Assistant director film TV "Doppio Segreto" directed by Marcello Cesena prod Pequod -Second Assistant director film “Branchie” directed by Francesco Martinotti prod Iterfilm (only prep) 1997 -Production Secretary film "Abbiamo solo fatto l`amore" directed by Fulvio Ottaviano prod Iterfilm

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VALENTINA AVENIA (producer) Classic Liceum vote 78/100 in Rome 2000 Diploma in Performing Arts and Sciences at the University of Rome La Sapienza Screenplay for short course organized by the school “Sentieri Selvaggi”.

2003-04 Attending the course of the screenplay "Script" for television dramas and movies (RAI) .2004 Internships last for three months in the preparation of the daily news and current affairs program "Planet 430" on Sky Channel 430. (Wilder) 2004 Assistant to the author for the "Planet 430" on Sky Channel 430. (Wilder) 2005 Design and implementation of the service (RVM) "Model System" for the pilot episode of the show "Net Art "in Leonardo programming on Sky channels. 2005 Edition of "Delitti " aired on Fox Crime and La7. (Wilder) 2005-2006 Curator of the show "Sessant’anni a Giugno" Gaspare Barbiellini Amidei broadcast on satellite channel Sky Sat 2000. (Wilder) 2005-2006 Published for the sitcom "Buttafuori" on Rai Tre. (Wilder) 2006 Curator of the show "Da Budapest a Firenze" by Gaspare Barbiellini Amidei broadcast on satellite channel Sky Sat 2000. (Wilder) 2006 Edition for the sitcom "Boris" aired on Fox. (Wilder) 2006-2007 Coordinator of Staff and assistant to the texts for the documentary series "Delitti" (second series) aired on the History Channel and La7. (Wilder) 2007 Supervising casting and producer for the video for Danity Kane and Kenan Dogulu directed by Luca Tommassini. (The Mob) 2007 Editor for the "Pugni in tasca" aired on MTV. (Wilder) 2007-2008 Worked with the texts for the "Mamma ti presento papà" aired in June on FoxLife. (Wilder) 2008 Rehabilitation and writing final episode of the television series argentina "Todos contra Juan" in the works for Fox. (Wilder) 2008-09 Editorial Coordinator for the pilot and new developments in the British format "Who do you think you are" History Channel / Fox (Wilder) 2009 Edition Spot Campari Fox (Wilder) 2009 Producer of the series DVD produced for the centenary of the Tour of Italy

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by "La Gazzetta dello Sport" (Big Berry) 2009 Good knowledge of written and spoken English language.

WRITER & DIRECTOR’S PROFILE Elisa Amoroso / CURRICULUM VITAE / Writer - Director Education Born in Rome in 1981.

1999 Classic Liceum vote 97/100 in Rome.

2002 Graduated in Literature "Performance, Arts and Sciences" vote 110 (out of 110) plus honors, University "La Sapienza", in Rome.

2004 " Advancend Course in Screenplay" with Marco Muller and Marco Bellocchio. 2005-2007 Master Bachelor at Experimental Center of Cinematography (Centro Sperimentale di Cinematografia) , Screenplay training course.

2009-2010. Bachelor at "Graffiti", school of photography, in Rome.

2010 Screenplay workshop MFI, Media and Greek Film Center (NyssirosSamos), project “ Ivona and Ibrahim”.

2011 Selected for the Warsaw Workshop for directors and writers Focus Ekran (february- june 2011) project “ Ivona and Ibrahim”.

Cinema and Television 2011- Screenwriter- “The ice forest”, feature film by Claudio Noce produced by RAI Cinema (in development).

2011- Screenwriter- “Excellence state”, film three episodes by Claudio Noce, Valerio Mastandrea, Francesca Comencini (pre-production).

2010- Director " Just a game", short film, 15 min. 35mm, Trevignano Film Festival: Best Short Film, Best photography, Best actress; selected in competition Arcipelago Festival, "Molise Cinema, Outlook festival.

2010- Director "Brothers", documentary, digital. (in development).

2010-Still photographer "Mozzarella's stories", 35mm, feuture film directed by Edoardo De Angelis.

2010- Still photographer "Mistery night", tv series FOX Channel.

2009- Still photographer "Trapianti", tv series FOX Channel.

2009- Still photographer "Boris 3", tv series FOX Channel.

2009- Screenwriter "Good Morning Aman!", feature film, 35mm, by Claudio Noce, 66 VENICE FILM FESTIVAL (Critic’s Week).

2008- Screenwriter" Tell me 3", Rai Uno tv series (produced by Payper Moon company). 2007- Screenwriter " Drag queen school", screenplay for feature film, director Pierpaolo Sepe.(Kubla Khan production) 2007- Screenwriter "Adil and Yusuf", short film directed by Claudio Noce, 64 VENICE FILM FESTIVAL (COMPETITION), nominated for the David of Donatello Award 2008. 2007- Screenwriter "With blood in the eyes", short film, 35mm, directed by Lorenzo Sportiello.

2007- Screenwriter " The state of nature", short film, 35mm, directed by Marco Mangiarotti.

20006- Screenwriter "The provisional order", short film, 35mm, directed

by Valerio Mieli. 2006- Screenwriter "Marsh", screenplay for feature film, director Stefano Lorenzi (KIPLIN company).

2005- Screenwriter "Breathe", short film directed by Claudio Noce, 35mm, Best short film David of Donatello Award 2005, Silver Ribbon 2005, Best short Arcipelago, Best short Tampere Film Festival, Best short Siena Film Festival, Jameson European Award 2005.

2005- Screenwriter "Eclipse", Pluriel Short movies advertisement, directed

by Claudio Noce, produced by Filmaster Clip and Digital Desk.

2005- co-author "Seems easy to cross the street", documentary, directed

by Valerio Mieli (Capo d'Arco Award).

2005- Screenwriter "Average Down", short film 35mm, directed by Marco Mangiarotti. 2004- Screenwriter "I'm Alice", directed by Peter Marcias, episode of the film "Children", (Gianluca Arcopinto company).

Radio and theater / Other 2011. Artistic director of the International short film Festival “La Cittadella del Corto”, Frascati, Italy.

2009- Writer "The other half", directed by Laura Bispuri (Cometa off Theatre, Rome). 2009-Teacher of Screenplay at Experimental School of Cinema, Rome.

2008- Writer and actress "Via Longoni. Night for a queen".(Coliseum Theater Rome). 2007- Writer "The seagull. Act Three and half.", directed

by Rosa Sironi.(La Comunità Theatre, Rome).

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2005- Writer "A day like the others",radio play broadcasted on Rai Radio Tre. 2007-2008- Teacher of Screenplay in " MIM", Post degree Master (Valter Casini Partners & Partners).

Giovanni Robbiano / CURRICULUM VITAE / Co-Writer Education: - 1977 / 1983 University of Bologna - DAMS, graduate with honours - 1987 / 1990 Fullbright scholarship, Film Division, School of the Arts, Columbia University, New York City, USA. - 1992 Columbia University MFA, screenwriting major.

Work (teaching): - 1987/1990 (at Columbia University) Special assistant cinematography (1988/1989) Special assistant to Prof.

Emir Kusturica (1988/1990) - 1991 /today After returning to Italy (1990) Screenwriting teacher in private and pubblic institutions at Genova, Milano, Bologna, Viterbo, Roma, L’Aquila, Rimini, Padova, Verona, Modena etc.

- 1996/2002 - Visiting Professor of screenwriting, Cimes, dipartimento di musica e spettacolo (DAMS), University of Bologna -1999-2001 - Professor of “Teoria e tecnica del linguaggio cinematografico”; dipartimento di musica e spettacolo (DAMS) Università di Bologna.

-2000-today - Trainer: Mediterranean film Institute script workshops, An UE - Media 2 project, Athens, Greece.

Appointed Head of studies in 2007 During these years For Mfi lectures and teaches in Italy, France, Germany, Switzerland, Bulgaria, Poland, Czech republic, Cyprus, Belgium, Morocco.

-2001-today - Professor of “Teoria e tecnica della sceneggiatura”, University of Genova at Imperia, DAMS

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- 2002-2006 Professor of “scrivere per I media: cinema”, IULM, Libera Università di lingue e comunicazione, Milano.

-2006/2008 Trainer, Katapult film script workshop, a UE-Media project, Budapest, Praha, - 2007 trainer, SMS, Summer media studio, a UE.-media project, Jodkrante, Lithuania - 2009 RAI Training workshop, Roma, Italy, trainer - 2010 - Erasmus exchange professor FAMU Prague, Czech Repubblic - Scientific committee for the development of SCRIPT program, Universitè D’Evry Val d’Essonne, France.

Other work experiences: - 1984 / 1986 Free lance essays. Publishes on: “Target”, “Cinema e cinema”, “Nuovo”, - 1986 “Pakula”, (book) Il castoro cinema no. 114, La nuova Italia Editrice, Firenze (1986) - 1987 / 1990 Columbia University student. Many scripts for short features.

- Hired by producer Marcia Nasatir and director Hector Babenco as a translator/consultant on Hugo Pratt’s “La ballata del mare salato” (unrealised project) - 1995-2000 “La sceneggiatura cinematografica” (book), Carocci editore, Roma, 2000.

2002/2003 weekly columnist, “L’avvenire” “Si fa presto a dire Tarci” (con Max Pisu) 2004/2007 director “cinema a mezzogiorno” film selection at Sergio Leone Award, organized by “associazione Sergio Leone”, Torella dei Lombardi (AV) festival director Gianni Minà.

As screenwriter/director/producer A) Produced short films and documentaries 1994 “Una notte in Italia”, short feature, (16mm BN, 3 min) screenwriter and co-director (con Matteo Zingirian) Produced by Ass. culturale Dolly bell, Genova 1995 “Assolo” script for short feature (w. Andrea Bempensante), prod.

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Tark film, directed by di Marco Pozzi (1995) in competition Venice film festival - 1998 “Uno spot contro il pregiudizio”, (short feature, Betacam, 2 min) produced by “Il giardino dei ciliegi”, in association with the “Ministero di Grazia e giustizia” 2009/2010 “Jacfkly” scriptwriter for documentary; prod. Forma international, directed by ruggero gabbai, hdvideo, 50 minutes; nationally released.

2010 “Milan, le gru e Mimmo” (w. Mimmo Craig e Federico Brugia) directed by Federico Brugia, prod. the family film, Milano. 8 min. b) produced features - 1990/1996 “Figurine”, feature script (w/ Luigi Cuciniello & Riccardo Ferrante) special jury price VIth “premio Solinas”. And director (feature, 35mm, color, 100 min), produced by Union PN, Roma, distributed by Medusa film 4 festivals, 1 award - 1994-1995 “La bruttina stagionata” feature script, (w/ Anna Di Francisca e Patrizia Pistagnesi), prod. Goodtime Enterprises, Roma. Directed

by Anna Di Francisca (1996), distibuted by IIF - 1997/2004 “Hermano” feature script (w/ Riccardo Aprile e Marcello Olivieri). Winner, best film treatment, “XI premio Solinas”. Director (feature film, 35mm, color) director, Gam film, Roma; Lux film, Milano, 6 festivals 1 award - 1998/2001 “500!”, feature script (w/ Riccardo Aprile, Matteo Zingirian, Andrea Bruschi, Lorenzo Vignolo). (feature, 16mm, color, 98 min), co-director (w/ Matteo Zingirian & Lorenzo Vignolo), co-executive producer (w/ Matteo Zingirian) distributed by ThuleFilm. 3 festivals, 1 award - 2001 “A deadly compromise” (Tv feature, 35mm, color, 85 min) director, produced by Pete maggi for Blue star movies, Milano, it and int.nal distribution by Eagle pictures, Roma. Released in at least 16 world countries.

2008/today “Il commissario Rex”, (tv serie) scriptwriter, Produced by Beta Taurus, Monaco, Germania, Leader produzioni, Roma.

-2009 Ufficio oggetti smarriti, associate producer dir. By Giorgio Molteni, produced by M services, Ik media, Roma (in postproduction) - 2010 “Come trovare nel modo sbagliato l’uomo gusto” script editor and

asociate producer, dir. Salvatore Allocca, Daniela Cursi, produced by home productions, rome, Italy - 2010/2011 “Tutti i rumori del mare” co-screenwriter (w. Federico Brugia) directed by Federico Brugia, produced by Laszlo Szipos, Budapest, The family film, Milano (in post production) c) script editor or collaborations for films produced: 1995-1996 “In principio erano le mutande”, (35mm, Italia, dir. by Anna Negri) first draft only w. Rossana Campo ed Anna Negri, uncredited 2000 “Bimba” (35mm Italy) di Sabina Guzzanti, script editor, Uncredited.

2004 "A Miskolci Bonieskjaid" (35 mm Ungheria 93 min) dir. by Kristina Deak, script by Kristina Esztergalyos, prod. by Gabor Garami, Simon Shandor.

"Real world" (35 mm Grecia ) dir by Panos H. Koutras, script by Panos H. Koutras, prod. by Takis Veremis, Strada prod.

2006 "Eduart" (35 mm, Grecia, Germania, Albania rep. Macedonia 104 min.) dir, by Angeliki Antoniou, script by Angeliki Antoniou. (awards in Salonicco, Montpellier, Mosca, Tirana, Method indipendent film festival, Calabasas, Calfornia ed altri) "Verfolgt" (35mm BN, Germania, 87 min.) dir. by Angelina Maccarone, script by Susanne Billig, produced by da MMM zimmermann and company (pardo d’oro festival di Locarno 2006) 2008 "Biloba" (16mm, Grecia, 88 min.) dir. by Sofia Papachristou, script

by Sofia Papachristou, produced by Stavros Meleas, SMart media (audience award Salonicco, 2009) 2009 "Guinness" (35 mm, Grecia 92 min.) dir by Alexis Kardaras, script

by Alexis Kardaras e Nikos Panayotopoulos, produced by: Attr@ttivo, Bad movies e Graal productions d) other 2002 “Anche alle balene piacciono le carezze” (Theatre play) (co-writer, w/Max Pisu, Valerio Peretti Cucchi, Debora Villa) produced and distributed by Spectre, Milano 2010 “regione Liguria” (advertising campain, script) produced by enrico Melis, directed by Marco Bonfante, released in national tv channels 2011 “Cinema comico” (theatre play) written w. Romeo Schiavone, Ales-

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sandro Bianchi e Michelangelo Pulci, directed by Romeo schiavone, Giovanni Robbiano, in preparation, first release due may 6th.

Contact details: OUR FILMS srl Piazza Manfredo Fanti, 5 00185 - Roma T/F: +39.06.45436850 M: +39.339.4872171 costanza.cold@gmail.com RELIEF srl Corso Trieste, 88 00198 - Roma T/F: +39.06.45436850 Mob. +39.

392 2636170 mail.relief@gmail.com

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LAZAR Attending: Guillaume De Seille

SYNOPSIS LAZAR (18), a high school drop-out, and his best friend TEGLA (18), try to make ends meet by smuggling clothes from Turkey to sell at the bazaar in Macedonia. The corrupt customs officers rip them off at the border, and GLAVATA and his racketeers steal from them at the bazaar. Lazar, disgruntled with their situation, and impressed by how well to do his brother-in-law is, TONI, aims to join Toni in MIKI’s taxi company, which is actually a human-trafficking organization. With great difficulty, Lazar and Tegla raise 3000EUR to buy a car and join Miki’s company. Miki welcomes Lazar, but rejects Tegla. Lazar convinces Tegla to be a silent partner, and they agree to split the money Lazar makes. Tegla returns to the bazaar only to have Glavata confiscate his merchandise.

Lazar and Toni drive to the border with illegal immigrants, Lazar is scared and excited at the same time. It’s a successful transaction; Lazar is now part of the mob family. He finally feels good about himself. Lazar sees nothing wrong “with helping the “ghosts” to find better life in the rotten EU”.

Lazar connects his girlfriend KATE to PECO, a videographer/producer, who promises to get her on ‘Macedonian Idol’. Lazar spends all the mon-

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Genre: Crime/drama Director: Svetozar Ristovski Writer: Svetozar Ristovski & Grace Lea Troje Producer: Svetozar Ristovski, Guillaume de Seille, Igor Nola Budget: € 965 000,00 Company: Small Moves Films/Arizona Films/Mainframe ey he makes on Kate’s lessons and clothes and cannot pay Tegla back, who invested all his family savings in buying the car, and jeopardises his father’s well being. Tegla’s father STAMEN had a stroke, which paralyzed his left side and needs medication for his blood pressure.

Lazar is quickly accepted by Miki and tries to emulate him by wearing Versace and feigning toughness. At a meeting with Miki, Lazar sees Kate with Peco together at a cafe and assumes the worst.

Lazar beats Kate up for sleeping with Peco and she seeks solace from Tegla. Tegla, offended by Lazar’s violence and betrayal, desperate after his father has another stroke, goes to Glavata, who is a police informant, and tells him about the trafficking business.

At the border, Toni is challenged by an illegal immigrant and he shoots him. Lazar watches mortified. After this incident, Lazar feels guilty and looks for a way out. He sabotages his car, so that he doesn’t have to go to the border. Toni goes alone and is arrested at the border for trafficking. In jail, Miki’s men murder Toni to prevent him from squealing. Lazar confronts Miki, with the intention of killing him, but he is too afraid. This incident leaves no other choice for Lazar but to run. He steals money from Peco to

run away with, but at the last minute he has a change of heart. He reflects upon his actions and accepts the fact that he is a coward. He also realizes what true courage means.

Lazar apologizes to Tegla and gives him Peco’s money, but Tegla cannot bring himself to confess to Lazar that he ratted on him. Stamen suffered a final fatal stroke, and Tegla feels horrible guilt, and holds Lazar responsible.

Tegla goes to Miki, and joins his crew in return for information that Lazar intends to go to turn himself to the police and to testify about the human traffic and the murder at the border.

Lazar reconciles with his father and tells him that he decided to turn himself in to the police and testify against Miki. Jordan is heartbroken, but proud of his son’s moral choice.

DIRECTOR’S NOTES OF INTENTION Lazarus is a story about finding courage and awakening humanity in a young man. It is a crime (gangster) drama with elements of a coming of age story. It is also about friendship and deceit, and one young man’s disillusionment with the glamorous world of the ‘tough guys’ that he aspires to.

I believe that developing a conscience and becoming truly human is a process that takes courage. One has to rise above one’s “basic instincts”, which unfortunately are the most favoured when civil society weakens, and is replaced with forms of rudimentary capitalism, which in the past twenty years in Eastern Europe is popularly called “transition”.

Lazar’s journey in finding the courage to see his own actions, and to finally make decisions against himself and his own ambition, is an emotional and I would dare to call a spiritual journey that we follow parallel to the storyline.

As a filmmaker, my interest is in exploring the psychological and emotional transformation of characters in a simple human story. The stories are about characters and how they react and change to circumstances beyond their control, or the difficulties they bring upon themselves and others through their actions. I envision this film as an emotional cinematic journey, where the visual style will speak as much as the dialogue. A large part of the

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film takes place on exterior locations, which presents a great opportunity to provide scope to the film. The other part of the film takes place in a run-down, low-end world of the post-Communist era of South Eastern Europe, which will bring a gritty and raw feeling to the image. Run-down neighbourhoods combined with the kitch of the Eastern European gangster world, will visually enhance the mix of humour and irony with the sincere sadness and compassion for the generation lost in the collapse of an aspiring utopian social system.

I believe that Lazarus has a strong artistic potential, and that it will reach a wider international audience, since its unique twist on the gangster film genre. I also believe that although the story takes place in Macedonia, it is contemporary and universal, and can easily translate to other cultures.

COMPANY PROFILE Small Moves Ltd is a Macedonian Film and TV Production company that was established in 2000.

In 2002, Small Moves produced a successful feature length documentary, Joy of Life, which won Best Documentary at the GoEast Film Festival (Wiesbaden, Germany) and at the Wine Country Film Festival (Glen Ellen, CA,US).

Small Moves also produced the acclaimed feature film, Iluzija/Mirage, (http://en.wikipedia.org/wiki/Mirage_(2004_film),which premiered at the Toronto International Film Festival (http://www.variety.com/review/VE1117924885.html?categoryid=31&cs=1) in 2004. Iluzija/ Mirage was in the official selection at numerous major film festivals and was awarded at Anchorage Film Festival, Rotterdam Film Festival, Zlin, AVANCA and Mamers en Mars. Iluzija/Mirage was also successful commercially; distributed in many countries, and theatrically released in North America through Picture This! Entertainment, and in Russia, France, Portugal and Macedonia through Eastwest Film Distribution. It was also released for TV through HBO, Astra Via Sat, Bravo! etc.

In 2005, Small Moves co-produced the Slovakian film, The Flower of Sakura, and was involved in the development of the Croatian/Macedonian/Austrian documentary Cash & Marry.

Small Moves also produces numerous commercials and promotional vid-

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eos for Macedonian and foreign companies.

Arizona Films, Paris based, is lead by Guillaume de Seille, Bénédicte Thomas and Rémi Roy to mainly produce art-house feature films directed by non-French emerging talents. Bénédicte Thomas is handling domestic theatrical French distribution for most of the coproduced titles.

CRAB TRAP by Oscar Ruiz Navia (Colombia) Fipresci awarded in Berlinale 2010; DOOMAN RIVER by Zhang Lu (Rep. of Korea) Special Mention in Berlinale 2010; BLACK BLOOD by Miaoyan Zhang (China) Netpac award in Rotterdam 2011; AMNESTY by Bujar Alimani (Albania) Cicae award in Berlinale 2011; FUTURE LASTS FOREVER by Özcan Alper (Turkey) Toronto 2011; VOICE OF MY FATHER by Orhan Eskiköy (Turkey) Rotterdam 2012 competition; WATCHTOWER by Pelin Esmer (Turkey); CORN ISLAND by George Ovashvili (Georgia), A GUNSHOT IN THE WATER by Nana Ekvtimishvili (Georgia); I’M NOT HIM by Tayfun Pirselimoglu (Turkey).

Mainframe Film Production offers a complete production package with a professional and cost-effective service throughout the Balkans. The head office is based in Zagreb, Croatia. The Mainframe team manages equipment, casting, and offers a talented pool of freelance film crew.

Established in 2000 by Igor A. Nola, Mainframe Film Production and its crew have worked with some of the leading international production companies, including HBO, Dreamworks, BBC, MJZ, Roue and Production International. The combined experience of our professional crew adds up to well over 200 feature films and 200 commercials.

Mainframe’s most recent production, Just Between Us, directed by Rajko Grlic, has recently won Best Director at Karlovy Vary and seven awards at Pula including the Grand Golden Arena and Best Director.

Vivaldi (2011) (pre-production) (line producer); Dagen derpå (2011) (postproduction) (co-producer); Just Between Us (2010) (producer); Welcome (2010) (producer); Hunger (2009/II) (producer); White Lightnin’ (2009) (co-producer); Anton Chekhov’s The Duel (2009) (co-producer); The Living and the Dead (2007) (executive producer) (producer); Upside Down (2007) (executive producer) (producer).

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PRODUCER’S PROFILE Svetozar Ristovski produces film, television, and commercials for more than ten years. He is curently producing a ten part documentary serias about the city of Skopje for the Macedonian National TV. Guillaume de Seille, born in 1968, studied civil engineering.

After two awarded short-films as writer/director, he worked ten years for Canal+ in the cinema department (presales of French and European films), was commissioning editor for a couple of years within the short film department of Canal+ and artistic producer for French public broadcaster France 2.

Independent producer since 2000, he produced or coproduced around twelve feature films.

Igor A. Nola has almost thirty years of wide-ranging international production experience. He has worked as an AD, UPM and producer on over fifty feature films and television series in Croatia, Slovenia, Macedonia, Austria, Italy, Great Britain, and other European countries. From 1994 to 1998, Igor was Managing Director in charge of production of Vardar Film, the Macedonian state film production company, and during that period he worked on Welcome to Sarajevo and The Peacemaker.

From 1991, his company Mainframe Production worked out of the United Kingdom and moved to Croatia in 2000 for the first co-production, Like a Bad Dream, directed by Antonio Mitrikevski. In 2003, Igor set up a Croatian arm of Mainframe Production offering complete production and post-production facilities to foreign producers.

Mainframe Film Production and its crew have worked with some of the leading international production companies including, HBO, Dreamworks, BBC, MJZ, Rogue and Production International, to name only a few. The combined experience of their professional crew adds up to well over 200 feature films and 200 commercials.

WRITER & DIRECTOR’S PROFILE Svetozar Ristovski graduated from the University of St. Cyril and Methodius in Skopje, with a BA in Film and TV Directing. During his studies he made his short film HUNTER which screened at different festivals and won Best Camera in Student’s competition at the Film Camera Festival “Brothers Manaki” in Bitola, Macedonia.

In 2002, Ristovski wrote, directed and produced the feature documentary, JOY OF LIFE, which had a successful festival run, winning awards for Best Documentary at the GoEast Film Festival in Wiesbaden, Germany, and at the Wine Country Film Festival in Napa Valley, California.

Soon after in 2004, Ristovski co-wrote, directed and produced the feature film, MIRAGE/ILUZIJA, which premiered at the Toronto International Film Festival (Discovery) and was officially selected in many competitions including; Rotterdam, Tokyo, SXSW, Thessaloniki, Montreal, Vancouver, Sarajevo, Wiesbaden, Sofia, Ljubljana, Stockholm, Jerusalem, etc. Mirage was critically acclaimed, winning several awards and Special Mentions; Special Jury Mention at the Tokyo IFF, Lion’s Award at Rotterdam, Best Film at Anchorage IFF, Best European Debut at Zlin Festival, Best Cinematography, Directing and Acting at AVANCA, Portugal, and Best Directing at the Mamers en Mars, France. Finally, Mirage enjoyed a limited theatrical release in the US, and had a TV and DVD release in North America through Picture This! Entertainment. It was also theatrically released in Russia, Portugal, and Macedonia; and had numerous TV sales around the world, including ASTRA VIA SAT, HBO - Europe.

After moving to Toronto, Ristovski directed DEAR MR. GACY in 2010, starring William Forsythe, which was produced by Clark Peterson of Academy Award winner, “Monster”, fame. It was released on HBO and has DVD distribution through Anchor Bay Entertainment.

LAZARUS, Ristovski’s new film, won the second prize at the Manaki Script Corner, and was selected for the Thessaloniki Crossroads and Sofia Meetings.

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Contact details: Arizona Films 5 bd Barbès 75018 - Paris T: +33954525572 guillaume@arizonafilms.net www.arizonafilms.net

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Mitch - DIARY OF A SCHIZOPRENIC PATIENT Attending: Siniša Juricˇic´

SYNOPSIS Mitch is schizophrenic. He is hospitalised in a mental institution. Damir is his friend, he is a filmmaker and he is Mitch’s “film therapist”. Together, Mitch and Damir are trying to find a way of a different kind of therapy for Mitch. The project is at all stages monitored and supported by health professionals that work with Mitch.

Mitch has permission to film his every day hospital diary inside the hospital with his mobile phone. In the stage of a better state of mind, Mitch is allowed to go home and spend some time outside the hospital. He then continues filming his life outside the institution. This activity helps Mitch to see himself from a distance, to realize his own reality. The results of hissocialisation and positive changes in his health and behaviour are obvious.

This is a film about a friend helping another friend to overcome his illness and hopefully leave the institution forever. It is an experiment, an attempt to find alternative ways of healing for schizophrenic patients, a possible new bridge of therapy. At the same time it is a direct view into the schizophrenic mind, a step into the life seen with the eyes of a schizophrenic, an exceptional opportunity for the viewer to understand and feel with and open heart. Almost like a thriller.

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Genre: Documentary Director: Mitch & Damir Cucˇic´ Writer: Damir Cucˇic´ Producer: Jana Šivak, Siniša Juricˇic´ Budget: € 232.000 Company: Nukleus Film Croatia DIRECTOR’S NOTES OF INTENTION During my 15 years of working on films this project is the third example that I consider as movie therapy. The first two films were Creatures from the pictures (1999) and Rocking chair (2006). The protagonists said that making of these films was a therapy for them. In both films the protagonists are PTSP victims of war. In both cases the protagonists are my friends that I have known for many years. When they talk about their experiences they often mention the term mirror effect because they saw themselves from a distance and they realized their own reality like an image. They both declared that working on the films had extremely positive influence on them. Both of them had complete trust in me and gave me their stories to work on them.

This film should be a pilot project, an attempt to try to make film work as a therapy, such that the person who is being under therapy becomes the active on, and the one in charge. This should help to tame psychotic diseases and that it is possible to use this kind of therapy on a wider scale (on more patients) in treating psychotic patients. This film is about a very difficult disease but shows that despite the severity of the illness humour (indeed, quite black humour and lightness (through entertaining situations) is possible. The severe psychic condition of the protagonists is obvious from the chronology

of the shot material. We can see all the difficulties he is going through and its amplitudes from euphoria to depression. Without hiding anything the protagonists offers his own story. These shots are documental and rare. Of course, I am aware, as a filmmaker that I want to play with film within a film. But, as much as I like the magic of motion picture, above all I want Mitch to feel good and useful.

By all means Mitch is a co carrier of this project. He tries to go through life by working on this film to understand himself, and also, to come to terms with himself.

COMPANY PROFILE Nukleus film is the legal successor of the Nukleus u. association registered in the Republic of Croatia, Zagreb, in 2004. In the past years Nukleus has become the regional production company whose documentaries and short films crossed the Croatian border, and were shown at important festivals and TV stations.

Nukleus had been involved in the European documentary training program Discovery Campus Masterschool 2005 (DCM) with the film "Dead Man Walking". It has been pre-buyed by the TV stations TVO (Canada), YLE (Finland), SVT (Sweden) and got support from the Jan Vrijman documentary fund (Netherlands). The premiere of the film was at IDFA, Amsterdam First Appearance competition, while the regional premiere was held at Sarajevo Film Festival. The film has so far visited a dozen regional and international documentary festivals.

With the film "Look at life through my eyes", directed by Marija Dzidzeva, we participated in ZagrebDox workshop and forum and got again support from Jan Vrijman Fund. The film premiered in autumn of 2008 at the IDFA Festival in Amsterdam. At the BelDocs festival in 2009 the film won jury Special mention. It also won Underhll festival in Podgorica, Montenegro.

With another co-production film “Cash & Marry", directed by Atanas Georgiev, we participated at exOriente workshop and forum 2006, and have introduced the film at festivals in Karlovy Vary (Docutalents for East) and the Forum in Jihlava. The film was completed with the support of the ORF (Austria), Austrian film funds, Macedonian Ministry of Culture, ITVS

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fund (USA) and the Croatian Audiovisual Centre. The film premiered at the ZagrebDox Festival in 2009 and won jury Special award, than at the Visions du Reel festival in Nyon, where he won the Regarde Neuf award.

The film traveled all over the world, was awarded and broadcasted on American, Austrian and Macedonian TV. Until now Nukleus produced four short fiction films. First one, “See you in Sarajevo” (2008), is a co-production with Sarajevo Film Festival (Sarajevo City of Film Fund) and HAVC (Croatian Audiovisual Centre).

The film premiered at Sarajevo film festival and was shown at last year’s Zagreb Film Festival as part of “Popcorn” competition. This is the first short fiction in out region filmed on a completely new technology – REDone camera.

Short fiction “Waste Youth” (2009) by Petar Oreškovic´ was awarded at the Days of Croatian Film (2009) by the “Golden lamp”, the award that promotes moral and ethical values in Croatian film. It was screened at festivals from South Korea to Italy and France.

“Laundry” was a coproduction with London Film School entirely shot in Croatia, shown at festivals in Croatia, Portugal and Spain.

Short fiction “Get a Move On” (2010) by Petar Oreskovic had its premiere in April 2011 at the 18th Days of Croatian film and was shown at Libertas Film Festival in Dubrovnik (Croatia).

We get continuous support from our film fund Croatian Audiovisual Centre (HAVC) and from the City of Zagreb Fund for Culture. We regularly take part of co-production forums and successfully arrange co-productions.

Nukleus is a member/participant of Discovery Campus Masterschool, EURODOC, EAVE (European Audiovisual Entrepreneurs), exOriente workshop as well as a regular attendant of the coproduction and pitching forums – Documentary Campus, EEF, Thessaloniki, DocsLisboa, DocsBarcelona, Hotdocs, IDFA. We are part of EDN. PRODUCER’S PROFILE Born in 1965 in Zagreb. Graduated acting in 1990 and film production in 2009 at Academy of Drama Arts. Also worked as journalist, editor and producer at Radio 101, being one of the founders and also founders of Omladinska televizija (Youth TV - OTV) as one of the producers and later

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in charge of programming.

Duringthe war in former Yugoslavia worked as news and documentary producer forVisnews (todays Reuters TV), ZDF, BBC radio and television and NTV – Japanesebiggest private TV network. He was part of the BBC team that produced«Fighting the peace» film, and won annual British award for best documentary. In 1998 together with director Vinko Brešan, produced 11' film in 360 degrees technique, film that represented Croatia in Lisbon at EXPO 98 exhibition. Film was screened by over one million viewers.

WRITER & DIRECTOR’S PROFILE Started working on film in 1989 in the Group of film authors called Enthusia Planck. In the last 20 years, he developed his skills in several areas of audiovisual media, mostly as director but also as editor of documentary films.

His special interest is in marginal and hybrid forms where documentary meets other formats and fiction.

He has directed over 30 documentary films, some of them highly awarded.

His films have been shown at around 130 film festivals in 40 countries and on almost all continents and in on the TV programme on more than 15 European TV stations. Since 1995, he works as editor on the Croatian National Television and he is specialized in documentaries. He worked as editor on more then 120 fiction films and TV documentaries. He is founder of Mikrokino, chain of movie theatres for documentary and short fiction films. Last 4 years he is a selector for the Mediterranean Film Festival in Široki Brijeg (Croatia).

Since 2007 he has exhibitions of his phonograms from his experimental films and he had one group and two solo exhibitions.

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Contact details: Nukleus Film Croatia Dalmatinska 8 10000 - Zagreb, Croatia T: +385 1 4846 556 F: +385 1 4846 556 info@nukleus-film.hr www.nukleus-film.hr

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OTHERS Attending: Milena Garfield

SYNOPSIS After having lost her parents in the war in Kosovo and her child due to tragic accident, Maca (40), lives alone as a refugee in the suburbs of Kraljevo.

She is barely surviving by singing in the local bar where she meets all kinds of men. She can see that the world around her is changing and she is afraid that the end is approaching and the punishment is coming. She is trying to redeem herself by praying and visiting the monasteries. On Christmas Day, she decides to adopt a child, a Gypsy boy. But she does not love him at all. And she knows that God can see it.

Jovan (47), Maca's former husband, fought in the war in Kosovo and became a monk. He believes that he has found his peace. But there is no longer any peace for him. At Christmas, Jovan suddenly sees the living God in the retarded girl Milica. He starts to change. He understands that the end of the world is coming and that he can only be saved by innocence itself. He goes away with Milica to start a new life and rebuild the place from which they came.

At Easter, Maca finds God in her adopted son. It is not clear whether the end is near or whether there is still hope to come.

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Genre: Drama Director: Oleg Novkovic Writer: Milena Markovic Producer: Milena Garfield, Uliks Fehmiu Budget: € 1.1 m Company: West End Productions DIRECTOR’S NOTES OF INTENTION Log line - This is a film about sinners and their quest for salvation. But God is hard to find.

Simplicity - The events are following one another without any special anticipation. They just flow like a river does. We are watching them from the distance, without commentary or judgment.

Who - We are dealing with refugees, the people who are expelled from their homes. They are forced to live in new, unfamiliar surroundings. They are forgotten, invisible, foreign, damned. They are the Others.

Characters - The characters in the movie are people with many flaws. With indecent desires. And yet we identify with them and love them.

Acting - The acting without „acting”. Everything is very restrained, hidden; everything is a gesture or a glance.

Place - The greater part of the film takes place in Kraljevo, a little town in southwest Serbia. Restaurant, refugee centre, streets, apartments, grocery shops... The smaller part takes place in Kosovo, in the medieval Orthodox monastery of Gracanica during the Christmas and Easter liturgies.

Set design - The story is happening in a completely realistic setting without any interventions in style. It is a documentary-style approach.

Structure - The story arc of the film is somewhat unusual.

The prologue consists of three extreme and shocking scenes which take place during the war in Kosovo. This is where we meet the protagonists, Maca and Jovan.

Ellipsis, eleven years later. The first part takes place during Christmas.

Maca is at the centre of the story. Maca is a singer in the local restaurant.

She is looking for God and seeking redemption and salvation.

Ellipsis. The second part of the story takes place during Easter. The central character is Jovan, a former civil war fighter and now a monk. He is leaving a monastery in order to fulfill his mission.

At the end, the stories converge into an unexpected conclusion.

Time - The prologue takes place during the war in Kosovo in 1999. The rest of the film is set in the present.

Framing and timing - The camera is static; the frames are stable. One lens, normal. Wide frames, Cinemascope. Ellipses and discontinuity.

Music - Music is in the restaurant where Maca is singing in order to earn a living. She sings old Kosovo songs and new country/folk songs. There is Orthodox liturgy music in the church. The rest are original sounds.

Conflict and Contrasts - Cruelty and mercy. Bar and monastery. Winter and spring. Faith and doubt. Envy and compassion. Meaning and meaningless of life. Mysticism and realism.

Universal and local - The film takes place in the Serbia of today, in very specific historical and social circumstances. But feelings, relationships, desires and the quest for meaning are universal to all human beings. Anywhere, anytime.

Realism or... - The style is realistic. Till the very end. And then, maybe we will step out of it, further from it. Nevertheless, the approach is realistic and the spectator will decide what the outcome is.

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COMPANY PROFILE The company, which produces in Eastern Europe mainly from offices in the West, was founded in 2003 by Milena Garfield and Uliks Fehmiu. West End Productions was the main producer of WHITE WHITE WORLD, directed by Oleg Novkovic, in cooperation with the co-production partners Ostlicht Filmproduktion, Germany and Hepp Film, Sweden.

Co producing partner Ostlicht Filmproduction GmbH is managed and owned by Marcel Lenz and Guido Schwab. The company emphasis is on cooperation with renowned filmmakers as well as young talents. Filmography: THE WOMAN WHO BRUSHED HER TEARS (Macedonia, Germany, Slovenia,Sweden), WHITE WHITE WORLD (Serbia, Germany, Sweden) TILT (Bulgaria, Germany), FUR ELISE (Germany) MEER IS NICH (Germany).

Producers Uliks Fehmiu and Guido Schwab are 2008 Eave graduates.

Producer Marcel Lenz is 2010 Eave graduate.

PRODUCER’S PROFILE Garfield is a pioneer of independent theatre production in Eastern Europe.

As an associate artistic director and marketing director of Belgrade Drama Theater, she produced the biggest hits of the ’90s using her concepts of theatre marketing. She was the managing director of Saatchi & Saatchi BTL, Balkans, and managing editor of the New Moment magazine for visual arts. She lives in Washington, D.C.Uliks Fehmiu, a film and theatre star in Yugoslavia, left for America in the 1990s to continue his professional career in theatre, film and TV, including the lead in the highly acclaimed Peter Sellars' play CHILDREN OF HERACLES. In 2006, he returned to the region with several leads in films from Slovenia, Serbia and Bosnia and Herzegovina, including the lead roles in Oleg Novkovic's TOMORROW MORNING and WHITE WHITE WORLD. He lives in New York City.

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WRITER & DIRECTOR’S PROFILE Milena Markovic (the writer) is one of the most acclaimed playwrights and poets in Serbia.

A 1998 graduate of the Academy for Drama in Belgrade, her theatre plays are performed all over Europe, including “Paviljoni (“Pavilions”) and “Sine” (“Tracks”) in Austria, Macedonia, Poland, Germany, Slovenia and Serbia. “Sine” was published by Theatre Heute, the most prestigious European theatre magazine. “Suma Blista” (“The Forest is Glowing”) was produced by Schauspilhaus in Zurich in February 2005.

In the same year, Markovic wrote the documentary “The Miner’s Opera.”

Then in 2006 she authored the screenplay for Oleg Novkovic’s “Tomorrow Morning.” In 2007 she wrote a script for “ White White World” Both movies have won Best movie Award at Cottbus film festival. She has also published two collections of poems, the second one presented in public reading in the Royal Theatre in Stockholm.

Oleg Novkovic (director) is one of the most important Serbian filmmakers.

His sensitive portrayals of ex-Yugoslavia’s lost generation brought him the attention of international film festivals and audiences. According to Variety, “his movies have the delicate balance of well-measured emotional tensions and hyper-realistic expression.” His most recent film WHITE WHITE WORLD, which premiered at the Locarno Film Festival in 2010, won numerous international awards, among them, the Golden Leopard in Locarno for the best leading actress and the main award at the FilmFestival Cottbus 2010. Novkovic had already received this prize in Cottbus for his previous movie TOMORROW MORNING. WHITE WHITE WORLD has been selected by the European Film Academy (EFA) as one of the 45 best European movies of 2011.

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Contact details: West End Productions Stanislava Sremcevica 5 11000 - Belgrade, Serbia T: + 1301 340 2801 milena.garfield@gmail.com

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The High Sun Attending: Ankica Juric Tilic Dalibor Matanic

SYNOPSIS Dalmatia, 1990, 2000 and 2010. The story of THE HIGH SUN is an original take on a classic Romeo and Juliet story. As in every Romeo and Juliet story, the premise is the same – two young people from two neighbouring villages fall in love. The film is divided into three parts. It will tell the story of Jelena and Ivan, two young people from different ethnic groups, across three different decades. Thus, it will follow a total of six characters over three consecutive decades, each character in a seperate decade played by the same actor. The lovers always meet in exactly the same location, at exactly the same age (she is always 20 and he is always 21). But the stories themselves take place at ten-year intervals – each one begins a decade after the story that preceded it. While the same stories repeat themselves from one decade to the other, it seems impossible to overcome a deeply-rooted hatred. However, the last story offers a ray of hope: altruism and some degree of civilized progress will allow our heroes’ neighbourhood to take a step forward and show that there is always hope that things may change for the better. The story about Jelena and Ivan is actually the story aiming to speak about hatred in general, which is the hatred and mistrust of the Other.

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Genre: Drama Director: Dalibor Matanic Writer: Dalibor Matanic Producer: Ankica Juric Tilic, Ivana Simic Budget: € 1 mil Company: Kinorama DIRECTOR’S NOTES OF INTENTION As an artist, I have been long intrigued by the ever-present inter-ethnic hatred in the Balkan region, and by conflicts rooted in war, religion or politics. With this film, I intend to explore these themes by contrasting the destructive emotion of hatred with its exact polar opposite: love, and the act of falling in love.

In the first story, a romantic attraction – the purest human urge – is forced underground when love becomes a forbidden luxury as a result of pre-war madness, confusion and fear. In the second story, the war is over, but a relationship between two lovers from different communities is still forbidden because the scars of war simply cannot heal that easily, and inter-ethnic hatred still has a powerful and malignant hold over people’s lives. The third story takes place in the present day, it offers a solution where love finally becomes possible when people manage to overcome the darkness in their souls and try to live once more according to basic human principles.

Catharsis succeeds, but alarming side-effects appear.

I would like to combine the sun-scorched Dalmatian landscape, the fecund natural world and the carefree certainty of youth with human actions that are the fruit of long-standing hatred, history, tradition, confusion and fear.

With such a contrast, I will follow our main characters with the camera.

From the initial story’s light-heartedness and lack of restraint, through the war-ravaged and traumatised couple in the second story, we will come to the present day and the need to raise ourselves above the horrors of the past and the need to revitalize the spirit of essential youthful innocence and mutual tolerance.

I want an unquenchable vitality to break through the frames of this film.

COMPANY PROFILE Kinorama is a Zagreb-based production company specialising in film production, which was founded in 2003. Within the past two years, we produced four feature films and three shorts, winning more than 40 international film awards. At the moment, we are developing six new feature film projects. Some of the most promising young directors as well as already recognized and respected Croatian filmmakers are attached to our company. Since we are also eager to co-produce, we are always present at international co-production markets, both looking for partners for our projects and trying to find interesting other ones.

At this moment, Ankica is developing 6 more feature films, some of them coproductions, and several shorts.

Ankica is the head of the Croatian Association of Producers and a member of the Croatian Association of Film Workers. She is also a member of the Producer’s Network of Cannes, Producers on the Move 2009 and Producer’s Lab 2010. She lectures at Academy of Dramatic Arts in Zagreb.

WRITER & DIRECTOR’S PROFILE Dalibor Matanic was born in Zagreb in 1975 and holds a degree in Film and Television Directing from the Academy of Dramatic Arts in Zagreb. After shooting several shorts, he made his award-winning feature debut The Cashier Wants To Go To The Seaside in 2000. His filmography includes seven feature films and several shorts screened at many international film festivals. His feature Kino Lika and his short Party were shown at 80 international film festivals and received 27 awards. Currently, his Mother Of Asphalt (2010) is on the international festival circuit, while this year's Pula Film Festival showed the premiere of his latest feature Daddy. Matanic is a member of the European Film Academy.

PRODUCER’S PROFILE Ankica Juric Tilic graduated comparative literature at the Faculty of Arts in Zagreb, Croatia. She attended and graduated EAVE programme 2007.

After free-lancing for production companies and televisions, she started her own production company Kinorama in 2003. She has produced more than 15 features, several TV series, documentaries and short films. In 2009 she produced the short film Party directed by Dalibor Matanic. Party premiered at Critic’s Week in Cannes and won 18 awards (eight of them international grand prix) later. In 2009 Ankica also produced feature film The Blacks directed by Goran Devic and Zvonimir Juric (the script was developed at Cinelink and EAVE). So far, The Blacks won 9 international and three national film awards. In 2010, she produced two features – Mother of Asphalt, directed

by Dalibor Matanic and Forest Creatures, directed by Ivan-Goran Vitez, and in 2011 another two feature-length films – Koko and the Ghosts, children’s films directed by Daniel Kusan and Daddy directed by Dalibor Matanic.

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Contact details: Kinorama Stoosova 25 10 000 - Zagreb T: +385 1 2316787 T: +385 98 465576 F: +385 1 2316788 ankica@kinorama.hr www.kinorama.hr

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THE STEP COUNTER Attending: Nadejda Koseva Svetla Tsotsorkova

SYNOPSIS In the beginning, there is a wedding. This particular wedding seems to be frozen in time. Of all guests it is only the bride who is awake. But this sleeping wedding is not where it all starts: Eighteen-year old Lefty Junior disappears from the village of Lower misery during a thunderstorm. This takes place a day before Damla – the Turkish girl he loves, is to marry somebody else. During the search for Lefty Jr. along the river, Damla finds a notebook written by the boy. Hiding from her father and her future husband, she begins to read it.

One never knows when love will grab him by the throat. Love catches up with Lefty Jr. as soon as he comes into this world. He and little Damla were born on the same day, in the same room. Lefty Jr. is a weak child. He gives more heed to his grandfather’s magical stories than to his father’s advice to run with a step counter in order to save himself from his “heart arrhythmia.”

Damla, whose name means both “precious drop” and “heart attack”, is a beautiful and stubborn child for whom playing is everything and the will to win trumps over the actual game. The two children’s growing up is a comic

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Genre: Tragicomedy Director: Svetla Tsotsorkova Writer: Ventsislav Vassilev, Svetla Tsotsorkova Producer: Nadejda Koseva Budget: € 600 000 Company: Front Film dance in which “who’s leading” is a topic that is never discussed because there could never be a consensus on it.

The clashes occur when Lefty Jr. teaches her the alphabet in the barn, when they get into a fight because of their fathers’ bet, when they argue over the goat’s name, when they have to figure out who owns the dog…

But one tragic day, he loses his father because of her. Then he looses her.

After her departure, Lefty Jr. doesn’t stop running and counting his steps.

The new meeting of Damla and Lefty Jr. starts like a new game in which they dance - now as a young man and a young woman. This game turns out to be forbidden. The wrath of Damla’s father, the arrival of her fiancé Orhan and the announcement of the wedding turn everything on its head.

When these tales are completed, comes the storm.

Damla has read through Lefty Jr.’s notes. This isn’t a notebook, but a love letter to her, which ends with a code that indicates the number of steps to the place where he’ll be waiting for her. The counting down of the hours to the wedding turns out to be the counting down of the steps to love.

DIRECTOR’S NOTES OF INTENTION One never knows when love will grab him by the throat. To some, it only happens once in a lifetime. To others – a few times. As for the main character Lefty Jr. love grabbed him from the moment he was born.

It is no accident that the screenplay begins with a storm and ends with a chasm. The storm is like a force of nature, connected to momentariness, defeat and destruction, as well as – allegorically, to the overpowering elements of temptations and passions. Something that one is unable to understand or control. Something like youth. The chasm, in contrast, is a place of the magic link between up and down, between life and death. A passage and a border. Questions and answers. Something like maturity.

In between the storm and the chasm there is a journey. A journey along “the map” of the life of the boy and the girl. A journey through time through the eyes of the main character – Lefty Jr. A journey of the two characters towards one another. A journey through the magical world hidden in the everyday life.

I often think that the world we live in provides us with a lot of options – internet, quick transportation - airplanes, mobile telephones etc. Now a day everything seems in one hand distance. We can choose from so many things. If we fail in one thing then we can immediately switch to another.

Desires change every day. The truth changes every day. So there is no absolute truth anymore and there is no fear of the absolute truth. It seems to me that this world is dispersed. It’s going on in random directions, a bit chaotic, no order, and moving by its own criteria. And also I think this world is hacked. Hacked is about force without height, sublime without fear, body without shoulders, and touch without tension.

THE STEP COUNTER confronts this world through a lost habit – to create allegories. This story is about the elements of death and love. It is about the banal – how love transcends death and also it is about how love transcends death by incorporating the feeling of loss, the fear of loss. This fear is about loosing our love and thus our only hope to cope with death. Love becomes

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mix of desire and fear; desire to keep this fear alive - to confront life and to be alive. To live a life where we have some more love, that is some more fear.

COMPANY PROFILE Front Film Ltd is a production company established in 2004 and run by Nadejda Koseva and Svetla Tsotsorkova. We work as producers on short, feature, fiction and documentary films by mainly young filmmakers who are at the beginning of their careers. And we executive or line produce films produced by other production companies. These projects are supported by government funds and/or by private individuals and companies.

Front Film’s first production was the short Waltzes and Tangos From the Village of Whitewater which premiered at Locarno and then travelled to many other festivals, winning a special mention at Montpellier Film Festival. As producers, Front Film also completed the fiction feature Hunting Park by director Lyubomir Mladenov (2009), and is currently in production with the 90-minute documentary Bulgaria is One Big Mistake Too by director Stoyan Radev.

Front Film recently executive produced the TAKE TWO (director: Nadejda Koseva; 26 mins; production companies: Art fest, Bulgaria and Coin Film, Germany) which premiered at Sarajevo Film Festival and won Special Mention there.

PRODUCER’S PROFILE Nadejda Koseva graduated with an MA in Film Directing at The National Academy for Theatre and Film Arts (NATFA), Sofia. Then she studied filmproducing at the Netherlands’ Film and Television Academy. There, she also worked as a trainee for Petra Goedings at Phanta Vision. Later, she took part in the residence program for young filmmakers at NIPKOW in Berlin.

Nadejda made a few shorts as a director, including: “The Ritual” (2005, 15 min., 35mm, fiction): Berlinale 05, Moscow IFF ’05, Karlovy Vari IFF ’05, Sarajevo IFF ’05, Edinburgh IFF ’05, Tallinn IFF ’05, Kiev IFF’05, Triest ’05,

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etc.; “Omelette” (2008, 5 min., 35 mm, fiction) with a Special mention at Sundance Film Festival ’09 among other awards. Currently, her latest short film TAKE TWO (2011, 26 min., 35 mm, fiction) is traveling around the world after its premier at Sarajevo IFF’ 11.

WRITER & DIRECTOR’S PROFILE Ventsislav Vassilev was born in 1973. After graduating the NATFA, Sofia as a film director he devoted himself to writing. His screenwriting efforts were rewarded when he wrote The Revenge Plan. The project received financial support from the Bulgarian National Film Centre and in 2009 the 30-min film was made. As well as the awards for best Bulgarian debut and best actor at “Golden Rose“ IFF', Varna, Bulgaria ’08, the film received an award for best screenplay at a festival in Haskovo, Bulgaria.

In 2009 Ventsislav wrote a screenplay called Mice Poison which also got the financial support from the Bulgarian National Film Centre and is now in production. In 2010 he wrote the full-length script Marti, supported by Bulgarian National Television and currently in production.

Svetla Tsotsorkova graduated NATFA Sofia as a film and TV director, and then studied directing at the London Film School. After coming back to Bulgaria and working as first assistant director for several years, she directed the 20-min film Life with Sophia, which in 2004 won the Jameson Short Film award at Sofia IF. The film had a very successful festival life: it participated in Critics’ Week, Cannes’05, Sarajevo IFF ’04, Karlovy Vary’04, Munich Student IFF’04, Court Metrage de Bruxelles’05, Telluride IFF USA’05, Taipei IFF’07, Drama IFF’05, Cottbus IFF’05. The film was shown on Open Student Television Network USA and the Satellite Bulgarian channel. The film was also released and screened on its own at an art house cinema in Sofia for two weeks. During the next few years, Svetla worked as a producer and took part in a several short films as the main actress, some of them distinguished at international festivals like Sundance, Clermont-Ferrand, etc.

Svetla recently directed the medium-length documentaries Antony and the Piano (2009) and Gredy Assa (2011).

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Contact details: Front Film 7 Victor Grigorovic str app 5 1606 - Sofia, Bulgaria T: +359 898 552388 F: +359 2 9516244 frontfilm@abv.bg www.frontfilm.eu

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uno (one) Attending: David Bush Giotto Barbieri

SYNOPSIS Furio Moroni is out, free after six years of prison. Six years in which he lost everything. Including his son, victim of a terrible accident. But now, it's time to start over, with what he's got left: his 50 years, the diabetes that obliges him to inject daily doses of insulin, and the money from the last hold-up.

And then, there's Uno, the gigantic dog his son left behind.

They found him together. He was only a puppy at the time. Beaten, mistreated. Scared. Fragile. Now he's giant and black and scary. However, Furio discovers that there is still something else that's left. Irene's love. Irene, the woman he was with before he went in. He decides to leave with her, with Uno and the money for a new world, a new life. But for people like him, things never go as they should.

His car gets stolen, with Uno inside. It doesn't take much for Furio to realize that the thieves really wanted Uno. Dogs like him are worth a lot in the underground world of dogfighting.

He could ignore everything, leaving Uno to his destiny of violence. He could simply leave with the money and the woman he loves.

But Uno was his son's dog and is the only remaining connection between Furio and his son. Besides, he can't accept that when something gets

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Genre: Thriller, noir, 3D Director: Giotto Barbieri Writer: Riccardo Aprile, Marcello Olivieri, Giotto Barbieri Producer: David Bush Budget: € 2.500.000 Company: Filmcome14 srl Italy - Global Entartainment Media (GEM) Australia taken away from him he doesn't react. Furio is not that kind of man. And never will be.

He discovers that Uno has been sold in Slovakia. Furio gets a car for himself. A gun. A contact in Bratislava. He leaves.

He leaves, braving the harsh Slovak winter. His disease. Irene's disappointment. And the slim chances of pulling everything off. He leaves, aware of how much he's jeopardizing his future.

It’s the beginning of a nightmare. A cruel nightmare, filled with unscrupulous animal traffickers and mass graves of dead animals covered in quicklime. Concentration camps where dogs are transformed into war machines. A horror, marked by red blood on white snow. Furio reaches Uno as he's fighting desperately for his life. He saves him. He tears him away from his destiny, shooting, killing. He manages to escape. Towards Italy. Towards Irene. Towards a still-viable future. But for people like him, things never go as they should...

DIRECTOR’S NOTES OF INTENTION “One” is inspired by the American Police Noir Genre. It is a film where all of the characters are bad and corrupt, and some more than others. It is a graphic story of action and adventure that I believe will fascinate the

viewing public, as it did to me and the authors while we wrote it. There are several themes that inspired me to make this movie. First and foremost my love of dogs, and, once I had got to know about the horrors of dog fighting, my subsequent iron-strong conviction against these illegal, violent and horrific fights. Love of dogs has accompanied me all of my life, and from as long as I can remember the family home was always full of them. When I was 12 years old, about a dozen big, white, long-haired Maremma sheep dogs roamed around the family’s garden watching me grow up in front of them.

In the summer months I got to spend a lot of time with them, and I learnt to understand from first-hand observation much about the herd instinct, the dynamics and assertion of leadership in the dog family, and the sweet tenderness with which females tended their puppies.

It must be something to do with my unique plane of observation as a child, but, I find illegal dog fighting unforgivable, despicable, shameful, repugnant and unjustifiable. Through “One” I want to pierce the wall of shame of this horrible vile sport, which is, in reality, less uncommon that many might imagine. Depraved and unscrupulous individuals forcing dogs into illegal and horrifying battles for betted money; the emotions running high as the dogs fight for their own lives, revealing the drama and the violence as if we are transported into the middle of the action itself, are merely the background to an emotional “survival” story centered around Furio and his inevitable destiny, and one of the cinematographic reasons I want to use the stereo 3d format (s3d). Indeed, the choice for making the film in s3d is related to the emotional amplification of drama that I know this format can achieve, if used effectively and well. Another theme that has always interested me is that of man’s inability to somehow escape his own, inevitable, fate, once that is traced.

Furio struggles and suffers to improve his own and Irene’s lives, and escape to a faraway place. But the mistakes that he made in the past don’t allow him a second chance. With his prior criminal actions, the pain that he had distributed liberally to the people he loved in the past returns to claim it’s full tribute.

The sense of guilt for having so deeply disappointed his son is the main en-

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gine of Furio’s actions. This is intimately visible in the lead actor’s actions.

In essence I want to reflect on the need to love and be loved. That which may seem a trivial thing at first, but it does indeed dominate most of humanities choices.

COMPANY PROFILE In 2005 Giotto Barbieri and Annalisa Roggieri founded the independent film production company Filmcome14, based in Genoa, Italy. The main subject of our activities is the development and production of audio-visual projects of all kinds and genres. Subjects for cinema and television are chosen for their powerful (“Uno” Best story Solinas prize 2005), creative stories in combination with strong visual potential (0,9 ampere 2009). The basic goal of our activity is the development and realisation of our original film projects in the genre of fiction, documentary.

PRODUCER’S PROFILE David Bush was born in London, England on the 29th October 1956. He studied Arts and Sciences at Bishop’s Stortford College in Hertfordshire, UK until 1974. From 1975 to the present day he has lived mainly in Italy, with travel to different countries for specific film production.

In the course of this work spanning more than 35 years he has got to know many different film production and post production realities around the world: Australia, Belorussia, Czech Republic, Denmark, France, Germany, India, Italy, Lithuania, Morocco, Namibia, Serbia, Slovakia, South Africa, Sweden, Switzerland, Ukraine, the UK and the US have all been his temporary home for some time.

David started his career as a stills photographer for TV movies in Rome, and from 1975 to 1985 worked as a long form editor on a large number of tv programs and documentaries, gradually becoming more specialized in creating graphics, titles and visual effects. During the nineties David specialized in offering combinations of digital, real and virtual sets for the film industry, together with set-extensions and matte paintings.

David workied as visual effects supervisor with many renowned film dIrectors (specifically Theo Angelopoulos, Michelangelo Antonioni, Pupi Avati, Giotto

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Barbieri, Goldie Behl, Bernardo Bertolucci, Ilaria Borrelli, Anne Riitta Ciccone, Alessandro D’Alatri, Enzo D'Alò, Robert Dornhelm, Uli Edel, Roberto Faenza, Giorgio Ferrara, Tony Giglio, Renzo Martinelli, Mario Monicelli, Giuliano Montaldo, Enzo Monteleone, Ferzan Ozpetek, Neri Parenti, Roman Polanski, Paolo & Emilio Taviani, Giuseppe Tornatore, Florestano Vancini, Carlo Vanzina and Roger Young). David offered his services as visual effects supervisor on some major films following a career during which he also founded, managed or consulted to many of the principal Italian post production facilities at the same time: amongst these Imaginaction in Milan, Digitalvideo in Milan, Interactive in Milan and Cinecità Digital in Rome.

He has contributed, consulted and helped to manage numerous film productions shot in virtually every format and these have ranged, in the last few years, from Goldie Behl’s Drona to Bernardo Bertolucci’s Besieged to Roman Polanski’s Oliver Twist to Giuseppe Tornatore’s film Maléna, amongst others.

David has offered consultancy to those who wish to creatives, cinematographers, producers and production designers to discuss solutions for simple and complex scenes in small or larger budget films.

Recently David has spent several years learning to shoot and post produce films in stereo 3d, and in Fausto Brizzi’s upcoming film “Come bello far l’amore” in 3d he worked as director of stereography.

Giotto Barbieri was born in Milan, Italy on June the 12th 1971. After being briefly employed by the publisher Sperling & Kupfer, he attended the Conservatory for Audio Visual Sciences in Lugano (Switzerland), with a specialization in directing. Following on from studies in film direction, Giotto consulted for 5 years as production manager with several of the most significant advertising production companies in Milan at the time (BRW, Filmaster, Filmgo and Quicksilver Productions) honing his knowledge on the production aspects of the often complex shooting and post production requirements of the high end advertising business. He moved from Milan to Genoa in 2001 and has alternated his activity since as stage director (in co-operation with the Teatro dell’Archivolto), and scriptwriter, having since written several film scripts.

In 2006 Giotto founded his own, independent production company – FilmCome14, and with this company produced several documentaries. The com-

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pany has several film projects now in the development stage. Recently he's made a series of documentaries produced by FOX International channel, and a “multiplatform” documentary “Fromzero” about the recent earthquake survivors in l’Aquila, Italy.

WRITER & DIRECTOR’S PROFILE Riccardo Aprile, born in Genoa on the 10th December 1958, works as a teacher at the Technical High School ITIS ”Italo Calvino” in Genoa.

Winner of the “Premio Solinas” 1996 for the best screenplay with “Hermano”, written with Marcello Olivieri.

Finalist of the “Premio Solinas” 2002 with the movie story “Lo scaricatore di anime”, written with A.Vietti.

Winner of “Colori del genere” Premio Solinas 2005, section Giallo/Nero (thriller/noir) with the movie story “ Uno”, written with Marcello Olivieri and Giotto Barbieri. With this story he attended the Katapult European Script Center in Budapest, for the development and the writing of the screenplay.

Marcello Olivieri Workshop MFI/Media in collaboration with Columbia University of New York. Dipartiment of scriptwriting «HERMANO» Subject and script for feature film in collaboration with Riccardo Aprile e Giovanni Robbiano. Best story Solinas prize 1996 Feature film producted by Gam Film directed by Giovanni Robbiano «LA RABBIA» Best story for feature film Napoli Film Festival/Repubblica.it 1997 «IL MESTIERE DEL PORTATORE» Subject and script for feature film in collaboration with Vincenzo Scuccimarra.

Produced by Verdecchi Film «L’AMORE OLTRE» subjet for feature film in collaboration with Fabrizio Cattani.

«IL VAMPIRO»

Subject and script for shortfilm in collaboration with Roberta Poggio. Regia di Marco Speroni. Best story IV edizione del Festival «Schermi Irregolari».

«POI SI VEDRA’!»

Subject and script for feature film in collaboration with Elena Gamba.

Developed by Birdy Srl. «SENZA FIATO» Subject and script for feature film in collaboration with Riccardo Aprile and Giotto Barbieri. Selected by Mediterranean Film Institute to take part to MFI Script Workshop 2003 in collaboration Media progarmme and Columbia University di New York.

Selected by ANTENNA MEDIA to take part to Giornate del Cinema del Festival di Torino 2005.

«IL RESPIRO DELL’ORSO BIANCO» Adaptation of the original work by Vanni De Simone published da Derive/ Approdi.

«LA NEGAZIONE» Subject and script for feature film in collaboration with Antonio Ciano e Marco Saura.

«UNO» Subject and script for feature film in collaboration with con Riccardo Aprile e Giotto Barbieri. Best story Solinas prize 2005 – Storie Giallonere.

«COLPA» Subject for feature film in collaboration with Fulvio Bergamin e Luca Gesualdo.

Selected by Mediterranean Film Institute to take part to MFI Script Workshop 2003 in collaboration Media progarmme and Columbia University di New York.

«PUNTI DI FUGA» Adaptation of the original work by Pino Cacucci and with Daniele Basilio developed by B-Movie produzioni.

«LA VERITA’ CHE PASSA» Story and script by Alfonso Postiglione and Davide Pinardi, produced by Rio Film. Developed by MIBAC nel 2008.

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Contact details: Filmcome14 srl Via Sussisa 70 Sori (Ge) 16030 - Italy T: +39 0185 1908160 F: +39 0185 1908160 giottobarbieri@filmcome14.com

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NOTES

SKETCHES

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11 projects in a very early stage of development that look extremely promising

120 ASH 122 DESTINY MINE 124 EASY 128 FAR ENCOUNTERS 130 ITALIAN LESSONS 132 LEMON JUICE AND INDIGO 136 LOST IN THE DARK 140 REX 144 SEE YOU IN CHECHNYA 146 THE FOREMAN - DEEP DOWN WE’RE ALL FAR OUT 148 THE WOOD

Iceland Slovenia Italy Croatia Italy Hungary Italy Italy Georgia Denmark Romania

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ASH Attending: Heather Millard

SYNOPSIS On April 14th 2010 the earth opened up for the second time in less than a month at Eyjafjallajökull in Southern Iceland.

The volcanic eruption melted the ice cap, flooded the nearby farms and spewed 70 tons of ash into the stratosphere per second and disrupted air traffic throughout Northern Europe. It forced many flight cancellations and stranded thousands of passengers.

The disruption captured the world’s attention. When the airlines resumed their normal routes and headlines started to fade, the farmers under the volcano were fighting for their livestock and livelihood as they still are today.

The film ‘ASH’ follows three farming families living under the volcano over the course of the farming seasons to see the effect of the ash on their lives and livelihood. It is a character-driven creative documentary about the aftermath under the volcano.

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Genre: Documentary Film Director: Herbert Sveinbjornsson Writer: Herbert Sveinbjornsson Producer: Heather Millard, Hildur Margretardottir, Gunnar Sigurdsson Budget: € 150,000 Company: Spier Films/ Edisons Lifandi Ljosmyndir DIRECTOR’S NOTES OF INTENTION I like to describe this as a classic monster movie, except this film is about what happens after the monster has rampaged through people’s lives. 3D graphics will be used to help the audience get the feeling of where the farms are placed around the glacier. Each family will have their own theme and the camera work will be different with each family to support their personalities. The "square" family will be framed in traditional news coverage style with stand up style interviews while the more easy going families will be handheld and the interviews will take place while they are working.

COMPANY PROFILE Edisons Lifandi Ljósmyndir ehf. is an 11 year old company that has primarily worked on documentary films. The Documentary 'Fun and Games' was shown on the Icelandic national broadcasting service in 2002, the topic of the film being gambling and compulsive gambling. Edisons Lifandi Ljósmyndir ehf. has also produced documentaries about the play, 'Plums in New York' and about the film 'Our boys'. Edisons Lifandi Ljósmyndir ehf. co-produced the film 'The third name' directed by Einar Thor Gunnlaugsson, which premiered in 2003.

In the years 2004 to 2007 the production of the film 'Changes' where we observed three disabled men who move from an institution to their own house, for the first time since they were born they get to experience "Normal life". 'Changes' premiered in May 2007 and attracted attention and praise for its simple and sophisticated style and entertaining approach to the lives of individuals we normally do not hear about.

Cultural Night 2008 in Reykjavik, the Edisons Lifandi Ljósmyndir ehf. teamed up with the documentary club Homer and got 44 Icelanders aged 4 to 69 to record one hour of a set event on the night. All 44 hours were edited into 63 min. Concert Film that was aired on Culture night the next year. Skjaldborg film fest was the next project that Edisons Lifandi Ljósmyndir ehf. produced 2009 and 2010 for the Icelandic broadcasting service. Edisons Lifandi Ljósmyndir ehf. was also co-produced the BritishIcelandic documentary 'Future of Hope', which premiered in Iceland, 3rd September 2010. We are currently working on 'Living with Disaster'.

ries "Fun and Games" AKA Skemmtilegir leikir (2001), "Changes" AKA Tímamót (2007), "Maybe I should have" (2010), "Future of Hope" (2010) and "Afterglow" (2011). He also directed the unusual Concert-documentary "P.O.V." (2009).

Over the past 12 years he has worked at the Icelandic National Broadcasting Service (RUV), he has worked on and produced several television shows and documentary style programs. Herbert is currently working on "ASH" as both the author and the director.

PRODUCER’S PROFILE Heather Millard is a producer and international sales agent for documentary films and world cinema. Beginning in Documentary film production, she set up an in-house sales company for a UK company before moving to Spier Films to set-up the London sales office for world cinema and documentary films. Most recently producing the feature-length documentary ‘Future of Hope’ (IDFA 2010, edda nominated 2011), ‘afterglow’ 2011 and ‘ash’ due to be released in late 2012. Currently developing new factual series and producing documentary titles, heather is also exploring new financing options for independent film in Iceland and abroad.

WRITER & DIRECTOR’S PROFILE Herbert Sveinbjornsson Author & Director: Herbert Sveinbjornsson has been working in Television and Film for 16 years, where he has filmed, directed, edited and produced many titles for cinema and television.

Among the features he has participated in are the feature documenta-

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Contact details: Spier Films Nonnugotu 16 101 - Reykjavik, Iceland T: +354 6935698 heather@spierfilms.com www.spierfilms.com

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DESTINY MINE Attending: Dunja Klemenc

SYNOPSIS A miner digs alone in the dangerous depths of an abandoned mine, stubbornly looking for the truth of a dark part of Europe's history. The deeper he descends, the more he is forced to face his own personal history, making any retreat increasingly impossible. Moving deeper and deeper into the dark, he desperately searches for catharsis, the only way back to the surface. But all the evil he finally finds is more than any one person can bear.

DIRECTOR’S NOTES OF INTENTION Having first heard the story of Mr. Mehmedalija Alic´ in the summer 2010, I have immediately felt an urge to transform it into a screenplay for the big screen and bring it to a wider attention of a cinema audience. I have been further moved and inspired by Mr. Alic´'s account of his life, by my research and my conversations and correspondence with him.

The courage and humanism I found in this story, are an exceptional and enlightening guide to the unwritten history of our times: that of the indestructible, recurrent strength, courage and good within individuals, caught up in the history of war and evil.

This man stands at the breaking point of extreme ideological, nationalist, religious and economic movements, which we have inherited as the great

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Genre: Drama Director: Hanna Slak Writer: Hanna Slak Producer: Dunja Klemenc Budget: € 1,8 mil Company: Studio Maj errors of the 20th century European history. He is an immigrant, a secularized bosnian muslim, a genocide survivor, a simple working class man. He should be one of the victims of our time.

Still, relying on no god, and propelled by no other great idea but his personal ethics and the deeply rooted belief in the equality of all men, he keeps finding the inner strength to make his own decisions, to take the fate in his own hands – and thus he becomes one of the heros of our time.

I hope that the intense cinematic journey of Alija, inspired by the life story of Mr. Mehmedalija Alic´, may serve as a reminder of the responsibility we all share at all times for one another and for our world. May it give us courage to understand the importance of fighting for, and insisting on, the truth, no matter what the circumstances; and thus to take responsibility for our collective future.

COMPANY PROFILE STUDIO MAJ is an independent production company from Slovenia, specialized in the production of feature films. Its audiovisual production consists of feature films, features for children and TV, documentaries and documentary series. All features until now have been co-productions involving independent producers from various European countries.

PRODUCER’S PROFILE Born in Ljubljana, Graduated from the Philosophical Faculty of the University in Ljubljana Department for Psychology and from the Faculty of Dramatic Arts of the University of Belgrade, Department of Production. Profesionaly she has worked on films for 35 years, first as a screen writer later as organiser and producer. During her stay in Belgrade she worked on many feature films, numerous TV series for TV Belgrade and as Main Producer for the Cultural and Art Programe of TV Novi Sad. In Ljubljana she was the Producer for the Film Department of Univerzum, Producer of Children's Programmes for TV of Slovenia and producer of films as a free lance film worker. She is the owner of Studio Maj, independent film producing company. The most succesfull film in her career is No Man’s Land.

WRITER & DIRECTOR’S PROFILE Born 1975 in Warsaw, Poland. Graduate of Film Academy of Ljubljana, Slovenia. Since 2001 she is active as Writer, Director and Editor. Among her films are two feature films as well as several documentaries and short fiction films.

Hanna Slak gained international acclaim with her short student films, later to be confirmed as one of the emerging talents of her generation with her intense and dark feature film debut Blind Spot shown at more then 70 international film festivals and winning several awards. Her second film, a forest fable for children, Teah is the first film in Slovenian language to ever gain the Eurimages funding.

Hanna Slak’s interest in film making range from the classical writer/director author cinema to short experimental and formal researches. In her fictional work Hanna Slak constructs intense characters based stories, where the narative is propelled by the strong and clearly defined visual and audity style.

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DIRECTOR’S AND WRITER’S FILMOGRAPHY feature films Some Other Stories, 2010, Studio Maj and co-producers / one part of epizode film Teah (Tea), 2007, Gustav Film, Studio Maj, SPI Poland, Jadran film, Pro Ba Desperado Tonic, 2004, Vertigo Film / one part of epizode film Blind Spot (Slepa pega), 2002, Bindweed Soundvision documentaries Matter of Time, 2005, Co/Ma films 100% Slovenian (Američanke), 2005, Art Rebel, TV Slovenia Double Life (Dvojno življenje), 2000, TV Slovenia FREAKquences (Brez štroma) 1997, AGRFT animation and short Super Chick!, 2001, Bindweed Soundvision Stringdancer (Vrvohodec), 1999, Bindweed Soundvision The Tunnel (Prehod), 1999, AGRFT A.M. (Zjutro), 1998, AGRFT

Contact details: Studio Maj Mestni trg 17 1000 - Ljubljana, Slovenija T: ++3861 4224545 dunja.klemenc@siol.net www.studiomaj.si

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EASY Attending: Chiara Barbo Andrea Magnani

SYNOPSIS Easy is 40, and as a young promise in car races his carrier was definitely over when he started piling up weight so badly that he just couldn't fit into the car anymore... From that moment, everything in his life has been going wrong: jobless, a broken marriage behind him and a collection of anxiolytics and antidepressants. He lives with his mother whose only love is her youngest son, Marcus, a man of success who visits her only for Sundays' lunches. After a clumsy attempt of suicide from the roof of his house, Easy finds a way out thanks to a job proposal from his brother.

A simple and clean little job, as Marcus puts it, which consists in transporting the coffin of the Serbian bricklayer Pedrag Matkovic from Italy, where he has died falling from a structure in a building yard, to Bosnia, where he was born and where his family is waiting for him. But Easy's journey is far from tranquil. Just after the border between Slovenia and Croatia, Easy gets lost in the steep roads of the Croatian-Bosnian Krajine and can't find the right direction. And, as if that hadn't been enough, two boys apparently coming out from nowhere steal Easy's hearse. Alone and with nothing on him. He soon finds the coffin, just around the bend, and his first reaction is to go back: deliver the coffin to a police station

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Genre: Comedy Director: Andrea Magnani Writer: Andrea Magnani Producer: Chiara Barbo, Massimo Di Rocco Budget: â‚Ź 1.8 m Company: Bartleby Film and wait for Marcus to get him out trouble, as he has always done.

But after meeting first a Chinese family that owns a Chinese-Croatian restaurant and then a priest living his last day of service before getting married to a Dalmatian girl, Easy understands that he should dare for something more. Perhaps because he knows deep inside that that coffin and that journey are all that is left to him. With his coffin he illegally crosses the borders, and he gets to know the flow of illegal immigrants that cross those same borders in the opposite direction hoping to find a future in Europe; he escapes, he runs. And it doesn't matter if now is running on tractors or with a Yugo station wagon, the important thing is that he is running again. The search for Pedrag's village, that no one seems to have ever heard of, suddenly becomes the search for a mysterious woman whose name appears in Pedrag's will. And when Easy finally finds her, he gets to understand more about Pedrag's past, and the past of those lands, made of hate, and war. That's not Pedrag's village anymore, it's a Muslim village now, there's no room there for a Serb. So Easy's journey continues, carrying that coffin with him and after a clumsy attempt to bury Pedrag's coffin in a Muslim war heroes cemetery, almost by chance he finds Pocovo, Pedrag's village... Waiting there for him, in a humble country house, he finds four coffins, laying in the sitting room.

It's Pedrag's family, dead for a gas leak that blew up their house. The whole village had been waiting for Pedrag's coffin in order to bury the whole family together. In the village's cemetery, there is digging to do, and the a girl, who has in custody the only survivor of the Matkovic family, a baby just a few months old, has to help the others in their work.

Easy is taken aback when the girl abandons him with the soft bundle in his arms. The little one suddenly opens her eyes, and smiles. Easy stares at her, dazed. Then, almost to himself: “And now? What am I supposed to do, now?”. The horizon clearly stands out in front of them, as if now, on that hill, there were only the two of them.

DIRECTOR’S NOTES OF INTENTION “Easy” is the story of an impossible and almost useless journey: the protagonist has to carry the corpse of someone he doesn’t know, through lands and places he’s not familiar with.

Still, within the frame of a journey, there is always room for a surprise, a detour, an interrupted road. A journey contains that taste of life that you can call adventure. At the same time, “Easy” is also a journey within our deepest fears and uncertainties that become a test of strength, a redemption journey. The landscapes of former Yugoslavia are ideal for “Easy” to be set in, also because the movie tells a story about borders: the philosophical borderline between life and death, or the cultural border between Latin and Slav world, or again the dividing lines that men build, such as the ones that Easy has to go over. The Balkan roads are crowded with people that are so different from each other: they can tell you tragic or tragicomic stories that can make you change your mind on things or simply push you to choose a different path or make a detour.

These are roads that recently witnessed war, isolation, mass tourism: elements that contradict each other, same as life which is nothing but a daily contradiction. "Easy” is a black comedy that tries to reflect all these things with a laugh and with an attention for an imagery that refers to the great western movies: a memory of cinemascope that can give the road and its protagonists the great force of a question mark called life.

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COMPANY PROFILE Since 2002, Bartlebyfilm has been developing and producing feature films, documentaries and short films. Bartleby started producing a feature documentary Un ora sola ti vorrei (One Hour More with You), by Alina Marazzi (Special Mention at Locarno Film Festival and at Film Festival dei Popoli in Florence in 2002, Winner of the documentary section of the 20th Torino Film festival), broadcasted by Tele+ (Italian pay tv), Rai 3 (Italian Television), RTSI (Swiss television) and BBC. After having produced other two documentaries both selected at the 59th and the 60th Venice Film Festival and broadcasted by Tele+ (Italian pay tv) the company focused his efforts on features films. It developed the first feature film Texas, by Fausto Paravidino, then produced and distributed by Fandango in 2005.

In 2008, the short movie Spighe by Laura Chiassone, selected at the 39th Giffoni Film Festival, at the Visioni Italiani - Cineteca di Bologna and at the Mecal Barcelona 2010, was his first feature as a production company. In 2011 Bartleby produced the first feature film Qualche Nuvola by Saverio Di Biagio, selected at Controcampo Competion at the 68th Venice Film Festival, at the 35th Sao Paulo Film Festival and in theatrically distribuited

by Fandango (Spring 2012).

PRODUCER’S PROFILE Massimo Di Rocco was born in 1971 in Rome. He's been working in film production since he was 19 y.o. He followed all the production's roles track, working as an assistant producer, then line producer, until he met Giuseppe Piccioni, Chiara Barbo and Bartleby Film. He became CEO of the company and producer of the feature film “Qualche Nuvola”, presented at the Venice Film Festival in the Controcampo competion. The movie will be released theatrically by Fandango in Spring 2012.

WRITER & DIRECTOR’S PROFILE Andrea Magnani is a scriptwriter and director. He won the Premio Solinas for the treatment of the film La Lunga Corsa (The Long Run), now in pre-

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production. For the Italian television he wrote tv series and tv movies such as: Grandi Domani (Performers), L’amore e la Guerra (Love and War), L’ispettore Coliandro (Detective Coliandro), Crimini (Crimes). He directed The screenwriter, short film selected for Berlinale Talent Campus 2003; Basta guardarmi (Look at Me), short film selected at the World Film Festival Montreal 2006 and Giffoni Film Festival 2007; and the documentaries Le Ragazze di Trieste (Triestine Girls) and Caffè Trieste. Easy would be his first feature film.

Contact details: Bartleby Film Via Marcantonio Bragadin 49 136 - Roma, Italy T: +39 3356104221 dirocco@fastwebnet.it www.bartlebyfilm.com

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FAR ENCOUNTERS Attending: Dijana Mladenovic

SYNOPSIS A student of the Zagreb University named VANJA goes to Moldova to do volunteer work. Vanja's first visit to Moldova went in an unexpected direction, turning into a long-term struggle for the rights of old and sick people on the margins of society. Today, three years after returning home, Vanja is getting ready for a big reunion which will sincerely and profoundly uncover the complicated network of interpersonal relations. To the elderlies who welcome Vanja, her arrival is like a religious holiday in which they, confused and weak, try to find a way to express their gratitude.

This is a poetic film about the small heroes who live among us unnoticed…

DIRECTOR’S NOTES OF INTENTION This film is a documentary portrait of peculiar human character that provokes one to think about your life and values.

Have we lost ourselves in this imposed system of values?

Do these values even exist or have they been lost in the demagogy of mass religion burdened by tradition and selfish interests?

With his approach, the director departs from literal storytelling by accenting the strong characters and exploring the inner world of the protagonist

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Genre: Documentary Director: Vilim Zlender, Marko Stanic Writer: Vilim Zlender Producer: Dijana Mladenovic Budget: € 119.121 Company: Kinematograf Vanja, her reflections and emotional state in situations that are the causes and outcomes of the entire chain of events. This is done by featuring Vanja’s encounters with the people whose lives she so dramatically changed.

The idea is to portray her personality and understand her motivation and strong empathy for the lonely and forgotten people thousands of miles away in a very simple and subtle, at times philosophical way.

The chosen approach is very clear and will be based exclusively on observational approach and voice-over in moments when Vanja speaks about her experience, dilemmas, fears and personal conflicts.

The film will be structured in several thematic stories. Every story will be a separately elaborated entity that fits into the wide context of Vanja's visit to the Centre's patrons. The stories consist of Vanja visiting several elderlies with whom she developed very close friendships. The topics of the conversations vary, touching on their various experiences. These are stories of love, faith, unfulfilled dreams…

The film finishes with a story that differs from the rest, uniting all characters and other patrons that spontaneously and unexpectedly organize a farewell „party“ for Vanja – an emotional event, happy and sad at the same time, and at moments tragicomic. The last story is a sort of summary of Vanja's hard struggle for their rights, at the same time the only real recognition she received.

COMPANY PROFILE Production company KINEMATOGRAF was established in 1999. by Dijana Mladenovic, first as a cinema exhibitor. For almost a decade, it was a leading cinema exhibitor in Istra, Croatia.

Nowadays, the main company activity is a film production, and cinema exhibition seems to be a secondary one.

PRODUCER’S PROFILE

PhD-Faculty of Science, University of Zagreb, Zagreb, Croatia, Department of Biology. Graduated in School of Veterinary Medicine, University of Zagreb.

Documentary Film School (2011) ATTENDED WORKSHOPS: 2011. EEFA 2011. Ex Oriente Far Encounters is his first documentary project

DIJANA MLADENOVIC Graduated law at Law School in Rijeka and production at Academy of Dramatic Arts in Zagreb.

First work experience, gained in system of justice and then, from 1999 to 2008 she manages a cinema company in Pula. Parallel, as a freelancer, she participates in production of TV and film projects as well as in organization and art direction of several film festivals.

Owner of film production company KINEMATOGRAF. WRITER & DIRECTOR’S PROFILE MARKO STANIC Born in 1971., Zagreb, Croatia.

Graduated in University Of Zagreb, Faculty Of Design.

Director and cinematographer of two documentary films (“Marija Walks in Silence” and for US market “Welcome To To Zagreb”), worked on several other documentary films (shooted in Croatia, Macedonia, Bosnia and Hercegovina, Serbia and Kosovo – D.O.P. and assistant of director), promo industrial films, TV commercials, music videos. D.O.P. on short film “Misho Impossible”. He is preparing his next documentary project Mediterranean Trilogy.

VILIM ZLENDER Born in 1974., Karlovac, Croatia.

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Contact details: Kinematograf Nova Ves 18 10000 - Zagreb, Croatia T: +385 1 3831329 F: +385 1 3831329 dijana.mladenovic@pu.t-com.hr www.kinematograf.hr

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ITALIAN LESSONS Attending: Sarah Pennacchi

SYNOPSIS “Italian Lessons” is a heart-warming comedy about four immigrant women in Italy and their struggle to make a new life for their families. Using the immigrant’s point of view, the film presents a fresco of growing realities in contemporary Western Europe while giving an insight into the lives and hopes of immigrants.

COMPANY PROFILE TICO Film Company was founded in 2005 by father and daughter Gino and Sarah Pennacchi.

After rewarding careers in finance, Gino and Sarah decided to take their knowledge of business into the audiovisual industry.

TICO focuses on development of feature films, television projects and production of documentaries, which have an international profile and are intended for wide release; and invest in new talents.

TICO is building an international network with other productions companies and distributions (UK, Ireland, France, Spain, Germany, South Africa, US) through the presence at international markets, festivals and through the networking mainly of EAVE and EDN.

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Genre: Comedy drama Director: --Writer: Claudio Venneri, Laila Wadia, Gino Pennacchi Producer: Sarah and Gino Pennacchi Budget: --Company: T.I.C.O. Film Company In 2010 TICO has moved the legal offices from Rome to Trieste, it has operational offices also in Rome and London.

PRODUCER’S PROFILE Gino Pennacchi - President and Co-Chairman With 30 years of international investment banking experience, Gino has also shot several anthropological documentaries in Africa. Gino is the cofounder of TICO film with his daughter Sarah. He oversees the creative development of TICO's film projects and is the heart and soul of TICO. Sarah Pennacchi -Co-Chairman, producer and Head of Development Born in ‘78. Co-founder of Tico Film with her father Gino. Graduated in Modern History at Rome’s University “La Sapienza”. 4 years of international finances in Milan and London. Sarah is involved in the company’s management, in fund raising, in the development of films and documentaries, and in the creation of an international network. Sarah is currently based in London. Diploma of RAINDANCE Procuction UK 2005 / EAVE Film Finance Forum, Luxembourg 2008 /Think 2.0. creating and winning Multiplatform commissions (DV Talent – Skillset fund UK) 2010.

WRITER & DIRECTOR’S PROFILE We only have the writers for the treatment because for the script the team will change. The film is based on the book by Laila Wadia ‘Amiche per la pelle’ E/O 2007.

I was born in Bombay, India on 2.6.1966 and have lived in Italy for 20 years. I work as an English Language Expert at the University of Trieste and also freelance as an interpreter-translator. After winning the Italian President's Medal in 2004 for migrant literature thanks to my short story Chicken Curry (available online in English and one of the short stories included in the Pecore Nere collection) I started writing in earnest. The topics I deal with are: overcoming stereotypes, issues regarding secondgeneration migrants and women's rights.

I have published the following books and several of my short stories have been included in other collections: Il Burattinaio e alter storie extra italiane, Cosmo Iannone, 2005 ("The Puppeteer and Other Extra-Italian Stories: a short story collection"), Pecore Nere, Laterza, 2006, Laila Wadia et all ("Black Sheep: a short story collection"), Amiche per la Pelle, E/O, 2007 (a novel on cultural integration through literature and language learning) and Mondopentola, edited by Laila Wadia, Cosmo Iannone, 2007 (short story collection: recipes for global understanding).

Contact details: T.I.C.O. Film Company via di Torrebianca, 26 34122 - Trieste T: 0044 (0)7531029340 F: 06 9534885 info@ticofilm.com www.ticofilm.com WARM UP

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LEMON JUICE AND INDIGO Attending: Judit Stalter

SYNOPSIS The scene is Hungary in 1990, a short while after the fall of the Iron Curtain. Dorka, a girl around twenty, and her boyfriend, Zoli, discover a way to forge train tickets with the help of household cleaners, lemon juice and indigo. Most young people don’t have the money to travel abroad, buy tickets, or pay for accommodation, though many would like to finally discover and get to know Europe.

Necessity and curiosity prompt Dorka and Zoli to begin laundering train tickets. The forgery isn’t done on a large-scale basis. Dorka and her boyfriend only make the fake tickets for themselves and their friends, at first.

Their travels and adventures bring them more and more friends. After a while, they make use of the forged tickets not only for enjoyment: Dorka regularly manufactures tickets for her boss, the owner of a company marketing Indian interior furnishings. But one day, it is exactly her boss who understands that the game is starting to get dangerous: he warns Dorka that sooner or later she might end up in jail for serving her cause. She quit from the business nad they broke up.

Zoli plunges completely into ticket manufacturing and establishing a deal-

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Genre: Retro Comedy Director: László Csáki Writer: László Garaczi Producer: Judit Stalter Budget: € 877.000 Company: Laokoon Filmgroup er-network. He quickly forgets the promises he made to Dorka. It turns out how important Dorka’s quality work counted: several clumsy forgers get caught. News of the ticket forgers leaks out and the police start to investigate. Dorka only warns Zoli at first, but then later takes back the things she gave him but they find blank tickets and Zoli is arrested. Dorka hurries to Zoli’s aid and tries to get any information. From a pay phone, Dorka calls everyone, Zoli was in contact with to warn them that there’s trouble, and asks them not to divulge any information about him. But despite all her efforts, Zoli is indicted. Zoli is assigned a new interrogating officer and recognizes him as a former regular client. Both of them are stunned but cannot admit that they know each other. Zoli and Kormi are sentenced to three years in jail for document forgery.

At the end of the film, in narration, we find out what happened to the characters 20 years later, in 2013.

DIRECTOR’S NOTES OF INTENTION This is a true story based films that focus on events of the recent past are hardly ever made in Hungary; few filmmakers choose the topics of the 1990s and as a result, this period is completely unexplored. Corruption is always presented in a negative way in the media; but there was a time in

Hungary when this “minor” form of corruption helped a generation bridge a gap with Western Europe.

I too traveled the cities of Europe with laundered train tickets between 1997 and 2000; when I visited my forger and ordered a ticket, it never even occurred to me that I was breaking the law or that I was inflicting loss on anyone. The generation in their twenties, those who primarily used these tickets, were at the stage in their lives (as was I) when one is more irresponsible, bolder and daring, which is no surprise. Freedom means the possibility to travel; the desire to discover and become acquainted with Europe was such a strong and natural need felt by the generation growing up after the change of regime, that it made no difference how this could be made possible. There was no other alternative except hitchhiking. All this happened by utilizing a shortcoming of the international train ticket – filled out by hand, using indigo, where the traveler received the copy – which many thought was “offered up on a platter” by the government to a generation wishing to travel, since it was so easy. This strong and complex Hungarian phenomenon of the 1990s can be used to precisely depict the atmosphere of freedom, opportunity and hope following the years after the change of regime. This story makes it possible to illustrate the self-criticism and constant transgression characteristic of Hungarians: the inventiveness and the resulting common knowledge of this “minor” form of corruption. I am interested in showing the desire of a generation to travel, to become familiar with other cultures, and the need to form ties… but I also wish to illustrate the unity and trust between circles of friends that kept this movement alive for such a long time.

In Eastern Europe, the level of tolerance for illegal actions was so high compared to the countries of Western Europe, that in the eyes of many, train ticket forgery was not considered a crime. Concurrently, the conductors of western countries could not even have imagined that such activities took place. This otherness, this basic difference can be clearly articulated through the story of the train ticket forgery. I often wonder why our level of tolerance is so high and why we engage in law-breaking activities. But I am also motivated by the grotesque process that provides the basis of the phenomenon: the ticket laundering and the personal stories that follow

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from it, the presentation of the sub-cultures participating in the forgery, and the trust working within circles of friends. I am affected personally by the topic and for this reason I have plenty of experience regarding the preparation of the tickets, the use of them, and the general atmosphere and attitude of the 1990s. Beyond the presentation of the ticket forgery phenomenon, for me the most important motivation for creating this film is to depict the unity, common thinking and the desire for freedom within a community and a generation: various European cultures meet and greet in a “train movie” based on historical documents. In Lemon Juice and Indigo, I would like to inspect every element of the invisible, unspoken “common denominator” which united and concealed this special form of corruption for so many years, insuring the free movement of a generation.

COMPANY PROFILE Laokoon Filmgroup is a young generation production company founded

by Gabor Sipos and Gabor Rajna. It focuses on the development, and production of high-quality auteur feature films, creative documentaries and shorts. There are three producers in the company: Gabor Sipos and Judit Stalter do project development, applications and take part of European cinema having International network. Gabor Rajna is line-producing all projects, and runs the company. Laokoon concentrates on co-productions with both International and Hungarian partners. Gabor Sipos is ACE member, Judit Stalter is MegaPlus member.

Their new short film the Beast by Attila Till is premiered in Quinzaine Section in Cannes 2011. Overborder, an other short film, was premiered in Venice Corto Cortissimo in 2004, the first film of Arpad Bogdan, Happy New Life was in Berlinale, Panorama in 2007 (and got a Special Mention) and Toronto, and their national co-production Tender Son – The Frankenstein Project by Kornel Mundruczo was in Competition in Cannes, 2010.

PRODUCER’S PROFILE Judit Stalter was born in 1979 in Budapest, Hungary. She graduated from the Péter Pázmány University at the Faculty of Humanities with a degree in Communication majoring film and tv and Hungarian Literature and Grammar.

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She started to work during her university studies, and has worked in the film business for twelve years. Judit also graduated at EU Master Programme in Audiovisual Business Affairs, MEGA PLUS – Media Business School in 2010.

She has been working as a producer and line producer in Laokoon Film, based in Budapest.

Before the MEGA Judit completed her first international German - Hungarian co-production. This feature title is „Westwind” with the German partner, Credo Film. Rolling Killer by Attila Till will be her first feature film as a delegate producer. Attila and Judit have been working together for four years.

Selected feature films as co-producer and line producer: Csicska/Beast by Attila Till (2011),Westwind by Robert Talheim (2010), Adás/Transmission

by Roland Vranik (2009),Panic by Attila Till (2008), Barthalo by Robert Lakatos (2008), Fekete kefe/Black Brush by Roland Vranik (2006), Dealer

by Benedek Fliegauf (2004), Rengeteg/Forest by Benedek Fliegauf (2003).

WRITER & DIRECTOR’S PROFILE Csáki László – director, was born in 1977 in Mosónmagyaróvár, Hungary. He graduated from the Moholy Nagy of University of Art and Design, Budapest(MOME). Department of Visual Communication, Video Department (as part of the Visual Communication Department) and completed DLA training at MOME in 2003. After that he worked as art teacher in the same major where he had been studied before.

He started to directing shorts and animation films during his university studies, and has worked in the film business for seven years.

Tincity, his latest documentary, won the Judit Ember main prize for the best documentary film at the 41st Hungarian Film Week.

Lemon Juice and Indigo will be his first feature film produced by Laokoon Film.

Selected animation films: Bees, Geese, Pear, Tree(2004), Days that Were Filled With Sense By Fear (2005) Shorts: The Ant and the Cicada (2006), Fluxus Hair Trainer (2004) Documentaries: Tincity(2010),Egerszalók (2003-2006)

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Contact details: Laokoon Filmgroup Balzac Street 37.

1136 - Budapest T: +3613540491 F: +3613540492 stalter@laokoonfilm.com www.laokoonfilm.com

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LOST IN THE DARK Attending: Barbara Iacampo

SYNOPSIS Autumn 1943. A train is travelling through Italy in wartime. It is loaded with all Cinecittà equipment and with a series of rare films which have been taken away from the Experimental Centre of Cinematography film library. The train should stop in Venice, the city where Italian cinema is supposed to revive under the aegis of the newborn Salò Republic. But that train does not stop in Venice, as Germans make it reach Prague to embezzle it.

After several diplomatic troubles, the train finally comes back in order to start the ephemeral dream of a new Cinecittà in the lagoon of Venice, named Cinevillaggio. It will last just for a few years. Nevertheless, important cinematographic works were built at the Biennale Exhibition Gardens and at Giudecca island and someone like Scalera Film, a well-known company of the time, really believed in this experiment.

However, not all the contents of the train will be back to Italy. Some films will never be found and among them will disappear the only copy of a movie which would soon become the funding myth of Neorealism: Lost in the dark (Nino Martoglio, 1914). A big part of that film library, which represents part of our collective memory, should be stored in a unknown

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Genre: Historical documentary Director: Lorenzo Pezzano Writer: Federico Fava Producer: Barbara Iacampo Budget: € 150.000,00 Company: Tunastudio place between East Germany, Czech Republic and Russia.

This documentary film will try to tell the story of the Cinevillaggio period and the adventurous and ignored attempt to transfer Italian cinema in the northern part of the country. In parallel with that, the documentary will be on the lost film’s trail, thanks to the efforts, told in real time, of a young researcher who is clever in moving through the dusty archives of all East European film libraries.

We would succeed in giving back to European cinema one of its most important films and one of the less known pages of its history.

DIRECTOR’S NOTES OF INTENTION The film library, or at least some of the lost films, could really “come out of the dark” after 50 years. This could mean the return to light of a piece of the European collective memory.

This is made possible thanks to the opening of some film libraries in Eastern Europe and to the increasing interest in the recovery and restoration of old film archives.

Denis Lotti, the researcher and film historian who will lead the documentary narrative, could really follow the right track and succeed in disclosing the mystery of the ghost train.

We will narrate this travel like a real film, shooting part of the researches with cinematographic equipment and putting the camera on dolly.

We will follow Denis Lotti while visiting major and minor film archives in Germany (like Berlin and Koblenz), Poland, and Russia (Moscow), where films have been preserved and in some cases restored. We’ll travel with him towards far away small villages as well, because that’s where the Reich stored the goods confiscated in the invaded countries. We will also follow attentively the researches inside the various film libraries: thanks to our camera we will try to convey the atmosphere of these “temples” that keep the history of cinema. We choose to film in Super16 format in order to get a more rough and “granular” image, with vivid colours.

At the same time we will reconstruct the story of the insane attempt of Mussolini to transfer Cinecittà in the “Republic of Salò”: the short but peculiar story of Cinevillaggio and Scalera Film settled in the islands of Venice.

I want to transmit the passion and the talent that made some professionals keep working in the world of cinema during wartime, independently from their political sympathies. In order to do that I’ll take the real witnesses of that important experience of Italian and European history by bringing them back to the same places where the films were shot.

In addiction to those interviews I want to edit newsreels from the 2nd World War called “Cinegiornale” made by and still preserved at Istituto Luce together with clips from the original movies shot in Venice from 1943 to 1945.

With this film I’d like to reconstruct part of the European ‘cultural history’ during wartime: when art seemed to be forgotten and crushed by the violence of the dictatorships, there where people who fought not to let it die completely.

COMPANY PROFILE Tunastudio is a young film company that started its activity in October 2010 in Venice. It originates from the well-established cooperation among 4 professionals in the audiovisual area: Lorenzo Pezzano (photography director and camera operator), Matteo Bolzonello (camera operator and focus-puller), Francesco Marotta (editor and colourist) and Barbara Iacampo (producer).

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Tunastudio makes use of various professionals’help: they can develop projects from their very beginning to their conclusion, no matter what kind of production it is (documentaries, independent films, corporate, commercials or videoclips).

The first documentary realisation branded Tunastudio is The televisionaries: when Italian TV was free (broadcasted by History Channel from November 2010).

In 2011 Tunastudio produces a series of video-portraits for “We Are Here”, a European project by Media 19 UK “Voices of Poverty and Social Exclusion”. The company also contributes and takes part to the shoots of a coming shortly documentary, La vera storia della Mala del Brenta (a violent and famous gang of the 90’s in the North-East of Italy n.d.t.), produced

by Fox Channels Italy.

Tunastudio also works together with French-German channel Arte to realise reports and cooperates with foreign institutions as the British Council (United Kingdom) and film companies like Artline Films (France) and Regard Film (Germany).

PRODUCER’S PROFILE Barbara Iacampo (Venice, 1977) graduated in communication at the University of Padua with a dissertation on film history. After that she specialized in documentary production by attending a master course in Milan organized by the Italian Documentary Association Doc - IT. In the last 6 years she has collaborated with various production companies such as Mestiere Cinema, Venice Channel, The Movie Company, Zeta Group and single authors in developing film and documentary projects for the Italian and international market. Among the most important productions there are The Peggy Guggenheim Collection by Alex Luria; Daspu and Uganda Calling by Valentina Monti (broadcasted by Channel 4 and Teacher TV); The Palladians by Guido Cerasuolo and Andrea Prandstraller; Len by Elia Romanelli broadcasted by RAI; The Televisionaries by Lorenzo Pezzano broadcasted by History Channel Italy. In 2010 she starts the production company Tunastudio where she works as producer.

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WRITER & DIRECTOR’S PROFILE The author:Federico Fava (born in Vicenza, 1978) took a degree in Literature and Philosophy in 2002. His supervisor is Professor Brunetta and his thesis focuses on Elio Petri. In 2006 he takes a diploma as scriptwriter at Rome Centre for Experimental Cinematography. When he was still a student he started working as scriptwriter and scenario writer both for radio and TV. He realised short films and documentaries, but also commercials and TV serials for the major Italian broadcasters like RAI and Mediaset.

With Lorenzo Pezzano, he is the author of the subject and he will realize the documentary, cooperating with the scientific consultant, the researcher and the director. (full filmography attached) The director: Lorenzo Pezzano (born in Chiavari, 1977) was born near Genova but soon moves to Venice where he takes a diploma as Art Master at the Art Institute. Soon he starts working with TV shot systems and during the last years he has improved his knowledge about film (35mm, Super 16) and also in the HD area (HD Varicam and Cinealta, HD Red 4K). He has been working both as a cameraman and a director of photography in Italy and abroad. He works both in the world of TV and cinema with originality and versatility. (full filmography attached)

Contact details: Tunastudio Via dell’Azoto n°4 30175 - Porto Marghera, Venice T: +39 3335228092 b.iacampo@tunastudio.com info@tunastudio.com www.tunastudio.com

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rex Attending: Gregorio Paonessa Marta Donzelli

SYNOPSIS Next year it will be 80 years since Transatlantic Rex’s first journey to New York. A true revolution in Italian dockyards’ industry, advertised by Fascist regime as a new creation of Italian genius, Rex was the first transatlantic with air conditioned, with two open-air swimming-pools, a fitness centre (there were even UV couch for artificial suntan), and the chance for passengers to do sport, have fun, have social life, dance to the sound of a real orchestra. Rex meant actually the birth of modern cruises. It could carry more than 2,000 passengers, divided between the lucky ones of the first class and the ones of second and third class, who saw it as a means for social redemption. Rex turned sea travels into life-worth adventures. Fellini wanted it as a main character in the core scene of his Amarcord. It is a myth, indeed. It seems strange that the life of Rex only lasted 8 years, until it ran aground in front of Istrian coast, because of the war.

This film will be an opportunity to retrace the history of Rex in the most complete way so far, from the time of his design to the blaze that destroyed it in 1944 after the Allies’ bombing. It will be a journey back and forth in time. It will bring us to reconstruct the history, the images, the legend of Rex, as a huge jigsaw.

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Genre: Documentary Director: Maurizio Sciarra Writer: Maurizio Sciarra Producer: Gregorio Paonessa Budget: € 185.000,00 Company: Vivo film srl

DIRECTOR’S NOTES OF INTENTION A documentary film on the history and disappearing of REX is a unique opportunity for anyone who may be interested in matching different pieces of the history of our country. It is exciting to find myself at the crossroads between pastand present, between two seas (Tyrrhenian and Adriatic), between Europe and United States. Because Rex is all of this together, it is a metaphor itself. It is a metaphor of movement, of sinking, both into the sea and into memory, it is a metaphor of the unification of distant places.

I would like to handle this topic with all the reverence such a monster of Italian shipyards deserves. Rex sank in front of those who were Italian shores and are now Slovenian. It vanished at the crossroads of the peoples it united, with its navigation and with the dream it carried. Such populations have been marked by the diaspora the War imposed to them. But I would also like that this oath could be warm, ironic, almost playful. There is a in-sixteenth model of Rex that Dr. Eliseo has built: he lets it sail on smaller seas than the real thing. This very clone may suggest the key of the film and of all the experience the documentary will be.

As we were kids, we learnt how to travel on those big ships, we learnt how to know aircrafts and ships thanks to model making. This is a phase

in childhood which could now relive, thanks to the magnificent technique cinema is. Such phase could become a piece of work and a historical trace at the same time.

Firstly, the film will be the never-seen-before sum of the story of the most evocative ship Italian dockyards ever made. It will also be a “big play” to be played, mish mashing images, ages, stories and narrations. The ship will relive through photographic and audiovisual footage. The real life of that ship and of what surrounded will counterpoint the silence of the abysses which still hide its relics and the usual utilization of some parts of the ship in the most bizarre contexts. It will be an inquiry about who, where, how Rex relics have been transported in the following century. I don’t think this key has been used in this sort of documentaries!

It is a huge jigsaw, then, that will fall into place thanks to the juxtaposition of the witnesses we will gather together, without voices off, without the traditional tools of “TV documentary”. This will not mean reducing its potential audience, but the opposite. This narration could be enjoyed in different ways: starting from the traditional broadcasting in generalist TVs, a real document for historians and amateurs. This will be possible thanks to the experience of the most renowned historian of Rex, doctor Eliseo, who will guarantee the scientific, historic foundation of the narration, preserving it from useless, exaggerated spectacularization some television makes, when it talks about these topics. Avant-garde technologies, the last inventions in digital shooting and reconstructions, will match the “traditional” story (in its best meaning). A plain, understandable narration, amusing, involving.

The choice of the technical/artistical collaborators will be done, as usual for my films, among the very collaborators who work at my feature films.

Therefore I will pay extreme attention to technical quality: in my idea, there is no difference between feature and documentary films. I don’t focus on the label to be put on the film – whether feature or documentary – but on an aware choice of the right language to be spoken for the story I want to tell.

This time it will be all about the great fairy tale of the most beautiful ship ever build in Italy, now lying in the deep seabed. Just like the Mermaid, it just can’t wait for someone to go down, so that she can start talking again.

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COMPANY PROFILE Vivo film is an independent production company of documentaries and arthouse films, established in 2004 by Gregorio Paonessa and Marta Donzelli.

Vivo film productions include works by Guido Chiesa, Jean-Louis Comolli, Michelangelo Frammartino, Jennifer Fox, Chiara Malta, Pippo Mezzapesa, Susanna Nicchiarelli, Nelo Risi, Corso Salani, Daniele Vicari.

In 2007 Il mio paese by Daniele Vicari won a David di Donatello Award (presented by the Italian Film Academy) for Best Documentary, and Imatra

by Corso Salani was awarded a Pardo d’Oro Special Jury Prize in Locarno’s “Filmmakers of the present” section. Le Quattro volte by Michelangelo Frammartino premiered in Cannes 2010, within the “Directors’ Fortnight” Section, and has been awarded the Europa Cinema Label Award. Since then, it has been sold in more than 40 countries, and has been travelling worldwide, being screened in the most prestigious festivals, receiving countless awards.

Vivo film is currently committed in the development of three long feature projects: Via Castellana Bandiera, the first film by cult theatre director Emma Dante; Beirut I love you by Zena El Khalil and Gigi Roccati, selected this year for the Torino Film Lab Award; and the next film by Michelangelo Frammartino.

PRODUCER’S PROFILE Gregorio Paonessa was born in Catanzaro in 1957. In late 70s he moved to Rome, where he has been living for the past 30 years. Due to graduate in Economy and Trade all along, he has been working in the world of photography for twenty years. Moreover, in the past, he has taken part in vintage motorcycle races, working as a journalist in the field and also being “Rosabella” stable’s general manager.

In 1997 he became partner of Donzelli Publishing House, working also for the company as a Marketing Director from 1997 to 2003. Although he is not working in the Publishing House anymore, he is still one of the company’s main partners.

In 2004, together with Marta Donzelli, he establishe Vivo film, a production and distribution company of documentaries and art-house films.

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Since 2004 he is running the company as Managing Director, producing, among others, films by Guido Chiesa, David Christensen, Jean-Louis Comolli, Franco Giraldi, Chiara Malta, Pippo Mezzapesa, Susanna Nicchiarelli, Nelo Risi, Corso Salani, Daniele Vicari.

In the past years Vivo film’s productions have been selected by some of the most prestigious national and international festivals.

In 2007 Vivo film has been awarded the “David di Donatello” as best documentary for Il mio paese by Daniele Vicari. And in Locarno Film Festival, one of its productions, Imatra by Corso Salani, was awarded a Pardo d’Oro, Special Prize of the “Cineasti del presente” Jury.

In 2009 annual report of the “Fondazione Ente dello Spettacolo” Vivo film has been acknowledged as the biggest production company of documentary films in Italy, having produced more than 25 film in the last five years.

As Vivo film’s Managing director Gregorio Paonessa has recently produced Michelangelo Frammartino’s second work, Le Quattro volte: after the warmly welcomed premiere in Cannes 2010, the film has been screened in more than 100 international festivals (among them Telluride, Hamptons, New York and Toronto, Sao Paulo, London, Tokyo and Pusan and received more than 40 awards and acknowledgement so far (among others, special Nastro d’Argento, Cinevision Award at Munich Film Festival, Special Mention and Fipresci Award at Motovun Film Festival, Audience and International Film Guide Awards at Era New Horizon, Prix Spécial du Jury in Annecy, Fipresci and Golden Puffin in Rejkjavik, Grand Prix at 2Morrow Film Festival in Moscow, and further awards in Montreal’s Festival du Nouveau Cinéma, Bergen Internasjonale Film Festival, Copenhagen CPH: Dox and Bratislava).

Vivo film has taken part in the production of Jennifer Fox’ latest film, My Reincarnation, presented at Dok Leipzig, Festival dei Popoli and IDFA 2010 and distributed debut work by Emiliano Monaco I’m not such a beautiful landscape, presented at Festival dei Popoli 2011.

WRITER & DIRECTOR’S PROFILE Maurizio Sciarra was born in Bari in 1955. He made his debut as a photographer, but he soon found himself to play several roles in the cin-

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ema industry. He worked as assistant director for authors such as Vittorio Orsini, Luciano Salce and most of all Luigi Comencini. Collaboration with Comencini lasted for more than a decade, working at films such as Cuore, La Storia, Un ragazzo di Calabria, Buon Natale, Buon Anno.

His first long feature film dates back to 1997: La stanza dello scirocco, with Giancarlo Giannini and Tiziana Lodato, was awarded two Nastri d’argento (to Giannini for Best Male Role and Eugenio Bennato for best original soundtrack). The film received awards at Annecy Film Festival, at Valencia Mediterranean Film Festival, at Gallio Italian Film Festival. It obtained the Sacher Prize and the Sergio Leone Prize, and was screened at several international festivals.

In 2001 he releases Alla rivoluzione sulla due cavalli, with Adriano Giannini, Andoni Gracia, Gwenelle Simon; produced by Sintra-Panter, with RaiCinema e Tele+. The film wins the “Pardo d’oro” at Locarno International Film Festival and the “Pardo di bronzo” for Best Male Role to Andoni Gracia, taking part in the following festivals worldwide: 6th Pusan International Film Festival (Corea del Sud), 45th Regus London Film Festival, 23th Festival Internacional del Nuevo Cine Latinoamericano L’Havana Cuba, 24th Festival du Film Italien Villerupt, NICE film festival (New York, San Francisco), Annecy cinema italien, Grolle d’oro, Sulmonacinema 2001, 14èmes Rencontres Cinématographiques de Cannes, Palm Springs International Film Festival, Punta del Este Festival de Cine Europa, 28. Internationales Filmwochenende Würzburg; 5° Festival Cinematografico Hispano/Franco/Italiano Buenos Aires Argentina.

In 2006 he directs Quale Amore, inspired by Leo Tolstoj’s Kreuzer Sonata, with Giorgio Pasotti and Vanessa Incontrada, produced by Lonello Cerri’s Lumière & Co. and RaiCinema, 01 Distribution. Quale amore premiered at Locarno Film Festival, “Piazza Grande” section, where it turned out to be the most seen film in the festival. It was screened in competition at Tokyo International Film Festival and at Shanghai International Film Festival.

Furthermore, he is the author of several documentary films: among them, Borgo Taccone: una storia, on behalf of ARCI Nazionale and Alleanza Na­zionale Contadini (1977), Chi ruba donne; I cantori di Carpino, with Eugenio Bennato, produced by Fandango for Rai (2000), Coppi e la

Dama bianca. Frammenti di un amore controcorrente, produced by Lumiére & Co. and Tele+ (2003); I viaggio con i pupi, released by Lumiére & Co. And Regione Sicilia (2008).

He is a member of EFA, European Film Award, and of the board of the “100 Autori” association. He is the Italian representative at FERA and member of the guiding board of the association “Giornate degli Autori – Venice Days”. He has been a member of Istituto Luce’s administration board, from August 2006 until June 2008

Contact details: Vivo film srl Via Giovanni Antonelli, 41 00197 - Rome T: +39 (0)6 8078002 F: +39 (0)6 80693483 gregoriopaonessa@vivofilm.it ariannarossini@vivofilm.it www.vivofilm.it WARM UP

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See You In Chechnya Attending: Alexander Kvatashidze

SYNOPSIS When I was 22 years old, I went to war for the first time. I took my camera with me. But I didn’t go because I wanted to make my name as a journalist or a film-maker. I went because I was in love. In my home country, Georgia, in the autumn of 1999, I met a French photographer called Francoise.

She told me she was leaving in a couple of days to photograph the brutal war in neighbouring Chechnya. All we Georgians knew about Chechnya was that it was a kind of hell on earth, a terrifying place where Islamic fundamentalists played football with journalists’ severed heads.

So I decided that I had to go with Francoise, in an attempt to protect her.

I was a young, naive art student who wanted to prove to this alluring and talented older woman that I was not just a kid – although, of course, I still was. I knew that I could be kidnapped or killed if I went to Chechnya, but desire was more powerful than fear. I wanted to be by Francoise’s side, whatever the consequences might be.

My trip to Chechnya brought me into contact with war reporters for the first time: an exceptional tribe of courageous idealists, hardcore conflict veterans and eccentric adventurers who risk their lives, their health and their relationships with their loved ones to report the truth.

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Genre: Creative Documentary Director: Alexander Kvatashidze Writer: Alexander Kvatashidze Producer: Alexander Kvatashidze Budget: € 100 000 Company: Lokokina The interconnected tales of six of these intrepid and charismatic people – and the story of my friendships with them, and their relationships with each other – form the basis of this film.

Ten years later, I made contact again with the people I had met and interviewed around the time of the conflict in Chechnya, to find out what happened to them, in an attempt to understand the motives which took them to war – and how it had affected their personal lives after they went home again. My new interviews, combined with the original material filmed a decade ago, offer a powerful, personal perspective on this hazardous profession and those who choose it as their career.

Each journalist had a different reason for going to Chechnya. Some were highly ambitious and wanted to become stars in the competitive world of war reporting. Others wanted to seek justice and stand up for human rights by exposing the atrocities committed there. Some were looking for unconventional thrills. One of them, like me, went because of an idealistic but misguided notion of the romanticism of war. Another simply had no choice; she was Chechen herself, and her hometown was at the centre of the fighting. But for most of them, there were consequences. One was kidnapped and later committed suicide. Others went down with life-threatening illnesses. One was murdered. Another had to flee into exile. When

going to war, they perhaps did not realise that the conflict would return home with them, infecting their psyches and transforming their personal lives. Some achieved the professional success, which they had craved so much, but there was also a price to pay. The film takes place against the backdrop of the war in Chechnya; a particularly bloody conflict which has now been forgotten by most of the world. But this could be any war, in any country. As I reflect on the motives which drove these people – people I knew and admired – to risk everything to tell the world what was happening in this inhospitable mountain enclave, I offer a fascinating insight into the peculiar psychology of war reporters: contemporary heroes whose business is death, and who have to face up to their own mortality every time they go to work.

DIRECTOR’S NOTES OF INTENTION As it can be inferred from the synopsis, See You in Chechnya is a deeply personal authored film about the intertwined stories of a group of idealistic war reporters who risked everything to cover a vicious conflict more than a decade ago – and how the experiences of those who survived continue to affect their lives today. Although almost never seen on the screen, the viewer will feel the presence of the author in the film and learn about its journey as well.

films; as a cameraman or an editor, or both simultaneously. He has also directed and produced one documentary (Pilot; awarded Best Film at the Niamori film festival, Georgia, 2005) and a short drama (Goodbye; awarded Best Fiction Debut at the Noahs Ark Film Festival, Russia, 2008).

From 2001 onwards, he worked for a leading television station in Georgia, making documentary films and investigative programmes. Then, after spending a year on a fellowship at the film and television department of California State University in San Jose, he returned to Georgia and became one of the founders of the pioneering independent investigative film unit Studio Monitor.

He has worked as director of photography and/or editor on several international projects, including Dancing with Georgia (Poland, 2008), Orange Revolution (USA, 2006) and Misha et la Revolution des Roses (Switzerland, 2004). He has also worked as a freelance cameraman for international news organisations, including the BBC, ITN and Al Jazeera during and after the Georgia-Russia war in 2008.

COMPANY PROFILE LOKOKINA was founded by two independent filmmakers Alexander Kvatashidze and Niko Tarielashvili in 2009 in Tbilisi, Georgia. Both founders have over ten years of background in TV and film industry. LOKOKINA has produced or participated in production of three documentaries, one fiction and number of TV advertisements and currently is developing two feature-length documentaries and one fiction.

PRODUCER’S PROFILE Since his first trip to Chechnya in 1999, when his footage was used for a Canal+ documentary, Alex Kvatashidze has worked on up to 20 documentary

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Contact details: Lokokina 42/2 Nutsubidze Street 0177 - Tbilisi, Georgia T: +995 577 424577 sandygeorgia@gmail.ocm www.lokokina.com

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The Foreman - Deep Down We're All Far Out Attending: Kirstine Barfod Louise Højgaard Johansen

SYNOPSIS In 2001 the Danish citizen, artist, and writer Claus Beck-Nielsen was declared dead. By himself.

He went to live as a homeless man in the streets of Copenhagen, claiming to have lost his memory and remembrance of the past. The year after, in 2002, the art-factory ‘Das Beckwerk’ was established in his name, and the nameless artist took on the roll as foreman.

The Foreman is an individual without name, past or identity. It is now ten years ago since he erased everything in his life to become a pure human being in an existential danger zone between art and life - ready for action.

The raw material for his works is his own past, his life, and his actions.

When the world curiously asks him “who are you”, the answer he gives is “I am Nobody” - He sees the identity as an open source: Anybody is allowed to take on another man’s identity, if he so wishes.

The film follows him to Cairo where a copy replica of his body is held hostage by the secret police. We are with him in the Danish court where

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Genre: Documentary Director: Cæcillie Østerby Sørensen & Anna Maria Helgadottir Writer: Cæcillie Østerby Sørensen & Anna Maria Helgadottir Producer: Kirstine Barfod & Louise Højgaard Johansen Budget: € 120.000 Company: Killit Films an individual has accused him of stealing his identity. And we follow him when as he orchestrates his own funeral.

The Foreman plays his tricks on the world, wishing to create zones of indeterminability where the world can be challenged in its view on identity, art and politics.

We document this zone and we challenge The Foreman by exploring the mirroring images of non-identity, and by going back-stage into a personality that claims to have no back-stage.

DIRECTOR’S NOTES OF INTENTION With this movie we want to transmit the feeling of mirroring paranoia and schizophrenia that comes from being a part of Das Beckwerk. We want to enter the door opened by The Foreman into the unknown zone of non-identity, and let the spectator unfold her fear of living without knowing who you are.

COMPANY PROFILE KILLIT FILMS is an independent production company created and established in 2011 by Louise Højgaard Johansen and Kirstine Barfod. The aim is to choose projects by heart and quality, function ourselves as creative collaborators. The genre is not important as long as we believe in the story and the people behind the content. Both producers have long experience within film festival work and various cultural productions.

Our goal at WEMW is to raise and close the finance to start post production in 2012. We are looking for broadcasting pre-sales and co-producers.

PRODUCER’S PROFILE

WRITER & DIRECTOR’S PROFILE Anna Maria Helgadottir born 1971.

Anna Maria is an artist, film director and radio host. She has several art projects to her name as well as films and writings. In 2010 she was selected to collaborate in the DOX:LAB film project at CPH:DOX, where she directed the film ‘One is the Loneliest Number’. Anna Maria has done various short films and music videos as a part of the Danish-Icelandic artist group ‘Ingen Frygt’ and also by herself.

Recent works ChitChat (Short Doc) / One is the Loneliest Number (Short Doc)

Louise Højgaard Johansen born 1982 Louise is working for the Danish Feature Film Festival CPH PIX, as event producer and programmer. Louise is also working as a film producer, and she has recently won the Sound & Vision Award for best film in competition at CPH:DOX 2011, with the Danish-Icelandic documentary ‘Grandma Lo-fi’.

Louise is one of the founders of KILLIT FILMS, together with Kirstine Barfod.

Cæcillie Østerby Sørensen born 1984 Cæcilie has been following the artist Claus Beck-Nielsen for 2 years. She is a first-time director on a feature length documentary, and has previously directed shorts film in collaboration with the same artist as part of the art project Das Beckwerk. She has also been working as a co-director in theatre performances for some years.

Recent works Grandma Lo-fi (Documentary) / Backwater (Short Fiction)

Recent works Das Beckwerk (Short Doc) / Assistant-director NyAveny Teater “Rusland” Copenhagen (Performance)

Kirstine Barfod born 1979 Kirstine is part of the international documentary film festival CPH:DOX, where she works as a marketing manager. Kirstine has worked with several productions in various formats, as well as European Film Awards and television series. She also works as a filmproducer and is one of the founders of KILLIT FILMS together with Louise Højgaard Johansen.

Recent works Backwater (Short Fiction) / August Rosenbaum Copenhagen Jazz Festival 2011 (Short Doc) / I make sense of Humor (TV production)

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Contact details: Killit Films Sturlasgade 14b, 2 th 2300 - Copenhagen, Denmark T: + 45 6073 4555 kirstine@barfod.net

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THE WOOD Attending: Dragin Sinisa

SYNOPSIS At the end of December 1947, one of the great victors of WW2, President of Yugoslavia Josip Broz Tito visited Romania for the first time. Its communist regime, which was not yet consolidated (the King was still in the country), offer him a grand reception, which, according to the tradition, had to be accompanied by a suitable gift. The choice fell upon a painting from Ion Andeescu's youth: "The Beech Forest".

Nearly nobody cared that a priceless value was leaving the country. Just by chance, the young art critic by that time, Radu Bogdan, found out about the sad estrangement. The years went by and the communist regimes in Belgrade and Bucharest each went their own way – acording to the thinking of the great leaders. Nearly nothing was known about the Andreescu painting - but also nobody was curious to find out something. Except for Radu Bogdan. He had developed a true passion for his work and in the 60s he decided to write a monograph befitting the great painter. And there was something else: this monograph had to include a reproduction of the painting "Beech Forest".

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Genre: Documentary Director: Sinisa Dragin Writer: Sinisa Dragin Producer: Sinisa Dragin, Predrag Jakovljevic Budget: € 186.240 Company: Mrakonia Film, Oktobar Film Radu Bogdan proved to be a man with an extraordinary will and perseverance.

The result was that he obtained the permission of the Yugoslav authorities to photograph the painting; and not anyway, but exactly as it has to be done: removed from its frame, so that no shadow should obstruct the quality of the future slide. The Romanian authorities were less understanding: ok, but only the photographer can go to Yugoslavia. Not Radu, too. There was nothing to do.

The painting was located in Tito's residence on Brioni island, now in Croatia. The photographer left with Radu's precise instructions and he really returned with good slides, used latter for the monograph’s prints. At a first glance, nothing special, few typical situations for the respective period.

And yet, it was not so. Nobody can even start to guess what game of fate, chance, happy or unhappy providence, depending on which angle you are looking, everything caught on an incredible importance. In order to be able to measure it, we must be familiar with several facts from Yugoslavia's history at that time. Tito was suspecting his old comrade Aleksandar Rankovic, the state security minister, the second man in the communist hierarchy - of spying on him... Obviously, it was something unacceptable - if it was true. Only that, when Tito is suspecting somebody, a principle aviable for

all communist leaders, that means that person is guilty - and condemned.

So, as the result of the most pure chance, Rankovic fell due to an insignificant art critic from Romania. How (anybody with a sound mind is asking himself) is such a thing possible: an elephant falls, tripped by a flea. And still, it had happened...

"The trip" in itself was ordinary, even banal. It is very possible that the photographer who went to Brioni had not even noticed it. But beside him there was somebody who saw it and who, of course, had reported it...

What had actually happened? The moment when they took the painting off the wall and started to remove it from its frame, wires, which should not be there, appeared. And at their end - the microphone... That was all. The result? Yugoslavia was shaken by a tremor comparable to the one that hit Bucharest in 1977 - 7.5 degrees on the Richter scale! The consequences and what happened later on with the neighbouring country is no longer the subject of this film.

Radu Bogdan died on August 12 this year. The dream of his youth remained unfulfilled: he could not see the "Beech forest" with his own eyes.

And there was something else annoing in his life: o.k., fine, I haven't seen it, that's how it was meant to be. But what if the photographer had not made the slides exactly following my instructions, what if the degree of faithfulness was not perfect, what if the harmonies of colour, the values of tone, the density of shadows were not fully respected? What do we do then?

DIRECTOR’S NOTES OF INTENTION This film is based on the attempt to turn into a picture an episode from the human life which, according to the laws of probability, stands virtually no chance to happen. Jung was calling this kind of events "sinchronicity"; the sometimes frightening incredible, whose foundation consists of a a great many happenings which are perfectly correlated in time and space.

In our case, we cannot fail to ask ourselves what strange coincidences have led the destinies of the characters from Yugoslavia and Romania, how many happenings have occured for an ordinary art critic to influence

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the path of a whole state. Can we also draw from this some general conclusions about man, life, destiny, death?

The film will have several points of "support". The first point is the narrative of the art critic Radu Bogdan. He leads us through countries, characters, events. He also explains his motivation in looking for the painting.

The second point in the structure of the movie is the train trip to Belgrade done by his wife Dalia. A trip which Radu Bogdan has not been able to make.

The third point consists of archive materials from Romania and Yugoslavia, aiming to illustrate years, characters and their preoccupations, which are relevant in order to "feel" the age and its laws. We will see this images „through” the train window.

Also, we will follow a group of workers cutting the trees in a wood and a 8 years old boy learning to play the piano...

The film will be like a fine puzzle, interweaving all these elements, conceived in such a way that the transition from one to another should be easily accepted, "by itself". In the end we will hear the Tchaikovsky piano concert no.1 Flat Minor, Opus 23, which is a kind of emotianal answer to the questions the film has been rised.

COMPANY PROFILE In 1998, independent film maker Sinisa Dragin founded Mrakonia Film s.r.l., in order to produce, mainly, his own films.

Till 2004 he has produced two short documentary films. One of them, titled “The Sorrow of Black Gold”, had considerable success, both, at festivals and at market.

2004 - “The Pharaoh” (feature). This film received funding for post-production and distribution from the Hubert Bals Fund. It was presented at more then twenty international film festivals worldwide, including film festival at Rotterdam, Karlovy Vary, Sarajevo, Calcutta, Thessalonica, etc. Film was also acquired by few European TV broadcasters.

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In 2004, Mrakonia film s.r.l. established a branch in Serbia: Mrakonia film d.o.o., in order to make it easier co-productions between two Balkan states.

Prose: ––Spring is an another country (novel) 2000.

2009 – Where Europe Ends (documentary). A co-production with Romanian Academic Society, with the support of Black Sea Trust and Friederich Ebert Stiftung. The film was presented in 2010 at European Parliament.

Film Awards: ––1994; Main Prize, Oberhausen Film Festival, Germany - The Sorrow of Black Gold

2010 – If the Seed doesn’t Die (feature). Romanian, Serbian and Austrian co-production with the Eurimages and Hubert Bals support. The film had world premiere at Tokyo International Film Festival in October 2010. The film was presented at many festivals, sold in Holland, Belgium, Brazil.

––1994; Prize of the German Environment Minister, Leipzig, Germany - idem

WRITER & DIRECTOR’S PROFILE SINISA DRAGIN, born on February 6, 1960, in Kula, Yugoslavia Education: ––School of Higher Economic Studies, Subotica, Yugoslavia,BA in 1984; ––The Academy of Film and Drama, Bucharest, Romania, BA in 1991.

Career: I have been working as a cameraman for Reuters TV International News Agency, since 1992.

Filmography: ––The Sorrow of Black Gold (short documentary) 1994; ––The Rain (short feature) 1995; ––Sun is Shining over Tichilesti (short documentary) 1995; ––Long Journey by Train (long feature) 1998; ––God Kisses Us on the Mouth Every Day (long feature) 2001; ––The Pharaoh (long feature) 2004 ––Where Europe Ends? (co-director with Alina Mungiu/documentary) 2009 ––If the Seed doesn’t Die (long feature) 2010

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––1994; Special Mention of the public, Leipzig, Germany - idem ––1996; Prize for the Best Director, Costinesti, Romania - The Rain ––1997; Special Mention, Ravenna (Prix Italia) - idem ––1997; European Grand Prize for TV Screenplay, Geneva, Switzerland - Long Journey by Train ––1998; Prize for the Best Short Feature Film, Bucharest, Romania - The Rain ––1998; Prize for the Best Screenplay, 1st Festival of TV Drama, Vrnjacka Banja, Yougoslavia – Long Journey by Train ––1998; Special Award European Forum of Cinema of Strassbourg, France - Long Journey by Train ––1998; Special Award of the Jury, Festival de Cinema “Europe Latine et Francophone”, Dijon, France - Long Journey by Train ––1998; First Prize, La Palma, Canary Island - The Sorrow of Black Gold ––1999; First Prize, Bucharest, Romania - Long Journey by Train ––1999; First Prize, Bar, Yugoslavia - Long Journey by Train

––2001; The Prize for the Best Director, Cairo, Egypt - God Kisses us on the mouth Every Day ––2001, The Special Jury Prize (The Silver Pyramid), Cairo, Egypt - idem ––2002, The Tiger Award, Rotterdam, Holland - idem ––2002, The Prize for the Best Director, Bucharest, Romania - idem ––2002, The Prize for the Best Director, Alba, Italy - idem ––2002, The Prize for the Best Film, Belgrad, Yugoslavia ––2011, The Public Prize, Rotterdam, Holland

Contact details: Mrakonia Film Ciurea 14 021916 - Bucharest, Romania T: +40 722245127 F: +40 212569297 sdragin@gmail.com WARM UP

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NOTES

SKETCHES

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156 Council of Europe 156 Austria 157 BELGIUM 157 BOSNIA AND HERZEGOVINA 158 Croatia 160 Czech Republic 161 Denmark 162 Finland 163 France 163 Georgia 164 Germany 165 Greece 165 Hungary 167 Italy 173 Luxembourg 174 Norway 175 Poland 176 Romania 176 Russia 177 Serbia 178 Slovakia 179 Slovenia 181 Sweden 183 United Kingdom 155

EURIMAGES - Alessia Sonaglioni

Council of Europe

Eurimages Is the Council of Europe fund for the co-production, distribution and exhibition of European cinematographic works. It currently has 36 Member States.

Eurimages aims to promote the European film industry by encouraging the production and distribution of films and fostering co-operation between professionals.

Contact details: Eurimages | AllĂŠe de la Robertsau | 67000 | Strasbourg - France T: +33 3 90215413 | F: +33 3 88412760 | alessia.sonaglioni@coe.int | www.coe.int/t/dg4/eurimages

Austrian Film Institute - Iris Zappe-Heller

Austria

The Austrian Film Institute is a federal institution established to provide funding for Austrian films with regard to cultural and economic aspects. The provided funding aims particularly at strengthening the Austrian film industry and the creative-artistic quality of Austrian film which is a prerequisite for its success in Austria and abroad. It is a legal entity under public law and its registered office is located in Vienna. The financial year of the Film Institute is the calendar year.

Contact details: Austrian Film Institute | Spittelberggasse 3 | 1070 | Wien T: +43 699 19 46 81 56 | F: +43 1 526 97 30 440 | Iris.zappe-heller@filminstitut.at | www.filminstitut.at

EastWest Filmdistribution - Olivier Van Bockstael

Austria

EastWest Filmdistribution is a feature film sales company which specialises in the promotion and sale of quality Independent feature films. EastWest was founded in November 2004 by Sasha Wieser and Steve Walsh who each have over thirty years experience across all aspects of international film production and distribution. With a strong global network of experienced film professionals, EastWest has a passion for world cinema and a firm belief that the films we represent deserve and will find a worldwide audience.

Contact details: EastWest Filmdistribution | Schottenfeldgasse 14 | 1070 | Wien T: +43 664 510 41 66 | olivier@eastwest-distribution.com | www.eastwest-distribution.com

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Cineuropa - Sergio Rios Perez

BELGIUM

Cineuropa is the first European portal dedicated to cinema and audiovisual in 4 languages. With daily news, interviews, data bases, in-depth investigations into the audiovisual industry, Cineuropa aims at promoting the European film industry throughout the world. Welcome to a platform where professionals can meet and exchange information and ideas.

Contact details: Cineuropa | Avenue Besme 84 | 1190 | Brussels - Belgium T: + 32 2 537 19 72 | + 32 2 539 40 44 | cineuropa@cineuropa.org | www.cineuropa.org

CINELINK - Jovan Marjanovic`

bosnia and herzegovina

CineLink project, the backbone of the Sarajevo Film Festival’s Industry Section, is a development and financing platform for carefully selected feature projects in development and post-production.

With average conversion rate of its selected projects from development to production of over 60% in the past 7 years, and 80% international release rate of the films presented as works in progress, CineLink grew into one of the most successful development and financing platforms in Europe. Films developed trough CineLink are now a part of prestigious festivals selections and distribution catalogues around the world. Next to ADRIENN PAL by Agnes Kocsis and TUESDAY, AFTER CHRISTMAS by Radu Muntean being selected for Un Certain Regard in Cannes last year, we are especially proud that HONEY by Semih Kaplanoglu and Florin Serban’s IF I WANT TO WHISTLE, I WHISTLE scooped both Golden and Silver Bears at the 60th Berlinale.

Selection and diversification in development are central to this success, while focus on local productions with international potential, emerging talent and modern cinematic language proved essential to the program’s raising profile in the film industry.

Contact details: Cinelink

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Art-kino Croatia - Slobodanka Miskovic

CROATIA

Office of film and Art-kino Croatia act as a part of Department of culture of City of Rijeka, and its’ duty is the development of film culture in Rijeka which is done through several basic programs. One among them is Art-kino Croatia founded in late 2008 with the aim to create a place that will ensure the continuous offer of film of value, whether the world or national film legacy, whether the contemporary art film. Annually in Art-kino Croatia is shown around 500 films, short, feature-length, animated, experimental, featured.... The basic criteria is the culturally and the artistic value of the film. Besides this program, Department of culture also implements annual programs of co-funding local film productions where in last few years has been achieved a significant progress, primarily thanks to the Agreement of co-funding local film productions signed between the Croatian audiovisual centre and the City of Rijeka. Besides productions, the Department in a smaller amount co-finances non-institutional educational programs, screening programs, etc.

Contact details: Art-kino Croatia | Korzo 16 | HGR- 51 000 | Rijeka - Hrvatska T: ++ 385 51 323 262 | F: ++ 385 51 323 261 | slobodanka.miskovic@rijeka.hr | www.art-kino.org

CROATIAN AUDIOVISUAL CENTRE - Tina Hajon

CROATIA

The Croatian Audiovisual Centre is the central film funding and strategic film agency in Croatia. The Centre also administers the Croatian tax rebate scheme for film and TV production, aimed at encouraging inward investment.

Contact details: Croatian Audiovisual Centre | Nova Ves 18 | 10 000 | Zagreb T: + 385 1 6041 080 | F: + 385 1 4667 819 | tina.hajon@havc.hr | www.havc.hr

CROATIAN AUDIOVISUAL CENTRE - Hrvoje Hribar

CROATIA

The Croatian Audiovisual Centre is the central film funding and strategic film agency in Croatia. The Centre also administers the Croatian tax rebate scheme for film and TV production, aimed at encouraging inward investment.

Contact details: Croatian Audiovisual Centre | Nova Ves 18 | 10000 | Zagreb - Croatia T: +385 91 444 4994 | F: +385 1 466 7819 | hrvoje.hribar@havc.hr | www.havc.hr

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CROATIAN AUDIOVISUAL CENTRE - Ivana Ivisic

CROATIA

The Croatian Audiovisual Centre is the central film funding and strategic film agency in Croatia. The Centre also administers the Croatian tax rebate scheme for film and TV production, aimed at encouraging inward investment.

Contact details: Croatian Audiovisual Centre | Nova Ves 18 | 10 000 | Zagreb T: +385 1 6041 087 | F: +385 1 4667 819 | ivana.ivisic@havc.hr | www.havc.hr

CROATIAN AUDIOVISUAL CENTRE - Sanja Ravlic

CROATIA

The Croatian Audiovisual Centre is the central film funding and strategic film agency in Croatia. The Centre also administers the Croatian tax rebate scheme for film and TV production, aimed at encouraging inward investment.

Contact details: Croatian Audiovisual Centre | Nova Ves 18 | 10000 | Zagreb - Croatia T: +385 91 465 5439 | F: +385 1 466 7819 | sanja.ravlic@havc.hr | www.havc.hr

hrt - Hrvoje Juvancic

CROATIA Croatian Radiotelevision or Hrvatska radiotelevizija (HRT) is a Croatian public broadcasting company. It operates several radio and television channels, over a domestic transmitter network as well as satellite. 60% of HRT’s funding comes from television licence fees, with the remainder being made up from advertising and additional sources of income as defined by the HRT Charter (including programme and format sales).

Croatian Radiotelevision has three organizational units, three sister companies – the Croatian Radio (Hrvatski radio), the Croatian Television (Hrvatska televizija) and Music Production (Glazbena proizvodnja).

Croatian Television is currently broadcasting on two national terrestrial channels (HRT1 and HRT2) and a satellite channel HRT Plus. HRT has been a full active member of the European Broadcasting Union since January 1993.

Contact details: Hrt

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media desk croatia - Martina Petrovic

CROATIA

MEDIA Desk Croatia is a promotion and information office for the European Commission’s Programme Media which offers a wide variety of funding for film and television, from training through development and distribution to markets, events and festivals. MEDIA Desk Croatia is hosted by the Croatian Audiovisual Centre. It offers advice and answers enquiries from Croatian film and TV professionals, explaining various funding strands and eligibility criteria, organizing various workshops, info days and lectures.

Contact details: Media Desk Croatia | Kralja Zvonimira 20 | 10 000 | Zagreb - Croatia T: 385 1 46 55 434 | F: +385 1 46 55 442 | martina.petrovic@mediadesk.hr | www.mediadesk.hr

Film Distribution Artcam - Petra Oplatkova

czech republic

ARTCAM is one of the leading distribution companies for European films in our territory. Since founding in 2000 it releases more than 40 European films with arthouse profile. The company is specialized on auteur cinema and programmes focused on national cinematographies. InVitr0 is aditional project where we can establish contacts with upcoming directors, spread the notion about author cinema and touch young audiences.

InVirtr0: The Talent Incubator (EACEA/05/2011 “PILOT PROJECTS” MEDIA Programme Support) is a new content production platform. We leverage a plethora of talent available on popular online video distribution sites by curating young filmmakers and inviting them to produce short films around a story world framework that we provide.

InVitr0 will provide a framework through which the development of the most talented of these young filmmakers can be greatly accelerated. InVitr0 will create an international network of production houses to facilitate the production of short content.

By virtue of its’ size, the InVitr0 network opens a new channel for wide, international distribution, and therefore the possibility for generating new revenue streams; InVitr0 will reach new audiences and enhance connections and networking opportunities for emerging filmmakers.

InVitr0 is a transformation platform; discovering exciting new filmmakers and helping them produce great content by focusing their efforts and helping them to build their careers. InVitr0 also builds audiences by leveraging existing roots to traditional and new media distribution channels and generating exciting new marketing campaigns. InVitr0 therefore is a talent Incubator that transforms filmmakers; enabling them to become professional new directors, producers and marketeers.

InVitr0 therefore is: a production and distribution network helping filmmakers to finance and monetise their content /// a curated platform for the mentored production of short film content made by selected emerging talented filmmakers, discovered throught our existing network activity and invited to join InVitr0 /// a one stop hub for new marketing campaigns.

Contact details: Film Distribution Artcam | Rasinovo nabrezi 6 | 128 00 | Prague - Czech Republic T: +420 221 411 619 | F: +420 221 411 699 | petra@invitr0.com | www.artcam.cz www.invitr0.com

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dr tv - Mette Heiberg

Denmark Denmarks public service broadcaster. 6 tv-channels og 10 radio channels.

Contact details: Dr Tv | Emil Holmskanal 20 | 0999 København C | Denmark T: +45 28548546 | mhb@dr.dk | www.dr.dk

MEDIA Desk Denmark - Ene Katrine Rasmussen

Denmark

MEDIA Desk Denmark is part of the European MEDIA network. The MEDIA programme of the European union supports the Audiovisual industry and the MEDIA Desks and Antennaes inform and consult the professionals on how to benefit from the support system. MEDIA Desk Denmark is situated in the heart of the DFI building in Copenhagen and the DFI is our host organisation.

Contact details: Media Desk Denmark | Vognmagergade 10 | DK 1120 | Copenhagen K T: +45 20 47 02 90/ +45 33 74 34 67 | ener@dfi.dk | www.mediadeskdenmark.eu

trust nordisk - Silje Glimsdal

Denmark

With over 35 years of expertise and know-how in international film sale, TrustNordisk market and sell feature films and TV-series worldwide. Representing one of the largest film catalogues in Europe - a feature film catalogue of more than 600 films from highly acclaimed directors such as Lars von Trier, Susanne Bier, Thomas Vinterberg, Lone Scherfig, Lukas Moodysson, Daniél Espinosa, Jan Troell and David Mackenzie - our genres range from animation to crime, from drama to family and we collaborate with both large production companies as well as independent producers within all of Europe. We put great effort in embracing the different films we have; both niche-specialized auteur-titles, which travel as prizewinning festival darlings and big-budgeted crime-blockbusters based on bestsellers from authors such as Jo Nesbø, Camilla Läckberg and Jussi Adler-Olsen amongst others.

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We are represented at all major film festivals and markets world-wide and we continuously keep ourselves updated on new market trends, exploiting media-platforms on the look for new and alternative ways of distributing films world-wide, so all business opportunities within all windows, being theatrical, DVD, TV, VOD, DOD, are considered. Currently TrustNordisk are represented globally on several online platforms including iTunes, Netflix, Hulu, Amazon, indieMoviesOnline.com and Mubi.com. We believe in quality storytelling and visionary visuals.

Contact details: Trust Nordisk | Filmbyen 28 | 2650 | Hvidovre - Denmark T: +4524400802 | F: +4536868750 | silje@trustnordisk.com | www.trustnordisk.com

finnish film foundation - Petri Kemppinen

finland

Established in 1969, The Finnish Film Foundation is the main funder of films in Finland. Its task is to support and develop professional Finnish film production, distribution and exhibition. The goal of the Foundation is to promote high-quality, versatile and unique Finnish film. Support can be granted for feature-length, short fiction, tv-drama, documentary, animation and children’s films. Budget for 2011 was about 24 million euros. Selective support can be granted for international co-productions that have a Finnish co-producer, artistic and/or technical input from Finland and at least tv distribution in Finland guaranteed.

Relevance of the project for Finnish audience is also assessed. In 2011 the FFF co-financed 23 feature films, 6 minority co-productions of feature films, 31 documentaries (including 3 minority co-productions), 10 short fictions and 7 short animation films.

Contact details: The Finnish Film Foundation | Kanavakatu 12 | 00160 | Helsinki - Finland T: +358-9-6220300 | F: +358-9-62203050 | petri.kemppinen@ses.fi | www.ses.fi/en

Yle - Sari Volanen

finland Yle is Finland’s public service broadcasting company with four television channels.

TV1: current affairs, quality drama, documentaries.

TV2: lifestyle, drama, comedy, sports and children’s programs FST5: Swedish language full service. Co-operation with SVT, Sweden.

Teema: Culture, science, education and films.

Contact details: Yle | Box 96 | 00024 | Helsinki T: +358 9 1480 2783 | sari.volanen@yle.fi | www.yle.fi

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CINELINK - Golda Sellam

france Cinelink was created in 2000, after having work for UGC and Programme Media.

The main activity is consultancy for producers in complementary financing on an international level, scouting projects and find partners. I have also regular mission as an expert for differents institutions as French Ministry of foreing affairs MAE, Media Program - EU, OIF, ACP etc... in Europe, Africa and Mediterranean Countries.

As a producer, 2010 «Mopaya – Leila et ses amis» (Canada-France-Belgique-Burkina Faso) – RCI 2011 In preproduction "Burka Boxers" d'Alka Raguram.(Inde - France - Suisse) Contact details: Cinelink | 61, rue Erlanger | 75116 | Paris T: 01 46 04 93 40 | M: 0033620664008 | cinelink@neuf.fr

WILD BUNCH DISTRIBUTION - Marie-Pierre Valle

france

Wild Bunch is an independent Paris-based European film distribution and production services company that manages a library of more than 1.150 films. A major player in international sales, Wild Bunch developed a pan-European distribution network and is direct distributor to all media in France (Wild Bunch Distribution and Wild Side), in Italy (BIM Distribuzione), in Germany (Wild Bunch Germany/Central Film Verleih), in Benelux (Wild Bunch Benelux) and in Spain (Vertigo). Film distribution lying at the heart of its activities, Wild Bunch has positioned itself in the revolutionary market of electronic distribution of films over new media distribution platforms via its French VOD/SVOD platform, Filmo TV. Contact details: Wild Bunch Distribution | 99 Rue De La Verrerie | 75001 ! Paris - France T: +33 1 53 10 42 67 | F: +33 1 53 10 42 69 | mpvalle@wildbunch.eu | www.wildbunch-distribution.com

Georgian National Film Center - Ketie Danelia

GEORGIA

The Georgian National Film Center sets state policy in the film sector. It is a legal entity of public law under the Ministry of Culture and Monument Protection tasked with providing state support to national cinematography.

Contact details: Georgian National Film Center | 4, Gamsakhurdia Sanapiro str. | 0105 Tbilisi - Georgia T: 00995 32 2999 200 | F: 00995 32 2999 120 | k.danelia@gnfc.ge | www.gnfc.ge

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connecting cottbus - Bernd Buder

germany

Connecting Cottbus is an East -West co-production market which paves the way for ideas to be realized. Around 13 fiction feature film projects from Eastern Europe or with a subject connected to Eastern Europe are presented to a professional audience of experienced producers, buyers and financiers. Topical insights into the production landscape of East and Central European countries are offered in discussions and case studies. Over time, not only exiting co-productions but also a lively network has been created between Eastern and Western Europe.

Contact details: Connecting Cottbus | c/o pool production GmbH; Friedrich-Ebert-Str. 18 | 03044 | Cottbus - Germany T: 00 49 30 432 07779 | F: 00 49 355 431 2450 ! b.buder@connecting-cottbus.de | www.connecting-cottbus.de

Medienboard Berlin-Brandenburg - Brigitta Manthey

germany

The Medienboard Berlin-Brandenburg (MBB) is the central institution for film funding and media-related issues in Berlin and Brandenburg - the first stop for film and media professionals in Germany’s capital region. It is a publically funded institution and supports films and film-related projects in the categories of script– and project development, package promotion, production, distribution and sales, and other activities. The film fund is dedicated specifically to production funding, including international co-productions, and is increased through co-operative partnerships with the major German broadcasters.

Contact details: Medienboard Berlin-Brandenburg | August-Bebel-Str. 26-53 | 14482 | Potsdam - Germany T: 049-(03)331-74387-22 | F: 049-(03)331-74387-99 | b.manthey@medienboard.de | www.medienboard.de

rise and shine - Diana Karklin

germany

Rise And Shine World Sales markets and sells outstanding documentary films to broadcasters and other distribution channels around the world. We operate on a boutique size level, currently taking a maximum of fifteen handpicked films per year. Often, these documentaries are debut films by talented directors and usually feature topics that can target clearly identifiable audiences.

Each film we select is special to us. We care for each title and do everything to see it “rise and shine”. We love to be moved, and we are interested in films that dare to be different. Strong storylines with a clear handwriting and purpose. Discoveries from all over the world. Universal topics seen from a personal or local perspective. Youth and pop culture. Political issues. Films that cross the traditional boundaries between documentary and fiction or animation. Serial productions in the field of popular science.

Contact details: Rise And Shine World Sales | Schlesische Str. 29/30 | 10997 | Berlin - Germany T: +49 30 4737 2980 | F: +49 30 4737 298 20 | diana.karklin@riseandshine-berlin.de | www.riseandshine-berlin.com

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Screen International - Martin Blaney

germany

After completing a PhD on the relationship between German cinema and television, Martin Blaney moved to live in Germany in 1988. Since then, he has worked for, among others, the Berlinale, Filmfest München, and various initiatives of the European Union’s MEDIA Programme. In 1990, he became the correspondent for Germany, Austria and Switzerland at the British trade magazine Screen International and has also been a regular contributor to such publications as German Films Quarterly and Blickpunkt Film. In 2000, he left Screen International to become Head of Press & PR for the Berlin production company Road Movies, but returned to Screen in 2001.

Contact details: Screen International | Krumme Str. 31 | 10627 | Berlin - Germany T: +49 30 318 063 91 | sceen.berlin@googlemail.com

EEFA - Patrice Vivancos

Greece EEFA TRAINING NETWORK intends to be a platform for film professionals from the East European countries and EU neighbouring countries, utilizing co-production projects as concrete means to gather talents and strengthen the wide regional film industry. East European Film Alliance is a consortium of Eastern European film organizations from 14 countries (European and non-European Union members). For the third year in a row, EEFA launched its training program “EEFA Training Network 2011” held throughout the year in Zagreb, Sofia, Kiev and Tallinn, with the support of the Bulgarian National Film Center, Molodist IFF and Black Nights POFF IFF, and the financial support of the MEDIA MUNDUS and of the Romanian National Center of Cinematography.

Contact details: EEFA | Greece | sptcv@cv.gva.es

mtva - Beatrix Nemeth

hungary MTVA is the public TV station in Hungary. It has 4 channels: a terrestrial channel (m1) and 3 satellite (Duna TV, DunaWorld, m2). It broadcasts all different types of programmes from documentary to feature films. We have Feature film slots for new European productions and for classics. MTVA is the media service provider and asset manager of MTV, Duna TV, MR and MTI. Contact details: MTVA - Broadcast Support And Asset Management Fund | Kunigunda útja 64. | H-1037 | Budapest T: +36-1-759 5420 | beatrix.nemeth@mtv.hu | www.mtv.hu

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Hungarian National Film Fund - Ágnes Havas

hungary

The Hungarian National Film Fund is a company established by the state for the funding of full length feature films, documentaries and animated pictures.

Contact details: Hungarian National Film Fund | Fehérvári út 70. | 1119 | Budapest, Hungary T: (+36 1) 461 1320 | F: (+36 1) 461 1332 | havas.agnes@filmalap.hu | www.filmalap.hu

Hungarian National Film Fund - Balazs Zachar

hungary

The Hungarian National Film Fund is a company established by the state for the funding of full length feature films, documentaries and animated pictures.

Contact details: Hungarian National Film Fund

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antenna media torino - Silvia Sandrone

italy

MEDIA is a support programme of the European Union to strengthen the competitiveness of the European film, TV and new media industries and to increase the international circulation of European audiovisual product.

The MEDIA Programme was initiated by the European Union in 1991 and for 20 years has gone through several rounds: 1991-1995 MEDIA I ; 1996-2000 MEDIA II; 2001-2006 MEDIA Plus On the 15th of November 2006 the European Parliament and Council adopted a new programme to support the European audiovisual sector: MEDIA 2007. The Programme entered into force on 1 January 2007. Like its forerunners, MEDIA 2007 focuses on activities before and after production offering support for training, project development, distribution and promotion. The Programme also puts in place measures to accompany the changes that digitisation is producing in the audiovisual sector at all stages of the production and distribution chain, including in terms of new skills for professionals in the sector.

The budget is €755 million over seven years (2007-13). MEDIA 2007 is divided into five action lines: - training of professionals - development of production projects and companies - distribution of cinematographic works and audiovisual programmes - promotion of cinematographic works and audiovisual programmes, including the support for film festivals - horizontal actions/pilot projects The overall objectives of MEDIA 2007 are: - to preserve and enhance European cultural diversity and its cinematographic and audiovisual heritage, guarantee accessibility to this for Europeans and promote intercultural dialogue - to increase the circulation of European audiovisual works inside and outside the European Union - to strengthen the competitiveness of the European audiovisual sector in the framework of an open and competitive market.

The MEDIA Programme is administered by the MEDIA Unit at the Directorate of Information Society and Media of the European Commission. The Unit is responsible for the political, institutional, budgetary and communication aspects of the programme as well as its overall evaluation. A separate body, the Education, Audiovisual and Culture Executive Agency, manages operational delivery of the Programme. All around Europe professionals can ask more information to their National MEDIA offices called MEDIA Desks and Antennas.

Contact details: Antenna Media Torino ec.europa.eu/media

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Apulia Film Commission - Cristina Piscitelli

italy

The Apulia Film Commission, set up under regional legislation, was established in 2007 with the aim of attracting audiovisual production companies to the area. The Apulia Film Fund, a grant allocated to audiovisual production companies in three annual tranches (31 January, 30 April and 31 August) is complemented by a Hospitality Funding grant, accumulable with the former and aimed at covering accommodation and board expenses for production companies working in Apulia.

Support also comes in the form of numerous free-of-charge services such as access to the Production Guide, a database of skilled Apulian personnel, immediate solutions to logistical problems, consultancy services of professional location managers, areas for casting and office space. The centre of logistics is the Cineport hub, of which there are two, one in Bari and the other in Lecce.

Contact details: Apulia Film Commission | Cineporto di Bari, Lungomare Starita | 70132 | Bari - Italy T: +39 080 | F: +39 080 914 74 64 | cristina.piscitelli@apuliafilmcommission.it | www.apuliafilmcommission.it

BLS Film Fund & Commission - Carmen Cian

italy

Business Location Südtirol - Alto Adige (BLS) is the government agency charged with promoting South Tyrol as a business location. Since 2010 the new created department Film Fund & Commission manages the South Tyrol Film Fund and markets South Tyrol as a shooting location. The province committed € 5 million in grants for the years 2011 and 2012. Funding is targeted mainly towards the production of film or television projects (with focus on German and Italian language co-productions) wholly or partially filmed in South Tyrol. Further, BLS supports production companies as they scout for locations and look for personnel, provides them with consultation services regarding legal matters and taxation, and helps them obtain film permits.

Contact details: BLS Film Fund & Commission | Passaggio Duomo 15 | 39100 | Bolzano T: +39 0471 066 600 | F: +39 0471 062 852 | cian@bls.info | www.bls.info

Film Commission Torino Piemonte - Donatella Tosetti

italy

Operating since September 2000, FCTP has set as its main goal the promotion of Piedmont and its capital city, Turin, as an excellence film location and working place for film and television productions, thus attracting to the area Italian and foreign productions while supporting the local film and television industry, creating therefore new working opportunities for professionals involved in this sector. FCTP’s main activity is to support all film and television production companies which choose Piedmont and its area to produce their works, by offering a series of services ranging from screenplay first analysis, to location search, up to granting all the required permits through council and province administration offices throughout the duration of the shooting, up to the preview of the film on the territory or festivals in the case the film is selected.

Contact details: Film Commission Torino Piemonte | Via Cagliari 42 | 10153 | Torino T: + 39 011 23 79 202 ! F: + 39 011 23 79 298 | tosetti@fctp.it | www.fctp.it

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FIP srl - Camilla Ravina

italy FIP (Film Investimenti Piemonte) is a revolving fund, with a single company partner: Film Commission Torino Piemonte.

FIP was created to guarantee investments in projects with potential for high economic returns in the Piedmont region and/or original editorial structure.

Due to the skilled management’s careful selection of works, FIP supports feature films set in Piedmont which decide to spend at least the total amount of the financial contribution on the territory.

Contact details: FIP srl | Via Cagliari 42 | 10153 | Torino T: 011/2379278 | camilla.ravina@gmail.com | www.fip2010.it

INTRAMOVIES - Marco Valerio Fusco

italy

A totally independent company, established over forty years ago by Paola Corvino as the helping arm for creative producers and new directors, Intramovies has remained mainly and foremost an international film distributor of quality movies from all over the world, venturing now and again into coproducing selected titles with Australia, Spain and France. The catalogue includes the most prestigious Italian classics directed by acclaimed authors like Fellini, Antonioni, Visconti, Argento and many others.

Contact details: Intramovies | Via E. Manfredi 15 | 00197 | Rome - Italy T: +39 06 8077252 | F: +39 06 8076156 | marco.fusco@intramovies.com | www.intramovies.com

Maia Workshops - Rickard Olsson

italy

SHORT CV – Rickard Olsson Born in Göteborg, Sweden, Rickard started out in the film industry at the regional film agency Film i Väst 1996. He founded the company Flis Film in 1999 and was appointed dep. director for MEDIA Desk Sweden at the Swedish Film Institute in 2001.

He moved to Turin, Italy in 2003, and served for several editions on the advisory board for the Int. co-production forum European Days, as well as acting head of the Antenna MEDIA Torino 2008-2009. Rickard holds a European master in audovisual management and is tutoring at training initiatives besides various consultancy assignments. Since 2010 he is Head of Studies for Maia Workshops, an European training programme for producers promoted by Genova Liguria Film Commission.

Cell: +39 338 2010 272 | Email: rickard@maiaworkshops.org

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Maia Workshops Maia Workshops is an advanced training programme for emerging European producers, providing them with the fundamental creative and managerial skills needed to steer a fiction, documentary or cross-media project through the different phases of development, production and distribution. A particular attention is dedicated to new and innovative ways of making and marketing european low-budget films.

Maia is structured in three independent five-day residential workshops. Each one offers a tight combination of case-studies, theoretical lessons and practical exercises, specific work on participants’ projects and one-to-one meetings with tutors and trainers. And of course, great networking opportunities.

Contact details: MAIA Workshops | Genova Liguria Film Commission | Villa Bombrini - Via L.A. Muratori, 9 | 16152 | Genoa - Italy | T: +39 010 8681459 | info@maiaworkshops.org | www.maiaworkshops.org

rai cinema - Cecilia Valmarana

italy

Rai Cinema is a Rai Group Company established with the specific purpose of strengthening the Italian cinematographic industry. The obligation to invest in Italian cinema productions, originally provided for by the law, turned over time into an opportunity for developing the cultural industry of the country.

Rai Cinema offers its ideational, productive and financial contribution to independent producers who intend to implement projects in the cinematographic field.

In so doing, Rai Cinema has contributed and is still contributing to the realization of a considerable share of the Italian cinema, from the works of the great masters to those of quite a few neophytes that, in such a way, have the chance of taking their first steps in the cinema. Important films, bought in the international markets, back up this quality production, creating a list that succeeds in attaining mutual synergic effects.

With a view to ensuring the maximum visibility to its own titles, Rai Cinema is operating in the film distribution and home video sector through 01 Distribution, a subsidiary company that, in just a few years, has achieved an important position in the domestic film distribution, ensuring a previously unknown support to Italy's new quality cinema.

Just as important is Rai Cinema's commitment with respect to the acquisition of audio-visual products both in Italy and abroad, to ensure that the Rai Networks might meet all their programming requirements in terms of films, TV-movies, TV-series and cartoons. Within this context, Rai Cinema is actively monitoring the national and international market of television rights, following closely the available contents, the product evolution and features, the typology and content of the rights, the contractual standards, the offer platforms and the competitive scenarios.

Besides, Rai Cinema sees to the enhancement of its rights catalogue in every segment of the audio-visual media sector, supplying the relative product to all the transmission platforms on which Rai operates and entering into specific marketing agreements with the other operators present in the national and international markets.

Contact details: Rai Cinema |

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raitre - Lorenzo Hendel

italy Doc3, inside RAI3, is a 50’ slot entirely dedicated to broadcast documentaries. It was created in 2003, and since then about 50 documentaries were broadcasted.

Every year we broadcast 13 documentaries.

The time of broadcasting is “round midnight”, approximately starting from 11.30/11.45 pm up to 00.20/00.30 am.

The share average in the last year, in terms of audience, is about 6 - 7%, with peaks of 10%.

Every documentary, which is integrally broadcasted, is introduced by a “host”, who speaks in a virtual studio.

From a productive point of view, the documentaries are produced by external societies, and directed by important and known directors. Some of them (about 30%) are bought, other ones (about 70%) are “presales”, which are considered as co-productions.

As for editorial criteria, there are requested features either from a thematic point of view, either from a stylistic one.

From a thematic point of view doc3 tries to narrate the contemporary human condition, through individual stories on a relevant social background. A specific interest is dedicated to the situations where contradictions, conflicts and transformations are involved, so that a critical approach to the contemporary society can be encouraged.

From a stylistic point of view we believe in the classical documentary’s resources, based on a mix of real life shooting and interviews, keeping afar either from the journalistic patterns of the reportage, either from the contaminations with the fiction patterns, such as docu fiction and staged scenes.

Author of DOC3 and Commissioning Editor is Lorenzo Hendel, executive producer is Monica Pacini, Aldo Ciccolella is a redactor, Luca Franco is editorial consultant, Elena Alboni is production assistant.

Contact details: Raitre |

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STEFILM - Stefano Tealdi

italy Stefilm is one of the most prominent documentary film producers in Italy. Founded by Stefano Tealdi, Elena Filippini and Edoardo Fracchia its goal is to develop production in order to highlight Italian talent and themes, and to establish a solid documentary culture in Italy. Stefilm is a member of the Steering Committee of Discovery Campus. Stefano was chairman of the European Documentary Network (EDN); he is currently the national coordinator of INPUT – Television in the PUblic INterest and director of Documentary in Europe.

Stefilm’s productions, mostly developed with support from the European Union’s MEDIA Programme, are largely international coproductions. To date Stefilm has worked with more than 40 television networks across the globe, and with more than 50 partners, which include distributors, independent production companies and institutions.

Stefilm has recently expanded into the fields of training and distribution. Its three partners now share their professional know-how in close conjunction with several different training institutions in Italy and abroad.

In 2005 the company set up Stefilm Development Campus, a programme aimed at developing writing skills and documentary film development methods. Edoardo Fracchia is director of the Campus.

Elena Filippini is in charge of distribution. The company has a vast catalogue of work distributed by international companies and can provide more than 200 hours of documentary programmes. At the same time, Stefilm is constantly looking out for new Italian work to promote at an international level.

Contact details: Stefilm | Via Berthollet, 44 | 10125 | Torino - Italy T: + 39 011.6680017 | F: + 39 011.6680003 | info@stefilm.it | www.stefilm.it

teodora film - Cesare Petrillo

italy

Teodora Film was established in 2000 and it’s one of the most successful art house distribution company in Italy.

In 12 years Teodora released about 50 films, by directors such as Susanne Bier, Per Fly, Anders Thomas Jensen, Thomas Vinterberg, François Ozon, Lucrecia Martel, Philippe Lioret, Catherine Corsini, Eran Riklis, Lucia Puenzo.

Contact details: Teodora Film | Via Ovidio, 20 | 00193 | Roma - Italy T: +39.(0)6.80693760 | F: +39.(0)6.68802802 | cesare.petrillo@teodorafilm.com - info@teodorafilm.com www.teodorafilm.com

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tucker film - Thomas Bertacche - Clara Visintini

italy

Born in 2008, Tucker Film aims to distribute and produce an independent cinema that goes against the official distributing policies. The activity focuses mainly on two areas: local productions and Asian cinema. Until now, the company has distributed Rumore Bianco (by Alberto Fasulo), Departures (by Takita Yojiro), Poetry (by Lee Chang-dong), Detective Dee and the mystery of the phantom flame (by Tsui Hark) and the Korean western The Good The Bad The Weird (by Kim Jee-woon). In the next months Tucker Film will take care of the distribution of the movie Summer of Giacomo (by Alessandro Comodin), winner of Locarno's Filmmaker of the Present competish prize and of the Japanese Confession (by Tetsuya Nakashima). Lastly, Tucker Film will be the Italian distributor of A Simple Life, by the Hongkonghese director Ann Hui. The film was lined up for the Competition at the last Venice Film Festival. It was awarded with Coppa Volpi for Best Actress and several other collateral prizes.

Contact details: Tucker Film | Via Villalta 24 | 33100 | Udine - Italy T: +39 0432 299545 | F: +39 0432 229815 | thomas@tuckerfilm.com | www.tuckerfilm.com clara@tuckerfilm.com | www.tuckerfilm.com

eave - Jani Thiltges

luxembourg Since 1986, Jani is co-founder, partner and CEO of Samsa Film in Luxembourg. He is also partner of ARTEMIS PRODUCTIONS (Belgium) and FADO FILMES (Portugal). In 2003, he founded LIAISON CINEMATOGRAPHIQUE, based in Paris, in association with ARTEMIS PRODUCTIONS (Belgium) and ENTRE CHIEN ET LOUP (Belgium). At SAMSA FILM, in association with his partner and producer Claude WARINGO, they succeeded in building the company’s strong reputation and capacity in producing commercial arthouse films. So far, Jani has produced and co-produced more than 50 feature films. Jani THILTGES is also a member of the European Film Academy and President of EAVE.  In 2004, he is decorated by the Luxembourg GrandDuke for his activities in the cinematographic field. In 2009, he was awarded the prestigious Prix Eurimages.

Contact details: Eave | 238c rue de Luxembourg | L-8077 | Bertrange - Luxembourg T: +352 44 52 10 1 | F: +352 44 52 10 70 | eave@eave.org | www.eave.org

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AS Fidalgo Film Distribution - Frank L. Stavik

Norway

Looking for quality films from all over the world, for theatrical distribution in Norway/Scandinavia

Contact details: AS Fidalgo Film Distribution | Gyldenlövesgate 75 | N-4614 | Kristiansand - Norway T: +47 38024004 | F: n/a | fidalgo@broadpark.no | www.filmweb.no/fidalgo

NRK - Hans Rossiné

Norway NRK is a public broadcaster and the largest broadcaster in Norway

Contact details: NRK (Norwegian Broadcasting) | Bj Bjornsons pla 1 | 0340 | Oslo - Norway T: + 47 4806 3740 | hans.rossine@nrk.no | www.nrk.no

Paradox - Finn Gjerdrum

Norway Paradox was established in 1998 and produces features and documentaries with focus on writers and directors that want to make a difference, developing their talent and continuity in production.

The company has produced and co-produced 20 featurelength films such as the Gold Palm winner Dancer in the Dark, the awardwinning HAWAII.OSLO and Troubled Water the fam/children’s successes PitbullTerje and Twigson, Twigson ties the knot the winner of the Crystal Bear Scars, the box-office success Fatso, and latest A Somewhat Gentle Man, winner of audienceaward of the competition in Berlin 2010.

Contact details: Paradox | Grønnlandsleiret 25 | N-0190 | Oslo - Norway T: +47 91515463 | finn@paradox.no | www.paradox.no

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Film Commission Norway - Hans Otto Nicolayssen

Norway

Film Commission Norway are a unit at The Norwegian Film Institute that are facilitating and marketing Norway as an attractive location and consultant on co-production for foreign film producers. The NFI provides support for Norwegian Films, televisions series and electronic games, and organizes training and talent development in the sector. The Film Institute represents and informs about Norwegian film on the national as well as on the international level.

Contact details: Film Commission Norway at The Norwegian Film Institute | P.Box 482 Sentrum | 0105 | Oslo - Norway T: +4791665121 | nicco@norwegianfilm.com | www.norwegianfilm.com/nfi.no

polish film institute - Robert Balinski

polAND

Creation of the POLISH FILM INSTITUTE (PISF) in 2005 introduced in Poland a new cutting-edge system for supporting the national film industry. This comprehensive system enables support for a film project at all stages of film production, and helps promote Polish films in Poland and abroad.

Since the launch of the POLISH FILM INSTITUTE, involvement of foreign entities in Polish film production has increased tenfold. With a budget of 25 milion Euro for Production, the PFI is supporting over 150 feature, documentary and animated films per year – the works of Polish filmmakers and international co-productions, including films

by Jerzy Skolimowski, Paweł Pawlikowski, Malgorzata Szumowska and Agnieszka Holland.

Contact details: Polish Film Institute | Krakowskie Przedmies´cie 21/23 | 00-071 | Warsaw - Poland T: 0048 22 4210387 | robert.balinski@pisf.pl | www.pisf.pl

TVP Kultura - Agata Ewa Makohin

polAND

TVP (Polish Television) is a public broadcasting corporation.

TVP Kultura is one of the TVP channels and is dedicated to literature, art, music and film.

Contact details: TVP Kultura | 17 J. P. Woronicza str | 00-999 | Warsaw T: +48 502814035 | F: +48 22 5475754 | agata.makohin@tvp.pl | www.tvp.pl/kultura

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EEFA - Ruxandra Cernat

Romania EEFA TRAINING NETWORK intends to be a platform for film professionals from the East European countries and EU neighbouring countries, utilizing co-production projects as concrete means to gather talents and strengthen the wide regional film industry. East European Film Alliance is a consortium of Eastern European film organizations from 14 countries (European and non-European Union members). For the third year in a row, EEFA launched its training program “EEFA Training Network 2011” held throughout the year in Zagreb, Sofia, Kiev and Tallinn, with the support of the Bulgarian National Film Center, Molodist IFF and Black Nights POFF IFF, and the financial support of the MEDIA MUNDUS and of the Romanian National Center of Cinematography.

Contact details: Eefa | 4, Octavian Goga Bv. | Bucharest - Romania T: 0040 722 628 012 | ruxandra@filmsector.org

russian cinema fund - Anna Arutyunova

russia

At the end of 2010 Cinema Fund opened up one of its new priority sectors – the International Department with the main goal to expand and to develop international collaboration and cooperation between Russian and foreign cinematographers as well as to promote Russian films, producers and directors abroad. In 2011 the International Department of Cinema Fund plans to help national films strengthen the image of Russia abroad and distribute Russian films worldwide, expand TV and DVD right sales on Russian films, to develop co-production.

Cinema Fund is interested in projects with strong stories about modern society, patriotic and historical projects, adventure films, biographic and children’s stories and many others.

The Cinema Fund is opened and glad to any international collaboration and negotiation. It is aimed to create an international co-story with a Russian touch to it.

Aims of International Department of Cinema Fund: 1.Promotion of Russian films abroad and presentation of Russian film industry at the largest international film markets; 2.Establishment of long-term cooperation with the international film festivals to promote and support Russian films; 3.Integration of the Russian filmmakers into the international film industry; 4.Ensuring of economic influence of Russia in the foreign film market by the growth of competitiveness of domestic films, directors, producers, actors, script writers; 5.Development of the international cooperation in the field of cinematography within the limits of the concluded intergovernmental agreements and contracts; 6.Development of co-production with foreign countries and, as consequence, the annual increase in number of coproduction projects.

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Objectives of International Department of Cinema Fund: 1.Creating a unified program of the presence of Russian producers and distributors at the largest international film markets, as well as carrying out special screenings of Russian films and coordination activity of Russian stands and pavilion at these film markets and festivals; 2.Assistance and participation in signing of the international agreements on film co-production; 3.Coordination of the international relations in the field of co-production, including financial support for co-production projects between Russia and foreign countries, expansion the list of countries - the strategic partners for co-production by signing with similar international state funds agreements on co-production and co-development; 4.Development and expansion of the territory of the international theatrical distribution of Russian films; 5.Development of distribution of Russian films through the sales of TV and DVD rights in Europe, the USA and Canada, Asia and Latin America; 6.Participation in activity of the international associations of cinematographers.

Contact details: Russian Cinema Fund | Savvinskaya naberegnaya 11 | 119435 | Moscow T: +7 ( 495 ) 287 84 42 | F: +7 ( 495 ) 287 84 43 | anna.arutynova@fond-kino.ru | www.fond-kino.ru/

film center serbia - Una Domazetoski

serbia

Film Center Serbia (FCS)Â is an institution based on the achievements of the highly respected Film Institute (19632004). FCS was established in 2004 under the Ministry of Culture, with the aim of strategic development and reconstruction of the Serbian film industry. FCS was established: - to creatively stimulate and administer financial support to Serbian cinema on behalf of the Ministry of Culture of Serbia, through annual competitions for screenplay and project development, film production and postproduction.

- to create a legal and administrative framework for the development of film industry and therefore facilitate the necessary transformation of film industry and culture while upholding the standards of the European Union.

- to allow for the distribution and copyright enforcement of the cinematic cultural heritage.

- to create better conditions for the professional advancement of all structures that make up the Serbian film industry FCS represents Serbian films and film industry at all major festivals and markets – including Cannes, Berlin, Venice, Toronto, Rotterdam, Karlovy Vary, Locarno, Pusan etc.

Contact details: Film Center Serbia

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MCF MegaCom Film Distribution Company - Igor Stankovic´

serbia

Igor Stankovic´ Founder and director of the MCF MegaCom Film Distributin Company, Serbia Along with managing one of the most successful film distribution companies in the region of former Yugoslavia, Igor Stankovic´ is also at the helm of two renowned film festivals, the Festival of Author Film and the Kids Fest Children’s Festival. Some of the films for which MCF has purchased screening rights include some of the most recent and most awarded films: THE CLASS, last year’s Palme d’Or winner, LORNA’S SILENCE, THREE MONKEYS, WALTZ WITH BASHIR, HUNGER, SNOW, MILK OF SORROW, GIGANTE...Through MCF, Stankovic´ works actively on producing feature and documentary films, provides support for film festivals in the region through production and film editing, DVD publishing, TV and VoD distribution, thus promoting independent film.

Contact details: MCF MegaCom Film Distribution Company

SOUL FOOD - Miroslav Mogorovic

serbia

SOUL FOOD is a international sales and distribution company established in 2010 with the main intention to present, promote and widely distribute films and film talents coming from the region of South-East Europe, which bare grate potential, but buy far did not get a chance on the film market, by side with owners of MCF MegaCom Film as one of the leading distribution company and side of Art & Popcorn as one of the leading production company in territory of Former YU, whose partnership lead to the establishment of SOUL FOOD. Contact details: Soul Food international sales & distribution | Kralja Milana 4 | 11000 | Belgrade - Serbia T: +381112687932 | F: +381112685614 | mogorovic@soulfoodfilms.com | www.soulfoodfilms.com

film europe - Ivan Hronec

slovakia

Film Europe Media Company is a dynamic media company with teams and offices in Prague, Bratislava, Budapest, London and Cannes. Film Europe buys and co-produces European films for cinemas and distributes them on DVD and VOD, as well as broadcasting them on its own thematic television: Film Europe Channel. It is the first paid television channel presenting exclusively European cinema from almost all 50 countries in greater Europe. This unique pilot project is being implemented in the Czech Republic and Slovakia with plans to expand to other countries. Film Europe Channel will show annually up to 500 European films in their original version with subtitles 24 hours a day, seven days a week without advertisements. It broadcasts in SD via satellite (Astra 23.5) with an HD option using fibre-optic cable.

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Contact details: Film Europe Media Company | Branicka 1950/209 | 140 00 | Prague - Czech Republic Matuskova 10 | 831 01 | Bratislava - Slovakia | T: 00 42 1 2 54 65 08 24 | F: 00 42 1 2 54 79 36 53 info@filmeurope.eu | www.filmeurope.eu | www.filmeuropechannel.eu

slovak film institute - Alexandra Strelkova

slovakia

The Slovak Film Institute (Slovenský filmový ústav - SFU), established in 1963, member of FIAF and European Film Promotion, is the sole national institution in the field of cinematography. It consists of the National Film Archive and the National Cinematographic Centre. The National Film Archive collects, preserves, and protects national cinematographic heritage and makes it available for the public. At the same time, SFU handles producers rights to Slovak films produced by Slovak national studios in 1895 - 1991 and highly supports their international presentation. The National Cinematographic Centre serves as the national film promotion centre, providing complex information and documentation services related to Slovak cinema, organizing film events in Slovakia and abroad.

Contact details: Slovak Film Institute | Grösslingová 32 | SK 821 08 | Bratislava - Slovak Republic T: +421 2 5710 15 03 | F: +421 2 5296 34 61 | sfu@sfu.sk | www.sfu.sk - www.aic.sk

media desk slovenia - Sabina Briški

slovenia

MEDIA desk Slovenia is a promotion and information office of the European Commission's MEDIA Programme – support programme for the European audiovisual sector which offers funding for film and television, from training through development and distribution to markets, events and festivals.

MEDIA desk Slovenia is a member of a European network of 44 offices in 32 European countries which offer advice and answer enquiries from film and TV professionals, explaining various funding strands and eligibility criteria as well as organising different events to promote and represent MEDIA Programme in Slovenia and broader region.

Contact details: MEDIA Desk Slovenia (Slovenian Film Centre) | Miklošicˇeva 38 | SI-1000 | Ljubljana T: 00 386 (1) 23 43 216 | F: 00 386 (1) 23 43 219 | mediadesk.slo@film-center.si |www.mediadeskslovenia.eu

RTV SLOVENIA - Hanka Kastelicová

slovenia

Radio-television Slovenia is a public institution performing public service in the field of radio and television activities: In RTV SLO we are creating two national TV channels, Parliamentary TV program, three national radio channels, radio and TV programmes in the regional centres in Koper and Maribor.

Contact details: RTV Slovenia | Kolodvorska 2-4 | 1550 | Ljubljana T: 003861 475 30 82 | F: 003861 475 2169 | hanka.kastelicova@rtvslo.si | www.rtvslo.si

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SLOVENIAN FILM CENTRE - Nerina Kocjancic

slovenia

Slovenian Film Centre is legal successor of Slovenian Film Fund and is the central film institution in Republic of Slovenia. Slovenian Film Centre is cofinancing all programmes dealing with development, production, promotion and distribution of films. Besides that it also supports film festivals, industry associations, promotion of film locations, film literacy and other.

Contact details: Slovenian Film Centre | Miklošicˇeva 38 | SI-1000 | Ljubljana T: +386 1 2343 204 | F: +386 1 23 43 219 | nerina.kocjancic@film-center.si | www.film-center.si

SLOVENIAN FILM CENTRE - Jelka Stergel

slovenia

Slovenian Film Centre is legal successor of Slovenian Film Fund and is the central film institution in Republic of Slovenia. Slovenian Film Centre is cofinancing all programmes dealing with development, production, promotion and distribution of films. Besides that it also supports film festivals, industry associations, promotion of film locations, film literacy and other.

Contact details: Slovenian Film Centre | Miklošicˇeva 38 | SI-1000 | Ljubljana T: +386 1 23 43 212 | F: +386 1 23 43 219 | jelka.stergel@film-center.si | www.film-center.si

SLOVENIAN FILM CENTRE - Jožko Rutar

slovenia

Slovenian Film Centre is legal successor of Slovenian Film Fund and is the central film institution in Republic of Slovenia. Slovenian Film Centre is cofinancing all programmes dealing with development, production, promotion and distribution of films. Besides that it also supports film festivals, industry associations, promotion of film locations, film literacy and other.

Contact details: Slovenian Film Centre | Miklošicˇeva 38 | SI-1000 | Ljubljana T: +386 1 23 43 200 | F: +386 1 23 43 219 | jozko.rutar@film-center.si | www.film-center.si

180

VERTIGO EMOTIONFILM - Danijel Hocˇevar

slovenia

Danijel Hocˇevar (born 1965 in Ljubljana, Slovenia, then part of Yugoslavia) established Emotionfilm in 1986, the first independent film production company in Slovenia and among first in former Yugoslavia. In 1994 he established Vertigo, another production company, together with director Damjan Kozole and Metod Pevec.

They produced or co-produced 30 feature films including Slovenian Girl (2009, Sarajevo FF Competition, Toronto IFF, Pusan IFF) and Spare parts (2003, Berlin IFF Competition), both directed by Damjan Kozole, Bread and milk (2001, Venice FF – Lion of the Future Award), directed by Jan Cvitkovicˇ, The world is big and salvation lurks around the corner (2008, Moscow IFF Gala, Short listed for Academy Awards – Oscars for foreign language film for 2009), directed by Stephan Komandarev, Good Night Missy (2011) and Beneath her window (2003, Karlovy Vary IFF Competition), both directed by Metod Pevec, Women who brushed off her tears (2012) and I am from Titov Veles (2007, Sarajevo FF Competition – Special Jury Award, Berlin IFF Panorama, Toronto IFF, Pusan IFF), both directed by Teona Mitevska, The State of Shock (2011), directed by Andrej Košak, Circles (2012, still in post-production) directed by Srdan Golubovic´, Idle running (1999, Karlovy Vary IFF Competition) and Ruins (2004, Rotterdam Official Selection), both directed by Janez Burger, Besa – Solemn promise (2009, Moscow IFF Competition), directed by Srdjan Karanovic´, Border post (2006, San Sebastian IFF Competition), directed by Rajko Grlic´, Suburbs (2004, Venice Days) directed by Vinko Möderndorfer...

Danijel Hocˇevar has been selected among Variety’s Ten Producers To Watch in 2001.

He is also a voting member of European Film Academy, a member of the selection jury of Nipkow Program (www.nipkow.de) from 2005, and a member of the pedagogical team (group leader) of EAVE – European AudioVisual Entrepreneurs (www.eave.org) from 2009.

Contact details: Vertigo Emotionfilm | Kersnikova 4 | 1000 | Ljubljana T: +386 1 439 7080 | F: +386 1 430 3530 | danijel@emotionfilm.si | www.emotionfilm.si

FILM I SKÅNE - Ralf Ivarsson

sweden

Regional Film Fund in the southernmost part of Sweden.

Have been involved in approx. 60 feature films and 400 shorts and documentaries.

Contact details: Film i Skåne | Sixten Sparres gata 1 | 271 39 | Ystad T: +46707940091 | F: +46451559740 | ralf@filmiskane.se | www.filmiskane.se

DECISION MAKERS

181

FILM I VÄST - Anthony Muir

sweden

Film i Väst is a regional film fund located in Västra Götaland, Sweden, with its main headquarters in Trollhättan, Sweden’s leading film city. Film i Väst has directly contributed to the growth of the industry, the education of film workers, and the development of new talent in the region. Now involved in 30-40 feature film co-productions each year, Film i Väst is one of the most significant regional film funds in Europe and an essential source of funding for Swedish films. Film i Väst acts as a co-producer, part owner and financier of feature, short and documentary films, as well as quality drama for TV, and offers many additional resources for film production.

Contact details: Film i Väst | Box 134 | 461 23 | Trollhättan T: +46 520 49 09 10 | F: +46 520 49 09 01 | anthony.muir@filmivast.se | www.filmivast.se

NONSTOP SALES - Michael Werner

sweden

NonStop Sales AB is an int’l sales company for quality feature films and tv-productions of all genres with commercial potential and we like them to be “intelligent mainstream”. We represent nearly 500 titles of all genres, new and classical from more than 25 production companies, local Scandinavian and from the rest of world.

NonStop Sales always aims on expanding its library and representing new titles. We will be very happy to discuss how we can support your int’l expansion and sales or if you are a buyer we will be pleased to present our current titles as well as classical - library. Through our network within Turner we can also find many other possibilities, both on sales as well as acquisitions. Please contact us as below. NonStop Sales is a company within Scandinavian based Millennium Media Group AB (MMG) that since 2010 is part of Turner Broadcasting.

Contact details: NonStop Sales AB | P.O. Box 271 34 (visit: Östhammarsg. 68) | SE-102 52 | Stockholm - Sweden T: +46 70 733 2855 (mobile) | michael.werner@turner.com | www.nonstopsales.com

182

SVT - Gunnar Carlsson

sweden The Public Service Broadcaster in Sweden and a co-producer of many of the films produced in the country.

Contact details: SVT | 105 10 | Stockholm - Sweden T: +46702646929 | gunnar.carlsson@svt.se | www.svt.se

Film & Music Entertainment Ltd. - Sam Taylor

united kingdom

Film and Music Entertainment is one of the UK’s most successful and prolific independent production companies.

It was formed by Mike Downey and Sam Taylor in January 2000 with the aim of financing and producing feature films. Stephen Daldry (two-times Oscar-nominated, director of Billy Elliott and The Hours) acts as Chairman of the board and as executive producer.

With over 30 films under our belt, including a winner of the Golden Lion in Venice, an Academy Award Nominee and multiple official entries in the Sundance, Berlin, Montreal, Toronto, San Sebastian and Locarno film festivals, the Film and Music Entertainment brand has over the last eight years become synonymous with the production of quality feature films with a wide variety of British, American and European authors, Â notably, Gunter Grass, Thomas Kennealy and James Ellroy.

Contact details: Film & Music Entertainment Ltd. | 34 Fouberts Place | W1F 7PX | London - United Kingdom T: +44 (0) 207 478 7527 | F: +44 (0) 207 691 9712 | office@fame.uk.com

DECISION MAKERS

183

taskovski films - Manuela Buono

united kingdom

Taskovski Films Ltd. is a London based world sales and production company of independent documentary and fiction films. We welcome innovative, playful and risky forms of filmmaking capable of engaging and surprising audiences around the globe. Our passion is discovering new talent and authorial stories.

Taskovski Films’ main activities are: Promotion and sales, development, financing and co-producing documentary and feature films, festival consultancy and publicity services.

Taskovski Films is co-producer and sales agent of the multi-award winner documentary Czech Dream (The most successful European documentary film), Czech Peace (Grand Prix DMZ Docs), People I could have been and maybe I am (Winner of IDFA, Visions du Réel, HotDocs), Cooking History, nominated for the European Academy Award, winner of special jury award at Hot Docs 2009, FIPRESCI Jury Award, Leipzig DOKS 2009, and many others. Our portfolio includes The European Academy Awarded directors Audrius Stonys, with his latest title Ramin, and Helena Trestikova. Trestikova’s trilogy is enjoying a very strong festival life with titles: Katka (awarded in RIDM DocTape Award for Best Documentary, Editing Award, Czech Film Critic’s Award) Rene, winner of the European Academy Award – Prix Arte 2008, Golden Dove for the Best International documentary at DOK Leipzig 2008 and other awards, and multi-award winning Marcela and many more.

Our feature films include Gravehopping (Slovenia, Croatia); Rules of Lies (Czech Republic); Go West (Bosnia and Hercegovina); Huddersfield (Serbia, Bosnia & Hercegovina).

Contact details: Taskovski Films LTD. | 7 Granard Business Centre Bunns Lane | NW7 2DQ | London - United Kingdom T: +39 347 6273390 | sales@taskovskifilms.com | www.taskovskifilms.com

184

DECISION MAKERS

185

INDUSTRY PROFESSIONALS

188 Croatia 189 Italy 201 Serbia 203 Slovenia

187

croatia

Jure Pavlovic´

Sekvenca is a newly founded production company with its head office in Zagreb, whose main objective is to offer young and creative people an opportunity to express themselves creatively, and to obtain support for their projects from competent institutions. We pay special attention to educated filmmakers from the Academy of Dramatic Arts, since the founders of this young company share a similar background. We mainly deal with non-commercial projects, such as live-action films, documentaries, animated films, feature films and short films.

At the moment we are in the post-production stage of our final project, a short film under the working title "Kišobran" (Umbrella), which is the adaptation of a rewarded drama entitled "Jednostavno: (nesretni)" (Simply: unhappy) by Ivor Martinic´ (Marin Držic´ Award, Ministry of Culture of the Republic of Croatia, 2005 Contact details: Sekvenca | Ivane Brlic-Mazuranic 60 | 10 000 | Zagreb - Croatia T: +385 98 559 640 | jure@sekvenca.hr | www.sekvenca.hr

croatia

Matija Radeljak

Aning film has been established in 2011 as a new part of a 20 year old family company until then involved in finance and legal consulting. Founder’s son, producer/director Matija Radeljak, previously involved in different productions as a freelancer shopping around for production companies, started the film department with confidence made after completing several projects. With his family company acting always as a co-producer on projects he produced or was author of, he moved his active projects to the new-old company. Aning film's mission is to develop and produce authorial audiovisual projects, dramatic narratives, whose core revolves around market value and author’s liberty working together in harmony. Commercial projects, such as events, campaigns and TVC's, never being declined; they are only accepted if and when a creative framework as ground zero on project development is accepted.

Contact details: Aning film | Zeleni trg 4 | 10000 | Zagreb, Croatia T: +385 1 6184 502 | F: +385 1 6184 502 | matija@aning.hr | www.aning.hr

croatia

Luka Venturin

Sekvenca is a newly founded production company with its head office in Zagreb, whose main objective is to offer young and creative people an opportunity to express themselves creatively, and to obtain support for their projects from competent institutions. We pay special attention to educated filmmakers, since the founders of this young company share a similar background. We mainly deal with non-commercial projects, such as live-action films, documentaries, animated films, feature films and short films.

Contact details: Sekvenca | Ivane Brlic-Mazuranic 60 | 10 000 | Zagreb - Croatia T: +385 98 789191 | luka.venturin@gmail.com | www.sekvenca.hr

188

Italy

Erica Barbiani

Videomante, based in Trieste, is a company focused on the production of creative documentaries. Valentino's Gift, the most recent among them, was co-produced with ARTE G.E.I.E and with the support of YLE, TG4, RAI3 and RTVSLO. MARKED BODIES, currently in development, was selected for EAVE 2011.

Contact details: Videomante | Via Coroneo, 16 | 34133 | Trieste - Italy M: +39-3496187698 | F: +39-0432730809 | erica@videomante.it | www.videomante.it

Italy

Juliane Biasi

Kuraj, an individual company located in Trentino Alto Adige and Rome, was founded in 2004 by Juliane R. Biasi, who is owner holder producer and director. In every production the best professionals in every field are engaged, photography, digital editing, sound mastering. In these years Kuraj produced several documentaries mainly about countries and populations all over the world: these documentaries were broadcasted from RAI, in the programs “Alle falde del Kilimanjaro” and “Il pianeta delle meraviglie”. Recently the production of Kuraj was mainly focused on social issues, specifically concerning deviance and discrimination of the differences. In this direction several documentaries were produced: lezioni di fine anno in 2008, then “Oceano Dentro” (“The Ocean Within”) in 2009, “Muyeye” and “Voci e silenzi” (“Voices and silences”), in production, in 2012. Oceano Dentro was selected in some International Festivals in Europe (Epizefiri Festival, 2009, DocBarcelona, 2010) and in Asia. Muyeye was broadcasted from RAI3 (inside DOC3) in August 2011, and screened in the Palazzo del Cinema in Roma in June 2011.

Contact details: Kuraj | Via Altipiani 22 | 38051 | Borgo Valsugana (Trento) - Italy M: +39 328 1157437 | juliane@kuraj.it

Italy

Alessio Bozzer

Videoest was founded in 1990 by five members already engaged in the professional video industry. The number of productions and products has steadily increased over time: documentaries for television broadcasts and docu-fiction, institutional documentaries, video advertising, promotional and product videos for trade fairs and exhibitions, educational videos, audio-visual documentation for the company archives.

Contact details: Videoest | Via Stazione di Prosecco 29/F | 34010 | Sgonico - Trieste T: 040 251341 | F: 040 2529396 | info@videoest.it | www.videoest.it

INDUSTRY PROFESSIONALS

189

Italy

Christian Canderan

Established in 2005 as independent production and distribution firm, Sunfilms produces historical-byographical documentaries and feature movies released in these years on Dvd and by various national televisions. Awarded with two national prizes (2003 and 2004), best seller Dvd’s F.V.G. Editorial release (2009, 2010, 2011 with over 20.000 copies). The owner Christian Canderan, producer and director, degree on “Art, Music, Theatre and Cinema faculty” in Bologna's University on 2002.

Writer, executive producer and director of many works financed by institutions and town councils of the Region.

Contact details: Sunfilms | Via Nuova, 37 | 33092 | Meduno (Pordenone) - Italy M: +39.3337797819 | F: +39.0427.86363 | sunfilms@sunfilms.net | www.sunfilms.net

Italy

Annamaria Carraro

Studio AC was founded 2001 from Anny Carraro, a multilingual translator/writer/researcher/independent documentary filmmaker.

Mainly focused on art&culture, history, mainly in connection with Venice: 2 international awards, 3 international selections, 10 documentaries produced, 6 projects in progress.w Contact details: Studio AC | S. Croce 2239 | 30135 | Venezia - Italy T: 041 5242571 | M: 3462251747 | F: 041 5242571| cartom@tin.it | italiandoc.it/area/public/wid/QZS/scheda.htm

Italy

Massimiliano Cocozza

FCM builds on the experience of Massimiliano Cocozza, who has been designing, producing and realising reportages and various types of movies for over 20 years. FCM has realised short movies in 35mm, reportages, culture-focused documentaries, as well as advertising and promotional movies. Its goal is to produce movies having a solid narrative structure with a cinematographic approach.

Contact details: FCM - FUNCOOLMOVIES | Via Cisternone 4 | 34136 | Trieste - Italy T: 3936672215 | massimiliano.cocozza@gmail.com | www.fcmovies.eu

190

Alfredo Covelli - Ivan Gergolet - Matteo Oleotto - Igor Princic

Italy

Transmedia was founded in 1991, first as a cinema exhibitor then from 2008 also as a film production company.

The company is producing feature and short length films including documentary and live action works, and is currently working on several projects with experienced partners from Slovenia, UK,France, Switzerland, Hungary, Croatia, Austria, Hungary and Argentina. In the last few years Transmedia produced and coproduced films screened and premiered at many international film festivals:This is earth, my brother by Jan Cvtikovicˇ, short, in competition at 66. Venice Festival 2009; One way – a Tuareg dream, by Fabio Caramaschi, presented at IDFA Amsterdam 2010; Boris Pahor, a stubborn memory, documentary by Tomaž Burlin; Grandma must get dry, by Alfredo Covelli, short, selected by many international festivals and TFF; Alexandrinians, future length documentary, awarded as best documentary at FSF 2011, in competition at TFF; Archeo, feature length drama,

by Jan Cvtikovicˇ, awarded as best film, director and photography at FSF 2011.

Transmedia is interested in different kinds of project – artistic, mainstream and experimental cinema - and it is currently developing and producing the following titles: Dancing with Maria, by Ivan Gergolet, a documentary film in development about Maria Fux, still dancing at the age of 90, living in Argentina.

My private zoo, by Ferruccio Goia and Gianni Sirch (documentary in post-production), a township tale about Langa that frame the post apartheid condition in South Africa as an intimate and poetic portrait of Anele, an unemployed b/w photographer.

Deep into the forest, second feature film in development of the italian director Roberto Dordit, Zoran, my nephew the idiot, a Matteo Oleotto’s debut feature film in production starring Giuseppe Battiston and Teco Celio, an Italian-Slovenian coproduction with Staragara.

Transmedia is also co-producing the omnibus film Loss of innocence, selected in the second edition of When East Meets West.

Contact details: Transmedia | Piazza Vittoria 41 | 34170 | Gorizia - Italy M: +39 348-8605399 | info@transmedia.it | www.transmedia.it

INDUSTRY PROFESSIONALS

191

Italy

Ivan D’Ambrosio

Dinamo Film is a new production company built in Bari. In the first six months of its activity it realized tv programs and started to develop documentary and feature film projects.

Contact details: Dinamo Film s.r.l. | Via G. Carulli 118 | 70121 | Bari - Italy T: 080 5583048 | ivan.dambrosio@fastwebnet.it

Italy

Manuela Daniel

Agherose is a young Indipendent and dynamic production company based in Udine, Italy. It was founded in 2010.The mission Company is to produce Historical Documentaries , culture and current affairs for an International audiance.

Agherose is producing in co-production with Zavod-Kinoateljie (SLO) and Focus-Media (HR) 'Over the line' a documentary on an italian concentration camp.

Contact details: Agherose S.R.L. | Viale Palmanova 73/R | 33100 | - Udine, Italy T: 0039 0432 1841718 | dorino.minigutti@agherose.com | www.agherose.com

Italy

Danilo Dell’Olio

Dinamo Film is a new production company built in Bari. In the first six months of its activity it realized tv programs and started to develop documentary and feature film projects.

Contact details: Dinamo Film s.r.l. | Via G. Carulli 118 | 70121 | Bari - Italy T: 080 5583048 | danilo.dellolio@libero.it

192

Italy

Aleš Doktoricˇ

Kinoatelje operates in Italy and Slovenia as a multi-purpose group for intercultural and cross-border projects in the cinema and audiovisual sector. It brings together the organisation of cultural events, research, documentation and conservation activities and publishing, as well as video and film production.

Contact details: Kinoatelje | Piazza Vittoria 38 | 34170 | Gorizia - Italy T: +39 0481 33580 | F: +39 0481 545445 | ales.doktoric@gmail.com - mail@kinoatelje.it | www.kinoatelje.it

Italy

Augusta Eniti

Altreforme is an arts company that organizes and produces cultural events. Over the past few years it has become involved in the production of art documentaries and has produced two documentary series. These documentaries are characterized by a stylistic approach that integrates a range of disciplines, most particularly the visual arts.

Contact details: Altreforme | Via Dante, 16 | 33100 | Udine - Italy T: 0432 227853 | F: 0432 220412 | a.eniti@altreforme.net | www.altreforme.net

Italy

Alberto Fasulo

The production group starts its activity in 2004. It’s a workgroup inside of wich operate persons with years of activity in documentary cinema as filmmakers-directors and producers. In 2007 the group creates Faber Film, a Friuli Venezia Giulia based indipendent production company.

Contact details: Faber Film srl | Via Ramescellutto,80 | 33079 | Sesto al Reghena (PN) T: +393351016766 | albertofasulo@faberfilm.it | www.faberfilm.it

INDUSTRY PROFESSIONALS

193

Italy

Massimo Garlatti-Costa

Raja Films is an idependent film and television company specialising in high quality documentaries, films and commercials.

We are know for our stylistic innovation and our cutting edge narratives.

We have produced work for Italian and UK main terrestrial broadcasters such as BBC, Channel 4 and RAI, as well as having our work broadcast by CBS Television Canada, DR TV Denmark, The Box UK, RAI, Mediaset Italy, La7 Italy, Canal Plus France and MTV Europe. We have a remarkable number of international awards to our credit.

Contact details: Raja Films | Via Vendoglio 11 | 33100 | Udine - Italy T: +39 0432 481493 | F: +39 0432 481493 | info@rajafilms.com | www.rajafilms.com

Italy

Nicole Leghissa

HYPHAE is a firm founded in Trieste, Italy, in 2011 by Nicole Leghissa and Paolo Atzori with the goal of realizing projects of visual communication through a multi-disciplinary perspective, creating cooperation and exchange among different professionals - like writers, journalists, architects, programmers designers and film-makers.

Hyphae are long and thin cellules of fungi, permitting – like the synapses between neurons – electrochemical communication between the roots of the trees. Similar to organic hyphae, diverse means of visual communication can connect faraway worlds, different people, distant knowledge, creating an infinite digital net of exchange, communication and support.

Contact details: Hyphae | Via del Lazzaretto Vecchio 7 | 34123 | Trieste - Italy T: +39 040 9981264 | hyphaeproject@gmail.com | www.hyphaeproject.wordpress.com

Italy

Luigia Marino

Dinamo Film is a new production company built in Bari. In the first six months of its activity it realized tv programs and started to develop documentary and feature film projects.

Contact details: Dinamo Film s.r.l. | Via G. Carulli 118 | 70121 | Bari - Italy T: 080 5583048 | luigia.marino@libero.it

194

Italy

Yassine Marco Marroccu

Executive productions in north Africa – cultural mediation – documentaries, commercials and feature productions – independent filmmaking – cultural events (concerts, festivals, fashion shows...)

Contact details: Eclipse Productions | Corso vittorio emanuele 20/c | 33170 | Pordenone - Italy T: +393922239541 | yass.marr@gmail.com

Italy

Stefano Marzona

My name is Stefano Marzona, I'm from Gemona del Friuli (UD) - Italy, I am 42 years old and here I represent SG video productions. The company was built on a dream of mine, turning a hobby into a job.

I started working with some photographers and a local TV station, then I had the first real job, a documentary on the migration issue in Senegal, a movie that still arouses strong emotions and memories.

Then I found several jobs, which enabled me to buy equipment and gave me a great deal of experience.

Contact details: SG Video Produzioni | Via P.B.Marchet | 33013 | Gemona Del Friuli (UD) - Italia T: 3292195931 | info@sgvideoproduzioni.it | www.sgvideoproduzioni.it

Italy

Dorino Minigutti

Agherose is a young Indipendent and dynamic production company based in Udine, Italy. It was founded in 2010.The mission Company is to produce Historical Documentaries , culture and current affairs for an International audiance.

Agherose is producing in co-production with Zavod-Kinoateljie (SLO) and Focus-Media (HR) 'Over the line' a documentary on an italian concentration camp.

Contact details: Agherose S.R.L. | Viale Palmanova 73/R | 33100 | - Udine, Italy T: 0039 0432 1841718 | dorino.minigutti@agherose.com | www.agherose.com

INDUSTRY PROFESSIONALS

195

Italy

Sabrina Morena

The cultural Association “Spaesati” organizes S/paesati – eventi sul tema delle migrazioni, (Dis/placed people: events on the subject of migration) a festival of cinema, theatre, music, exhibitions, meetings.

S/paesati also produced video documentaries on migration and women themes.

Contact details: Ass. Spaesati | Via crispi 4 | 34100 | Trieste - Italy T: 040 365119 – 328 7697468 | alice@miela.it | www.spaesati.org

Italy

Francesco Parisi

Dinamo Film is a new production company built in Bari. In the first six months of its activity it realized tv programs and started to develop documentary and feature film projects.

Contact details: Dinamo Film s.r.l. | Via G. Carulli 118 | 70121 | Bari - Italy T: 080 5583048 | gianfranco@dinamofilm.com

Italy

Marta Pasqualini Indipendent production house

Contact details: Eufrasia Filmedia | Via Pomponio Amalteo,34 | 33170 | Pordenone - Italy T: 00390434571445 | F: 00390434571445 | martapas.9@gmail.com | www.eufrasiafilmedia.com

196

Italy

Raffaele Petrone

Dinamo Film is a new production company built in Bari. In the first six months of its activity it realized tv programs and started to develop documentary and feature film projects.

Contact details: Dinamo Film s.r.l. | Via G. Carulli 118 | 70121 | Bari - Italy T: 080 5583048 | petronelello@gmail.com

Italy

Fulvio Sabia

Broadcast and cinema production activities.camera support and supplies.creation and development of audio-visual project for screening.postproduction and authoring.

Contact details: Kowalski SNC | Via della fornace 5 | 34131 | Trieste - Italy T: +393393322620 | info@kowalskifilm.it | www.kowalskifilm.it

Anna Stalzer

Italy Tunastudio is a young film company that started its activity in October 2010 in Venice. It originates from the well-established cooperation among 4 professionals in the audiovisual area: Lorenzo Pezzano (photography director and camera operator), Matteo Bolzonello (camera operator and focus-puller), Francesco Marotta (editor and colourist) and Barbara Iacampo (producer). Tunastudio makes use of various professionals’help: they can develop projects from their very beginning to their conclusion, no matter what kind of production it is (documentaries, independent films, corporate, commercials or videoclips).

The first documentary realisation branded Tunastudio is The televisionaries: when Italian TV was free (broadcasted by History Channel fromNovember 2010).

INDUSTRY PROFESSIONALS

197

In 2011 Tunastudio produces a series of video-portraits for “We Are Here”, a European project by Media 19 UK “Voices of Poverty and Social Exclusion”. The company also contributes and takes part to the shoots of a coming shortly documentary, La vera storia della Mala del Brenta (a violent and famous gang of the 90’s in the North-East of Italy n.d.t.), produced by Fox Channels Italy. Tunastudio also works together with French-German channel Arte to realise reports and cooperates with foreign institutions as the British Council (United Kingdom) and film companies like Artline Films (France) and Regard Film (Germany).

Contact details: Tunastudio Società Coperativa | Via dell'azoto 4 | 30175 | Porto Marghera - Venice T: +39 331 5645852 | info@tunastudio.com | www.tunastudio.com

Italy

Pasqualino Suppa Independent production house

Contact details: Eufrasia Filmedia | Via Pomponio Amalteo,34 | 33170 | Pordenone - Italy T: 00390434571445 - +393479067539 | F: 00390434571445 | eufrasiasrl@gmail.com | www.eufrasiafilmedia.com

Nadia Trevisan

Italy The production company starts its activity in 2002. It is also a sound and video equipment hire company.

Its headquarters is in Friuli Venezia Giulia.

Contact details: NefertitiFilm | V.le G.Matteotti,41 | 33078 | San Vito al Tagliamento (PN) - Italy T: +393389429241 | amministrazione@nefertitifilm.it | www.nefertitifilm.it

198

Italy

Tommaso Urban

Frenzy Hour Productions is a young and dynamic transmedia company based in Friuli Venezia Giulia, Italy. We are constantly striving to create innovative and engaging content for film, television and new media.

Contact details: Frenzy Hour Productions | Via XX Settembre 31/A | 33097 | Spilimbergo (PN) - Italy T: 0427 41464 | info@frenzyhour.com | www.frenzyhour.com

Italy

Giacomo Urban

Frenzy Hour Productions is a young and dynamic transmedia company based in Friuli Venezia Giulia, Italy. We are constantly striving to create innovative and engaging content for film, television and new media.

Contact details: Frenzy Hour Productions | Via XX Settembre 31/A | 33097 | Spilimbergo (PN) - Italy T: 0427 41464 | info@frenzyhour.com | www.frenzyhour.com

Italy

Marta Zaccaron

Quasar Multimedia was founded in 2001 by Michele Codarin and Giorgio Milocco. In 2008 Marta Zaccaron joined the company with the aim of developing and expanding the production of documentaries for the national and international television markets, with a particular focus on creative and historical documentaries.

The documentaries produced over the last years are: Ragpickers (2006), Donne In Corriera (2006), Pescaùri (2007), Una Storia Speciale (2008), Profughi Invisibili (2009), Testimoni-Risorgimento (2011), Ardito Desio–La Fortuna Aiuta Gli Audaci (2011). These documentaries have been made possible thanks to Quasar’s collaboration with the Regional Audiovisual Fund of Friuli Venezia Giulia, Media Development Fund, Eurodoc, RAI and SKY. Quasar is currently developing several documentaries with international co-producers.

Contact details: Quasar Multimedia | Str. Dei Colli, 6 | 33030 | Moruzzo (UD) - Italy T: 0432 503938 | marta@quasarmultimedia.it | www.quasarmultimedia.it

INDUSTRY PROFESSIONALS

199

Italy

Carlo Zoratti

The two main fields of work are music and documentary. The latest project is Carlo’s first feature documentary The Special Need.

Contact details: Vilma | Via Pradamano 88 | 33100 | Udine - Italy T: +39 3285681288 | carlo@vilma.it | www.vilma.it

200

Gorana Grozdanic - Petar Ristovski

serbia

Zillion Film was founded on February 22nd 1996. to produce "The White Suit" by Lazar Ristovski, with a budget of 1.200.000 $.

The film was premiered in Cannes in 1999 within the "Critic's Week" program, and had very positive reviews.

The international distributor for The White Suit is: The Works TSC Ltd London.

The White Suit was the Yugoslav nominee for the ACCADEMY AWARDS 2000.

In 2000 Zillion produced a short 22 minutes feature entitled "Movie Star" directed by Lazar Ristovski Zillion is also one of the three main producers of the feature film "Boomerang" by Dragan Marinkovic. The film was screened at the 2002 Berlin Film Festival in the "Panorama" program. In 2002 Zillion independently produced the feature film "Eine Kleine Nachtmusik" directed by Dejan Zecˇevic´.

Zillion is one of the co-financers of the feature "FALLING INTO PARADISE" by Miloš Radovic. The film is a European production co-financed by a number of institutions including "Eurimages". Movie premier was held in Belgrade in 2004.

Zillion film is one of co-producers and executive producer of Goran Paskaljevic´ MIDWINTER NIGHTS DREAM movie with Lazar Ristovski and Goran Paskaljevic´ as producers.

Movie premiere took place on 2004. Toronto and San Sebastian Film Festival In the year 2006 Zillion film had three premieres of the following pictures: TAILOR’S SECRET by MILOŠ AVRAMOVIC, TOMORROW MORNING by OLEG NOVKOVIC and THE OPTIMIST`S by GORAN PASKALJEVIC THE OPTIMIST`S by Goran Paskaljevic, Zillion film, is co-coproducer with NOVA FILM, ZEPTER INTERNATIONAL and WANDA VISION. Zillion film offers co-production services for feature films over Serbia and Montenegro territory.

Zillion film, at 2011 in the independent production, made politically engaged film titled WHITE LIONS directed

by Lazar Ristovski, who plays the lead role in the film. The film was very well received by audiences at the time of great crisis in Serbia and made 50 000 spectators at the box office.

Lazar Ristovski is the owner of Zillion Film Productions.

Contact details: Zillion Film | Gundulicev venac No. 42 | 11000 | Belgrade T: + 381 11 3034761 | zillion@open.telekom.rs | www.zillionfilm.com

INDUSTRY PROFESSIONALS

201

Dragana Latinovic

serbia In recent years Arbos has produced a significant number of documentaries, music videos and commercials. "The Party" is the first feature film produced by the company. Arbos is located in Novi Sad, 80 km from Belgrade.

Company will continue with production for TV, but also prepares two new feature film projects.

- founded 1994 - highly educated and skilled professionals in film and video production - film and video production - script development - production design - film and video shooting - film and video editing - postproduction - directing - sound editing - VFX and animation - marketing activities - TV production Contact details: ARBOS | Pavla Papa 14 | 21000 | Novi Sad - Serbia T: +381 69 1979 700 | F: +381 21 521 251 | dragana.latinovic@gmail.com - contact@arbos.rs | www.arbos.rs

202

slovenia

Miha Celar

Contact details: RTV Slovenija | Kolodvorska 2-4 | 1000 | Ljubljana miha_celar@yahoo.com | http://vimeo.com/23527259

slovenia

Urban Golob

Contact details: RTV Slovenija | Hudourniska 42 | 1000 | Ljubljana T: + 386 1 4275 403 | urbangolob@siol.net

slovenia

Haidy Kancler

Contact details: RTV Slovenija | Kolodvorska 2-4 | 1000 | Ljubljana platnspiler@gmail.com | www.rtvslo.si

INDUSTRY PROFESSIONALS

203

slovenia

Denis Miklavcic

RTV Slovenija is the only public broadcaster in Slovenia. It is comprised of two general TV channels, the parliamentary TV channel and two regional TV channels (one of them is bilingual: Italian and Slovene).

The broadcaster has a diverse production from various programme genres and produces around thirty 50- minutes documentaries per year.

Radio-television Slovenia is “a public institution of special cultural and national importance performing public service in the field of radio and television activities … with the intention of fulfilling democratic, social and cultural needs of the citizens of the Republic of Slovenia, Slovenians abroad, Slovenian national minorities in Italy, Austria and Hungary, Italian and Hungarian national communities in the Republic of Slovenia …

The public service of RTV Slovenia has been established by the Republic of Slovenia.

Contact details: RTV Slovenija | Kolodvorska 2 | 1550 | Ljubljana T: +386 41 324 058 | denis.miklavcic@rtvslo.si | www.rtvslo.si

slovenia

Andraž Pöschl NATIONAL TELEVISION

Contact details: RTV Slovenija | Kolodvorska 2 | 1000 | Ljubljana T: +386 1 475 3168 | andraz.poeschl@rtvslo.si | www.rtvslo.si

204

slovenia

Eva Rohrman

Forum Ljubljana is an independent production company. It was founded in 1994. Since 1994 Eva Rohrman, the co-founder of the Forum Ljubljana and its managing director, produced numerous short projects. Filmography (feature films): "Suburbs" by Vinko Möderndorfer, 2004; "Landscape No.2" by Vinko Möderndorfer, 2008; "The Parade" by Srdjan Dragojevic, 2011 - coproducer, "Inferno" by Vinko Möderndorfer - in pre-production.

“The Parade” will be premiered in february in Berlin.

"Landscape No.2" was Slovenian candidate for the Academy Award for Best Foreign Language Film. It was premiered in Venice and selected for many international festivals. The film was the absolute winner of the Slovenian national festival, where it received six awards, among them for the “Best Film”, “Best Director”, “Best Supporting Actress”, “Best Photography” etc. Landscape No.2 received "Best Screenplay" Award at Brooklyn IFF and “Special award for Best Director” at Leskovac International Film Festival. "Landscape No.2" was coproduced by Delirium Films from Serbia. Its sales agent is the French company Wide Management.

“Suburbs” was premiered in Venice and in Montreal and was also selected for the Karlovy Vary, Cannes and other festivals. SUBURBS received one national award (for “Best Film” according to film critics), five international awards: The Young People's Award for the Best Film (Montpellier); Award for Best Film According to the Film Critics (Festival of Slovenian Film); Special Jury Award (Annonay); Best Actor Prize (ARIFF); Best Director Award (Art Film Festival); FIPRESCI Special Award (Palic IFF). “Suburbs” was selected for the "Variety Critics' Choice: Europe Now" in 2005.

Contact details: Forum Ljubljana | Kersnikova 4 | Si-1000 | Ljubljana - Slovenia T: +386 41 320 217 | F: +386 1 433 80 74 | eva.rohrman@mail.ljudmila.org www.pokrajina-st2.org - www.predmestje.org - www.filmparada.com

INDUSTRY PROFESSIONALS

205

STAFF

208 FRIULI VENEZIA GIULIA AUDIOVISUAL FUND 209 TRIESTE FILM FESTIVAL 210 AUDIOVISUAL CLUB OF CONFARTIGIANATO UDINE

207

FRIULI VENEZIA GIULIA AUDIOVISUAL FUND - Paolo Vidali - Alessandro Gropplero - Elisa Bordon

italy

First experience in the Italian panorama, the aim of the FRIULI VENEZIA GIULIA AUDIOVISUAL FUND is to support the development of local film companies and promote the regional audiovisual works in national and international markets.

The Fund operates in three main sectors: training, to encourage the participation of local audiovisual professional in national and international courses for directors, scriptwriters, producers, editors, camera operators, and sound engineers; development, to cover all the activities between the idea and the production phase, from the script-writing and the research, to the casting, the fund raising and the presentation of a teaser; distribution, along with the promotion of the projects, this last action includes a financial support to cover production expenses, so as to create more competitive products.

Along with the ordinary management of the fund, the FVG AUDIOVISUAL FUND has organized several events aimed at creating platforms for cinema professionals from all around the world and developing the local audiovisual industry. The main purpose is to offer new training possibilities and set up new market places, where professionals can meet up, share experiences and start to collaborate.

Contact details: Friuli Venezia Giulia Audiovisual Fund | Via Asquini, 33 | 33100 Udine - ITALY T: +39 0432 500 322 | F: +39 0432 200 825 | info@audiovisivofvg.it | www.audiovisivofvg.it

208

TRIESTE FILM FESTIVAL - Cristina Sain - Elena Giuffrida

italy

In more than 20 years of activity the Associazione Alpe Adria and its main project, the Trieste Film Festival, have always stood out for the originality of their initiatives. The festival has analysed and brought to light films and directors that have been forgotten for many years. In these years, the Trieste Film Festival has acquired increasing importance nationally and internationally, becoming a unique point of reference, above all as regards the film-making of Central and Eastern European countries.

At a national level, the festival plays a leading role, being the only festival to have dealt with the film production of these countries for years and with scrupulous attention.

Nor is it a coincidence that the initiative should have been founded in Trieste, a Central European but above all multi-ethnic and multi-cultural city that has always provided a gateway to the east.

The public has always supported the event in exemplary manner. Indeed, in recent years, the venue has had to be changed to increase the number of screens and to seat a demanding public that is constantly growing in number. The Trieste Film Festival is currently followed by all the most important printed press, television, radio and webmagazines.

Contact details: Trieste Film Festival | Piazza Duca degli Abruzzi, 3 | 34132 | Trieste - ITALY T: +39 040 3476076 | F: +39 040 662338 | info@alpeadriacinema.it | www.triestefilmfestival.it

STAFF

209

Audiovisual Club of Confartigianato Udine - Rachele Francescutti

italy

Confartigianato Udine is the most important trade association in the province of Udine, representing tradesmen, small and medium enterprises and autonomous workers. For two years Confartigianato Udine proposes a project dedicated to support the entrepreneurial aggregation and the cultural growth of small and medium enterprises of Friuli Venezia Giulia, operating in the sector of cinema and audiovisual productions: FVG Audiovisual Club of Confartigianato Udine. The Club is a meeting place that allows business owners to investigate topics of common interest, share techniques and specific informations of cultural events.

The Club aims to: give voice and authority to the system of local SMEs of cinema and audiovisual services, helping businesses to upgrade and develop national competitiveness; to promote and support companies interested in developing co-production projects; to organize debates, meetings, courses on specific themes of the audiovisual industry and culture, while to support collective participation in fairs and other events. establish relationships and alliances with other clubs, organizations and national and international partners working in similar areas.

According to the recent increasing number of co-productions realized by the Autonomous Region of Friuli Venezia Giulia and Eastern European countries and the constant need for our film professionals to explore in detail the European film industry panorama, the FVG Audiovisual Club of Confartigianato Udine confirms the intent to participate of the second edition of WHEN EAST MEETS WEST - Cross-border Meeting by promoting the event among regional producers and committing financial support to the initiative.

Contact details: Confartigianato Udine | Via del Pozzo, 8 | 33100 | Udine - ITALY T: +39 0432.516770 | rfrancescutti@uaf.it

210

STAFF

211

index participants

52 176 175 189 112 146 12 189 10 165 208 170 44 189 179 164 28 112 190 183 190 203 176 58 168 190

Alfieri Serena Arutyunova Anna Balinski Robert Barbiani Erica Barbieri Giotto Barfod Kirstine Bazzoli Maria Silvia Biasi Juliane Bjork Klara Blaney Martin Bordon Elisa Borrelli Nicola Bozhilova Martichka Bozzer Alessio Briski Sabina Buder Bernd Budisavljevic Dana Bush David Canderan Christian Carlsson Gunnar Carraro Annamaria Celar Miha Cernat Ruxandra Cernec Miha Cian Carmen Cocozza Massimiliano

28 191 58 192 163 192 192 12 193 177 140 14 62 193 193 48 76 84 210 169 102 194 191 209 174 161

Cogelja Miljenka Covelli Alfredo Cvitkovic Jan D’Ambrosio Ivan Danelia Keti Daniel Manuela Dell’Olio Danilo Di Lenardo Patrizia Doktoric Ales Domazetoski Una Donzelli Marta D'orzi Massimo Elmquist Julie Eniti Augusta Fasulo Alberto Ferro Brand Flink Markku Fracchia Edoardo Francescutti Rachele Fusco Marco Valerio Garfield Milena Garlatti-Costa Massimo Gergolet Ivan Giuffrida Elena Gjerdrum Finn Glimsdal Silje 213

214

203 30 208 201 166 161 171 181 146 158 178 136 181 159 106 98 159 18 203 164 179 162 38 122 108 144 202

Golob Urban Granqvist Helene Gropplero Alessandro Grozdanic Gorana Havas Agnes Heiberg Mette Hendel Lorenzo Hocevar Danijel Højgaard Johansen Louise Hribar Hrvoje Hronec Ivan Iacampo Barbara Ivarsson Ralf Ivisic Ivana Juric Tilic Ankica Juricic Sinisa Juvancinc Hrvoje Kajrishvili Tinatin Kancler Haidy Karklin Diana Kastelicova Hanka Kemppinen Petri Ketkovich Vladislav Klemenc Dunja Koseva Nadejda Kvatashidze Alexander Latinovic Dragana

194 68 164 157 194 195 195 106 204 120 195 158 128 196 178 182 165 175 66 191 160 140 196 196 80 188 172

Leghissa Nicole Lytikaeinen Leila Manthey Brigitta Marianovic Jovan Marino Luigia Marroccu Yassine Marco Marzona Stefano Matanic Dalibor Miklavcic Denis Millard Heather Minigutti Dorino MiĹĄkovic Slobodanka Mladenovic Dijana Morena Sabrina Morogovic Miroslav Muir Anthony Nemeth Beatrix Nicolayssen Hans Otto Nikolic Jovana Oleotto Matteo Oplatkova Petra Paonessa Gregorio Parisi Francesco Pasqualini Marta Pavlin Ales Pavlovic Yure Petrillo Cesare

197 160 168 204 191 188 161 169 159 157 201 205 174 180 197 209 20 167 48 163 156 132 197 178 174 179 INDEX PARTECIPANTS

Petrone Raffaele Petrovic Martina Piscitelli Cristina Pöschl Andraž Princic Igor Radeljak Matija Rasmussen Ene Ravina Camilla Ravlic Sanja Rios Perez Sergio Ristovski Petar Rohrman Eva Rossiné Hans Rutar Jozko Sabia Fulvio Sain Cristina Sandecka Gosia Sandrone Silvia Seliskar Petra Sellam Golda Sonaglioni Alessia Stalter Judith Stalzer Anna Stankovic Igor Stavik Frank Strelkova Alexandra

180 198 24 34 184 172 173 42 42 168 198 108 199 199 163 170 156 188 208 165 162 183 199 166 156 200

Stergel Jelka Suppa Pasqualino Tarim Derya Taschler Andrea Taylor Sam Tealdi Stefano Thiltges Jani Thor Fridriksson Fridrik Thorhannesdottir Gudrun Edda Tosetti Donatella Trevisan Nadia Tsotsorkova Svetla Urban Giacomo Urban Tommaso Valle Marie-Pierre Valmarana Cecilia Van Bockstael Olivier Venturin Luka Vidali Paolo Vivancos Patrice Volanen Sari Werner Michael Zaccaron Marta Zachar Balázs Zappe-Heller Iris Zoratti Carlo 215

graphic design ntnnna

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