Wemw 2014 catalogue preview by elisa bordon

WHEN EAST MEETS WEST january 20-22, 2014

organized by

in collaboration with

with the support of

under the patronage of

Film Producers Netherlands LogoSolo2_uncoated.indd 1

in partnership with

with the technical support of

Savoia Excelsior Palace

09-03-11 14:47

WHEN EAST MEETS WEST january 20-22, 2014

4 foreword

CONTENTS

6 selected projects 98

industry guide

198

wemw partners

208

staff

214 INDEX PARTiCIPANTS

The Friuli Venezia Giulia Region has been described as a “bridge” between Western and Eastern Europe so many times that there is a danger of this becoming a meaningless cliché. Naturally, we are convinced that it isn’t! Indeed, over the years WHEN EAST MEETS WEST has proved a genuine opportunity for cinema industry insiders to meet and share stories; it has facilitated the search for new collaborations and, often, for new audiences. What we offer is a virtual bridge of course, which, like a real one, tries to unite people, makes the exchange of ideas easier, and is committed to launching and developing new projects. We are all hoping that 2014 will be the year of recovery, after one of the worst economic crises Europe can remember. But we are also acutely aware that we need to find new paths to prevent a similar crisis from ever happening again. If we look at WHEN EAST MEETS WEST - this little bridge opening in Trieste for the fourth time - we feel confident (and really rather proud) that new paths can originate here too. But then this is what the 200 applicants from 29 countries must have thought too - we had a record number of applications this year. However, we must confess that we like crowded bridges very much!

FOREWORD

Organised by the Friuli Venezia Giulia Audiovisual Fund with the Trieste Film Festival, in collaboration with EAVE, Antenna MEDIA Torino, Maia workshops, Eurimages and with the support of MEDIA Programme, Direzione Generale per il Cinema - MiBACT, CEI (Central European Initiative), Confartigianato Udine and the Regione Autonoma Friuli Venezia Giulia, the 2014 edition of WHEN EAST MEETS WEST will be a three-day event dedicated to producers and decision-makers from Italy, Eastern Europe and the Benelux countries - Belgium, The Netherlands and Luxembourg. Our aim this year is again to create an event able to generate close ties between the participating regions and countries. Cinema professionals from many different geographical backgrounds will gather in Trieste for a series of round-tables, master-classes and case studies organised to facilitate opportunities for collaborations between Eastern European producers and Western companies, and vice-versa. This makes the Friuli-Venezia-Giulia Region a unique point of reference for such initiatives. Film and documentary producers from Albania, Belgium, Bosnia Herzegovina, Bulgaria, Estonia, Georgia, Italy, Lithuania, Luxemburg, Macedonia, The Netherlands, the Czech Republic, Romania, Turkey and Hungary will meet with broadcasters, distributors and representatives of funds and markets, so as to present the whole range of production and distribution opportunities, as well as financial resources, available to the industry. We are confident that the 2014 edition of WHEN EAST MEETS WEST will again prove very popular with industry insiders and consolidate what is, in our opinion, an essential initiative for the development of audiovisual companies of the New Europe. PAOLO VIDALI Director FRIULI VENEZIA GIULIA AUDIOVISUAL FUND

SELECTED PROJECTS

A total of 22 international projects from 15 different countries will participate at the 2014 edition of When East Meets West. The final line-up includes 12 fiction feature films and 10 documentaries selected by the WEMW international evaluation committee amongst 200 applications from 29 different European countries.

1313 DANTE'S EMPEROR | Amour Fou

BLOOD MONEY | NAR FILM

LUXEMBOURG

TURKEY

22 26

40 44 48

50 54

ROMANIA

NEVER GIVE UP | W.I.P.

CZECH REPUBLIC

NO TRAIN TO GERMANY | LOKOKINA STUDIO

GEORGIA

56 PARTISAN & COURTESAN | LAOKOON FILM

HUNGARY

BELGIUM

Bulgaria

BELGIUM

THE FROG | REFRESH PRODUCTION

THE GAME OF PIRATES | AMRION PRODUCTION

NETHERLANDS

SEARCHING FOR ANTIGRAVITY | STUDIO NOMINUM

THE NETHERLANDS

RAFAﾃ記 | RINKEL FILM

BOSNIA AND HERZEGOVINA

MACEDONIA

WALKING PACE | ACHAB FILM

ALBANIA

WHEN FUCKING SPRING IS IN THE AIR | NFI MOTION PICTURES

BELGIUM

LITHUANIA

ESTONIA Italy NETHERLANDS

WHITE ELK | INCANDENZA FILM

ITALY

WOMEN ON THE BORDER | QUASAR MULTIMEDIA

ITALY

1313 - Dante’s Emperor Genre Director Writer Producer Budget Company

Docu - Science - Fiction Bady Minck Guig Jost, Bady Minck A. Dumreicher-Ivanceanu, André Fetzer € 3.900.000 AMOUR FOU Luxembourg

André Fetzer Alexander Dumreicher-Ivanceanu Contact details AMOUR FOU Luxembourg 49-51, rue de Warken L-9088 Ettelbruck - Luxembourg T: +352 81 16 81-1 F: +352 81 16 81-82 christian.mueller@amourfoufilm.com (assistant) www.amourfoufilm.com

SYNOPSIS

After living under the earth for 700 years, Henri VII of Luxembourg, Holy Roman Emperor, returns to the present day to find out what happened to his family, his empire and his dream of an ideal society. On one underground level he meets Dante. He is still taking care of the Inferno which, meanwhile is computer controlled. '1313 - Dante's Emperor' shows that history is not a fixed past but changeable and which is subject to continuous transformation. Historical figures live in the present, in the deep layers ot the planet's unconscious, and influence world affairs. DIRECTOR’S NOTES OF INTENTION

PROLOGUE Since my childhood historical figures, whether real of mythical, have fascinated and inspired me. From then on I collected everything about them that I could find, filling notebooks with pictures and articles from my museums of bygone days and communicating with them: Anaximander, Aristarchus, al-Bῑrῡnῑ, Joan of Arc, Eratosthenes, Ermesinde, Homer, Copernicus, Christine de Pizan, Don Quixote, al-Umari, Yajnavalkya Vajasaneya, Yolanda vu Veiannen. I draw on their work. Not long ago a summer breeze brought me author Guig Jost and she told me about Hary VII (Arrigo Settimo / Enrico VII / Henri VII / Heinrich der VII) and the numerous traces he left in Italy. She showed me pictures of his ostentatious tomb in Pisa, photos of streets and squares names after him, reports of a favourite meat dish to which he had given his name and a village that is called "Lucemburgo" because of him. She also told me of the celebrations—large and small—that are annually held in his honour in Toscana and that in 2013, because it was the 700th anniversary of his death, a number of substantial celebrations were to take place.

Although I could vaguely remember that there had been a Luxembourg emperor of that name who had been mentioned in a history lesson, it was too faded for me to have much interest for him. So what could it be that so fascinates the Italians about this emperor from Luxembourg— now long forgotten in his homeland—that they regularly consume him? Guig Jost told me of Dante and his admiration for Arrigo VII, whom he honoured in song in his DIVINNE COMEDY as the ideal ruler, going as far as to reserve a place for him in paradise. I experienced a tremendous magnetism in the combination of these two visionaries, an energy field of duality, oscillating between art and politics, ruler and persecuted, between Italian and Luxembourger, past and future.

who would be the best actor to embody him at the age of 33, shortly before he left this world forever. In the few depictions that exist of him, he is shown as a delicate figure with soft, noble mien. His face reminded me of Vicky Krieps (DIE VERMESSUNG DER WELT, ANONYMOUS, DIE MÖBIUS AFFÄRE) and since I know Vicky is a good rider and will soon be the appropriate age, I asked her. Vicky has always wanted to take on a male role, especially one as difficult as this. I imagine the figure of Arrigo to be as strong and directed as Joan of Arc but also as curious and misguided as Don Quixote too; sometimes mounted, exploring the Kasematten (a cave system in Luxembourg), sometimes the countryside and villages of Toscana.

Of all his oeuvre, it is the visionary poetic power of Dante’s DIVINE COMEDY that has inspired artists most through the centuries. And the architecture of his imaginary world—the inferno, purgatory and paradise—conjures up complex and fascinating filmic worlds.

I want to realise the film as a docu-fiction. The fictive element will depict a few months in the lives of Hary and Dante. Since what we know about Hary is mainly historical fact, we looked for other sources outside of the history books. Guig Jost tracked down a number of Italian legends about Arrigo, three of which we have built into our film concept.

As if this was the Big Bang of a new universe, I looked into a cosmos that united two polar opposites and simultaneously linked the bygone world of the fourteenth century, the 2014 present and the future with Dante’s oneiric universe.

We will also build into the film the wonderful drawings from the CODEX BALDUINI. These depict Arrigo’s life as a kind of medieval comic strip. Some of them will be built into the plot as a comic book while others will have life breathed into them in a restaging that uses actors.

Within this parallel world I see Arrigo VII on his horse exploring the present-day world, searching for traces of his widely scattered family. I envisage him meeting Dante in the underworld and going on to explore the inferno with him. I mourn with Arrigo that there are so few traces of his family to be found in Luxembourg, I am happy for him about the celebrations that took place at numerous places in Italy in 2013 to mark the 700th anniversary of his death and which we filmed during research for the screenplay.

Just as Dante made a tripartite division in his Comedy, the film will also have a three-part structure: Dante’s world—inferno, purgatory and paradise—will be reflected in the film on various levels. Arrigo’s life will be told on the basis of three legends. The film languages will be old Luxembourgish (Arrigo), French (Arrogo’s court), German (Nik Welter’s theatre play, DANTES KAISER) and Italian (Dante). On the sound level there will be discords, sonanzen and harmonies.

I would like to bring Arrigo to life in flesh and blood. I have considered

The film will be a kind of retro-futuristic icon painting, embodying icons based on a mixture of 20% documentary material and 80% fictitious 11

elements, an interlacing of past, present and future. COMPANY PROFILE

Founded in Luxembourg in 1995 and in Vienna in 2001, AMOUR FOU Luxembourg and AMOUR FOU Vienna realize artistically exceptional feature, documentary and short films for the international market with international and European partners. AMOUR FOU stands for vision and pushing the envelope, whether in regard to aesthetics, production or distribution strategies. The focus is on European independent auteur cinema and the distinctive "handwriting" of the directors who work with AMOUR FOU. The associate partners of AMOUR FOU Vienna /// Luxembourg are Bady Minck and Alexander Dumreicher-Ivanceanu. SELECTED FILMOGRAPHY: Naked Opera, D: Angela Christlieb, 2013, awarded with the Press Jury Prize at the IFF Message to Man, St. Petersburg 2013 and with the Heiner Carow Award at the Berlinale Panorama 2013 The Notebook (Le Grand Cahier), D: János Szász, 2013, awarded with the Grand Prix Crystal Globe & Europa Cinema Award at the IFF Karlovy Váry 2013 Hannah Arendt, D: Margarethe von Trotta, 2012, awarded with the German Film Award Lola in Gold for Best Actress Barbara Sukowa and the Lola in Silver for Best Film Hot Hot Hot, D: Beryl Koltz, 2011 Taxidermia. D: György Pálfi, 2006 Ma Mère, D: Christophe Honoré, 2004 In the Beginning was the Eye, D: Bady Minck, 2003, International premiere at Cannes 2003 - Quinzaine des Réalisateurs.

PRODUCER’S PROFILE

Alexander Dumreicher-Ivanceanu (*1971 in Vienna) studied philosophy and film theory. In 1989 he started working as an independent film critic for Austria’s Public Radio and several newspapers and film magazines. He subsequently worked as a distributor for Polyfilm Distribution, as a film programmer for movie theatres and as a curator for film festivals in Germany, Switzerland, France, Luxembourg and Austria. Since 1995, the year AMOUR FOU Luxembourg has been created, Alexander Dumreicher-Ivanceanu is working as a producer between Austria and Luxembourg. He is a member of the AAFP (Austrian Association of film producers), the ULPA (Union Luxembourgoise de la Production Audiovisuelle) and of the Austrian and Luxembourgish Film Acadamy. He is currently producing ‚Fever’ by Elfi Mikesch, that was presented last year at WEMW, ‚Amour Fou’ by Jessica Hausner and ‚The Giacomo Variations’ by Michael Sturminger starring John Malkovich, all to be completed in 2014. WRITER & DIRECTOR’S PROFILE

Bady Minck was born in Luxembourg and works as an artist, filmmaker and film producer in Luxembourg and Vienna. The films she directed and produced have been invited to more than 900 international film festivals, including the festivals of Cannes, Berlin and Toronto. They have received numerous awards and special mentions, among them the 'Award for the Cinema of the Future' at Pesaro 2003 (for In the Beginning was the Eye). In 2009, Bady Minck was a member of the Orizzonti jury at the 66th Venice Film Festival. She is the co-founder and managing director of AMOUR FOU Luxembourg and a founding member and associate partner of AMOUR FOU Vienna. She is currently working on ‘Mappa Mundi’, that will be finished in the beginning of 2014.

BLOOD MONEY Genre Director Writer Producer Budget Company

Drama Kıvanç Sezer Kıvanç Sezer Soner Alper € 580.000 Nar Film

Kıvanç Sezer

Soner Alper

Contact details Nar Film Caferag˘a mah. Sarraf Ali sk. No:25/3 34710, Istanbul – TURKEY T: (+90) 216 418 42 06 F: (+90) 216 336 26 34 info@narfilm.com – kivancsezer3@yahoo.com www.narfilm.com

SYNOPSIS

Ibrahim (49) is a Kurdish worker who has been working in construction sites for 30 years. He is from Van (a distant city in Turkey) and has two children. He sends most of his income to his family back in his hometown. The family lives in prefabricated containers as their house was destroyed in the earthquake a year ago. Yet they have entitled to a house after the lot for TOKI (mass housing project by government) houses. However they eventually should pay the credits of it for years. Having had health issues, Ibrahim sees a doctor only to learn that he has lung cancer. His cancer is in the terminal stage. He receives chemotherapy but can’t continue because of its side-effects. His family is about to move to the new house and Ibrahim doesn’t want to spoil their happiness mentioning his cancer. He looks for money in the meantime but he can’t find. Ibrahim consoles himself with his daughter’s paintings that she draws her father as a hero. His plan is to get his unpaid salary and go back to his hometown. Foreman however stalls of him. In the housing estate construction site Ibrahim is a head workman of his team. This team is recruited by the Foreman (45) who controls and organizes the insulation work of all buildings for the sub-contractor firm. Ibrahim's nephew Yusuf (25) also works together with Ibrahim. Yusuf is an ambitious, bouncy but weird guy. He works hard and aiming at becoming a foreman and being the boss of his own business. Yusuf spends his spare time with his girlfriend Nihal (21). Meanwhile Foreman should finish the work as he promised to the subcontractor firm otherwise he will make a loss. He then forces the workers working hard for long hours. Lost in despair, Ibrahim seeks remedy in going to a Hodja (a religious scholar) who claims to cure people with herbs and prays. He starts to drink herb teas prescribed by the Hodja regularly. As a consequence of these uncontrolled and non-stop working conditions, Firat (20) -a college student who works in the construction site- falls

down while working in the scaffold of the building. He passes away in the hospital. The firm offers to give 100,000 TL to Firat's family in return for not filing a complaint against them. When Ibrahim gets to know this, he feels sorry for the boy and then an idea pops up in his mind. It is simply committing suicide that seems like an accident so that the firm will pay blood money to his family to pay the credits of the house in the future. Thus, his death could help his family more than his life. Even though Yusuf and Nihal can date for a limited time, they have a good time together. Yusuf’s attitudes change totally when he is with her. Nihal is a saleswoman who works in an underwear store. She also works too much. This relationship is the source of happiness for Yusuf even if there is no sexuality in it. They mostly dream about future.. Having noticed that he is about to faint a few times, Yusuf asks his uncle whether he is ill or not. Ibrahim hides his cancer also from Yusuf and he is almost obsessed with his idea. So Yusuf tries to convince Ibrahim to have rest because of the dangerous nature of this work; Foreman notices that Ibrahim doesn’t work well so that he is about to fire him. Ibrahim stops drinking herbs and thinks of his wife and children. There is no way out. In a day when everything seems normal, Ibrahim goes to the floor on which they are working. He looks around and holds the pole of the scaffold. It happens all of a sudden. Then we see a bird flying above the construction site. Since it is not certain if it was a suicide or a work accident, Foreman calls Yusuf and Ibrahim’s wife to meet with executives from the firm. The firm doesn’t want trouble. An executive and a lawyer propose them a contract defining a very small amount as blood money because of Ibrahim’s age and condition. Foreman is sure that Yusuf will agree their offer however he unexpectedly objects to the sum and they start to bargain. Ibrahim’s wife gets disturbed by this bargain. Foreman gets angry and leaves the place. Nevertheless, they come to terms on 50, 000 TL and sign the contract. Having done that, Yusuf has lost an important connection for his career so he feels defeated, Ibrahim’s wife weeps meanwhile.

DIRECTOR’S NOTES OF INTENTION

I’m driven to write this film because preventable work accidents have become an ordinary way of dying for the workers all over the world, mostly in developing countries. Turkey however, has become the third country in the world for work accidents and ranks first in Europe which causes at least 3 workers dying a day. Workers are the insignificant, temporary and replaceable elements, particularly in the construction industry. It is strictly related to the economical boom happened in the past 10 years in Turkey. The heart of this boom is the construction industry. However the price of this boom is the work accidents that victimize the workers. One third of them are construction workers. Turkey as a developing country has its own way and history of modernity which is changing our lives incredibly fast. There is a strong link between modernity and work accidents so that this film will try to reveal this link through the case of housing. Because it is a key tool for Turkish modernity economically and culturally for the latest 30 years related with the internal migration. Housing is no longer a human right in this new era but it is a way of making profit. I am considering Ibrahim’s case as a refined example for this dilemma. He is a construction worker, an earthquake victim and a father. The circumstances drive him into a situation in which the only chance is sacrificing his own life to create a better future for his wife and children. The heart of the drama is the link between Ibrahim and his family which is not shown during the film since he is away for tens of years. Thus the audience and Ibrahim will be in the same distance to his family. Ibrahim’s 7 years old daughter will express her feelings to her father by her drawings of which Ibrahim keeps close and look at them often. Watching this tragedy of Ibrahim, the audience may be faced by an ironic question: how much does a worker's life cost? Moreover, the human life can ever be a matter of bargaining? The audience will seek the answer of this question while witnessing the other construction workers’ hopes, passions despairs and love.

Since Ibrahim is the protagonist of the film, Yusuf, Nihal and Foreman are other critical characters depicting the whole picture of these worker’s lives. Here we have a dark story but I am intending to balance the mood of the film putting gaps especially through the relation of Yusuf and Nihal in order to let the audience breathe and smile a bit. So it won’t be an absolute dark film. I will use mostly hand-held camera to follow mostly Ibrahim as natural as possible. I will try to set the scenes through simple and sometimes long takes always focusing the mood of the protagonist. The weather will be a key element reflecting this mood. While Ibrahim’s tragedy will be reflected with a muggy weather mostly in the construction site, Yusuf’s affair will be as shiny as possible in bright colors. Besides I will use some combinations of close-ups and distant shoots together in order to put the locations –construction site, dorms and others- into foreground. The contrast of the sizes of man and construction is a crucial visual aspect of the film. So I am focusing on the "space" rather than the "time". I am considering this film as the first film of a "home trilogy" and other films of this trilogy will emerge from this film. COMPANY PROFILE

NAR FILM is founded by award-wining director Özcan Alper and Producer Soner Alper. The company is one of the major art house film companies in Turkey. "AUTUMN" (2009) and "FUTURE LASTS FOREVER" (2011) are the Özcan Alper’s feature films which were awarded and screened in Locarno, Toronto and many other prestigious festivals. Besides this potential of art house film production, Nar Film also distributes some important films in Turkey such as "HUNGER" (2008). Nar Film recently produced a docudrama "SAROYANLAND" which was selected Istanbul Film Festival National Competition, Locarno Open Doors, Hamburg Film Festival and awarded in Malatya International Film Festival and Golden Apricot Film Festival, Yerevan.

PRODUCER’S PROFILE

Soner Alper was born in Artvin. He graduated from Statistics in Ondokuz Mayıs University. He worked in production and distribution phase in "AUTUMN" (2008) the first film of Özcan Alper. He has been the coordinator of the "International Caucasian Film Days" supported by Ministry of Culture. He is one of the founders of Nar Film. He is the producer of "TMMOB" documentary and feature film "FUTURE LASTS FOREVER" (2011) both directed by Özcan Alper. Recently he worked as the producer of documentary titled "SaroyanLand" which is selected to 32. Istanbul Film Festival National Competition. WRITER & DIRECTOR’S PROFILE

Kıvanç Sezer, writer and the director of Blood Money, was born in 1982 in Ankara. He graduated from Bio-engineering in Ege University. He never worked as an engineer. He went to Italy and followed courses on editing for two years. When he came back to Turkey he worked as an editor for several TV programs and worked as assistant Director in TV documentaries. His first documentary "The children of Turabdin" awarded 3rd Project in Gianandrea Muti documentary Project contest. He wrote and directed a short film "How Much" about gender issue. It was selected for Screening in Golden Orange Film Festival. His last short film "Game of Hera" was shot with a Professional crew in 2012. Blood Money is the debut feature film project of the director.

BURNING PICASSO Genre Director Writer Producer Budget Company

Documentary Remus Achim Octav Gheorghe, Lex Boon Andrei Boncea, Cristina Badea € 320.000 EUROART FILM

SYNOPSIS

Burning Picasso tells the story of the art robbery that shocked the world in October 2012, when 7 masterpieces by Picasso, Monet, Gauguin, Matisse, Lucian Freud and Mejier de Haan were stolen from the Kunsthal Museum in Rotterdam by three Romanians from a small village near the Danube Delta. Radu Dogaru, the young mastermind of the heist, was arrested several months later, together with his two accomplices, but unfortunately the paintings were nowhere to be found. As the prosecution later discovered, allegedly, Olga Dogaru, the mother of the main suspect, shoved the stolen artworks into a stove used to heat a sauna at her family home and set them on fire, in a desperate attempt to destroy evidence and save her son from going to jail. Through interviews, material shot during the investigation and reenactment, the film shows the characters, the drama, the tension, the comedy of months of surveillance and interrogation, which end up with a trial in Bucharest but no recovery of the stolen art.

Andrei Boncea

Cristina Badea

Contact details EUROART FILM / Adenium Film Aurel Vlaicu 62-64 020097, Bucharest - Romania T: 0040748156667 cristina.badea@adeniumfilm.ro www.adeniumfilm.ro

It is also a film about culture clash in modern Europe. There is nothing more different than Rem Koolhaas architectural urban beauty of western world were these artworks were displayed for public wonder to the wild, derelict, lost, almost abandoned poor corner of Eastern Europe where they were destroyed in a suddenly unconscious act of art crime. And is also about the people of different walks of life and their understanding of art and its value in the networked world we are living today. DIRECTOR’S NOTES OF INTENTION

90 minutes, digital. Narrative, linear, epic, no artifice or experimental elements. Classic editing out of the interviews, materials from the in18

vestigation, fragments from TV news shows, reenactments for some key moments: visits to the museum, Radu and Natalia everyday moments in Holland, maybe short scenes from his childhood in Carcaliu. No voice over, the conclusions will be drawn from interviews and declarations. Local music, Russian, in the first chapter about Carcaliu. Original score, classical music for the rest of the film. Our intention is not to make a movie about a heist – setting up the team, planning, breaking into the museum and the getaway; we are not looking for the "Top 10 Greatest Robberies". We want to lower the camera to the human level, to the motivation level, to the interrogation of family relations and the personalities of the ones involved. A cinematic analysis of the two types of civilizations colliding with serious cultural consequences. A movie about how nuanced and geographically particular can the truth be: in Rotterdam is obvious – an empty museum wall, in Carcaliu is mute and unknown, in Bucharest is like mercury – heavy, slippery and toxic. "The robbery of the century" contains only a bit of art, probably only the few grams of ash left. The case is a collection of lies, forms of insanity, suspicions, fears, fantasies, sick minds, sane minds which simulate insanity and few objective glances. It's a spectacular case study of individual and social pathologies, rather than about police investigations and legal implications. Storywise, Natalia seems more interesting than the story of a painting. Radu Dogaru's relationship with the people around him is our exposition. This time a secure exposition, in which we try to enter delicately. It will not be a procedural story, based on the logic of facts; we want to explore human world, very particular and barely accessible. Plus, the case is not closed. The burning of the paintings is just a declaration, maybe just as volatile as the previous ones. One thief, Adrian Pro-

cop, is still free, probably in Great Britain, a country in which catching and extraditing a Romanian is very hard. It is an open case, which we don't want to close on an ethical or legal level. The events will continue to evolve during production and maybe long after it. COMPANY PROFILE

EUROART FILM is production company who has recently started working on feature films and documentaries. The team of the company is made of highly experienced film and TV professionals who have been working for over 15 years in the business. Their track record as producers include some of the most watched Romanian TV series, top Romanian cinema box-office hits and highly acclaimed and award winning feature films such as "California dreamin' (endless)" (2007, d. Cristian Nemescu), which won Un Certain Regard prize at the 2007 Cannes Film Festival or "Joyeux Noel" (2005, d. Christian Carion) which was nominated for Best Foreign Language Film of the Year at the 2006 Academy Awards. PRODUCER’S PROFILE

Andrei Boncea has over 15 years of experience as a producer of both feature films and TV series, raging from sitcoms to TV dramas or longrunning series. He has produced over 30 feature film,15 TV series and 15 TV movies. He has been a co-producer for major international productions like "Amen" (2002, directed by Costa Gavras), "Callas Forever" (2002, directed by Franco Zeffirelli), "Modigliani" (2004, directed by Mick Davis) or "Joyeux Noel" (2005, directed by Christian Carion). "California dreamin' (endless), (2007, directed by the late Cristian Nemescu" won the Un Certain Regard prize in the 2007 Cannes Film Festival. Andrei started his career in 1992 as journalist and joined the Media Pro group of companies in 1993. He held different jobs, from reporter to News Director, Head of Production and Head of Programs and Production for several years. 19

In 1999, he was appointed Chief Executive Officer of Media Pro Pictures S.A., the biggest film and television production company in Romania. In December 2009 Andrei became a Senior Vice President of the content division (Media Pro Entertainment) at Central European Media Enterprises Ltd. and in January 2012 he was appointed Head of Content ar Central European Media Enterprises Ltd. Cristina Badea started her career 11 years ago as a Research Analyst for TV in Bucharest, Romania. After doing this for a couple of years she moved on to be a Media Executive at the UK headquarters of Reckitt Benckiser, a multinational FMCG company. Much as she enjoyed the corporate world and the international working environment, she returned to Romania and took over the position of Research Director at Media Pro, dealing with various sides of the entertainment world, from TV and Internet to written press and cinema. Once the company was taken over by CME (one the largest Eastern European media companies) she moved to a new position, this time coordinating the content development research teams from the production companies in 6 countries. At the beginning of 2012 she took on a new challenge and started a production company (Adenium Film). The company had a very good start, with several production services contracts, one short movie already launched and projects in developments and financing stages. 2013 brought along further developments in her professional life. She participated in the European Producers Workshop at EAVE and Piexel Lab and she started collaborating with other independent production companies in Romania.

WRITER & DIRECTORâ&#x20AC;&#x2122;S PROFILE

Octav Gheorghe is an independent advertising professional with nearly 20 years of experience in the field. In 1995 he was appointed video production manager for a big Romanian advertising agency. In 2002 he became an associate for another advertising agency and held the position of Creative Director for nearly 10 years. Octav is also writing short prose and movie scripts. Lex Boon is an independent multimedia journalist with over six years experience in working for various Dutch media. Currently he is working for NRC Media, a Netherlands based publisher of daily newspapers and online news and for NOS, the biggest news organization in Benelux. Lex is also working on independent storytelling projects for which he is travelling the world. Remus Achim is a well known Romanian journalist and a photographer. He has over 10 years experience in covering current affairs and has been an international correspondent for a number of events. He is currently a producer for the Current Affairs news segment for ProTV, the biggest Romanian TV station. Remus is also working on independent foto and video projects, such as "Real people in real life", a project about the ordinary life of extraordinary people. Over the last years, Remus has directed several promotional materials and documentaries in Romania.

COUREUR Genre Director Writer Producer Budget Company

Drama Kenneth Mercken Kenneth Mercken Koen Mortier, Eurydice Gysel € 1.500.000 Czar TV

Kenneth Mercken Eurydice Gysel Contact details Czar TV Koolmijnenkaai 30 1080, Brussels - Belgium T: +32 2 413 07 70 F: +32 2 413 07 77 Eurydice@czar.be

SYNOPSIS

Young Felix’ idols are not the typical childhood heroes. He grows up as an inside spectator at cycling races of a small veterans league: a bizarre microcosm where alcohol, violence, drugs and especially his father, Mathieu, seem to reign. Felix is irresistibly attracted to this dark, mystical side of the sport. He tries to follow in his father’s footsteps, but suffers from delayed puberty, and fails terribly in his first race. Mathieu is deeply ashamed of him. When Felix is finally full grown, he turns out to be quite talented. Excited about his son`s potential, Mathieu initiates him into the shady, medical side of the sport. Felix soon learns more about the hidden secrets of the sport through his peers. He progresses fast and even becomes Belgian amateur champion. When Felix realizes that he is achieving what Mathieu never could, he rebels by refusing a dodgy pro contract, arranged by his father and signs up for an Italian semi-pro team. In Italy, the heavy training and the fact that his body does not respond to EPO – the cyclist’s wonder drug - drain him and make him lose his star rider status. He becomes frustrated and aggressive at the races. An infamous cycling doc puts him in front of an impossible choice. The only solution to his health problems is the constant use of growth hormone, which implies a high risk of cancer. On a visit to Belgium, Mathieu comes to the rescue by transfusing his own blood to him; maybe the only intimate contact father and son have ever had. Back in Italy, Completely isolated in the team house, he pushes himself past the borders of sanity to get in shape. When Felix's body fails again, Mathieu rejects him. Now nothing will prevent him from the downfall towards his dream, not even the threat of cancer. After all, what is cancer compared to winning the race of your dreams? DIRECTOR’S NOTES OF INTENTION

The French term Coureur is used in Flemish dialect to depict a cyclist. I think it’s a beautiful word. It brings up so much more connotations 22

than the rather neutral and generally used synonym ‘wielrenner’. The sharper tonal quality of the word in French somehow evokes to me the heroic side of the sport. Not just any cyclist deserves the honour to be called ‘coureur’ in Flemish. Just like the word ‘Flandrien’, it’s a merit that only comes to those who have spirits that are tougher than the steel of their frames. But to me it also has a pejorative connotation. In elementary school I was an outsider. I always found myself somewhere at the edge of the playground during recess. I watched the others play soccer or marble shooting, at least during moments when I wasn’t being bullied. I never told them about my exciting weekends at the bike races. They wouldn’t have believed me anyway. But they knew I didn’t care for anything else but becoming a cyclist. Coureur, they called me mockingly. Some good 10 years I find myself in the back of a car, packed with cyclists, all younger than 20, on our way to an Italian stage race. Each time we neared a border, I’d slide my hand into my training pants, grab a stack of cortisone tablets wrapped in plastic foil, and turn my head slightly towards the window. At a moment when nobody paid attention, I’d quickly stuff the roll into my cheek. In case of a border control, I was determined to swallow the whole lot. It was a time of paranoia; 1 month after the scandalous 1998 Tour de France, where it had come to light that several top teams were using Epo, growth hormone, testosterone, cortisone, Prozac even. Most of those substances were running through my veins, through most of the guys' veins in that car probably. And we were nowhere near the Tour de France yet. That same night at the hotel, one of them poured his semen into the ear of another guy who was trying to take a nap. After all, we were just kids. Kids trapped in a corrupted adult world. The struggle of the main character of Coureur - who is both physically and emotionally immature - is quite similar. A cyclist's body is a tool that is brutally forged by endless hours of training, starvation, steroids, heavy massages. Although Felix's body does not respond to any of that, he keeps pushing. Subconsciously, he does this to get closer to his father. Paradoxically, the bike pushes him further away from any kind

of love, paternal, motherly or even romantic love. Coureur will be a dark, physical trip through Felix's memories, with a non-linear, associative structure. The non-linearity mimics the generative, interactive and ongoing process of memories. By connecting different moments in time emotionally and thematically, the story should work on different levels, in an organic and intuitive way. One thing is of acute importance to me; I want to bring the viewer as close as possible to the experience of being in a bike race, inside a cyclist’s head. The American cyclist Jonathan Vaughters once said: ’If you want to feel what it’s like to be a bike racer, strip down to your underwear, drive your car 40mph, and leap out the window in a pile of jagged metal.’ His teammate Tyler Hamilton talked about transcendental experiences on the bike: ‘I know when I’m on the edge when I can taste a little bit of blood in my mouth. To me the whole point is to go out of yourself, to push over and over until you arrive somewhere new, somewhere you could barely imagine before.’ Both riders, in my opinion, are hinting at the dualistic nature of the sport. The euphoria of winning and the positive spiritual and physical aspects of the sport go hand in hand with its masochistic, narcissistic, destructive character. The dark side. It is almost impossible to put this into words. I want to use all the cinematic tools and parameters to bring this feeling to the screen. The film should have the feel of a bike race; in a race some moments just overcome you; sudden, violent outbursts over which you have no control. As if you are running on pure physical instinct. At other moments you sit back, breathe, become aware of your place in the peloton. That’s exactly how I experienced my life as a cyclist. One moment your muscles are burning and your heart is beating 200 beats per minute but this pain is nullified once you raise your hands in victory. Not much later you find yourself on a bed somewhere in a lonely hotel room, with an IV bag attached to your arm. Waiting for the EPO to work. Or not to work, as in my case. When you are on a bike 4, 5 hours each day, you have an overload of endorphins rushing through your brain. It’s like a constant high. You lose all sense of perspective and become a different person. But no

matter how much the sport blinds you, there are always moments of self-reflection. Moments when you suddenly realize how absurd it all is. This is why I have an eclectic style in mind; at times a very dynamic, naturalistic camera that is close on the skin and moves on the emotions of the main character. At other times I want to transcend that realism with stilled, poetic sequences. A more distant perspective. The sound and score – which I see as an organic unity, without a clear cut boundary between music and sound - should serve to enter into the subjective perspective of the main character. At intense, deciding moments it seems that you are in a heightened state of awareness. When I recall the first time I pulled up a flacon with performance enhancing drugs, I still hear the slurping sound of the needle, remarkably clear. By intensifying these sounds that have a psychological weight in a hyper realistic way, I want to evoke the emotional world of the character. Cycling, throughout history, has made its mark as an epic sport. A sport for heroes. But for every champion in a sport, there are plenty of forgotten losers. Coureur will focus on the tragedy behind that loss. COMPANY & PRODUCER’S PROFILE

CZAR TV is the fiction department of Brussels based production company CZAR BE. CZAR BE was founded in 2000 by Koen Mortier and CZAR NL, the Dutch head office. It represents a range of very successful directors and soon became one of the most creative production companies on the Belgian advertising market, generating many awards including twenty Lions at the prestigious advertising festival in Cannes. CZAR BE also produced the acclaimed commercial TNT Push to add drama, directed by Koen Mortier, that won 9 Cannes Lions that year. Together with their Dutch, German and French partners they continuously keep working on their international reputation. In 2010 Eurydice Gysel became executive producer of the company and conjointly leads the department of CZAR TV. She produced together with Koen Mortier the feature films Ex Drummer and May 22nd, both directed by Koen Mortier. In addition they produced the short films A Gentle Creature, Rivers Return and Perfect Drug, of which the 24

latter is currently partaking in competitions at numerous renowned international film festivals. Together with Graniet Film (NL) and Angel Films (DE), Koen and Eurydice produced Borgman, the new feature film by Alex van Warmerdam, that premiered in the Official Selection at the Cannes Film Festival. Additionally they co-produced Supernova by Tamar van den Dop and L'étrange couleur des larmes de ton corps by Hélène Cattet and Bruno Forzani, selected in official competition of the International Film Festivals of Ghent, Locarno and Toronto. Their latest project Waste Land by Pieter van Hees, starring Jérémie Renier, is currently in post-production and set to be released spring 2014. The BBC series The White Queen, a historic drama, is the first CZAR TV production and was aired during Spring 2013. Recent project in development that is supported by the Flanders Audiovisual Fund Coureur by Kenneth Mercken. It took part in the prestigious Binger and Torino Film Labs. WRITER & DIRECTOR’S PROFILE

Kenneth Mercken was a national amateur cycling champion in 2000. On his way to becoming a professional cyclist, he discovered that his body was not responding to the usual performance-enhancing drugs. The only way to achieve his goal would have meant taking life-threatening risks. Disillusioned with the sport, he decided to quit cycling and on a whim, enrolled in a film school. Still, after two years he realized he was heartbroken over quitting, and when offered a one-year professional contract, he did not hesitate. The stress of having to prove himself in such a short period without the aid of illegal substances, took its toll and he became ill. Only when his old dream was definitively shattered, he was able to fully see and pursue his newly found passion in film. In 2011 he graduated from the Brussels film academy RITS with The Letter. It won him the VAF Wildcard (production funds for a new project) and was screened in many international festivals. His first feature project Coureur was selected for the Binger Writers Lab 2012 and Torino Filmlab Script&Pitch 2013. Kenneth is also working as a freelance journalist. 25

ENDLESS GARDEN Genre Dramedy Director Galin Stoev Writer Yana Borissova, Galin Stoev Producer Martichka Bozhilova Co-producer Thomas Kufus, zero one film, Germany Budget € 1.110.000 Company AGITPROP

Galin Stoev

Martichka Bozhilova

Contact details AGITPROP 68 Budapesta Str., ap.1 1202, Sofia - Bulgaria T: +359 2 983 14 11 F: +359 2 987 04 17 producer@agitprop.bg www.agitprop.bg

SYNOPSIS

Emma has retreated from the outside world into her flower shop. She is preoccupied with the creation of a model of a Garden. The Garden is a metaphor for an imaginary world. It doesn't have any utilitarian meaning, yet despite this, or probably because of it all the other characters are emotionally attracted to it. In the course of building and living in this world-game, several things take place. They are more invisible motions than actual events. Sonia spends her time in the flower shop burdening Emma with her emotional uncertainties concerning Philip. She has become hypersensitive to the object of her desire. She and Philip have been going out for a month now, and even if he seems very attentive to her, she feels scared rather than happy. Nevertheless, her doubts and fears have their intuitive grounds. While working at the flower shop and helping Emma out, Victor realizes that he is actually in love with her. This realization is devastating to him – he knows that Emma has withdrawn from the outside world and that he has no chance with her. He grows depressed but does not tell anyone the reason for this. Gradually his feelings for Emma get channeled into the Garden. He keeps working at the shop, where the Garden becomes his raison d'être. He becomes stoically devoted to it, equating love with craving. While Philip, who is the city mayor’s adviser and is in the middle of a political scandal and meanwhile trying to save his brother from one of his emotional collapses, meets Emma. Philip is deeply attached to Victor, but even he doesn't manage to guess Victor's secret. Philip knows how to keep the delicate balance between his work (he is a successful lawyer), Sonia's emotional demands (he is very attracted to her), and caring for his emotionally unstable brother (unconsciously Philip likes being concerned about Victor). In his well-organized world, the encounter with Emma seems completely unforeseen – on top of everything, the two of them, their worlds and interests are completely different. In spite

of that, Emma and Philip gradually establish smooth communication, whose only subject is the Garden. Despite the strong energy flow, the relation between them evades any labeling. While discussing the Garden, they experience a strong moment of shared intimacy, but practically speaking nothing happens between them. At one point Victor tells Philip that he is secretly in love with Emma. Philip is in emotional turmoil - he is surprised, devastated and deeply moved at the same time. For the first time, his brother has taken responsibility for his own feelings. Philip decides never to admit his own feelings for Emma. Emma shares identical frequencies with Philip with the same calmness with which she accepts the impossibility of their story. She lets herself go into the thrill only because she accepts its foredoomed beauty. Despite all the emotional turmoil he goes through, Philip proves to be a professional. He manages to put out the political scandal, by smoothly alternating the public attention (focus) to another, garbage problem in town. His strategy is successful. Only this time he’s not as usual satisfied. In order to run away from everything, he takes his girlfriend Sonia to a trip in Italy. The ending remains open. There is a scene between Philip and Emma that almost repeats another scene from the beginning of the story – a sort of déjà vu, which rekindles the characters’ emotional flow and at the same time preserves their innocence. The leitmotif of the whole story is Gertrude Stein’s endless phrase: Rose is a Rose is a Rose is a Rose... This is a story about living in parallel poetic worlds and seeing them as the only reliable reality we have. This reality is magical and doomed at the same time. It feeds our longing for unbearable beauty and love. Love as desire, love as a shared energy exchange, love as a starting point of any motion. DIRECTOR’S NOTES OF INTENTION

The structure of the film doesn't follow strict dramatic rules. There is seemingly no conflict, no clear storyline, and the end remains open. There is hardly any narrative. It is more an observation/study of certain

emotional states for which we don't have a precise word. The characters are continuously guided into situations that reveal their emotional vulnerability. And it becomes the main source of dramatic tension. In the storyline, the characters are constantly re-arranged into new constellations. It makes them consider a whole range of possibilities. How to live their lives, whom to fall in love with, whom to betray in order to be happy, what to give up, and how much the other will be hurt. The story gradually sets a process in which these established relationships are re-defined. I see this "redefinition" as a way to challenge the viewer's imagination and feed his expectations. The storyline opens different possibilities for the characters, but these possibilities never get accomplished. The result is a continuous game of nuances. The story gives the viewer the opportunity to travel through the sensual area surrounding the characters. These emotional moves take place around a model garden. The idea of not showing the garden directly is far more appealing to me. I would rather look for its reflection on the surrounding world. We almost never see the garden, but we feel the way it transforms its environment. We get a glance of some of its details but we never see it entirely. The garden should remain a secret. It should enable the viewer to imagine his own garden. I would like to develop the characters and their relationships as if I was describing the model's topography. Their delicate emotional turns somehow repeat the curves of the landscape. It is as if they were showing the geography of the model. In a way, the true nature of the garden is revealed by the relationships of the people around it. These relationships are built very delicately. The scenes often don’t have explicit actions. The story is built up by a fine expression of deep emotional tremors under a calm surface. We never see the moving layers, only the change of the nuances. Galin Stoev, director

COMPANY PROFILE

Set up in 1997 by cinematographers Boris Missirkov and Georgi Bogdanov, AGITPROP evolved throughout the years as one of the most successful Bulgarian film production companies, well established on the European market. Managed by acclaimed producer Martichka Bozhilova, the company has specialized in creative film and TV production, visual art, advertising and social campaigns. AGITPROP’s films are known for their high-quality visual approach, original storytelling and distinct author’s signature. The films by AGITPROP, among which the acclaimed titles Georgi and the Butterflies, The Mosquito Problem and Other Stories, Omellete, Corridor #8, are traditionally shown and awarded on A festivals such as Cannes, Berlinale, Toronto, HotDocs, Sundance, IDFA, Pusan, Karlovy Vary. During the last years most of the company’s projects are international coproductions with leading TV broadcasters such as: Channel 4, Sundance Channel, ITVS, ARTE, RAI, CBC, SVT, YLE, NRK, HOS. The team of AGITPROP has also set up and is actively involved in the management of the Balkan Documentary Center, a unique NGO dedicated to strengthening the documentary industry in the Balkan region by providing highprofile expertise, technical support and networking opportunities. www.agitprop.bg 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). She is also producer of the first original Bulgarian productions for HBO, Concrete Pharaohs and Paradise Hotel. Among her latest films are The

Last Black Sea Pirates (Premiere at Visions Du Reel and HotDocs 2013, FIPRECI Award Krakow FF 2013), Tzvetanka (CphDox 2012, MoMA 2013, more than 10 awards), 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. Founder and director of the Balkan Documentary Center (BDC) for supporting documentary filmmakers from the Balkans www.bdcwebsite.com. In 2012 Martichka was ranked on the 49th place in the prestigious selection "100 Most Influential Women" of Bulgarian newspaper "Capital" and in top 7 of the most influential Bulgarian visionaries in the creative sector, according to business magazine "Forbes". WRITER & DIRECTOR’S PROFILE

Yana Borissova (*1975) has a degree in History of Fine Art from Sofia University. She has been working as a gallerista and professional curator. Her short stories and essays are regularly published in the Bulgarian press. Her first play A Small Play for Children’s Room (2006) won the Theatre 199 Playwright Competition Award. One year later it was staged at Theatre 199 (directed by Galin Stoev) and won the award of the Bulgarian Society of Independent Theatre Critics. In 2009 Yana finished Pleasantly-scary, which was staged again by Galin Stoev and awarded with "Ikar 2010" for best playwright. The play has been translated into several languages. The latest collaboration with Galin Stoev is The People of Oz (2013). Currently Yana Borissova’s plays are performed in different theatres in Bulgaria, Belgium, Argentina, Serbia, France, USA, Italy, Germany and Russia.

Yana is active as a script supervisor in fiction film productions and TV series. Her future projects include publishing a collection of short stories, as well as working on an initiative that would sustain and encourage the development of new dramaturgy in Bulgaria. Selected filmography: As script-writer: Escape (2013, TV series) The legends of the Thracians (2013, TV series in post-production) As script-doctor: Little Chronic by Yavor Vesselinov (2013) Manchester United from Svishtov by Stefan Valdobrev (2011) Galin Stoev (*1969) is a graduate of the National Academy of Theatre and Film Arts in Sofia, Bulgaria. Since 1991 he’s been working as a theatre director and actor in France, Germany, Belgium, Russia, Argentina, Canada and Bulgaria. He's been acting in few movies and has directed a couple of music videos. Currently Galin is based in Paris and is actively working as a renowned theatre director in France and Belgium. In the last couple of years he has been collaborating with the acclaimed Bulgarian writer Yana Borissova. His latest stagings in Sofia - Small Play for Children's Room (2007) and Pleasantly-scary (2009), both by Yana Borissova - won the National theatre awards in the categories for Best play and Best director. His current projects include Life is a Dream by Calderon (International co-production, touring fall 2010/11); Delhi Danse by I.Viripaev (Theatre nationale da la Colline, Paris, May 2011); Le Jeu de l'amour et du hazard by Marivaux (Comedie Francaise Season 2011/2012) and the development of his debut feature film Endless Garden.

Eternal Silence Genre Creative documentary, personal story, investigative Director Daniel Lambo Writer Daniel Lambo (journalistic advice: Nico Krols and Marleen Teugels) Producer Maarten Schmidt Budget € 380.000 Company Storyhouse

Maarten Schmidt Contact details Storyhouse Rue du Croissant 37 1190, Brussels - Belgium T: 0032(0)494/475374 maarten@storyhousefilm.com www.storyhousefilm.com

SYNOPSIS

Over hundred people died in a small Belgian village being exposed to deadly asbestos fibres. This village, where filmmaker Daniel Lambo was born and raised, used to be the home of one of the largest asbestos cement producing factories in Europe. Once considered a ‘good employer’, it became clear that the BelgianSwiss multinational in fact has been contaminating its employees and civilians for decades. In order to continue its deadly business, it used PR- and lobbying techniques that are strikingly similar to those used by other multinationals, not only in the asbestos trade, but for instance also by the tobacco and lead industry. By misleading their employees, consumers and politicians it was possible to continue production and keep profits high, while critical voices could be succesfully repressed. Daniel will trace the mortal destruction the company has caused in his hometown as a starting point for a quest throughout Europe that eventually will lead him to India, where asbestos production still is booming. He will follow lawyers and activists still fighting in order to ban asbestos worldwide and trying to obtain justice by getting those responsible for the contamination in court. Counting the dead in his hometown, Daniel wonders if he’s infected too. As a child he's been exposed to asbestos used by the multinational operating near his doorstep. He even played on top of asbestos waste and worked as a student in the plant. He may have to confront his worst nightmare, when in hospital he'll undergo tests to check if asbestos fibres already have done any harm to his lungs. What else is new? In the present asbestos business as well as in the legacy in the past, both employers and employees remain silent about the mortal impact of the industrial activities they're involved in. The core business of the Belgian-Swiss multinational has been delocated to underdeveloped countries, using the same old ‘tricks of the trade’ assuring business can continue as usual. Today asbestos multinationals still have to stand on trial, sincerely hop-

ing to get away with their misconduct. Eternal Silence is a filmmaker’s personal story about the human cost of corporate greed. DIRECTOR’S NOTES OF INTENTION

With our film we want to shine a light on the hidden dangers of the asbestos industry, and by doing so we will support the efforts of people fighting the asbestos industry. Like the activists and the lawyers that fight together in order to ban asbestos globally, we have a clear message that we want to spread with this film. How can we prevent future generations from contracting these deadly diseases? Let’s shake up some dust! COMPANY PROFILE

Creating compelling stories with a clear message, STORYHOUSE specializes in creative and author driven documentaries. We bring engaging stories to a worldwide audience by working together with partners that share our vision: from financiers to distributors and outreach advisors. Bringing together the right creative and productional team that can deliver the envisaged story in an audiovisual form is our main occupation. Our strong point is developing and producing captivating films that immerge the audience in a unique story and by doing so communicates a lasting message. Storyhouse is currently producing and developing 5 documentaries, of which 3 are international coproductions with The Netherlands and Kuwait. Our first documentary coproduction, Ne me quitte pas, was selected for the international feature-length competition at the IDFA.

PRODUCER’S PROFILE

Maarten founded Storyhouse in Brussels, and is currently producing and developing 5 documentaries, of which 3 are international coproductions with Pieter van Huystee in The Netherlands and Talal AlMuhanna in Kuwait. His first documentary coproduction, Ne me quitte pas, was selected for the international feature-length competition at the IDFA. Filmography as producer ‘Saints’, Dieter Deswarte (with support from the Flemish Film Fund) ‘Dance with a Bullet’, Dhyaa Khaled Joda, coproduction with Kuwait (Talal Al-Muhanna) ‘Our City’, dir: Maria Tarantino , coproduction with The Netherlands (Pieter van Huystee) ‘Eternal Silence’, dir: Daniel Lambo ‘Ne me quitte pas’, dir: Sabine Lubbe Bakker and Niels van Koevorden, coproduction with The Netherlands (Pieter van Huystee) WRITER & DIRECTOR’S PROFILE

Daniel Lambo stands at the junction of fiction and documentary film. After studying literature and scriptwriting, Daniel started writing for theater, TV and cinema. His first medium length film "Brusilia" had its official selection at IFF Locarno 2008. Daniel co-wrote the feature film "Ellektra" (9 international awards). He produced the feature film "Small Gods" (Venice IFF2007, Rotterdam IFF 2008). "Miss Homeless" was the ‘offical movie’ of The International Year of Poverty 2010 and had a worldwide release on World Poverty Day. "Dry Branches of Iran" was selected for Movies That Matter in The Netherlands. "Traumland" had its premiere at the new world film festival of Belgium Mooov. His latest feature "Los Flamencos" opened the Film Festival of Oostende 2013, Belgium and had a theatrical release in Belgium. Currently he is working on a documentary "The Asbestos in Me" and three feature films "Booster", "Transit" and "Blue Silence". 31

FULL CONTACT Genre Director Writer Producer Budget Company

Drama David Verbeek David Verbeek Leontine Petit € 1.310.274 Lemming Film

David Verbeek

Leontine Petit

Contact details Lemming Film Valschermkade 36F 1059 CD, Amsterdam T: +31 (0)20 661 04 24 F: +31 (0)20 661 09 79 leontine@lemmingfilm.com www.lemmingfilm.com

SYNOPSIS

The age of remote controlled warfare has arrived. We might control weapons, kill distant targets, but we do not control the consequences in our own mind. What might seem distant on the screen can become intimately part of us without invitation. Full Contact is a contemporary tale of a man trying to find new purpose in his life after accidentally bombing a school through an remotely operated drone plane. Ivan, operating the plane from a far away air force base, has never been to the foreign countries of his attacks, nor has he ever touched the plane he uses to kill. Modern warfare keeps him safe and disconnected from his prey. However, after this incident Ivan’s disconnectedness starts to apply to everything in his life. He is overwhelmed by feelings of guilt that he is unable to process. With Ivan we embark on a journey in search of redemption and purpose. Ivan, a 33-year-old European man, has killed hundreds of people over the years, all through his "eye in the sky". After this incident something inside him snaps and he is left with nothing but doubt. This story is about his voyage in search of a truth beyond his guilt; a search for a path back to what is primal and perhaps more essential to being human… a way for him to reconnect to this world. DIRECTOR’S NOTES OF INTENTION

TRILOGY IN THEME The individual is central within today’s society. The focus on our own selves is quickly intensifying. Psychology has never been more embedded within our culture. People want to "get to know themselves." But do we really have a free will or any self-knowledge? My two previous films were focused on the contact that my generation has with reality. In SHANGHAI TRANCE the characters lose themselves in a quickly changing city. Because of this transformation in their direct environment, a generation of Chinese youngsters faces the threat of loosing contact with themselves and each other, thus almost living in

a state of trance. In R U THERE it seems that virtual worlds question the realness of emotions between individuals. In FULL CONTACT the theme of a new form of veteran film manifests itself. Where, during WO II or Vietnam, the veterans were traumatised by the physical violence that they had witnessed and survived, it is the lack of physical violence for current day veterans that urges for a renewed contact with the world. In a way I also view this film as the final chapter in a trilogy regarding our contact with reality. CONTACT WITH THE CURRENT DAY AUDIENCE The number of visitors for art-house films has been terrible the past years. Therefore, I keep searching for a new contact with the audience. It is crucial not to underestimate the viewer, and to find themes that they can identify with. The focus on ourselves also intensifies the interest for our own self conscious. I believe that many people are fascinated with the question what self-consciousness exactly is. What has really fascinated me the past couple of years is how the human subconscious functions as a sort of story machine. We register the things around us and attach a meaning to it, during which we automatically create stories; connecting meaning to objects, people and reminiscences that took place outside of us. Reality, however, is becoming a more and more abstract aspect for modern day society. Someone who sells stocks on the market influences business elsewhere in the world by reacting to numbers on a screen, though the consequences of the action are not directly visible to the person responsible. After a disaster in Haiti we donate money to a charity fund, but we are not directly in contact with the tragedy. We chat with hundreds of people on Facebook and know things about them without ever having to meet them in person. Hence, it has become extremely easy to "be in contact" with the world around us, forcing our subconscious to deal with an intensified level of experiences. This goes for every single last one of us. Not just for our daily lives, but also for the most extreme aspects such as warfare. An example can be found

in the interview that a US Drone pilot gave last year in the New York Times, stating the following: "I stay clean and disconnected from my target." This enlargement of this theme made such an impression on me, that I used it as the starting point for the scenario of FULL CONTACT. With FULL CONTACT I aim to sketch our complicated state of mind during an exciting and thriving film, with a genre that lies somewhere between art-house and a psychological thriller. OBJECTIVE/SUBJECTIVE This film will, in a way, deconstruct the idea that human beings can have an objective perspective on certain things. Our story starts with the most objective form of looking there is: the images that a drone pilot is observing are the same as those of a surveillance camera, a total objective registration of reality. The targets that our main character, Ivan (33), eliminates, never reach him, staying at an insurmountable distance. However, something does change when he hits a target one day that contains a lot of innocent victims. In the beginning it seems as if he can put away the incident by saying that he was "just following orders", but eventually his subconscious starts to tear apart his mental blockade. What Ivan finds most frustrating is not his feeling of guilt but his lack of feeling. He does not know how to respond knowing he did something terrible, as the situation stays abstract to him. His inability to process the incident leads to an identity crisis. An objective perspective on the situation is no longer enough, neither for Ivan nor for our narrative structure; we start to delve into Ivan’s mind and the narration becomes more subjective. I picture a film where, through the protagonist, our perception of reality will be totally estranged. An experience where we loose all sense of security, and have to start from the beginning while looking for an experience that is "real". A TRAUMA OF GUILT Even though nobody in the fields of modern day science of philosophy has a clear definition of what our conscious really is, there has been proof

that our own self-image is partly made of stories that have been made up. We have all been through it; a short fling abruptly ends. How do we deal with this in our heads? We start to talk to ourselves, delved deep into our own minds, at times not even able to focus on anything but the breakup. But what are we doing exactly during that period? In fact we are doing nothing more than fabricating a story. "It didn’t work out anymore because…", "I always knew that we were not meant to be together…". We make up reasons for our loss to try to end that period of our lives. The same goes for traumas. We are not able to process a trauma before we have created a coherent story of the incident. And this is not done in a single try. Within our mind, we relive the situation over and over, every time a little differently, looking for the version where we have more control, not unlike someone who has just broken up with his lover and who is constantly going over the situation: "if only I had done this," or "if only I had said that…" Mentally, we are trapped in a number of re-enactments. FULL CONTACT looks at the process of dealing with a trauma and the mental consequences for the main character. Hence the reason why Ivan makes contact with his victim in three separate stages of his self conscious. Divided in three chapters we follow his process of coping with the incident. But this film is not only focused on how to process guilt; above all, it is a journey to rediscover human contact. We do not exist solely because of the grace of our own stories, but also due to our "real" connections with others. The rediscovery of this contact is the reason for the protagonist, the ultra modern individual, to finally come to terms with himself again. COMPANY PROFILE

Established in 1995, LEMMING FILM is one of the leading film and television production companies in the Netherlands. It has a proven track record in delivering quality film and television productions and is specialized in international arthouse productions. Lemming Film produces projects that reflect an open-minded vision on contemporary society and initiates and nurtures close collaborations with the most exciting screenwriters, directors and acting talent. It is a 34

key player in the international co-productions field and is co-producing projects in Asia, South America and Europe. To actively contribute to a European production community, Lemming Film participates in d.net. work (a structural collaboration of 6 European production companies) and is a part of the ACE network. The company was founded, and continues to be run, by co-CEO's Leontine Petit (head of Productions) and Joost de Vries (head of Business Affairs). Since 2007 the team was expanded with producers Eva Eisenloeffel and Derk-Jan Warrink. In 2011 Lemming Film started a German family entertainment company called Hamster Film. The company is headed by Petit, De Vries and German producer Dorothe Beinemeier. Hamster Film aims to broaden the scope of children’s and family films on offer in Germany by developing high quality features and TV drama targeted at specific age groups and rooted in German culture. SELECTED FILMOGRAPHY: Heli – Amat Escalante (Official Competition Cannes ‘13) In the Fog - Sergei Loznitsa (Official Competition Cannes ‘12) Taking Chances – Nicole van Kilsdonk (Berlinale Generation ’11) Vivan las Antipodas! - Victor Kossakovsky (Official Competition Venice ‘11) Eep! – Ellen Smith (Berlinale Generation ’10) My Joy - Sergei Loznitsa (Official Competition Cannes ‘10) Among Us – Marco van Geffen (Official Competition Locarno ‘11) A Christmoose Story - Lourens Blok IN POST/PRE PRODUCTION: In Your Name - Marco van Geffen (in post production) Blind (NO) – Eskil Vogt (in post production) The Infiltrator – Shariff Korver (in production) The Lobster – Yorgos Lanthimos (in pre-production) Dead & Beautiful - David Verbeek (in preproduction) Boy 7 – Lourens Blok (in pre-production) Humidity (SRB)- Nikola Ljuca - (in pre-production)

PRODUCER’S PROFILE

Leontine Petit is head of productions at Lemming Film (NL) and Hamster Film (GER). Before working in film production, she studied at the University of Amsterdam where she earned her Master in Philosophy. She graduated from EAVE in 1995, is a member of the ACE Network, was Producer on the Move in 2006 and recently joined the Toronto Producers Lab 2013. Between 1995 and 1998 she was responsible for the television programme of the Cinekid Film & Television Festival in Amsterdam, from 1998 to 2002 advisor for youth features for the Netherlands Film Fund, from 2003 to 2007 boardmember of the Binger Filmlab and member of the board of the Dutch MEDIA Desk. From 2005 until 2009 she was an advisor for the committee Film of the Dutch Council of Culture. She regularly teaches at various Media studies. Full contact is the 6th film of Dutch acclaimed art-house director David Verbeek. It tells the story of a European drone pilot who is hunted by his own demons. In this film David questions if an individual can really get away with his bad deeds. It is a film that tells a story about the madness of our modern way of warfare. Although it is becoming easier and easier to kill from a big distance, that does not mean that we as real human beings get away with this totally bizarre way of eliminating our enemy. In the end, our deeds will get under our skin and the killer in us will eventually trade places with the victim. We think its very important to produce films that reflect both intelectually and visualy on crucial issues of our society. In our previous film 'In The Fog' by Sergei Loznitsa, we see how the main character is looking for good amid one of the biggest human catastrophes, WO II, and in 'Heli', directed by Mexican helmer Amat Escalante, we follow the life of a normal young father who is dragged into the drugs war. Full contact is no exception to these kinds of films. The film shows us our

obsession with screens. It's almost a religion. Screens are everywhere, we use them for everything and we can not live without them. We use screens to make virtual contact, but they are also an in-between to making actual contact. In many ways they make our lives so much easier, but they cannot hide the complexity of certain aspects of our lives. Our feelings, like fear, guilt and loneliness, go there own way. These feelings, which makes us human, cannot be avoived by a screen, no matter how hard we try to surpresse them. No screen can help us solve this. On the contrary: the screen can gives us blurry nightmares because in some occasions we let them make us disconnect from ourselves. Instead of helping us they become our own enemy. Full Contact tries to show this to us. WRITER & DIRECTOR’S PROFILE

David Verbeek graduated as Director at the Dutch Film Academy in 2005. After graduation, he left for China, returning three years later with his second feature film SHANGHAI TRANCE; the film was selected for the Tiger Award Competition at the International Film Festival Rotterdam, as well as numerous international festivals. It was released in China in over 250 cinemas and in late 2008, David made the front page of the Volkskrant (i.e. a Dutch, nationwide newspaper) for being the first Dutch director to achieve such success in China. He shot his third feature film in Taiwan, a Dutch/French co-production. "R U THERE" is a multi-dimensional experience, which uses over twenty percent of Second Life images. It is an exploration of the virtual world in which the younger generation is so deeply immersed. The film got selected (among others) at Un Certain Regard in Cannes. After that he won the Return of the Tiger award in Rotterdam 2011 for his ultra low budget film CLUB ZEUS about a gang of gigolo’s in Shanghai. In 2012 he completed his 5th feature film, which was made with a very low budget, titled HOW TO DESCRIBE A CLOUD. The film successfully premiered at the International Film Festival of Rotterdam 2013 and has since been selected for numerous international festivals such as Sarajevo.

KRANI Genre Director Writer Producer Budget Company

Drama/Comedy Gjorce Stavreski Gjorce Stavreski Emilija Cockova € 534.415 Fragment film

Gjorce Stavreski Emilija Cockova

Contact details Fragment film Samoilova 142a 1000, Skopje T: +389 75 464488 contact@fragmentfilm.com www.fragmentfilm.com 36

SYNOPSIS

VELE is working at the train depository as a mechanic and cannot afford the expensive pain relief medications for his father GJORE, who is ill with terminal cancer. Desperate to help his father, Vele steals a package of marijuana from some dangerous criminals (he finds the package in the carriages during a police raid at the train depository). With it he makes a marijuana cake and gives it to his father to eat it, saying that it is a recipe by a mysterious alternative medicine doctor. After a while, as the endless moans quiet down, Vele goes in his father’s room and he sighs with relief to see him sleeping tight. Next few days he gives the marijuana cake to his father, and strangely, he notices that his condition is getting better. Even more strange, their doctor tells them that the cancer is not progressing and that maybe the previous diagnosis that Gjore has a little time left was premature. However, things are getting tighter for Vele. At home, the news of the miraculous recovery of his father spread quickly, and the neighbors start hanging around their apartment. Despite Vele’s comments that he believes that the cake has nothing to do with his father’s cancer remission, they ask for the recipe. But, because of the marijuana, he can't tell them the recipe, which fuels their suspicion even more. One day, when Vele comes home, he is welcomed by a dozen neighbors (mostly old pensioners), who demand from Vele to reveal the identity of the mysterious alternative medicine doctor. Meanwhile, at the railway station, Vele’s very close colleague is found severely beaten by the criminals who want their drug package back, and Vele fears that it is a question of when not if he gets caught. Stranded, he takes a leave from work and decides to take his father on a fishing trip to Camp Krani on the shores of Prespa Lake, hoping that the things will quiet down both home and at work. But, the criminals appear at the camp and catch them. Tied and beaten, Vele admits that he stole the marijuana, and tells them that he used

it to relief his ill father from the pain he was suffering. Suddenly, the criminals' boss FATTY, changes his face. Expecting the worst, Vele is in a disbelief when Fatty tells him that he had heard of the miraculous cake by his ill mother and that he is willing to spare their lives in exchange of the recipe that hopefully will help her too. Vele can't believe what he is hearing. He takes a pen and starts writing. As the criminals leave the camp, Vele tries to convince his deeply disappointed father, that although he had consumed some marijuana with the cake, he is not really a junkie. DIRECTOR’S NOTES OF INTENTION

Krani is a tragicomic story about a desperate young man, who, forced by the circumstances in his life, manages to help his father in a very unusual way. Following him, we tell the story of a struggle of common people for a decent life in a time of a rough post-socialist transition in which the real values are reduced to a bare survival and I as an author, live and face everyday. The message would be: the little man, with courage and luck, by taking risks, manages to get out of the ironic labyrinth of life. I see this film as a finely balanced form of drama, suspense and comedy. The story oscillates between two developing lines within the structure that eventually collide in an uncertain finale. The first line, formed around the relationship between the father and the son, starts melancholically and harshly, but slowly grows into a charming comedy. Vele is desperately trying to help his father who has terminal cancer, steals marijuana and uses it to reduce his pain. After the miraculous recovery of his father, the neighbors want to try the mysterious recipe and this causes a series of irrational and comic situations from which Vele is desperately trying to find a way out. The second line forms around the stolen marijuana, the railway station and the mobsters. It contains significant amount of suspense and serves as a catalyst of the film, constantly raising the tension and moving the action forward. As an author, I tend to adapt my style and bring it closer to the story. I’m

a person who thinks visually and I want to move the narration forward by using action as much as possible. I want to start working with the actors way before I start shooting and I often adapt the dialogues to their real-life characters. For this story, which aims to portrait a pure, realistic and tragicomic human fate, I think that authentic and natural characters will be a perfect match. I wouldn’t exclude the possibility of working with unprofessional actors also. The precise composition and the use of long mise-en-scène shots, which are essential elements of my unobtrusive director’s approach, will allow the story and the characters to come first. I would also like to shoot on real locations instead of using a studio because I think that it will significantly enhance the authenticity. Most of all I’m open to suggestions from my colleagues. Finally, I believe in this story because it is both universal and personal. COMPANY PROFILE

FRAGMENT FILM is a newly founded production company in Skopje, Macedonia, dedicated to making short, feature and documentary movies with a personal artistic vision. FRAGMENT FILM was established by Gjorce Stavreski and Emilija Cockova in 2012. Gjorce Stavreski is one of the co-founders of the highly successful production house Trice Films based in Skopje, Macedonia, where he made two short films as a director and producer. Emilija Cockova graduated at Faculty of Dramatic Arts in Skopje, (production department) in 2005. Since 2005, she works at National TV TELMA as producer and program coordinator. From 2004 to 2007 she worked in HOUSE 57 Production as a producer. In 2008 she has been nominated for Robert Bosch Prize for Co production of the documentary film "Cherkezi". The first project undertaken by FRAGMENT FILM is the feature film KRANI that is already supported by The Macedonian Film Fund. PRODUCER’S PROFILE

Emilija Cockova graduated at Faculty of Drama Arts in Skopje, depart-

ment of Production in 2005. Since 2005, works at the National Television TELMA in Macedonia as producer and programme coordinator. From 2004 to 2007 worked in HOUSE 57 Production as a producer. Since February 2007, works also as an executive director of the NGO Center for Drama Arts T-HOUSE in Skopje. In 2008 she has been nominated for Robert Bosch Prize for Co production for the documentary film "Cherkezi". Film "Krani" is her first feature film as a producer. Filmography: 2004, "The Great Water", feature film, production assistant (Artist & WCF) 2004, "All or nothing", short film, producer (FDA) 2004, "Northern Flight", short film, assistant producer (HOUSE 57 PRODUCTION) 2005, "Ana’s dream", short film, production manager (UNICEF) 2005, "Emma is looking for job", short film, production manager (UNICEF) 2006, "Ljubinko and Desanka", TV film, executive producer (HOUSE 57 PRODUCTION) 2010, "At daybreak", short film, ass. producer (TRICE FILMS)

Festivals and Awards: CLERMONT-FERRAND / 2010. "At daybreak", International Competition. (The film entered many other festivals during 2010, including: Medfilm in Rome - Italy, Cinefiesta in Puerto Rico, Cinema Jove in Valencia – Spain, etc.) FFF IN OHRID / 2009. "At daybreak" won the award: Best short film. ASTERFEST / 2009. "At daybreak" won the award: Aco Aleksov Award.

WRITER & DIRECTOR’S PROFILE

Gjorce Stavreski is a film director/screenwriter born in Skopje, Macedonia. He graduated on the National Film Academy FDA in Skopje. He writes his own scripts and his films were shown on many film festivals on which he has been awarded. He’s also an avid photographer and passionate Sudoku solver. You can find out more at his website: www. gjorcestavreski.com Filmography: KRANI / 2013-, feature film project, in preproduction AUDITION MATERIAL / 2012, fiction, 14 min., 2K, Trice Films Prod. D SKOPJE (SKOPJE LOVERS) / 2011, fiction, 11 min., 2K, New Macedonian Video AT DAYBREAK / 2009-2010, fiction, 15min, 35mm, Trice Films Prod.

MAN OF THE HOUSE Genre Director Writer Producer Budget Company

Drama Andamion Murataj Andamion Murataj Andamion Murataj, Alexander Wadouh € 534.415 Lissus Media, Edit 4, Chromosom Filmproduktion

Andamion Murataj Contact details Lissus Media Rr. Myslym Shyri P44/3 Nr 20 1000, Tirana - Albania lissusmedia@gmail.com

SYNOPSIS

FRAN (48), born a female, has chosen to lead the life of a man, earning respect as a man among men, according to the ancient Albanian custom of Sworn Virgins. On daily basis, she works as a bus driver and struggles to make a living on the unregulated and semi-illegal route that connects her small town with the main city. Competition is fierce, and Fran has to fight to provide for her ailing father, ANTON (85), and her niece ZANA (11), that she is raising, ever since Zana’s father (and Fran’s brother) abandoned her, when he left for Italy after Zana’s mother died. One summer Sunday, Zana is playing with her friends on the bridge over the river. Fran is on her way back from the city in her minibus loaded with passengers when she encounters a group of young environmentalists who are staging a sit-in protest blocking the passage for the construction trucks that dump the debris in the river. The standoff between protesters and the truck drivers escalates to a boiling point. Realizing that the frustrated drivers are about to get violent, Fran resolves to drive her minibus through, and break up the confrontation before it gets out of hand. Later in the day, while the environmentalists are cleaning the riverbank, Zana, playing on the bridge, slips on the river onto a pile of construction debris. At once, some of the environmentalists jump on the river and pull Zana out, covered in blood. Fran drives full speed taking Zana to the emergency room almost lifeless. In the following days, Fran scrambles to attend to Zana as she fights for her life. While Zana’s father, Adrian, seeks to keep in touch by calling from Italy and sending gifts, Fran is the one who wakes up early and goes to bed late, struggling to keep up with Zana’s needs, on top of her daily efforts to hold onto the hard-to-maintain route, and care for her ailing father at home. They spend more time together than ever and develop a close bond. Vulnerable and about to enter puberty, Zana sees Fran as her savior

and role model. For Fran, Zana makes her explore feelings that Fran never knew she had. Through this newfound closeness, Fran starts rediscovering her own lost femininity and gradually softens up. By now, she is not just Zana’s caretaker, but it has become the real mother that the little girl longs for. The death of elder Anton finally brings Zana’s estranged father Adrian back home. Zana has grown a lot, and father and daughter know very little of each other while Fran and Zana have strongly bonded together. After the funeral of Anton, Adrian wants to take Zana with him to Italy, which would leave Fran all alone. Fran’s heart is shattered and she resists. Zana refuses her father’s request and chooses to stay with Fran. Fran is clearly happy, but deep within, Fran knows that Zana has grown and that it is best for her to move on with her life and go to Italy, where she will have better opportunities. Fran makes a choice between her own need to keep the child close, and what is best for the young girl - just like a real mother would. DIRECTOR’S NOTES OF INTENTION

While growing up, in Albania, I got to know several “sworn virgins”. Although born female, they take a solemn oath to live their lives as if they were men, strictly suppressing what they believe are the feminine aspects of their personalities. I have long wanted to tell the story of these unique individuals, who live their lives according to an ancient custom while struggling to survive in the modern world. A sworn virgin I met lately, had been living the life of a man since age 14. She worked as a mechanic in northern Albania. Her brother had left the country and she was caring for her elderly mother and their household. Her biggest fear was the impending death of her mother: “When she dies, I will be totally alone. I wish I could have children of my own, but I can't be a woman now.” This quote still echoes to me, long after. I interviewed more than 3500 northern Albanian children when I was working on my previous screenplay, “The Forgiveness of Blood,” that

I co-wrote with Joshua Marston, and for which I received the Silver Bear at Berlinale 2011. I was stunned to realize that so many of them were raised by relatives, while their parents had migrated to Italy, for a better future. As an Albanian immigrant, I met many young parents that had left children behind in the home country, while struggling to build a better future for them. I often think about their journey. What did they have to go through and sacrifice, when they left their children behind, in order to be able to work in Italy? It is personal to me, since, I lived the emigrant experience in the early nineties, when I was one of the immigrants on overloaded ships going to Italy, at a very young age. These life stories are very inspiring. My producers Domenico Procacci and Paul Mezey suggested that I capture in film these touchy experiences. I believe that the Script & Pitch, at Torino Film Lab would be a great opportunity that would enable me to further research and develop the screenplay and sharpen my directorial skill of my first feature film, as a Writer/Director. My aim is to set in motion a film that tells the heart-wrenching story of a Sworn Virgin who has to confront her gender identity and undergo tremendous shifts in a rapidly changing world. Her situation has no clear-cut solution. She is forced to decide whether she will continue to live the life of a man or choose to become the mother that her little niece longs for. But at what cost? COMPANY PROFILE

LISSUS MEDIA is an Albanian Production Company run by Andamion Murataj. 2011 - Lissus Media co-produced: The Forgiveness of Blood – directed by Joshua Marston and Written by Joshua Marston Andamion Murataj. The film won the Silver Bear for the best Screenplay at Berlin International Film Festival on 2011. US Trailer http://www.sundanceselects.com/videos/the-forgiveness-of-blood-offi-

cial-trailer Albanian Trailer http://www.youtube.com/watch?v=z5tY6QcpDWk In 2013, Lissus Media produced: One Eye Shut – a short film written and directed by Andamion Murataj http://youtu.be/SW8T12jSW-Q PRODUCER & DIRECTOR’S PROFILE

EDUCATION American University Washington DC 2002 MFA Film and Electronic Media School of Communications

Silver Hugo Best Screenplay Chicago International Film Festival 2011 89¢ Best Short Producer, Director of Photography Tirana International Film Festival 2006

Academy of Fine Arts Tirana Albania 1997 BA Directing Department of Drama University of Shkodra Shkodra Albania 1991 BA Education Department of Elementary School Education AWARDS The Forgiveness of Blood Silver Bear Best Screenplay Writer, Producer Berlin International Film Festival 2011

MEET ENVER HADRI Genre Director Writer Producer Budget Company

Character-driven documentary / human interest Gilles Coton Gilles Coton Isabel de la Serna € 306.948,73 Playtime Films

SYNOPSIS

The son of a Kosovan National hero takes a homeward journey to see what remains of his father’s legacy. 25th February 1990, Brussels. A car stops at a red light. A motorbike approaches and blocks its path. Two shots hit their target. A man is assassinated. Meet Enver Hadri is his story, the story of a Kosovan political refugee executed by the Yugoslavian secret service on the orders of Slobodan Milosevic. We follow Renoar, Enver’s son. Through him everything will be set into motion as he says the film’s key words: «My name is Renoar Hadri. I am Enver Hadri’s son». After being forced into exile for four decades, Renoar returns to the source, retracing his father's legacy and dismantling the myth of the hero while embarking on a search for another man: his Serbian half-brother Milan Hadri-Topalovic. Will the two brothers be able to forget the past of their ancestors? Will they become the symbol of forgiveness between Kosovo and Serbia? Or will this singular story strengthen the idea that they won’t be able to live and build a better future together? DIRECTOR’S NOTES OF INTENTION

Gilles Coton

Isabel de la Serna

Contact details Playtime Films 84, rue américaine 1050T, Brussels - Belgium T: +32 2 502 31 74 isabel@playtimefilms.com www.playtimefilms.com

Enver Hadri was assassinated in my street. I met his son by accident, as a neighbour walking to his place. As we became friends Renoar told me the story of his family. Then he invited me to discover his native country: Kosovo. In the Balkans Renoar is our guide. I knew nothing about this divided territory, a border between two worlds where the Iliad crosses the Odyssey. Through this historical mess, the Kosovar people always strove for their culture and Albanian identity to be recognized. Today the country is headed toward independence and no one can stop it. In Kosovo, Renoar’s father is THE national hero. A statue, a school, a street are all named after him. At the heart of this population cornered between fear and forgetting, hate and forgiveness, obsessed by the

sense of victimization conferred upon them by centuries of injustice, the film questions the figure of the hero, a unique brand of hero worship rooted in origin myths that represents the essential mode of identification in the Balkans. Far from a hagiography on the glory of Enver Hadri, we’d like to discern the paradoxical history of a country by traversing human complexity. Over the course of these encounters, of course there’s the image of a man, a father, who is himself the extension of an image of his father, also disappeared. But above all there’s the recent and past history of a people fallen prey to their own demons of identity. At the end of this road, a kind of schizophrenic truth emerges. Milan Hadri-Topalovic is the incarnation of this truth; the fruit of an adulterous affair between a Kosovar and a Serb. Today Milan identifies himself as Canadian with Serbian origins. The point of focusing on this very family «here and now» is that we find ourselves at a turning point in Kosovo history. The war is still fresh enough for people to have precise memories, and yet far enough into the past to have some distance. The scars of war and Communism are still visible and the country is in a process of reconstruction as it heads toward independence. But finally, and above all, destiny has brought me together with these witnesses and the protagonists in Hadri’s family’s story. Together, we’ve been able to build a bond of trust. Meet Enver Hadri is an important project, for behind this singular portrait lies the story of Europe's most recent war and one of the bloodiest turning points in European history. I recognize the importance of telling this story as part of our "common history" with this nation that has been torn for so many years now. The story has a universal theme that resonates far beyond our own borders. Playtime Films and myself want to build this film as an international achievement that will weigh the opinions surrounding this delicate subject. COMPANY PROFILE

PLAYTIME FILMS is a production company created in 2007 by three

director- producers: Julien Bechara, Matthieu Frances and Gille-Ivan Frankignoul. Isabel de la Serna joined them in 2010. Since its creation, Playtime manages the production, directing and post-production of unique cinematographic works both in fiction & documentary field. Playtime focuses on projects that are committed to strong social and political values, carried by directors with a determined, creative and aesthetic vision whose the subject is inspired by national and/or international contemporary and important question of our times. Since 2007, Playtime has produced nearly a dozen films (documentary, fiction and programs for Belgian and French broadcasters). Les Jardins du Chagos by Matthieu Frances et Olvier Magis, 90’ (in writing) L’Empreinte, a short film by Matthieu Frances, 20’ (in development) Meet Enver Hadri by Gilles Coton, 90’ & 52’ (in development Archibelge, a documentary serie by Gilles Coton & Sofie Benoot, 3x52’, (in development) La Edad de los Muertos, by Benjamin Colaux & Christopher Yates, 90’& 52’ (in post-production) M. Etrimo, a TV documentary by Matthieu Frances & David Deroy, 60’, October 2013, in coproduction with RTBF Sidewalk, short film by Berivan Binevsa, 17’, 2011, in coproduction with RTBF Above the heart, creative documentary by Gaêlle Komàr, 79’, 2011 Official selection to CPHX DOX Jour de Chance, musical documentary by Matthieu Frances, 26’, 2010, in coproduction with RTBF Qui finisce l’Italia, feature length documentary by Gilles Coton, 90’ Official selection at the Nyon Film Festival «visions du réel» (Switzerland) 2010 Not Here, documentary by Christopher Yates, 2009, 92’ Phone Story, short film by Berivan Binevsa, 2009, 16’ Best male actor, Cabourg Film Festival 2009, Valentino award, Sedicicorto 2009, Best short film, Women in Direction 2009, European Jury Award, Lille European Film Festival 2010

PRODUCER’S PROFILE

Isabel, born in 1983, is graduated from IHECS (Brussels) with a Master in communication. Since then, she has been working in cinema field, first as a location manager and then as a production assistant. Isabel joined Playtime Films in 2010. She's production manager and executive producer in charge of the financing department either for shorts, feature or documentary. In 2012, she was selected for EURODOC, a masterclass in European documentary production with the feature length documentary by Christopher Yates and Benjamin Colaux (in post production). -Ennemi Public a TV serie by Antoine Bours, Christopher Yates, Gilles de Voghel and Matthieu Frances (in writing) – Executive producer -L’empreinte, a shortfilm by Matthieu Frances (in development) -Executive producer -Meet Enver Hadri, a documentary by Gilles Coton (in development) – Executive producer -Archibelge !, a TV serie of documentaries, by Gilles Coton, 3x52’ In coproduction with Off World (in development) -Production manager -Monsieur Etrimo, a documentary by David Deroy & Matthieu Frances, 52’, October 2013 – Production manager -La edad de los Muertos, a documentary by B. Colaux and C. Yates, 90’ & 52’(in postproduction) – Executive producer -Sidewalk, shortfilm by Berivan Binevsa, 17’, 2011 – Production manager -Above the heart, a creative documentary by Gaëlle Komàr, 79’, 2011 – Production manage

travel journals of 1959 in which he voyages through the country, ending at Yugoslavia's doorstep. With "Meet Enver Hadri," Gilles Coton now crosses the border and enters the Balkans. Director: Meet Enver Hadri, production: Playtime Films, Brussels & FilmKollektiv, Berlin (in development) -Archibelge! 3x52’, production: Off World & Playtime Films, Brussels (in development), Qui Finisce l’Italia, production : Playtime Films, Brussels (2010) Assistant Director / Les Films de la Mémoire (Brussels): siegi hirsch (m. mees – p. fuks) ; yiddish soul (t. finocchiaro – n. rossetti); heim ins reich (c. lahr); un simple maillon (b. balteau -f. dumont); robert fortune, le voleur de thé (d. perelsztejn); les routes du thé (c. lahr) co-writer / Le Monocle (Brussels): les diamants d’anvers (e. lamens); angelo galvan, le renard du cazier (v. thioux); alice in balbusland (c. maes); l’envol (t. finocchiaro – n. rossetti); markaland (m.champagne); luigi nono (s.quoidbach); les fantômes d’everaert (g. coton)

WRITER & DIRECTOR’S PROFILE

Gilles Coton was born in Belgium in 1973. He studied philosophy at the University of Brussels and in Barcelona. After teaching at Udine’s university (Italy), he directed his first documentary feature "Qui finisce l'italia" in 2010. The film retraces Pier Paolo Pasolini's "La lunga strada di sabbia"

MY RAS TAFARI ROOTS Genre Director Writer Producer Budget Company

Creative documentary David Verhaeghe Karel Michiels Maarten D'Hollander € 293.000 Off World

David Verhaeghe Maarten D'Hollander Contact details Off World Deschampheleerstraat 24-26 1081, Brussels - Belgium T: +3224124041 F: +3224124049 maarten@offworld.be www.offworld.be

SYNOPSIS

David Verhaeghe goes in search of the truth behind a big family mystery, together with his mother Concetta: is he great-grandson to the legendary emperor Haile Selassie of Ethiopia, born Ras Tafari Makkonen, divine and pivotal figure of a religion named after him? This documentary shows the fascinating and intensive search of a young European and his Ethiopia-born mother who go in search of David’s African roots via forgotten family members in Italy and Cyprus and in old archives in Rome and Addis Ababa. In the end, the natural mysticism of the Jamaican Rastas is the most important driving force that sets David on the trail of the imperial family. Will he succeed in discovering the truth about his origins? DIRECTOR’S NOTES OF INTENTION

My grandmother, Elena Solomonidis, is supposed to be an illegitimate child of Haile Selassie, the former emperor of Ethiopia. In the old days, before I met the Rastafarians, this was something I was not exactly proud of. Wasn't Selassie one of those dubious African dictators? Didn't he force his people into famine in the 1970s? Weren't the Communist rebels justified in chasing him from the throne and murdering him? That is at least how Haile Selassie lives on in Western historical consciousness. Public opinion associates the Emperor of Ethiopia with dictators like Bokassa, Mobutu and Idi Amin, and despite our supposed family bond, I used to do so as well. For a long time, my perception of 'the Emperor' was based on the novel of the same name by the Polish writer Ryzsard Kapucinski, who later turned out to be an agent of the Russian Secret Service. But how could the Rastafarians worship such a man so unconditionally? I only really understood this after reading the book De Rasta revelatie (The Rasta Revelation) by Karel Michiels, a novel in which both Ras Tafari (the historical figure) and the Rastafarians (adepts of the religious movement) are extensively explained and analysed.

For a long time I nurtured the idea of making a film about my family and its origin(with Ethiopian, Italian, Belgian and perhaps also Greek roots), but I lacked the necessary knowledge and contacts. With Karel's help I would really be able to immerse myself in the history of Haile Selassie, my alleged imperial great-grandfather, and perhaps also in that of my grandmother. And, of course, in that of the Rastafarians, who kept his memory alive. Finding out the truth about my family history is not my only purpose for this film. The intention is also to paint a picture of my alleged greatgrandfather, Haile Selassie, and of the people who idolize him, the Rastafarians. It was the music of the Rastafarians, reggae, which put me on the track of this film, and through which I met Karel Michiels, the screenwriter and co-author. And it was through the Rastafarians in Ethiopia and Jamaica that I unexpectedly came across the (legal) descendants of the imperial family. Above all, this is the story of people who are looking for their roots. I want to know from which family my grandmother descends. The Rastafarians regard Ethiopia as the Promised Land where they all will have to return one day. And in that way, the film interweaves the personal story of a Belgian director with a historical portrait of Haile Selassie and a poetic impression of the Rastafarians. COMPANY PROFILE

OFF WORLD is an independent production company based in Brussels, capital of Flanders, Belgium and Europe. Off World's main goal is to produce international author documentaries. Over the last few years, the company has built up a large portfolio and a solid reputation as delegate producer and co-producer of many creative and original documentaries. Off World's trademark is a contemporary and wayward look on the world, which springs from the passion and talent of the documentary authors. However, Off World is also consistently investing in young filmmakers, as a creative investment for the future.

PRODUCER’S PROFILE

Maarten D'Hollander studied communication- and filmsciences at Ghent University and School of Arts Ghent before starting of his career as freelance allround assistant in film production and in the electrical department. He worked on several shortfilms, feature projects and publicityshoots. On one of these shoots we worked with Off World. Because of the great cooperation and his first contact with documentary production they continued working together and since three years he works as a production manager and producer on documentaries for Off World, a real passion. In this position he follows up several author’s documentary projects in all stages of production. He helps building the international status off Off World and it’s projects. Besides that he works as a producer/photographer on independent film- & theaterprojects. WRITER & DIRECTOR’S PROFILE

David Verhaeghe obtained his Master’s Degree in Audiovisual Arts in 1999 at the KHLim in Genk. During his studies he spent his free time putting together a number of different short films and he was already working at the Flemish public broadcasting channel, VRT, as a multitasking assistant. As soon as he completed his studies he was able to start work immediately as a producer at the VRT. Throughout the years, David has acquired experiences in a number of different fields from studio programmes, generics, promotion spots, items, special features and documentaries. In recent years, David has specialized in producing documentaries for Canvas, the more in-depth network of the public broadcasting channel. In 2010 he followed a masterclass in Storytelling by Robert McKee. ‘My Ras Tafari Roots’ is a project that David has felt in his bones all his life. Films: Triq Slama Mohamed. Reis in vrede (docu 2011), Publiek geheim Canvas (diverse episodes), Belpop Canvas (series 2), different other programs for Canvas, één and ketnet.

NEVER GIVE UP Genre Director Writer Producer Budget Company

Documentary comedy with feature reneactments Matej Minac Matej Minac, Patrik Pass, Peter Marcin Matej Minac, Patrik Pass € 1.350.000 W.I.P.

Matej Minac Contact details W.I.P. Na Petrinach 2 162 00, Praha T: 00420 602 668592 F: 00 420 323 673072 mminac@yahoo.com nickysfamily.com

SYNOPSIS

Our 90 minutes documentary comedy NEVER GIVE UP is based on real life events which will be shown through film archives, eye-witnesses and feature-reenactments. A well-known film director Matej Minac as narrator will trace back the history of his unfulfilled dream to finish the film profile about Federico Fellini shot in Rome in January 1989. Minac living in the communist Czechoslovakia had to fight bitterly with authorities, their absurd obstacles to let him go to capitalistic Italy with his crew to shoot. Miraculously he spent filming with Federico Fellini two fantastic days, bringing home two hours of unique 35mm footage of interview with Fellini and filmed “maestro” preparing his last film “The Voice from the Moon” in Dinocittà. This footage was never seen before. Since then Minac has struggled for years as the regimes changed from communism to capitalism to finish his film. Although in the meantime he has become a respected EMMY winning director, somehow the goal to finish the film to eluded him. During communistic time Minac had huge problems as Fellini was a “bourgeois capitalistic” film director. Then the regime changed after the Velvet Revolution in 1989 and nationalistic leader Vladimir Meciar got to power in Slovakia. Although Minac raised money, it seems optimistic that the film will be finished with additional interviews with actor Marcello Mastroianni and Fellini´s screen writer Tonino Guerra. But something unprecedented happened. This time the problem was that Fellini was not a Slovak. And everything Slovak was preferred. Management of the Slovak TV explained Minac that he should concentrate on Slovak heroes like the saga of the king Svatopluk from the 9th century. Later when the Czech and Slovak republics entered the European Union, Minac with his friend Patrik Pass travelled intensively to film festivals like Cannes Film Festival and Berlinare, to film markets. They showed their unique footage with Fellini, presented their plans how to finish the profile, but to no avail. Once they were told that there are too many films on Fellini, next time that they should have

come years ago, as there is no more interest in Fellini. And when they finally in one instance succeeded the company they were prepared to sign the coproduction deal went bankrupt. So no matter how much Minac tried during many years, it seemed that his Fellini project has not been destined to be finished. Minac was very depressed, upset about his failure. But he came to realize that he was not alone. He found out that Fellini himself didn´t finish his famous project “IL VIAGGIO DI G.MASTORNA“. Whatever filmmaker he talked with or he read about confessed to his surprise that they have unfinished projects, so called “skeletons in the cupboard”, even the greatest filmmakers. No matter how much they tried to realize them, they were never made or finished. Having realized this fact, Minac decided that make a film - his story of a film which was never finished. This film would be not only a tribute to the maestro Federico Fellini using the unique footage with him, but it would be also a tribute to all filmmakers, who have to struggle hard to realise any film project despite often insurmountable obstacles. It would be a tribute to their courage, determination and stubbornness not to give up and to finish his or her film dream. DIRECTOR’S NOTES OF INTENTION

We intend to show the audience the attractive filmmaker´s environment, their struggle through a documentary comedy. It not only tells the funny filmmaker´s story, but it also shows the recent European history, how the countries of the Central Europe have been transformed from communism to capitalism. Having a 21 year old son, I have realized that the young generation don´t understand much of the era of communism. Therefore I wish that our film would explain to them a bit through humor the absurdities of communism. We feel that this type of movie about our recent history from the comical side is missing on the market. As the story is real and authentic, we wish to confirm through it through the rich structure of the movie. The film will be a mixture of:

The narrator of the film Matej Minac will make short introductions to the parts of the story of the unfinished film at the real locations in Czech and Slovak Republics, Italy, Austria, Germany where the actual story took place. This will not only support the authentic feeling that the story really happened the way as it is. Archive footage from the period of communism up to the present day will be used to show how the life in Europe has been changed in the last 25 years. This is very important to show how our story takes place on the background of the upheavals of the end of the 20th century and the beginning of 21st century. It would also support the authenticity of the story and make people realize what tremendous far reaching changes we have went through the recent years. We will also produce feature reenactment scenes with actors (about 70% of the film) with dialogues. The scenes would have the character of comical scenes like from Woody Allens films. The important part of the movie would consist from the authentic footage with Federico Fellini filmed in Rome in 1989.We have also taken with us a video camera and we have filmed how we were filming Fellini. About two hundreds of photographs were taken during our stay in Rome. All this footage will support the feeling of reality and realization that this could really have been a great documentary on “maestro”. There will be short interviews, statements with eye-witnesses of the events, members of the management of the Slovak film or TV during communist times and times of the nationalistic leader Vladimir Meciar, members of the actual crew. But we wish also to show the people who stood on the other side – members of the secret police who spied on us. We will also interview the people who collaborated closely with Fellini like his scriptwriter Gianfranco Angelucci or his secretary who organized with us our trip to Italy Fiammtta Profili. short interviews of famous film directors from a few countries like Istvan Szabo (already filmed) , Steven Spielberg, Nikita Michalkov, Werner Herzog (in negotiation), Terry Gilliam about their problems, failures to make movies and finish films.

We feel that the combination, mixture of all these styles would produce an unique emotional, witty film. COMPANY PROFILE

The company WIP came into being in 1997. It was founded by film director Matej Minác. The company concentrated on producing numerous documentaries, commercials, worked on feature films, its development and realization; published six books and produced educational programs in which took part dozens of thousands students in the Czech Republic, but also in the USA, Australia, New Zealand. WIP produced films which received 45 awards worldwide, were shown in theatres and TVs around the world. The key activity of our film company W.I.P. s.r.o. is to produce full-length films, mostly documentaries. Many of our recent film projects are docu-dramas, as is our new FELLINI project in development. We work with a strong team of first-class researchers, historians. We are excellently orientated in world of film archives, we have visited about 40 film archives around the world. On the other hand we are experienced in making period feature-reenactments with actors. We cooperate with first-class architects, costume-designers, production-managers, cameramen, scriptwriters and editors. Therefore our productions (documentaries with feature reenactment) THE POWER OF GOOD and NICKY´S FAMILY received 46 awards worldwide including 2002 International EMMY AWARD. The films were sold to dozens of major world televisions like HBO, ARD, FRANCE 2, CBC, ABC, has been distributed wildly in theatres in Europe, USA, Canada, Israel, Australia. PRODUCER’S PROFILE

There are two producers: Matej Minac (bio attached below as writer and director‘)  Patrik Pašš - producer, editor and professor at the Academy of Performing Arts in Bratislava Filmography – Producer – Most important projects:

NICKY´S FAMILY – premiere January 20, 2011, 37 awards ; OLD TOWN CRIME TALES, 2010 / television drama series / 7 x 56 min./ 3 SEASONS IN HELL, 2009 /100‘/ 35mm/ feature film HEAVEN, HELL...EARTH 2009 /95‘ Awards: Special Jury Remi Award - 43rd WorldFest, Houston, TX, USA, National Winner of HartleyMerrill Prize / Awards WAR GAMES - 2008 /120‘/ Awards Grand Prix Fipa d´Or, Prix Europa – Berlin 1998, MY FATHER GULAG, 2008 THE OPTIMIST, 2008 documentary. STRAWBERY WINE, 2007 /110‘, feature film. Grand Prix Fipa d´Or, Prix Europa – Berlin 1998, Best Documentary - Television Festival – Banff 1999, Adolf Grimme Prize 2000 „The Photographer“ MARTIN SLIVKA - THE MAN WHO PLANTED TREES , 2007 / 90‘ BYE, BYE HARRY, 2006 /92‘ black romantic comedy. Co-production: NFP TELEART, NO SNOW PRODUCTIONS, BANANA FILMS, TRIGON PRODUCTION. Director: Robert Young, Script: Graham Alborough, Cast: Tim Dutton, Bela B. Felsenheimer, NICHOLAS WINTON – THE POWER OF GOOD, Czech Lion 2009 – best documentary in 1993-2007, Nomination of The National Academy of Television Arts and Sciences in 2006, International EMMY Award 2002, New York; numerous domestic and international awards including Christopher Award 2006. WRITER & DIRECTOR’S PROFILE

WIDE including Best Documentary - Montreal World Film Festival 2011, Canada; Forum for the Preservation of Audio-Visual Memory Award, Jerusalem Film Festival 2011, Israel; Audience Award - Karlovy Vary International Film Festival 2011, Czech Republic; Shores Audience Award for the Best Documentary – UK Jewish Film Festival, 2011; PRIX ITALIA´S SPECIAL SIGNIS AWARD 2012 – Prix Italia 2012 – Torino, Italy; FIAT/IFTA Archive Achievement AWARD for best use of archive, British Film Institute, London 2012 Nicholas Winton – The Power of Good documentary film Fifteen Awards including: WINNER of 2002 INTERNATIONAL EMMY AWARD for outstanding documentary program; NOMINEE FOR THE 2006 NEWS AND DOCUMENTARY EMMY AWARD representing HBO/CINEMAX 2006 Christopher AWARD – New York ;2008 Czech Lion – Best Czech Documentary for the last 15 year for film that affirms the highest values of the human spirit ;“Special Mention” at the 19th Troia Int´l Film Festival (Portugal) All My Loved Ones feature film, Czech/Polish/Slovak/German cooproduction, 14 PRIZES including: XVI; Troia International Film Festival – Portugal – Jury Prize; Grand Prix - International Film Festival Sedona(USA); Annual Czech Film Prize (Czech Lion) for Jiri Bartoska for the best supporting actor (Czech Rep); Nortel International Palm Springs Film festival – USA

Matej Minac, Film director, producer, writer, Graduated in film directing at the Academy of Music and Dramatic Arts in Bratislava Most significant projects: Nicky´s Family (2011) – full-length documentary THE FILM HAS RECEIVED SO FAR 37 PRESTIGIOUS PRIZES WORLD-

No Train To Germany Genre Director Writer Producer Budget Company

Documentary Tamara Mshvenieradze Tamara Mshvenieradze Alexander Kvatashidze € 50.606 Lokokina studio Sanosi Productions –JM Gigon

Tamara Alexander Mshvenieradze Kvatashidze Contact details Lokokina Studio. 42/2 nutsubidze St. Tbilisi 0177, Tbilisi - Georgia T: +995 577424577 office@lokokina.com www.lokokina.com

SYNOPSIS

My country, Georgia, has been poor since I remember it, so we never had emigrants coming in. And the blacks... we saw them only in the movies. So it was a rather unusual experience to meet black Mr. Johnson begging in the street. “Will you marry me?” he asked after I learned his name. “we can travel to Europe together”. Since then more Africans came to the “Gate to Europe” looking for a train to Germany. But they got stuck here. Having nowhere to go, Africans faced the reality and start surviving. Little African world is formed by the people, who became lost in transition. To feel more secured they create a kingdom and look for somebody who can rule them and they find man whose name is Richard and he calles himself the king. DIRECTOR’S NOTES OF INTENTION

Being at this stage of project development, I can think of three main elements that made me interested in making this film: Place, community and person. The Place is my home country - Georgia, which can hardly be considered a perfect destination for migrants, especially for those who plan to build new and comfortable lives. The More Africans I met the more I was surprised listening to their unbelievable stories of entering a little “Caucasian dreamland” which they believed was a transitional country on their way to Europe. I myself did my best to kill their last hope to find so called mysterious train to Germany. Then I witnessed how collectively they started to adapt the local reality, culture and even the language. Soon after they formed a tightly united society with a strong community spirit that lives its life in a strongly organized way, the community elaborated own rules and regulations that were spread to all community members. They formed their own microcosm of Africa and elected leaders to worship them. Time passed and the community was changing governing models, as well as leaders; if last year the community leader was called a president, today it’s ruled by

a man called King Richard. Film will Show the formation of the community with its struggle to achieve certain systematic order, and the main character who tells us the story of that extraordinary community is the mysterious African man called Mister Johnson. In fact, Mister Johnson has been kicked off the kingdom, because he refuses to obey rules, he refuses to worship any of the leaders, wandering around streets of Tbilisi, explaining love to all pedestrian girls is the way he chose to live. His personality was the main inspiration for me to make this film project, walking around the town with him I decided to show how a bit sophisticated, modern Don Quixote can live in today’s world. What it is like living out of system, why does he refuse to be helped and supported, why community wants him to be sent back to Africa, what he is looking for and will he have courage to pursue and find it, when there is no train to Germany.

WRITER & DIRECTOR’S PROFILE

Tamara Mshvenieradze was born in Tbilisi, Georgia in 1987. She Graduated from the Tbilisi State University (BA in Social and Political Studies) in 2010 and then obtained Masters Degree in journalism at Georgian Institute of Public Affairs in 2012. Since 2012 Tamara works in Georgian Public Broadcaster as a producer of different factual and reality TV programmes. Tamara has directed two documentaries “Parliamentary Elections” and “Beyond the Façade”. The latter was awarded The Best Author’s Project prize at international festival of documentaries and TVprograms “Kentavri”.

COMPANY PROFILE

LOKOKINA STUDIO was founded in 2008 in Tbilisi, Georgia. The company is focused on producing films with an angle on Caucasus region. Lokokina is interested in the local stories that can attract global audience and has potential for international co-production. Since its existence the studio has produced and co-produced five documentaries and is currently producing three documentaries and two fiction. PRODUCER’S PROFILE

Alexander Kvatashidze is a filmmaker himself. His background is in cinematography and editing. He has worked on number of international film projects and has good experience and understanding of the production workflow. Currently Alexander is producing two documentaries and one fiction film. ‘See You In Chechnya’ is his documentary project [to be released in 2014] which had been selected for WEMW platform.

Partisan & Courtesan

How to be the niece of a dictator Genre Director Writer Producer Budget Company

Documentary film Bojana Papp Bojana Papp Judit Stalter € 108.000 Laokoon Film

Bojana Papp

Judit Stalter

Contact details Laokoon Film Balzac Utca 37 - 1136, Budapest T: +3613540491 F: +3613540492 stalter@laokoonfilm.com www.laokoonfilm.com 56

SYNOPSIS

DIRECTOR’S NOTES OF INTENTION

Éva Kardos was born in 1924 as the niece of the infamous Hungarian communist dictator, Mátyás Rákosi. Her story starts with early immigration to Moscow, schoolyears with classmates like Mao Ce Tung’s offsprings, teen ages as a partisan during WW2; continues as wife of head of the secret service after the war, great escape on a tank by the Russians during the 1956 revolution and last – but not least – prostitution at the age of 56 after her husband’s misterious death. Now she is 90. This film is about her life.

Stories (not) for grandchildren

Éva’s story is full with unbeliavable elements. One can not decide what is true and what is not. Even if some parts come from her fantasy, her life is full with real events, meaning that she lived through the 20st century’s history. And this reality throwed she and also millions of others into surrealistic situations especially when somebody was born into a politically important family. Is it fate? Was she at a wrong place at a wrong moment? What lead her life, destiny or decisions? Could she really decide about her life? Who writes her story? This time, we write it in this film.

One can easily question whether her stories are real or not. She mentions names and events that are well known from history books or just the opposite, happened totally secretly in hotel rooms or family homes. Even if her stories are true or not, they are great stories, that reflects and interfere with the reality we know, and come from a very creative mind. That’s why we chose not to question the truth, but rather to think about "reality" from another point of view. History is not a well described thing, even couple hundred years old stories can turn into an opposite way in people’s mind.

Storytelling is the biggest skill that Éva has got and storytelling changes our perspective of reality, in the present and also about past events, even historical "facts". But what makes her a brilliant storyteller? An obvious psychoanalitic fact that she was left by her mother at a very early age made her to escape to a big fantasy? Or having lived a life with full of amazing stories she arrived to storytelling? We tell her stories in various visual ways. We use a long interview as a basis that is already shot when she tells her story directly into the camera. We use animations and drawings to tell those stories that are written by history, by politics or by her. And we also use personal and historical archives, transformed into a more animation-like way.

Fiction versus reality – using cartoons and animation

Éva Kardos wrote a monography about her life, the ‚Red Sunset‘. The film is based on this book told in a long interview with her. The image was insipired by Errol Morris’s Interrotron when the interviewee looks straight into the lenses. This makes the interview more personal. Éva was sitting in an armchair and told her story as she was telling it to her grandchildren. So the viewer can feel like someone, who is very close to her.

Éva herself tells her story full with very visual elements and images. She herself has a clear vision of the film, combining real and fictional way of visual storytelling. As she said to me once: "You just can’t decide whether the film is documentary or fiction, and that would be the real thing!" We play with her imaginative visuality – we show her stories as cartoons, moving with the camera in the fix, drawn images, and also to moving the drawings sometimes. Her personal archive images and also real archive images will be the basis of this drawings and animation, it there are some about the actual story she talks about. If not, and

everything is part of the story or her memories and we just can’t have any visual material (like when she tells how other partisans had to cut all the clothes off her when she had got the thypus during the war, or when she dropped a chair during an argument at her dictator uncle to save her husband), we use drawings based on the visual style of the actual age. Reality versus fiction – using archives We in Hungary but also people in Europe know many archive images, footages from the stories she mentions (like Moscow in the 30ies, WW2, 1956 revolution, László Rajk ’s conceptual trial etc.) These are well known images, that we saw from various perspectives. But the way Éva tells about these events makes them totally unsure. To illustrate the uncertainity of her story, we use those commonly known archive images turned visually into cartoons or animations, putting her as well in these well known image sequences as a character who should have been there, or could have been there. COMPANY PROFILE

LAOKOON FILMGROUP is a 10 years old production company, focused on the development and production of high-quality auteur feature films, creative documentaries and shorts. There are three producers: Gabor Sipos and Judit Stalter deal with project development, applications and take care of the company’s international network. Gabor Rajna executes all of the projects and runs the company. Laokoon concentrates on co-productions with both international and Hungarian partners. Gabor Sipos is a participant of ACE 19 with THE NECROMANCER and Judit Stalter is a graduate of MegaPlus. Judit Stalter is the lead producer of PARTISAN & COURTISAN. Judit and Bojana have been creative partners since Bojana’s last documentary – they have worked together now for more than three years.

Laokoon’s latest short film CSICSKA (BEAST) by Attila Till premiered in the Directors' Fortnight sidebar at Cannes in 2011 and was nominated for the European Film Award for Best Short Film. The first feature by Arpad Bogdan, HAPPY NEW LIFE (BOLDOG ÚJ ÉLET) was shown in the Panorama at the 2007 Berlinale where it received a Special Mention, among participation at other festivals. Laokoon’s national coproduction TENDER SON - THE FRANKENSTEIN PROJECT by Kornel Mundruczo was in Competition at Cannes in 2010. Their latest feature length documentary film – Besence Open - Men with Balls by Kristóf Kovács – has been selected to IDFA First Appearance completion in 2013. Besides producing their own films, Laokoon has been active in production services for more than ten years. PRODUCER’S PROFILE

Judit Stalter graduated from the Péter Pázmány University in Communications majoring in Film & Television and Hungarian Literature. She started her career in the film industry as a production manager at Inforg Studio in 2000 on such films as Benedek Fliegauf's Forest and Dealer, Robert Lakatos' Barthalo and Nacer Khemir's Bab' Aziz. In 2005, Judit also started working for Laokoon Film and her first feature there was a co-production with Inforg Studio of Attila Till's Panic which won three awards at the Hungarian Film Week. In 2008, she served as the executive producer for Laokoon on Roland Vranik's Transmission, a coproduction with Film Partners (Hungary). In 2010, Judit completed her first international coproduction, Robert Thalheim's Westwind, with Berlin-based Credo Film before participating in the Mega Plus postgraduate course in Audiovisual Management, where Renate Roginas was her tutor. She co-produced the Food Markets 5 countries documentary co-production with Italy, Spain, France and Austria in 2012. Her last short film, CSICSKA – BEAST by Attila Till is based on extensive research and inspired by newspaper articles, and television news on the theme of modern-day slavery. BEAST had its world premiere in the Directors' Fortnight sidebar at Cannes in 2011 and has since been

invited to compete in more than 45 international festivals. This film was nominated to the European Film Award at 2012. Her latest feature length documentary film – Besence Open - Men with Balls by Kristóf Kovács – has been selected to IDFA First Appearance completion in 2013. She is member of the European Film Academy.

Awards: Special Prize, 35th Hungarian Film Week, Budapest, 2004. First Prize, Film.Dok, Hungarian-Romanian Documentary Festival, 2004., Hungarian Film Critics Award, 2005.

WRITER & DIRECTOR’S PROFILE

After graduating at the University of Theatre and Film as a film dramaturg Bojána Papp worked for various television and radio programmes as a director and as a producer. Her latest film, Rap Behind Bars was chosen the best documentary in Hungary in 2013 by Hungarian film critics. Her second film "The TV and me" won several awards in Hungary and was broadcasted by several television channels. She attented several international documentary workshops as Esodoc, Ex Oriente, Eurodoc and Berlinale Talent Campus Doc Clinic. She was an organizer of EsoDoc, European Social Documentary workshop. Currently she is a DLA student at the UTF, her research field is Researching for Documentaries. She got several scholarships, so she could stay and research at the British Film Institute in 2006, and at the Scottish Documentary Institute in 2013. Selected filmography 2013. In the Belly of the City, documentary series, HD, 52 min. Hungarian episode on Central Market Hall as a co- director (Director, producer: Stefano Tealdi, Stefilm) comissioned by ARTE, YLE, ORF, MTVA, Awards: the Taste Award (best foreign language programme) 2012. Rap Behind Bars, documentary, HD, 60 min. Awards: Hungarian Film Critics Award for the best documentary, Festivals: Verzió Festival 2012. 2012. Jules (as director) 2007. Generation L, (as producer, director) 2005. The TV and me (as producer direcor)

Rafaël

based on a true story

Genre Writer Producer Budget Company

Dutch Winny works as a tourist animator in a 5 star hotel in Sousse (Tunisia). On the beach, close by, charming Tunisian Nizar rents out water scooters. It’s soulmates at first sight, and soon Winny finds herself pregnant – unplanned but far from unwelcome. Their happiness is marred when Winny miscarriages. A tragedy which only serves to bring them closer together, and they get married.

Romantic-political drama Tijs van Marle Reiner Selen & Jelle Nesna € 3.500.000 Rinkel Film

SYNOPSIS

When Winny’s second pregnancy coincides with the eruption of the Arab Spring, the couple gets worried. Chaos and lawlessness increase and Winny is in mortal danger on more than one occasion. They decide to leave for the safety of the Netherlands and have the baby there. Once things settle down in Tunisia, they will return and finish their house. A temporary visa is all Nizar that needs. He does not get it. Reiner Selen

Jelle Nesna

Contact details Rinkel Film Bremstraat 1-3 1031 EK, Amsterdam - The Netherlands T: +31 20 616 32 31 reinier.selen@rinkelfilm.com www.rinkelfilm.com

Because they don’t want to risk staying any longer, Nizar puts Winny on the plane and tells her he will follow later by boat – illegally. However, his journey to the Italian island of Lampedusa is filled with peril and when he does finally arrive he is locked inside a refugee prison. Winny, by now six months gone, is forced to travel to Italy to try and arrange for the necessary papers and stamps, but comes up against a wall of bureaucracy and corruption. After many fruitless weeks, it looks as if she will never get Nizar off the island… PRODUCER’S NOTE OF INTENTION

We were deeply moved when we discovered the true story of Winny and Nizar and their newborn son Rafaël. It’s encouraging to see that in a world, thrown into an economic crisis, love has kept its value. As for us, Rafaël speaks of unconditional love. A young woman leaves on an adventurous journey to Tunisia, to work

and discover life. She meets a young man who succeeds in capturing her heart and they begin a relationship. Her family back home advises caution – is the boy sincere? But Winny never has any doubts, and their happiness only grows! …Literally, as she discovers that she is pregnant. Fate intervenes – not once, but twice: first, they suffer a heartbreaking miscarriage, then the Arab Spring separates the two lovers when she is pregnant a second time. We watch the young man try everything to be at his wife’s side when she gives birth, and the young woman fight to free her husband from the refugee prison of Lampedusa. For us, the power of the story is the fact that ‘Rafaël’ speaks about one of Europe’s biggest humanitarian dramas, told through a personal and emotional journey. Winny & Nizar are meant for each other and the viewers will feel that: they must be together. One might think of films such as ‘Romeo And Julia’, ‘Titanic’, and hundreds more, but ‘Rafaël’ is in fact a true story. These two people are real. Love did conquer all. It can only reinforce our belief in such stories. We believe that the film will make people aware of Europe’s current political arena; they will leave the cinema elated because of the happy ending, and upset because of the terrible circumstances - in prisons and camps, on boats and trucks - from which this happiness was wrenched. Visually, we intend to accentuate this contrast: between Nizar’s and Winny’s unconditional love on one side, and harsh reality on the other. The ‘warm’ side of two people building a great future together, and on the bleak side, when they no longer have each other and suffer their individual hardships in solitude. Nizar’s two journeys by boat are fraught with peril and privation; he is locked up in grim and crowded prisons. Winny lives in cheap cheerless hotel rooms, where she must recover from the shock of seeing Nizar in these dismal surroundings, and waiting, waiting for the officials to let Nizar out. Both clinging to that great future that now seems out of reach, trying to keep the faith. If their love drives the scenes, always at the forefront of plot and shot, we will end up with a compelling feature for a world wide audience.

‘Rafaël’ is a film about love, hope and happiness – set against the rather heartless aspects of today’s society. The project has been on an inspired development journey and we cannot wait to have our director and creative team start shooting. Reinier Selen & Jelle Nesna COMPANY PROFILE

RINKEL FILM is an independent production company based in the heart of Amsterdam with a proven track record in producing feature films for the domestic and international market. The company focuses on (inter) national co-productions and produces high quality, mainstream genredriven features, book adaptations, as well as challenging art-house films with high festival potential. Furthermore, Rinkel Film produces TV-drama and one-offs for public and private broadcasting organisations. CEO Reinier Selen founded Rinkel Film in 1998. Early 2012 Frank Groot joined the company as finance & legal executive. Through the company’s CEO (EAVE 2006, Producers on the Move 2008, Producers Lab Toronto 2010), a worldwide network of producers, sales agents and financiers has been created. With this network Rinkel Film is now expanding into North America, Latin America and the United Arab Emirates. It strives to create long-standing relationships with established producers, screenwriters, directors and acting talent as well as new talent. Rinkel Film has produced and co-produced award winning films such as Godforsaken, Nothing Personal, Süskind and Cool Kids Don’t Cry. PRODUCER’S PROFILE

Reinier Selen was born in Venlo in 1972. He graduated as a documentary director from Kunstacademie St. Joost (St. Joost’s Art Academy) in Breda in 1996.

He founded Rinkel Film Productions BV in 1997. In the following years Selen produced nine movies for TV, the crime series Access Denied and the award-winning feature films Off Screen and Blood Brothers. He initiated and produced Godforsaken which won the Golden Film award within four weeks. The film was sold to 12 other countries and won many awards including three Golden Calves. To commemorate its 10th anniversary, the film was rereleased in a digitally remastered version. In 2005, Selen took part in the creative writing programme at the Binger FilmLab and in 2006 he took part in the European EAVE Programme. Selen was one of the Golden Calf Jury members at the 2007 Dutch Film Festival and represented the Netherlands as ‘Producer On The Move’ at the 2008 Cannes International Film Festival. The latter resulted in Selen receiving an invitation for participating in the Producers Lab Toronto 2010. In 2009 Selen produced the successful Nothing Personal, which has won many awards including six awards at the 2009 Locarno Film Festival, four Golden Calves at the 2009 Dutch Film Festival and it also received two nominations during the 2010 European Film Awards. In 2012 he produced the feature film Süskind with Fu Works and Cadenza Films, and the feature film Cool Kids Don’t Cry (co-production with Bijker Film) was released in theatres 15 February 2012. Both productions acquired the Golden Film award within a month. In recent years Selen has also been focusing on international co-productions; The Other Side of Sleep was nominated for three Irish Film & Television Awards and Love Eternal has been screened at this year’s Film Festival in Utrecht.

Selen is a board member of the Dutch Producers Association (NVS) and a member of the European Film Academy. WRITER & DIRECTOR’S PROFILE

Tijs van Marle (1976) attended the Netherlands Film Academy, graduating in 2002. Since then he hasn’t stopped writing: drama, youth drama, comedy series and multi-cultural projects, all for television and produced by a variety of Dutch broadcasters and production companies. In recent years he has concentrated more on feature films: Loving Ibiza (2013); Body Language (2011); Spy Of Orange (2009); Ernst, Bobby And Sly Onix (2007) - all achieved Golden Film Status; Teach (2012), Audience Award Best Dutch Film at Cinekid Festival, Rembrandt Award-nomination Best Dutch Youth Film, most popular Dutch film of the year; Bon Voyage (2011), Best Screenplay at Skip City International D-Cinema Festival. Tijs’ work shows a broad range of topics and styles; he works on very commercial projects as easily as on artistic ones.

2014 will see the premiere of three new films: the visually stunning Brand-New U, a new inter-ational co-production; the children’s film Secrets Of War (with Bijker Film); and Lucia de B, a fact-based thriller shedding light on one of the greatest miscarriages of justice in Dutch legal history.

SEARCHING FOR ANTIGRAVITY Genre Director Writer Producer Budget Company

Documentary Arunas Matelis Arunas Matelis Arunas Matelis € 488.500 Studio Nominum in coproduction with Les Films Figures Libres (France)

Arunas Matelis Contact details Studio Nominum A. Gostauto 2/15 LT- 01104, Vilnius - Lithuania T: +370 5 2123113 info7@nominum.lt www.nominum.lt

SYNOPSIS

Searching for Antigravity is a road movie which dives into the golden age of women cycling - a decade that began in the middle of the nineties and witnessed not only tens of thousands of fans gathering along the roads, live broadcasts on international TVs, and pictures on magazine covers, but also the first ever sitting strike in women’s cycling history to resist unbearable racing conditions as well as the birth of a new, contemporary Europe full of overt and sometimes comical clashes between the former East and the West. We are going to look at this ground-breaking period through the eyes of one of the most unique teams in the history of women cycling - a team of four best friends, some teenage girls from a boarding school for sports located in a little town of Lithuania. When the Berlin Wall came down and Lithuania regained independence, these girls, being only 15 or 16 at that time, got the chance to use the very first invitation in Lithuanian history to take part in Giro and Tour de France. With only "slightly" adjusted passports (so they would not be too young to race professionally), the girls and their coach left their homeland in the minivan "WAP" (turned into a part-vehicle, part-bed) and went to see the "real" West for the first time in their lives. Although their living conditions were hard-to-imagine and the lack of money made them sleep in parking lots, take showers in gas stations, and do their laundry in nearby streams, they managed to prepare for and start in pro-tours, participate and even win them. After the first victories the members of the minivan "dream team" were bought by professional teams and so the former blood sisters became not only the leaders in their new teams, but also… the biggest rivals, having to fight against one another. We were lucky enough to find the old minivan that "brought up" top

women’s cycling stars and opened the doors to the girls marked with a sign of "WAP" who later shared the podium with such celebrities as Italian Fabiana Luperini, Russian Valentina Polkhanova, Spaniard Joane Somarriba, German Judith Arndt, Dutch Van Moorsel, Russian Valentina Polkhanova, Swiss Nicole Bradli, French Jaenie Longo, and more. Since the engine of the legendary vehicle, which once the "dream team" was using to reach their first Giro, Tour de France, and world championships is now broken, we are planning to fix it. Once we’re done with it, we’re going to go with them or simply our filming crew on a journey to repeat the legendary road trip of the team through the nineties and today’s Europe, meet the incredible witnesses of that trip, brightest cycling stars of the time, come closer to their moving and anecdotal stories and try to understand the price of their fights for their talent, the beauty of cycling, victories and losses fighting for the place of oneself and women in general in the world.

tional cases. But don’t expect God to reply at once. First the request has to reach him; then he has to look through all the information he has in his computer storage about you – how you’ve been living, weren’t you seducing the boys only for fun, whether or not you’ve earned his help. Assuming everything is OK, he will send you strength. However, that will take some time and, up to that time, you have to keep on pedaling and never stop, even if you still don’t have the strength. Maybe, by the time you get the answer from above, the mountain will have been overcome and the greatest difficulty will have passed, or you will be feeling that God has, in fact, will have sent you a second breathing. COMPANY PROFILE

It’s enough to look at the "preachment" given to the girls by their coach before their first Tour de France when they were sleeping in the parking lot of Mountain Isola to understand how timeless, relevant and cool it is even today:

STUDIO NOMINUM is one of the first independent production companies in Lithuania, founded in 1992 by director and producer Arunas Matelis and focusing on creative documentary production and the distribution of its own films. Throughout its existence, ‘Nominum’ has produced or internationally co-produced around 40 creative documentaries. Studio Nominum films were selected for Cannes (‘Directors’ Fortnight’ and ‘Critics’ Week’), IDFA, Leipzig, Torino, Oberhausen, Rotterdam, Moscow, screened in MoMA, G.Pompidou, and received over 20 international awards. Among the most important achievements are the top prizes at IDFA and LeipzigDOK, Director’s Guild of America Award for the Best Documentary of the Year, European Film Academy nomination, ‘Big Stamp Award’ at Zagreb DOX, ‘Spirit Award’ at the Brooklyn Film Festival, Main Prize at the Oberhausen Film Festival, Best International Documentary Film at TRT (Turkey), First Prize at Documenta Madrid, main award at Festival della Lessinia, and many more.

"<…> and, when it gets very, very, very unbearably hard in the races, especially in the mountains, and when it seems you cannot move your leaden legs the least bit more, turn to God for strength in all excep-

So far, ‘Nominum’ films have been broadcast in tens of countries in Europe and Asia as well as received some of the best distribution results among documentaries locally by the number of spectators in

DIRECTOR’S NOTES OF INTENTION

Although the film tells a story of my own compatriots and this miracle really happened, their road to success speaks about a certain, already archetypical, story not only of my contemporaries from Lithuania or Central and Eastern Europe but, in fact, a story of all talented people in the world. It is a story of one’s road to happiness, to achievements and sacrifices needed to reach one’s goal.

Lithuanian cinemas (approx. 22 500 viewers for ‘Before Flying Back to the Earth’). The studio also holds top DVD sales results in Lithuania (over 80 000 copies for ‘Flight Over Lithuania’) and additionally organizes an annual film festival entitled EDOX to promote distinguished documentaries in the countryside. PRODUCER’S PROFILE

In 1992, after studying mathematics at Vilnius University and graduating the Academy of Music and Theatre, Arunas Matelis established one of the first independent film production companies in Lithuania called studio NOMINUM. Arunas Matelis produced around 30 documentaries . Documentaries internationally co-produced by Arunas Matelis were awarded in many international film festivals (such as IDFA, Leipzig Dok and many more ) as well as successfully broadcast in tens of countries in Europe and Asia. WRITER & DIRECTOR’S PROFILE

Arunas Matelis directed short documentaries were selected for Cannes (‘Directors’ fortnight’ and ‘Critics’ Week’), Rotterdam, Torino, Oberhausen , Locarno and more, as well as have been awarded the prizes including the Principal prize at Oberhausen. His first feature-length and also the latest documentary "Before Flying Back to the Earth", which tells the story about children’s hospital, strength and the possibilities of happiness in spite of cancer surrounding them, received more than 10 awards, including main awards at IDFA, LeipzigDok, Documenta Madrid, ZagrebDox, Directors’ Guild of America (DGA) Award, European Film Academy nomination and more. In addition, the film has inspired tens of thousands of people for many charity actions across the world and was successfully broadcast in tens countries of Europe, Japan, South Korea, Israel. In Denmark, the film’s share on TV was 21.9. The film also has one of the best results in Lithuanian cinemas and top DVD sales (22500 spectators, around 40.000 DVD copies sold). 66

THE FROG Genre Director Writer Producer Budget Company

Drama Elmir Jukic Pjer Zalica, Elmir Jukic Ademir Kenovic, Snezana Maric € 500.000 Refresh Production

Snezana Maric Contact details Refresh Production Splitska 11 71000, Sarajevo T: +38733 211 093 F: +38733 211 093 produkcija@refresh.ba, snezano@gmail.com

SYNOPSIS

Zeko (50), a barber and a former soldier, a PTSD-sufferer, invites his brother BRACO (40) and their friend SVABO (46) for Eid, hoping to take advantage of the festive mood to call to reason his gambling, heavy-drinking brother, to point out his mistakes and push him to change. SVABO, a taxi driver, is the only friend he has. Braco doesn't want to listen to Zeko, he doesn't take his worlds seriously. Zeko thinks he will be listened to only if he does something outrageous, something memorable. He picks up a shaving blade and presses it on his brother's neck, forcing him to promise to change. Braco leaves in fury and never wants to see him again. Svabo opens up to Zeko, as he his not faultless either. He has a young mistress and lives a parallel life, with a wife and children whom he loves. Does he too deserve a blade across his neck too? He suggests a psychiatrist for Zeko and offers to help him. Left alone, on the edge, after losing his brother and his only friend, Zeko picks up a hand-grenade. He wants to end his life. An impending suicide is interrupted by the arrival of Muki (30), a young man who sells books door to door. Zeko offers him a shave. Muki notices a photo of Zeko from years ago, with a soccer team, at a tournament. He invites him to choose life, to come and play football with him and his friends. Muki leaves. Zeko is left alone. Faced with a choice between a bomb and a ball – he chooses the ball. DIRECTOR’S NOTES OF INTENTION

The war in Bosnia and Herzegovina was stopped in 1995. Today, 19 years later, people are still strongly affected by the war; they are unhappy, dissatisfied, ill and frustrated. Worst of all, they have no strength to change anything. The Frog is a film about that kind of people, about PTSD as a diagnosis and about PTSD as a state of mind. I want to make a film that will say openly that things can get better, that changes are possible, but that we must not wait for someone else to launch them – politics, the High

Representative, the Head Coach, the general manager, or the neighborhood watch coordinator. A most ordinary person is the force that can move the world: first the world within, and then the world around us. It is a matter of choice and determination! I want to make a film that examines this problem, but sends a strongly optimistic message. "The Frog" is a story about a man who is faced with a choice between a hand- grenade and a football ball – and he chooses the ball. In process of directing, mostly in process of filming of the scenes, I don’t want to pay attention to other characters. I’m not interested in characters of Braco’s wife Munevera, Švabo’s mistress and customers. All those characters are part of the scene of course, part of the mise-en-scène, but there will be no scene showing their face. In those scenes I will film only close-ups of my main characters in order to follow their reactions, small movements and emotions. Similar to the film ‘In the Mood for Love’ by Wong Kar Wai in which we never saw Her husband and His wife. My focus will be on four heroes, on Zeko, Braco, Švabo and Muki. This is their story, almost documentary, monochromatic and without bold colors. I directed this play for Kamerni Teatar 55 and it was played more than 200 times, winning a dozen key theatre awards in the region and playing to audiences that exceeded 30,000. A combination of a powerful topic and a clearly articulated view that things can be better hit hard and triggered strong emotions. The optimistic ending was cathartic. Now I want to go a step further and take all the layers of ideas one step higher, to tell the same story, but through different means and a different medium. COMPANY PROFILE

REFRESH PRODUCTION, founded in 1998, is production company active in film and television production and distribution. Developing its production, Refresh established effective and fruitful business links with both local and international partners from Croatia, Slovenia, Austria, UK, France, Germany, Turkey, Macedonia, Montenegro, Serbia.

FILMOGRAPHY: th Hop, Skip & Jump 50 Berlinale – Best short film, Panorama 10 minutes European Film Academy award – Best short film in 2002 Fuse 56. Locarno Int. Film Festival – Silver Leopard, EFA - Discovery 2003 - Prix Fassbinder Special Mention, Best Film 9th Sarajevo Film Festival Summer in the Golden Valley 33. International Film Festival Rotterdam - VPRO Tiger Award; Special Jury Award at Sofia Film Festival; Fipresci Award Sofia Film Festival Days and Hours Toronto Film Festival - Official Selection Border Post – San Sebastian Film Festival – Official Selection, Festival International Cinéma Méditerranéen Montpellier – Special mention Armin 43rd Karlovy Vary IFF East of the West Award It's hard to be nice Heart of Sarajevo / Best Actor Sarajevo Film Festival; 25th Intl Miami Film Festival – Special Mention Buick Rivera Heart of Sarajevo / Best Actor Sarajevo Film Festival, FIPRESCI Orchestra – 5 Audience awards on various international film festivals Promotional campaign: "ENJOY LIFE BOSNIA AND HERZEGOVINA" Ademir Kenovic, Pjer Žalica, Srdjan Vuletic broadcasted on CNN, BBC, EURONEWS 9.International tourism film Split – Award Dujam – Best promotional tourism film 2.ITB- Berlin - Golden city gate - Best promotional tourism film 2. International tourism film Plock Poland – Grand Prix CIFFT 11. Festival DOCUMENT.ART Campulung Muscel, Romania – Best promotional tourism film and special mention by UNESCO 20.FIMAC - Le Creusot Festival – Best promotional tourism film 40.Medjunarodni Film Festival TOUR FILM, Karlovy Vary, Czech Republic –Jury Awar dFIJET Best promotional tourism film Grand prix 2007 - Best promotional tourism film in the world voted by International Comitee of Tourism Films Festivals

PRODUCER’S PROFILE

Ademir Kenovic is an award-winning Bosnian producer and film director. He graduated from the University of Sarajevo in English literature in 1969 and then studied film and art at the Denison University in Ohio. In 1989 he was appointed Professor at the Academy of Performing Arts in Sarajevo. As one of the founding partners of Refresh Production, he has been producing films since the early ‘90’s. During the war in Bosnia and Herzegovina (1992-95) he directed and produced numerous war documentaries among which "Sarajevo: A Street Under Siege" is widely shown (it got BAFTA award) RECENT FILMS (as producer) ORCHESTRA Documentary BUICK RIVIERA Starring: Stavko Simic, Leon Lucev Awards: Best Actor (S. Simic and L. Lucev), Heart of Sarajevo (Sarajevo FF 2008) IT’S HARD TO BE NICE Starring: Sasa Petrovic, Senad Basic Awards: Heart of Sarajevo – Best Actor (S.Petrovic (Sarajevo FF 2007); Special Mention – Dramatic Feature: World Cinema Competition (Miami FF 2008) ARMIN Starring: Emir Hadzihafizbegovic Awards: Best Actor (E. Hadzihafizbegovic) (Durban IFF 2007); East of West Award (Karlovy Vary IFF 2007); FIPRESCI Prize (Palm Springs IFF 2008) THE BORDER POST Starring: Bogdan Diklic, E. Hadzihafizbegovic Awards: WON: Golden Arena – Best Supporting Actor (E. Hadzihafizbegovic) (Pula FF 2006); Audience Award (Trieste FF 2007); FIPRESCI Prize, Golden Dolphin and Silver Dolphin (Festroia Troia IFF 2007) NOMINATED: Golden Seashell (San Sebastian IFF 2006) DAYS AND HOURS Starring: Senad Basic, Mustafa Nadarevic Awards: Nominated for

Golden Iris (Brussels European FF 2004); Golden Alexander (Thessaloniki FF 2005) *Bosnia and Herzegovina’s submission forBest Foreign Language Film to the 77th Academy Awards in 2005. FUSE Starring: Bogdan Diklic Awards: WON: Silver Leopard, C.I.C.A.E Award Special Mention (Locarno IFF 2003); Best First Feature (Sarajevo FF 2003); Golden Star (P. Zalica), Best Actor (B. Diklic) (Marrakech IFF 2003); Best Actor (B.Diklic) (Amiens IFF 2003) NOMINATED: Golden Leopard (Locarno IFF 2003); Grand Prix (Bratislava IFF 2003); European Discovery of the Year (European Film Awards 2003) SUMMER IN THE GOLDEN VALLEY Starring: Svetozar Cvetkovic Awards: WON: Jury Prize (Bermuda IFF2004); Golden Iris (Brussels European FF 2004); Movie Zone Award, Tiger Award (Rotterdam IFF 2004); FIPRESCI Prize, Special Jury Award (Sofia IFF 2004). NOMINATED: Grand Prix (Sofia IFF 2004) Director SECRET PASSAGE Starring: John Turturro, Tara Fitzgerald Filmed in Luxembourg, Belgium, Italy, Portugal. PERFECT CIRCLE (coproduction Bosnia and Herzegovina, France, Belgium, Croatia, Netherlands) Prix Francois Chalais, Prix Cannes Junior - "La Quinzaine de Realisateurs" at the Cannes Film Festival Grand Prize, Best film, Best director - Tokyo International film Festival European Academy Awards - Nominated for the Best European Film and Best Screenplay Special Prize Van Leer - Jerusalem Film Festival Audience Prize - Quebec Film Festival Audience Prize - Saint Luis Films Festival MAN, GOD, THE MONSTER aka MGM/Sarajevo (Co-directed with

P. Žalica, M. Idrizovic, I. Arnautalic) "La Quinzaine de Realisateurs" at the Cannes Film Festival. European Film Academy Award - Best documentary Documentary: SARAJEVO - A STREET UNDER SIEGE by Ademir Kenovic, Patrice Barrat A series of two-minute stories entitled realized in coproduction with Point du Jour (France) and BBC2 (England). 1994 the film received a BAFTA (British Academy Award of Film & TV Arts) award and the Jury Award at the Locarno Film Festival. KUDUZ European Film Academy - Nominations for the Best Film, Best Leading Actress and Best Music. The Special Prize of the Jury was awarded to this film for "its new spirit coming from Sarajevo". A LITTLE BIT OF SOUL Opened at "La Quinzaine de Realisateurs" at the Cannes Film Festival. Film was programmed in most of the major film festivals at Tokyo, Montreal, San Francisco, New York... Snezana Maric Studied Film, Theater and Media Science in Vienna. Worked as industry consultant at numerous film festivals, such as Sarajevo Film Festival, Rotterdam Film Festival, Zagreb Film Festival, Belgrade International Film Festival (FEST), etc. Since 2004 she has been working as international relations officer and developing executive in Refresh Production Sarajevo. FILMOGRAPHY: 2011 - ORCHESTRA (production department); 2009 - UNCLE JOVO ROCKS, doc. (producer) 2008 - BUICK RIVERA (production department) 2007 - IT’S HARD TO BE NICE (production department); STILL ME, doc. (producer) 2006 - ARMIN (production department)

2005 - KARAULA (production department) 2004 - DAYS AND HOURS (production department) WRITER & DIRECTOR’S PROFILE

Pjer Žalica writer was born in Sarajevo in 1964. He studied Comparative literature and Philosophy in Sarajevo and graduated at the Academy for Performing Arts in Sarajevo. At the Grožnjan International Film School, he completed classes in scriptwriting and production. His documentaries and short films about the war in Bosnia and Herzegovina gained lot of international recognition. Žalica has also co-written a screenplay for the first post-war feature film from Bosnia and Herzegovina, award winning "Perfect Circle" directed by Ademir Kenovic. His debut feature films FUSE was premiered at Locarno International Film Festival, won Silver Leopard and more than 20 awards worldwide. The second feature film DAYS AND HOURS was premiered at Toronto International Film Festival. Both films were very successful at the box office grossing more than 500.000 admissions domestically and sold over 60 territories worldwide. Pjer Žalica is currently a Professor in the Department of Directing at the Academy for Performing Arts in Sarajevo and visiting lecturer to numerous universities in Europe and USA. In last 20 years he was author and director of numerous TV shows, series, documentaries, commercials and music videos. He also directed six theatre plays. Elmir Jukic, director Was born in 1971. Studied at the Academy of Performing arts in Sarajevo, Directing Department. Directed several, award winning theater plays, short films as well as one of the most successful TV series (5 seasons) which were screened across the region. Filmography includes FRAME FOR THE PICTURE OF MY HOMELAND, short film, Special mention Sarajevo Film Festival 2005, Leopard of the future, Locarno Film Festival 2006., Special mention Montpellier Film Festival 2006 and MOTHER, short film, Official competition Sarajevo Film Festival.

The Game of Pirates Genre Director Writer Producer Budget Company

Children, youth Marje Jurtshenko, Ilmar Raag Livia Ulman, Andris Feldmanis, Ilmar Raag Riina Sildos € 1.700.000 Amrion Production

Riina Sildos Contact details Amrion Production Nurme 45 11616, Tallinn T: +3725048985 Riina.sildos@amrion.ee www.amrion.ee

SYNOPSIS

6-year-old Sten-Erik has to leave behind his friends and move to a new house in an unfamiliar neighbourhood. His new neighbour is Maria, an unrestrained girl who misses her mother. When tensions rise between their families, the children escape the stressful grown-up world into a realm of fantasy, where deception often takes the face of truth. DIRECTOR’S NOTES OF INTENTION

The Pirate Game is loosely based on a children’s book of the same name by the popular Estonian writer Sass Henno, whose youth crime novel "I Was Here", was also turned into a film and was a success at the local box office. Sten-Erik, 9, moves into a new house his parents inherited. He is uncomfortable with changes and new people, and mostly keeps to his room. What he doesn’t know is that another family inhabits the house - the impulsive and passionate Maria and her depressed father, Pop, who hasn’t gotten over the death of Maria’s mother and refuses to talk about her. The relationship between the two kids is off to a bad start, because Sten-Erik’s parents want to kick Maria and Pop out. And in Maria’s eyes Sten-Erik is just as much to blame as his parents. Sten-Erik’s initial strategy of keeping out of Maria’s sight changes when he learns she has a secret plan to prevent Sten-Erik’s parents from kicking her out. On a typical summer morning, she leaves the house and Sten-Erik, out of curiosity and fear, follows her. Accidentally thrown together, Maria and Sten-Erik embark on a journey in search of Maria’s long lost mother, who she believes is still alive and held captive by pirates. On their fantastical quest they meet treacherous pirates, deal with broken illusions and betrayed trust, overcome an ancient curse and in the end, find the most precious treasure there is - friendship.

As storytellers we are interested in the way children see the world. Inevitably children are born into the world of adults, and their way of making sense of the world around them is a medley of fantasy and illusions, which can crash with the notions and attitudes of the adult world. One may think that this fantasy world is a form of escape from real world, but for us, this is the way for problem solving. Our aim is to create an entertaining and adventurous children’s film, which would also deal with complex emotional issues from the child’s point of view - e.g. the loss of her mother in Maria’s case and the sense of being misunderstood by one’s parents, and estrangement in StenErik’s case. The story also underlines the importance of having genuine, meaningful relationships, which nowadays need more conscious effort than ever before. We want to tell a story that would be engaging, insightful and emotionally satisfying to both children and grown-ups. For the visual point of view we see the fantasy world clearly different from real world with exaggerated and sometimes dangerous atmospheres. In art direction it would mean the use of different special effects and definitely not realist art direction. COMPANY PROFILE

AMRION is a production company founded by Riina Sildos in 2003 to produce high quality feature films and documentaries for local and international cinema and TV markets. The main aim is to make international co-productions with young promising talents and already acclaimed directors. What all the projects have in common is filmmakers’ personal vision, both with regard to subject matter as well as visual aspects. Besides applying creative criteria, Amrion develops projects with clear audience profile. Amrion offers filmmakers an emphasis on development and international financing and distribution of the projects. As

a former head of Estonian Film Foundation Riina Sildos has extensive knowledge and experience in international financing and marketing and is one of the most recognized persons in Baltic film industry. She established the Baltic Films, the promotional body for marketing Baltic films and the Baltic Event – the international co-production market. She has also acted as the member of the Media Committee of the European Council. In Berlinale 2007, Riina Sildos was a member of the Short Film Jury. She is the national representative of EAVE and EMPA, and a member of ACE and European Film Academy. Amrion has produced four documentary films, "Wounds of Afghanistan" (2005), "Is the Best Enough" (2005), "Lieutenant, Von and the Manor of Leetse" (2006), "Viru. The Embassy of Freedom" (2013) and seven feature films, box office hits "Mat the Cat" (2005), multi-award winning youth drama "The Class" (2007), "I Was Here" (Estonia, Finland 2008), "The Poll Diaries" (Estonia, Germany, Austria 2010), "Hella W" (Finland, Estonia 2011), "Une Estonienne à Paris " (Estonia, France, Belgium 2012) and "Kertu" (2013). Riina Sildos also produced the animation feature "Lotte from Gadgetville" (Estonia, Latvia 2006) with Eesti Joonisfilm, an international coproduction, which was chosen to Berlin Film Festival Generations Kplus competition programme in 2007 and sold to more than 50 countries. The sequel, "Lotte and the Moonstone Secret", premiered in August 2011 and has already become the fifth largest Estonian domestic film launch in 10 years and was selected again to Berlin Film Festival Generations Kplus competition programme in 2012. The other international co-productions, one documentary "Snow in Krasnaja Poljana" (Estonia, Austria) is in production. Of the upcoming feature films, "I’m Not Coming Back" is in post-production, and "Afterwar", "Metaphors", "Comrade Kid" and "Came of Pirates" are in development.

PRODUCER’S PROFILE

A former film critic and the head of the Estonian Film Foundation, Riina Sildos set up her own production company Amrion Productions in 2003. She has also worked as a producer for the animation studio Eesti Joonisfilm on the highly successful Lotte From Gadgetville and Lotte and the Moonstone Secret, both premiered at Berlinale Generations Kplus. At Amrion, Riina has produced the local box-office hits Mat the Cat, Ilmar Raag’s The Class and Rene Vilbre’s I Was Here, and co-produced Chris Kraus’s The Poll Diaries and Juha Wuolijoki’s Hella W, Ilmar Raag’s Une Estonienne á Paris. Riina Sildos is Estonian representative in EAVE, member of ACE and European Film Academy. She is also the head of international co-production market Baltic Event.

development of Estonian documentaries and establishing and running the documentary series Estonian stories, in the framework of which 12-14 documentary films are produced every year. Marje also helped to build and manage the co-production market Baltic Event, gaining extensive experience in international co-productions, which she also studied at a course by EAVE. In 2005, she trained as Script Editor for Kids Stories in the North by Northwest Script Developing Workshop. In 2010, Marje completed production on a long-term documentary project, which resulted in an award-winning film "Time is Here". "The Game of Pirates" is her debut feature.

WRITER & DIRECTOR’S PROFILE

The writers of "Metaphors", Livia Ulman and Andris Feldmanis are young and prolific writers who have been writing fiction for TV since 2007. Among their work are both daily and weekly series and the most successful TV show ever produced in Estonia-- "Revenge Office", a crime comedy, which has been at the top of the ratings chart consistently throughout its 9 seasons and is the first Estonian show sold as a format to FremantleMedia Ltd. Prior to writing for the audiovisual industry, Andris worked as a reporter and journalist for the culture section of Estonia's biggest daily and contributed to culture and film magazines, and Livia translated and edited books for one of the leading local publishers. Director Marje Jurtshenko has acted as commissioning editor for Estonian Public Broadcasting for 12 years. Marje graduated from the TV studies department of the Tallinn Pedagogical University, but has also acted as 1st AD on a number of feature films. In 2012, she received the prize of Cultural Endowment of Estonia for her work in

Walking pace Genre Director Writer Producer Budget Company

Drama Francesco Falaschi Francesco Falaschi, Angelo Carbone Enzo Porcelli € 2.000.000 ACHAB Film

Francesco Falaschi Enzo Porcelli Contact details ACHAB Film Via Cavour, 181 00184, Rome - Italy T: +39 3357056232/0761 678938 F: +39 0761 678938 produzione@achabfilm.it

SYNOPSIS

Bruno is a forty years old truck driver who lives and works between Italy and Turkey. He lives with a woman of Trieste, Elisa, and has a young son with her. Bruno’s economic problems are getting worse, due to the decrease of his work and for the increasing of his old debts. The situation worsened when the Turkish wife Aisha, from whom Bruno is not officially separated, warns him that his fifteen years old son Nuri got into big trouble during a demonstration. Bruno leaves for Istanbul. There he finds a son practicing Muslim who criticizes him harshly as a father. The ex-wife is his turn indebted to make defend Nuri by a lawyer, and would not want to formalize their separation. After an unsuccessful attempt at new jobs, Bruno decides to accept the proposal of a illegal trip. He will carry a load of weapons, he will be taken by the Italian cops, he will do jail time, to pass a truck after him with a big illegal load. In return for this will be the cancellation of debts by loan sharks and he can heal the situation of Aisha. Bruno, who was a champion of apnea as a young man, hopes to avoid arrest by jumping into the water at the last minute and hidding himself in the truck of his colleague Gaetano. He'll try again a life away from Italy and Turkey. He has prepared false documents. He calls to Elisa and says that he intends to leave her. But during the journey Bruno discovers that his son Nuri was hidden in the trailer of the lorry to come with him to Italy and find out how his father lives. Bruno has a few hours to really know the feelings of his son, to find a point of contact between their different ways of seeing and to explain why he is in that situation. Father and son argue, speak, lose and find themselves in the ship. They seem to understand each other at times. At the arrival Bruno has to decide whether to get caught and do jail time or disappear, perhaps for ever, from the lives of his loved ones. Bruno decides to surrender to the officers, but he do not foresee that his son Nuri, in the most difficult moment, could have a decisive role.

DIRECTOR’S NOTES OF INTENTION

The idea of creating Walking Pace was based on two strong suggestions. The first is that the story, realistic and epic at the same time, is also focused on the dramatic confrontation between father and son. This always was an important topic in my films. A theme in this case enriched by the dialectic between two ways of living and seeing life, seemingly distant and irreconcilable. The second reason why this plot fascinates me is that it’s able to tell two different worlds, even visually opposed, the Mitteleuropa of Trieste, seaside city, borderland and the cultural crossroads of Istanbul, linked by the symbolic place of the ship. In the script, and then in filming, every attempt will be made to ensure that the story, already touching and full of suspense, become emblematic of our era, characterized by economic and social traumas, but also by the need to reposition ourselves in the world from the point of view of ethics. An effort needed for all generations. COMPANY PROFILE

Founded in the early nineties by the encounter between the director Giuseppe Piccioni, director and screenwriter Franco Bernini and Enzo Porcelli. After a period devoted to the international distribution of Italian films, since 2002 ACHAB Film has become the company with which Enzo Porcelli has produced and distributed sometimes his films. ACHAB Film has produced : 2013, " Surprise Gift " directed by Fabrizio Casini, with Massimo Ceccherini and Paolo Gasparini 2013 "The butterfly room" directed by Jonathan Zarantonello, with Barbara Steele 2009 " Foot of God" directed by Luigi Sardiello, with Emilio Solfrizzi and Filippo Pucillo. 2008 " Palermo Shooting " (prod. service) Directed by Wim Wenders, with Canino, Giovanna Mezzogiorno, Denis Hopper.

2008 " A different country " doc film directed by Silvio Soldini. 2007 "A Private Man" directed by Emidio Greco with Tommaso Ragno, Catherine Spaak, Vanessa Gravina. 2006 "The Missing Star" (coprod.) directed by Gianni Amelio with Sergio Castellitto. 2004 "The House Keys" directed by Gianni Amelio with Kim Rossi Stuart and Charlotte Rampling. 2003, "Al cuore si comanda" directed by Giovanni Morricone with Claudia Gerini, Pier Francesco Favino. 1997 "Strong Hands" (coprod.) directed by Franco Bernini, with Francesca Neri and Claudio Amendola. PRODUCER’S PROFILE

Born in Rome in 1944, he studied Law at the Rome University, then Languages and Oriental Culture at the ISMEO in Rome. He graduated at the "Centro Sperimentale di Cinematografia", winning the Golden Ciak Prize as best student of the 1965/67 course. He is member of the European Film Academy and of the European Producers Club From 1970 he produced more than 50 long feature films like "The house keys", "Stolen children", "Lamerica" and "Blow to the heart",by Gianni Amelio; "Henry IV", "The eyes, the mouth", "Leap into the void" and "The seagull", by Marco Bellocchio. He did many films in coproduction with France (by Alain Resnais, Otar Iosseliani, Jacques Rivette, Olivier Assayas, Michel Blanc, Jean-Marie Straub and Danièle Huillet), with Switzerland (by Xavier Koller, Willi Hermann, Matteo Bellinelli), with Germany (by Sergei Bodrov), with Greece (by Nikos Cornilios, Pantelis Vulgaris), with Portugal (by Manoel de Oliveira, Joao Mario Grilo, Maria de Medeiros), with Spain (by Pedro Almodovar) and with Lebanon (by Omar Amiralay). The films he produced won prestigious prizes in the most important festivals of the world like: two "Golden Palms" and a "Grand Prize of the Jury" at the Cannes Film Festival, an "Academy Award" as Best Foreign

Film, two "Silver Bears" at the Berlin Film Festival, a "Golden Leopard" and a "Silver Leopard" at the Locarno Film Festival, the "Crystal Simorgh" for the Best Director at the Fajr International Film Festival etc. WRITER & DIRECTOR’S PROFILE

Angelo Carbone was born in Milan on 14 February 1974. He graduated from CSC in Rome and has written for Gianluca M. Tavarelli (Liberi – Fandango- Medusa 2002), Lucio Pellegrini (Ora o mai più Fandango- Medusa 2003), Alessandro Angelini (L’aria salata, Alza la testa (Bianca film, Raicinema 2006 – 2009 ), Silvio Soldini (Cosa voglio di più – Lumiere, Warner Bros Italia 2010). He won the Solinas Prize in 2002 and in 2001 he received a special mention. He was nominated for the Silver Ribbon as best scriptwriter in 2010 for "Alza la testa" Francesco Falaschi Screenwriter and Director Is film historian, writer and director. He graduated in film history with a thesis on Robert Altman, has written a monograph on Jonathan Demme. He has directed several documentaries and short films including the much honored, "Almost Brothers", which won the David di Donatello. he co-wrote and directed three feature films: I'm Emma, Last Minute Marocco, This world is for you. He directed "casacoop," the first Italian web sitcom advertising for Coop, the largest Italian retail chain.

WHEN FUCKING SPRING IS IN THE AIR Genre Director Writer Producer Budget Company

Feelgood drama Danyael Sugawara Heleen Suer & Danyael Sugawara Trent € 1.500.000 NFI MOTION PICTURES

Danyael Sugawara

Trent

Contact details NFI MOTION PICTURES Jacob van Lennepkade 334P 1053 NJ, Amsterdam - Netherlands T: +31 20 7173504 trent@nfi.nu www.nfi.nu 80

SYNOPSIS

LOGLINE A feel--good road movie about Kasia (17) and her worthless family. When her grandmother dies, and Kasia has hit rock bottom financially, it is high time to seek money and explanations from her biological parents. When she meets her younger sister, with whom she makes the trip to her father, she has to learn to admit to her feelings before she loses all her family. It is winter in Gdynia, Poland. Gdynia is a port town in the North, and is situated by the Baltic Sea. This is where the 17 year old Kasia lives. She is a rebellious teenager: headstrong, street wise and...pregnant. Kasia was almost three years old when her parents left Poland in search of a better life in Germany. However, they never returned, and Kasia has been raised by her grandmother. We first meet Kasia when she finds out she is pregnant and can't tell her boyfriend, Marcin. He does declare his love for her, and wants to build a future with her, but Kasia feels suffocated by his devotion. She has other things on her mind: her grandmother is gravely ill, and they have to pay 25,000 Zloty to project developers, otherwise their precious house will be demolished but she is determined to raise her little child there. When, after a nocturnal search for money, Kasia finds her grandmother dead at the kitchen table, she is torn apart by grief. She is startled from her mourning by the bailiffs: the bulldozers are ready to start. Kasia pays them a deposit, and in exchange, she gets five more days to raise the remainder of the sum. Kasia has only one opportunity left, and that is to get the money from her parents who live in Germany as they owe her a whole life's worth of care! DAY 1 When she arrives in Hamburg, everything appears to be completely

different from what she expected. Her parents are divorced, and her mother is married to a German Buddhist type wearing tight yoga pants. She has two ugly half-brothers, but she is in for a real shock when her full-blooded sister ANIA (14) steps into the room: their resemblance is striking, except for their style of clothing. Kasia tries to focus on her goal to return to Gdynia with 25,000 Zloty as quickly as possible, in order to save her house and bury Babcia. The problem is that her mother EWA (35) is absent, she is working on a river cruise ship. DAY 2 Kasia sneaks out the house early in the morning. A determined Ania comes after her, to help battle for Kasia's justice. Her parents lied to them both. After a failed attempt to meet their mother, they travel to their father LESZEK (40). In Amsterdam, Kasia gets to know her father, who is wealthy and filled with remorse, but is beating around the bush: he turns out to be a faggot! When Kasia finally stops making blunt jokes about his homosexuality, she wants to get down to business. Time is ticking away and, to make things worse, spring is coming. The temperature in Gdynia is rising, and Babcia's body will soon start smelling. DAY 3 All of a sudden, Ewa is on Leszek's doorstep too. Like Kasia, she can hardly bear the confrontation, and starts off on the wrong foot with her estranged daughter. Leszek does all he can to create a pleasant atmosphere, but Kasia has no time for it. She puts pressure on the family, asking them to withdraw cash and embark on the return journey - in Leszeks's car, for then they will have 1,000 kilometres to get to know each other. They go on a real family trip! DAY 4 In the claustrophobic space of the car, the situation erupts: Kasia almost has a miscarriage, loses all control and comes to blows with

Ania, while all the tension of the past years is released by everybody, until a meteorite whizzes past that seems to tear the sky apart. Kasia, Ania, Ewa and Leszek seek protection from each other, stare at the fireball and realise how lucky they were. Leszek and Ewa give Kasia the money and their love. Kasia forgives them for the past, has a sister again, but sneaks out in true Kasia style, without giving any further explanation, in order to get home as quickly as possible. DAY 5 Once she is home again in Gdynia, Marcin is the first person she turns to, and together they give her grandmother a worthy burial and embark on a new spring. DIRECTOR’S NOTES OF INTENTION

I was 5 years old when my parents told me we were going to leave Japan and move to Holland for a few years. My father, a Japanese businessman was sent to work there. I remember the fear of never ever seeing my friends again. My mother reassured me that we would come back in a few years and reunite with my friends and my Japanese family i.e. aunts, uncles, grand- parents and cousins. Things went quite the other way… After my sister was born in Amsterdam and after many fights my parents had, they decided to have a divorce. The situation at home was unbearable. My mother got custody of us children and my father went back to Japan. He hated her for this and to punish her he decided not to have any contact with us, my sister and I. My mother is Polish and was a foreigner in Amsterdam at that time. She had a tough choice to make; stay in Amsterdam or go back to her native Poland with children who just started to ‘root’ in their living environment. She made a brave decision to stay in Amsterdam and raise two children by her self. Even though we were raised in Holland our mother made sure we spoke Polish and visited our grand- parents

and family in Gdynia two times a year. During my puberty I had a tough time adjusting to my surroundings and my stepfather. He and I were like fire and ice, I couldn’t understand him, nor did I want to get to know him better. I wanted to know who my father was. Do I look like him? Do we share character traits? Who am I? Last year when I spent Christmas in Poland with my family I saw a documentary on the television. The subject was on Eurosieroty (orphans left by their parents who left Poland to find work abroad). The documentary was quite academic and concentrated on figures, like, how many children were left behind and the high rate of alcoholism affecting these ‘left behind’ teenagers. Only a small portion reflected the emotional damage of being left behind. It immediately caught my attention and propelled me back to my own youth and how I felt abandoned by my father. The yearning, understanding of one’s roots and the urge to connect with parents was something I relate to very strongly. It also reminded me of the trip I took to Japan to meet my father for the first time in 17 years. My expectations were huge. On the surface I was hoping to find answers about my origin and where do I belong (my situation is quite awkward because I am half Polish, half Japanese and live in Amsterdam. Where do I belong?). Under the surface, the internal journey was the search to understand better who I am and if indeed I could find this by meeting my father. And yes what a journey it was. It’s not always clear how ideas for stories come to exist but in this case it was something very personal and primal. Perhaps not that strongly on the intellectual side but more the feeling, the strong feeling I had during my childhood and growing up; being different (Japanese-Polish), absent father and search for identity. It started to grow in my mind and the idea was born. Themes like identity, family and the complexities of love have always been issues I have dealt with in my films. My way of working has always been working with a writer from a very early stage because I believe the material becomes very personal and rich with life of both the director and writer. Because of the subject and

theme, I immediately thought of Heleen Suer. We worked on several projects before and I knew she would relate to the material because of her personal situation (having adopted two children from a very young age) and would also enrich the story. Ever since Ekran we have been writing in tandem. We immediately agreed on the kind of sensitivity we were after when we started to work together on the screenplay. We really wanted to show ‘life’ but without sacrificing an underlying sense of light humor. Our film deals with serious subjects but we truly believe that the film we have in mind can convey these subject or themes in a light hearted way. As a director, there is always a certain ‘contrast’ that I am looking for to ‘hide’ the message of the film. There have been some films in the past like Juno or Little Miss Sunshine that fit this description very well I think; treating mature and sometimes heavy subject in a light way. A good portion of our story has been written in Poland. The fact of being there together with Heleen and writing has brought us certain things, perhaps even on a social level (on the state of Poland) that we wouldn’t have touched when writing in the Netherlands alone. Even though our film is a character driven story, it has a social problem that we address. On the one hand the problem of the ‘euro orphans’ and on the other hand the complex social situation in Poland with coping with westernization. Strangely enough the underlying theme stays true with the theme of ‘identity’. Poland, the country itself, somehow is in an identity crisis at the moment. From a big country in the 18th century to not even being a country when Poland was disbanded to communist after the war and now where the country is utterly desperately to keep up with the European Union and the rest of the world. This keeping up with the rest of the world has, at times, a devastating effect on the common ‘man’. A good example is the housing scheme we use in our story. This happens all over Poland and is a very actual and upsetting problem. People are being evicted from their houses. This is being done ‘legally’ because big developers have found a loophole in the system. The ground the property is build on doesn’t belong to

the owners. Or the ownership papers could be outdated; in particular, the neighborhood (we describe in our story) is populated by a mix of very elderly people or lower class. These people make easy targets to be bullied and eventually a whole neighborhood is taken over and replaced by luxurious villas. Without making a social realistic drama I feel the urgency to tell this part of Poland in our story. The beating heart and the driving force of ‘When fucking spring is in the air‘ is the main character Kasia. Kasia might come across quite negative at first. She’s a liar, impatient, stubborn, angry, full of herself and full of contradictions. But in the end I think there is a real emotional, ‘sensitive’ and ‘damaged’ girl hidden in this entire pretense. In a way Kasia also represents the anger of all orphans. Kasia is introduced as emotionally ‘isolated’, fearful of opening up and afraid of rejection. Her being left behind by her parents has left significant scars. She creates a shield around herself. If people wander too close into her emotional space she scares them off. By doing so, Kasia gives people exactly what they expect from a ‘damaged orphan’, and it allows her to hide her true wounded feeling of rejection. Kasia thinks she prefers to live in ‘emotional’ solitude only letting her grandmother close enough. But when her grandmother dies and Kasia is threatened with losing her ‘home’, the only way to save the home is to sally forth on a journey that will change her life forever. Along the way, this angry young girl, learns that in order to achieve genuine happiness she must risk revealing her true heart to others. We all fear the pain of rejection when we commit emotionally. But accepting some suffering in life is necessary to live fully. So at least Kasia must muster the courage to honestly declare her feelings to her newfound family, and her candor allows true love to enter her world. We find the theme of "When fucking spring is in the air" revealed through Kasia and her personal growth: in order to find love, we must be willing to accept some pain and remain emotionally open. Although our film focuses on ‘character’ I would like to stress that the film I have in mind is also visually exciting. I have always been a strong

believer that content of a story drives a certain visual style. In this case I want to stay close to Kasia and tell the story from her perspective not in a literal sense, but how we experience the story. With an exception on rare moments in the story Kasia is in all scenes. We, the audience, most of the time know what Kasia knows. Also the way Kasia is as a character, the way she lies, the way she is contradictory is something that could be represented visually. For example the last shot of the film, where the two sisters sit on the roof looking over the ‘slums’; but still the view is magnificent and beautiful. Furthermore the visual style is realistic, but I want to leave room for poetry. The advantage of being a co-writer is that I could (as a director) in cooperate visual ‘direction’ in the scenes. I hope this director’s note has given an insight or a glimpse in to what kind of film we envision. COMPANY PROFILE

Launched in 1992, NFI Productions originally focused on producing documentaries, later expanding into feature film production, leading to many international co-productions and awards including an Emmy Award in 1996. The independent film production company develops and produces high quality feature films by young and promising filmmakers. The company's ambition is to spot and encourage new talents, in order to realize small-budget projects with an edge whle at the same time maintaining broad audience appeal. NFI works with a few directors and writers, typically over a long period of time. We aim to make original authentic films that make us think, that provoke us and challenge us. Genuine multi-dimensional characters that move us deeply, and lead us to experience something we've not yet imagined. As every story has been told already, it's not just about a good story , it’s more about the way it has been told. In the last couple of years NFI MOTION PICTURES produced several projects amongst which Sextet by Eddy Terstall – in selection at War-

saw, Molodist and Transylvania - Does it Hurt by Aneta Lesnikovska nominated for a Tiger Award at the IFFR– and several shorts by Jochem de Vries whose latest short Missing was selected for the Camera d’Or Competition in Cannes 2009. The feature Can Go Through Skin by Esther Rots was selected at the Forum Section of the Berlinale 2009. The film played a.o. in New York, Edinburgh, San Francisco, Leeds and won several international awards. Sales agent Films Boutique sold the film and it won three National Filmawards and was named Best Dutch Film of 2009 by the Society of Film Critics. Beginning of 2010 was the premier of the feature Hunting & Sons by Sander Burger. Film has been selected at the prestigious New Directors New Film Festival in New York and a.o. at the BFI London Film festival, New Filmmakers Competition in Sao Paulo, IFF India Goa and Göteborg IFF. The film was also running for the $25.000 Maverick Award at the Calgary International Film festival and was nominated for two national Filmawards. In spring 2011 the film Villegas by Gonzalo Tobal was shot, an Argentinian roadmovie in endless pampean landscape. An Argentinian and French co-production supported by INCAA, Cinefondation Cannes, and the Hubert Bals Fund. The film has been selected for the Official Selection in Cannes 2012 in the section Special Screenings. In 2012 NFI MOTION PICTURES won the prize as Green Filmmaker of the Year for the short film Life that was produced sustainable. The prize also included a money check of €20.000 that's invested to develop a new feature with director Anielle Webster and writer Gerry de Hoogh. In the future the company will remain looking out for ways to produce in a sustainable way. Currently the film Cornea by Jochem de Vries is in postproduction, whose latest short Missing was in the Official Competition for Short Films in Cannes. www.nfi.nu www.imdb.com/company/co0074513/ 84

PRODUCER’S PROFILE

Trent is born in 1971 in Amsterdam. He studied Economics and Philosophy at the University in Amsterdam from 1988 till 1992. From 1993 till 1997 he studied at the National Film Academy leading to several jobs on and off film sets, from production assistant to editor. Since 1999 he has been the owner of one of Amsterdam’s finest videoshops Cinema, with a wide collection of films, working at the shop at nighttime while working on sets at daytime until 2005. He remained the owner until 2009, when he sold his shop to the remaining employees. In 2001 he started his own production company AllezAllez, making videoclips, commercials and short films on very tight budgets or no budget at all working with all kinds of Dutch artists and brands. In 2003 he started shooting his first feature as a producer, SEXTET by Eddy Terstall, on a total budget of €70.000 raised by several private investors. The film was finally finished in 2007. In 2004, while in the middle of shooting SEXTET,he was the executive in charge of production on SIMON, also by Eddy Terstall. Afterwards, at the end of 2005 he became the owner of production company NFI Productions which is nowadays called NFI MOTION PICTURES. In 2009 he won a National Filmaward for the film CAN GO THROUGH SKIN as a Special Juryprize.The Golden Statue decorates his office. Another prize was won in 2012, as the Green Filmmaker of the Year. This prize included a cheque of €20.000 and also decorates the office. Also in 2012 he was selected as Producer on The Move by European Film Promotion.

tion film The Quiet One. The Quiet One is a Japanese film (32 minutes) dealing with the Japanese sociological phenomenon, "Hikikomori" (a Japanese term to refer to the phenomenon of reclusive adolescents or young adults who withdraw from social life, often seeking extreme degrees of isolation and confinement). The film focuses on a ‘broken’ family and the struggles of Hikikomori that’s has a stout grasp on their eldest son. The film has won several prizes in 2004 and screened on prestigious festivals like Clermont-Ferrand and Busan film festival. The success of The Quiet One propelled Danyael to enjoy ‘young talent’ status and enabled him to develop as a director and direct some successful short films and television productions. His films and projects mainly concentrate on complexity of human interactions where love or intimacy absent or questioned. "The danger of film these days is that they can be more about an idea, I rather see film being about people". His first feature film was "Alles Stroomt" (Upstream), a film about empty nest syndrome, which premiered in 2009 and won the WHITE IRIS Award in Brussels for Best `European Debut and a Golden Calf (Dutch equivalent of the Bafta) audience award. Danyael did receive production funding from both the Dutch Filmfund and the Norwegian Film Institute for "Nordfjord", which was presented at the Cinemart 2009. His writing debut for a feature film is WHEN FUCKING SPRING IS IN THE AIR. This film is being co-written by Helen Suer with whom he worked on Love/Thank you and being produced by Trent (NFI MOTION PICTURES). It will be his second feature.

WRITER & DIRECTOR’S PROFILE

After the education Screen Writing at the New York University, he started to study at the Dutch Film Academy in 2000. He soon realized working with actors and complex character study intrigued him mostly. In 2004 he finished the School with his gradua-

WHITE ELK Genre Director Writer Producer Budget Company

Living History Giuseppe Leonetti Giuseppe Leonetti Giuseppe Leonetti, Edoardo Fracchia € 200.000 Incandenza film & Stefilm

Giuseppe Leonetti Edoardo Fracchia Contact details Incandenza film & Stefilm Via Sant'Antonino, 70 10139, Turin - Italy T: +39 349 2338840 info@incandenzafilm.it www.incandenzafilm.it

2014. USA. On the border between California and Oregon, a few hundred meters from the ocean, George and Darlene live in a Klamath reservation. They are 68 and 70, and are among the last members of their tribe. They are the grandchildren of Chief White Elk. They don’t know anything about their grandfather’s life, about his European tour, the exchange of telegrams with the Italian fascist dictator Benito Mussolini, the years in jail. They don’t even know that White Elk’s full regalia is stored in the Museum of Criminal Anthropology in Torino. I have come to tell them about my five-year investigation on White Elk’s life in Europe and to understand how much of the story corresponds to the photographs, the newspaper cuts, the thousands of letters and the memoir I have found.

The peninsula is in great turmoil: factory workers are on strike, people are continuously gathering in the piazzas, opposite ideologies and extreme poverty are dividing the nation. In the country where the Fascist Party has just won the elections through terror and violence, and where the Prime Minister Mussolini is suspected of having ordered the kidnapping of the Socialist Party leader, White Elk is embraced as a hero. His extraordinary tales, his unlimited financial means and his extreme generosity conquer the open hearts of Italians. Chief White Elk too is fascinated by the roman salutes and the blackshirts: donating money to the needy but also to the Fascist Party, he offers an alliance between Native Americans and Fascists. After six months he finally reaches Torino but here everything suddenly comes to a halt. Chief White Elk or rather Edgar Laplante is arrested for fraud, accused of being an imposter.

1924. "Chief White Elk, the famous actor who is leading the European tour of the Paramount picture "Covered Wagon", and is also the delegate of Natives in front of the Society of Nations, is expected in Brussels this week". This story is reported by nearly every newspaper in Belgium. University lectures are packed, shows sold-out, official hearings crowded, like the lobbies of the hotels where he lodges. "The success I had, compelled me to reach France", he writes in his memoir. "The native actor, doctor in medicine, close friend to Rudolph Valentino and to the Prince of Wales" - as the playbills describe him - travels from success to success, from Brussels to Paris, Nice and Marseille. Here, at one of the many bourgeois parties he is invited to, dancing to the swing music that is conquering Europe, he charms the Austrian Countess Khevenhüller, one of the richest and noblest woman in Europe. She convinces him to undertake a trip around Italy, and commits to backing it up financially. Starting off from the Savoia Excelsior Hotel in Trieste he boards the steamboat Cimarosa, and circumnavigates Italy from Trieste to Genova.

When I first discovered White Elk’s story, five years ago, I was immediately struck by its political component. I found the way this man mocked the regime using a traditional costume was incredible and amazing. As an Italian who is living since 20 years with the same ghosts (people going crazy for a guy who sells false dreams from his TV pulpit), I saw an opportunity to reflect upon our recent past and our present through a different perspective. But then, while my researches went on and I learned more, Laplante slowly became a rather complex figure, concealing many more issues than I expected. There is for example the Native element and Hollywood’s silent era, which belong to our imaginary. Then I realized that White Elk was not simply an impostor: this is the story of a man who is looking for an identity, and is given one thanks to the circumstances he finds himself in. It’s the story of a man who is trying to react to the transformations the world around him is going through, and who finds his own way to do that. He is a shadow from the past - the Far West, the silent movies, the vaudeville - thrown into "the European twentieth

SYNOPSIS

DIRECTOR’S NOTES OF INTENTION

century" where populism is on the rise. I want to tell this story to George, Darlene and their grandchildren, showing them the clues I found. I imagine sitting in front of a camp fire, in a Native reservation screening the archive material I discovered in the Museum of Criminal Anthropology, the images, documents and places where White Elk left his traces across Europe and America too. It may sound strange, a European telling a story to some old Native Indians, but in the overturning world of Chief White Elk, nothing is as it looks like. COMPANY PROFILE

INCANDENZA FILM is a young independent production company founded by Giuseppe Leonetti in 2011. Incandenza film's first production, the documentary "Nitro étude #1" directed by Pietro Balla, has been selected for the italiana.corti section of the 29th Torino Film Festival. 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. 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 for Tv and cinema and series on historical, social and cultural issues. Recent feature length documentary films include Vinylmania (IFFRotterdam 2013) and Char, no man’s island (berlinale Forum 2013). 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 (www.stefilm.it). Since 1988 he produces and writes several documentaries for international co-productions shot in Italy and around the 87

world, one off and series. Particularly he follows director’s first film. He is training in workshops organised by Documentary in Europe, Docu Regio, Zelig School, Raccontare l’Avventura (Trento Film Festival), Lab Media (Italy), Bottega del Cinema (Italy) and he works as narrative consultant. Member of EDN, Doc/it, Reelisors, he is in the board of the association Documentary in Europe. WRITER & DIRECTOR’S PROFILE

Giuseppe Leonetti was born in Turin in 1977. Graduated in film editing at the Centro Sperimentale di Cinematografia – the National School of Cinema in Rome. Since 2004 he has worked as editor on many documentaries: "Il diario del Caimano", "Diario di uno spettatore", "L'ultimo campionato", all of them directed by Nanni Moretti; "The economist's dream" by Monica Repetto (deriva film), "The love hour" by Andrea Appetito and Christian Carmosino, "Something left wing" by Wolfgang Achtner (GA&A). In 2011 he edited "La-bas. A criminal education" by Guido Lombardi, which won the Critic's Week and the Lion of the Future Award at the 68th Venice Film Festival and the Flash Forward Award at the 16th Busan Film Festival. He founded "Incandenza Film" in 2011. "White Elk", which has the developing support from the Film Commission Piemonte, is one of the 10 projects selected to "Archidoc 2013", a workshop organized by La Fémis.

WOMEN ON THE BORDER Genre Director Writer Producer Budget Company

Documentary Erika Rossi Erika Rossi Marta Zaccaron € 166.000 Quasar Multimedia

Erika Rossi

Marta Zaccaron

Contact details Quasar Multimedia Str. Dei Colli 6 33030, Moruzzo (UD) - Italy T: +39.348 5657194 marta@quasarmultimedia.it www.quasarmultimedia.it

SYNOPSIS

In the difficult task of tidying up the unfinished business left after my mother's death, I found two diaries and correspondence between her and my father dating back to the period from 1943 to 1945. I thought I knew a lot of things about her life. I knew that she had been a partisan and that she had devoted her youth to the fight against Nazi fascism alongside my father, Commander Ario. She had never however spoken to me about it, always living in the shadow of my father, who for us sisters had represented the figure of a mythical combatant for our whole lives. Lorena Fornasir Women on the border is the story of a discovery. The discovery of a diary written by a 23 year-old girl, who faced with the horror of war, decided not to be a spectator but to fight, ready to pay any price. Women on the border is the discovery of Lorena, psychotherapist and mother, who for a lifetime lived alongside a woman, her mother Maria Antonietta, without ever really knowing her. In 1942, during the Nazi-Fascist occupation of Yugoslavia, Maria Antonietta was 23 years old and a nurse in the hospital of Gorizia, a town on the Italian-Slovenian border. In this extreme situation, in contact with suffering and with pain, her ideological and political growth took place and ultimately will lead her to work in the ranks of the Yugoslavian resistance, despite being Italian. Women on the border is the discovery of the many souls of a woman, the story of a moral and intellectual legacy of a mother to her daughter: "care", as the sole remedy to violence and destruction, as the fulfillment of the every man’s destiny, as the unique practice of being in the world. DIRECTOR’S NOTES OF INTENTION

"Now that I no longer have my mother, I too, have a story to tell, the map of my feelings has to be redrawn. It's not the telling of a story. 90

It's not a biography. It's a gift to me after death, a relationship with another woman who is not my mother and yet who is. It's the story of a bond not formed from memories and regrets, but from contact with her thought which gave birth to action and with the part of her which reached me without me knowing it." Lorena's narration takes its starting point from the feeling of absence, the feeling which pervades the film throughout. It is an absence however, which acts as a wellspring, revealing something of herself to the woman experiencing it which she could not have understood otherwise. Like Lorena, I also lost my mother a few years ago and, like her, I went through the pain that comes from loss and absence. In the mourning process, when absence is experienced as a suspension of life and identity, I was tormented by the thought of all the things I still wanted to ask her, and all those answers that I had lost forever. It was only with the passage of time that I came to realise that such pain can be experienced as something positive and fertile because all those answers I found within me had actually been given to me by my mother throughout my life. After meeting Lorena, I saw that she too, had followed the same path. We began to follow the steps subsequent to the loss of such an important person in our lives together. The empathy that was created between us meant that for Lorena too, the making of the film represented an opportunity to explore both herself and the values passed on to her by her mother during her life-time. The diary animates the film: it is an intimate, poetic and reflective piece of writing, but at the same time sharp, unsettling and often provocative, drawing us into her mother’s story. The war-time archives allow us to relive the moments which left such an impression on Maria Antonietta's life. Withdrawing forever into death, Lorena’s mother has left behind her the gift of a transmission of emotions across generations, an entirely feminine

gift of "caring", precisely the care required to bring life into the world. That was her mother: a fighter, a strong woman able to transmit her experience without overwhelming her, but guiding her silently through life. Lorena carries this gift as part of her everyday life. The celebration of life found in grieving is an intimate experience that allows us both to live with our dead and to impart meaning to the memory and the legacy they leaved us. What Lorena is looking for is universal, the search for the meaning of loss and absence - what gives our lives form is also what we miss most. COMPANY PROFILE

QUASAR MULTIMEDIA was set in 2001 by Michele Codarin and Giorgio Milocco. In these years they have produced institutional videos , advertisements , TV programs , fiction and documentaries, weaving up important collaborations with high profile professionals. In 2008, after many years of collaboration, Marta Zaccaron joins the company, with the aim of developing and producing high quality creative documentaries for the national and international television and cinema market. Quasar works constantly with RAI, SKY, and has recently co-produced 2 documentaries (one 2 episodes each) with the company French Connection Films distributed by two international distributors to many european channels. Quasar is currently co-producing with Slovenia, Croatia and Austria. The editorial line is to produce documentaries for history slots and society slots. A Special Story (2008) Invisible Refugees (2009) Witnesses (2011) Ardito Desio – Fortune Favours the Brave (2011) Mohamed and the Fisherman (2012) In Search of Josephine (2012) Masters of Dreams (2013)

Anton Ukmar - Like a bullet around Europe (2013) PRODUCER’S PROFILE

Born in Udine, she graduated in 2001 in Management Engineering, and achieved a Masters in Film Studies at University College Dublin, followed by a diploma in directing at Rome’s Nuova Università del Cinema e Televisione. In 2008 after several years of collaboration, she became part of Quasar Multimedia, and developed and expanded the production of documentaries for the national and international television markets, with a particular focus on creative documentaries with historical or society subject. Between 2008 and 2011, she took part in several European programs: EAVE Film Marketing Workshop, EAVE Film Finance Forum, Eurodoc. WRITER & DIRECTOR’S PROFILE

Born in Trieste (Italy), she graduated here in Media studies and specialized in audiovisual Media Studies at the Alta Scuola di Comunicazione of the Università Cattolica di Milano. She works as an author for Rai Tre programs and since 2005 she started writing and directing her own documentary projects, mainly related to social and human rights issues, like Porrajmos, a forza di essere vento (2004), Questioni di Pelle (2005) and Navighiamo a vista (2007). Since 2004 she has been working as filmmaker with the Department of mental health of Trieste and in 2012 she directed and produced "Trieste racconta Basaglia", about the closing of the asylums in Italy diring the 70ies, which won the 2012 Trieste Film Festival and was screened at festivals in Rome, Naples, Glasgow, Split and Buenos Aires."White Elk", which has the developing support from the Film Commission Piemonte, is one of the 10 projects selected to "Archidoc 2013", a workshop organized by La Fémis.

NOTES

SKETCHES

Film Producers Netherlands | members 24 FPS Features Anton Scholten anton@24fpsfeatures.nl

Film Producers Netherlands Film Producers Netherlands - FPN - is the association of film producers in the Netherlands. Our aim is to stimulate and support a dynamic and creative film industry. We represent the majority of Dutch film producers, promoting their common interests by lobbying government and the film industry on their behalf at national and international levels. Many of our members are experienced in co-producing with foreign filmmakers. For information regarding the Dutch film industry and co-production opportunities, please contact the office of Film Producers Netherlands.

Film Producers Netherlands Marjan van der Haar (Managing Director), Korte Zoutkeetsgracht 2, 1013 MC Amsterdam, The Netherlands, Tel +31 20 627 00 61, info@filmproducenten.nl, www.filmproducenten.nl Board members Marc van Warmerdam (Chairman, Graniet Film), Joost de Vries (Lemming Film), Ate de Jong (Mulholland Pictures), Sander Verdonk (CTM Lev Pictures)

Bijker Film & TV David Bijker, Harro van Staverden +31 20 226 01 00 info@bijker.tv www.bijker.tv BosBros Productions BV Burny Bos +31 20 524 40 30 info@bosbros.com www.bosbros.com Cadenza Films BV Jeroen Koolbergen +31 20 638 28 25 info@cadenzafilms.com www.cadenzafilms.com Circe Films Stienette Bosklopper +31 20 625 35 91 info@circe.nl www.circe.nl Cool Beans Richard Claus +31 20 589 60 60

Graniet Film Marc van Warmerdam +31 20 606 06 30 info@granietfilm.nl www.granietfilm.nl

Phanta Vision Film International Petra Goedings +31 20 626 02 55 info@phantavision.com www.phantavision.com

Eyeworks Film & TV Drama Maarten Swart +31 20 346 37 00 info@eyeworks.tv www.eyeworks.tv

Johan Nijenhuis en Co Johan Nijenhuis, Bernard Tulp +31 20 760 19 60 info@nijenhuisenco.nl www.nijenhuisenco.nl

Family Affair Films Floor Onrust +31 20 707 17 13 info@familyaffairfilms.nl www.familyaffairfilms.nl

Jos Stelling Films Jos Stelling +31 30 231 37 89 judith@stellingfilms.nl www.stellingfilms.nl

Pupkin Film Pieter Kuijpers, Iris Otten, Sander van Meurs +31 20 489 50 88 info@pupkin.com www.pupkin.com

Farmhouse TV & Film Klaas de Jong +31 511 53 95 10 info@farmhousefilm.nl www.farmhousefilm.nl

KeyFilm BV Hanneke Niens, Hans de Wolf +31 20 423 15 96 info@keyfilm.nl www.keyfilm.nl

CTM Lev Pictures Denis Wigman, Sander Verdonk +31 35 647 40 40 pictures@ctm.nl www.ctmlevpictures.com

Flinck Film Michiel de Rooij, Sabine Veenendaal, Jeroen Beker +31 20 570 31 30 info@flinckfilm.nl www.flinckfilm.nl Fu Works San Fu Maltha +31 20 530 71 10 info@fuworks.nl www.fuworks.nl

PVPictures Paul Voorthuysen +31 35 677 47 76 mail@pvpictures.nl www.pvpictures.nl Rinkel Film BV Reinier Selen +31 20 616 32 31 info@rinkelfilm.com www.rinkelfilm.com

Lemming Film BV Joost de Vries, Leontine Petit +31 20 661 04 24 info@lemmingfilm.com www.lemmingfilm.com

Rotterdam Films Mildred van Leeuwaarden, Dick Rijneke +31 10 465 85 65 info@rotterdamfilms.nl www.rotterdamfilms.nl

Mulholland Pictures BV Ate de Jong +31 20 627 43 39 dejong@mulhollandpictures.com www.mulhollandpictures.com

Sigma Pictures Productions BV Matthijs van Heijningen +31 20 535 33 20 info@sigmapictures.com www.sigmapictures.com

Sluizer Films BV George Sluizer www.georgesluizer.com SNG Film Digna Sinke +31 20 686 78 37 sngfilm@xs4all.nl www.sngfilm.nl Submarine Femke Wolting, Bruno Felix +31 20 330 12 26 info@submarine.nl www.submarine.nl Talent United BV Paul Ruven +31 20 412 96 44 info@talentunited.nl www.talentunited.nl Topkapi Films Frans van Gestel, Arnold Heslenfeld +31 20 303 24 94 info@topkapifilms.nl www.topkapifilms.nl Viking Film Marleen Slot +31 20 625 47 88 info@vikingfilm.nl www.vikingfilm.nl

INDUSTRY GUIDE

100 AUSTRIA 101 BELGIUM 107 BOSNIA AND HERZEGOVINA 109 CONGO 109 CROATIA 116 CZECH REPUBLIC 117 FRANCE 120 GEORGIA 120 GERMANY 124 GREECE 125 HUNGARY 128 ITALY 165 LITHUANIA 166 LUXEMBOURG 168 MACEDONIA

169 MEXICO 170 POLAND 172 PORTUGAL 173 ROMANIA 173 RUSSIA 176 SERBIA 180 SLOVAKIA 181 SLOVENIA 185 SPAIN 185 SWITZERLAND 186 THE NETHERLANDS 192 TURKEY 194 UNITED KINGDOM 196 UKRAINE

Creative Europe Desk Flanders MEDIA

Cinestyria serves as a central contact point of Styria for film and TV projects with international distribution potential and touristic value. Our essential funding criterias are: international distribution, reference to Styria, touristic value and effect for Styria. We are acting also as a film commission, offering service and support for all kind of belongings for every Styrian film project.

Creative Europe (2014-2020) replaces the former MEDIA, MEDIA Mundus and Culture (2007-2013) programmes. The MEDIA sub-programme of Creative Europe supports the EU film and audiovisual industries financially in the development, distribution and promotion of their work. It helps to launch projects with a European dimension and nurtures new technologies; it enables European films and audiovisual works to find markets beyond national and European, borders; it funds training and development schemes. The training and market access schemes have a new "Mundus" dimension. For the new programme three new initiatives in Audience Development & Film Literacy, International Coproductions and Video Games were launched. More innovations will follow including a new Financial Instrument for the Creative sector. The role of the Creative Europe Desk (CED) MEDIA offices is to help local audiovisual industry professionals understand and apply to the MEDIA Programme’s funding schemes by advising and individual support. They promote the programme and encourage participation in training courses, festivals and markets. In addition they organize professional trainings and meetings in corporation with local or foreign related organisations and institutions.

EastWest Filmdistribution

Sasha Wieser

EastWest Filmdistribution is an independent feature and documentary film sales company, specialised in promotion and sales of high quality European cinematic art. The company was founded in November 2004 by Sasha Wieser and Steve Walsh who each have over thirty years of experience across all aspects of international film production and distribution. The team operates on an international basis with a strong network of experienced film professionals and is engaged to finding the right markets for each movie. EastWest has a passion for world cinema and a firm belief that the films represented by the team deserve and will find a worldwide audience.

Filip Lenaerts BVBA

Österreichischer Rundfunk - ORF

Filip Lenaerts has been active as a freelance director since 1999, mainly for VRT, the Flemish Public Television. At this moment he is developing a television fiction series with a unique cast of actors, all with a mental disability.

Ines Pedoth 100

Joyce Palmers

ORF – Österreichischer Rundfunk: Austrian Broadcasting Corporation

belgium

austria

Enrico Jakob

Cinestyria Filmcommission & Fonds

Filip Lenaerts

101

Flanders Audiovisual Fund

Film And Audiovisual Centre is the official government agency for supports to film and audiovisual works of the wallonia brussels federation. Fac manages ao international coproduction agreements, cooperation with public and private broadcasters, specific competencies regarding tax shelter law.

Flanders Audiovisual Fund (VAF) hosts different entities: VAF/Filmfund (for single projects), VAF/Mediafund (for series), VAF/Gamefund (for games) and Screen Flanders (economical fund). VAF also hosts Flanders’ MEDIA Desk. The Fund was set up by the Flemish government in 2002 and is headquartered in Brussels. The aims of the Flanders Audiovisual Fund are threefold: to develop a sustainable audiovisual industry, to encourage and support upcoming audiovisual talent and to promote a vibrant audiovisual culture in Flanders and abroad. VAF accomplishes six main tasks: (1) It provides financial support for audiovisual productions in, as well as international co-productions with Flanders. There are several subsidy lines for different genres: fiction, documentary, animation, experimental single screen and games; (2) VAF’s communication department, that operates under the name ‘Flanders Image’, promotes Flemish films in Flanders towards the (inter)national press, festivals and potential buyers. (3) VAF’s training department organizes workshops and seminars, provides coaching, grants scholarships, and finances professional training. (4) The film culture department is active in the field of distribution and exhibition. (5) The research department collects data and carries out surveys on the audiovisual field. (6) The economical department manages Screen Flanders.

Emmanuel Roland

Filmmore Belgium Filmmore offers a full range of DI and visual effects services, exclusively meant for cinema and TV drama. Presently, our commitment is to excellence in creation, production, service and delivery on a European level whereas our approach is refreshingly personable and encourages bespoke solutions to suit any brief. The Filmmore business is founded on loyal and longstanding relationships with clients that truly depend on our ‘boutique’ solutions, regardless of complexity or expediency. Paolo Finotto

belgium

FILM AND AUDIOVISUAL CENTRE- WALLONIA BRUSSELS FEDERATION

Pierre Drouot

Inti Films Inti is the ancient Inca-word for sun: as for life in general, light is quintessential for film. Inti Films is an Belgian independent production company, founded in 1993, wich focusses on the production of creative documentaries and director's films with a trans-national relevance and for an international market. In todays audiovisual market Inti Films chooses to position itself by producing films that matter, films which challenge the viewer and make him wonder about the mysteries of life and human existence. Contact details: Inti Films | Werfstraat 2 | 1000 | Brussels T: +32 499 25 81 18 | jules@intifilms.com | www.intifilms.com

102

Jules Debrock

103

Aurélien Bodinaux

RTBF

Lichtpunt is an independent broadcaster and has a two weekly TV-programme on the second channel of the Flemish public broadcast (VRT). Lichtpunt is subsidised by the Flemish government. The mission of Lichtpunt is to bring documentaries, interviews and feature films from a humanist point of view. Therefore Lichtpunt broadcasts human/social-interest programmes. Lichtpunt produces a part of its programmes by its own Staff, but also buys and co-produces on the international market.

The RTBF is the Belgian public French-speaking television. The RTBF co-produces about 50 documentaries per year with Belgian and international producers. The documentary slots on the 3 channels (La Une, La Deux, la Trois) are mainly : society, current affairs, geo-politics, History, environment. These slots are 52 or 90 minutes-long. Another slot on ARTE-Belgique broadcasts once a month documentaries about the Belgian cultural artists and events. A weekly slot during the summer, “Fenêtre sur Docs”, broadcasts creative documentaries.

Neon Rouge Production

Ventes-CBAWIP-Sales

Neon Rouge Production is built on the desire to promote documentary and fictional films, of a higher quality. Our goal is to meet filmmakers, to develop with them original projects. We intend to work very closely with the artist, from burgeoning ideas to promotion and distribution. We develop and produce a promising generation of authors. Our editorial line is meant to propose a different perspective on humanity. We conceive our projects with respect to the realities of the worlds that they are drawn from.

Belgian export and pre-sales catalog Ventes-CBAWIP-Sales provides CBA-Centre de l'Audiovisuel à Bruxelles and WIP-Wallonie Image Production's creative documentary stories with a pov on society, history, geopolitics, arts & culture, with a priority for feature-lenght with TV hour reversion. Thierry’s international selection favors current affairs with creative cinematography, and human angle on society and geopolitics, with world sales, pre-sales, and international coproduction in mind. Thierry actively participates in decision making and expertises in coproduction events for coproduction and pre-sales at East european forum, Praha, Visions du réel, Nyon, Sheffield Meet Market, Baltic Sea Forum, Medimed pitching and Dok Leipzig coproduction meetings, as well as for IDFAcademy or Forum IDFA. Thierry represents documentaries on main world sales markets such as : MIPDOC, MIPTV, MIPCOM and Docs for sale.

belgium

Willem Van Rompaey

Lichtpunt

Wilbur Leguebe

Thierry Detaille

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105

The VRT is the Flemish public broadcasting company in Belgium. It provides audiovisual programmes and services to a wide audience on all platforms, independent of commercial or political influence. It focuses on quality, durability, and community sense. The VRT: 1. guarantees independent, useful and justified information, knowledge or experiences; 2. is a reference in a fast moving and fragmented media landscape 3. increases participation and diversity and stimulates social responsibility ("sense of community") 4. promotes the cultural identity whilst offering a window to the world; 5. excels in creativity and innovation; 6. is efficient and cooperates with public authorities, private partners, and media companies.

Wallimage is a public limited company, created by the Walloon Region. It is a purely economical fund which supports audiovisual productions and enterprises. The Mons-based company employs 8 people and acts as an advisory and investment company which analyses bids for its subsidiaries Wallimage Coproductions and Wallimage Entreprises. These subsidiaries invest in films and in companies, respectively. Its purpose? To give structure to the audiovisual industry in the Walloon region, so dynamizing an entire Walloon industry branch by focused investments with multiplying effects. Via our website, which scours Walloon news on image and sound, Wallimage also offers practical help like a directory with Walloon talent. The regional fund also coordinates the actions of the Walloon film commissions.

Elly Vervloet

Stéphanie Hugé

VRT

Aljazeera Balkans

VRT is the public broadcasting company of the Flemish part of Belgium. Eén is the first channel and targets a broad family audience.

Al Jazeera Balkans started broadcasting in November 2011 and our main studio is in Sarajevo, located in BBI center, as the team lead by General Director Tarik Đodic’, Director of News and Programs Goran Milic’. Al Jazeera Balkans is offering a new and exciting perspective in the regional media landscape. Al Jazeera Balkans is distributed throughout main cable operators in the region and Europe, as well as a part of “free to air” on Eutelsat 16 degrees east. In Bosnia and Herzegovina Al Jazeera Balkans is also available via terrestrial frequency. Program is broadcast in High Definition (HD), in XDCAM HD on 50Mbit/s. Al Jazeera Balkans is fully integrated in Al Jazeera Network, and that is allowong distribution of materials within the network. Al Jazeera Balkans will “give voice to untold stories, promote debate, and challenge established perceptions.” Al Jazeera Balkans is following Al Jazeera network Ethical code and report EVERY ANGLE| EVERY SIDE. Program of Al Jazeera Balkans is produced by team of professionals, from the central studio in Sarajevo, and the regional centers in Belgrade, Zagreb and Skopje. Al Jazeera Balkans also have a wide network of correspondents in the region: Podgorica, Priština, Mostar and Banja Luka, as well as in Washington, London, Brussels, Berlin, Vienna, Moscow, Istanbul, Jerusalem and Beijing.

belgium

WALLIMAGE

Lejla Dedic

BOSNIA and HERZEGOVINA

belgium

Philippe Van Meerbeeck

VRT

Contact details: Aljazeera Balkans | Trg djece Sarajeva 1 | 71000 | Sarajevo T: +387 33 897 310 | lejla.Dedic@aljazeera.net

106

107

After the 4-year-long siege of Sarajevo, and with an intention to recreate civil society of the City, in 1995, the Sarajevo Film Festival was founded. Today Sarajevo Film Festival is an international film festival with special focus on the region of Southeast Europe. High quality programming, strong industry segment, an educational platform for young filmmakers, presence of numerous representatives of film industry, film authors and media representatives from all over the world, as well as over 100,000 visitors, are the confirmation of the festival's status which is renowned and recognized by film professionals as well as by its audience. The Festival of such concept serves as a catalyst for cooperation within the region, and establishment of connections with partners from all over the world. It represents a platform for development of film business in Bosnia and Herzegovina and in the region, but also sets new standards of festival organization and film presentation. The platform which Sarajevo Film Festival offers to the region places the talents and projects from the South Eastern Europe into the centre of attention. It provides support and encouragement for creation of network of contacts between regional film professionals, but also opens a wide international network of contacts. For the representatives of the world film industry it offers new projects, ideas, and talents from the region. Sarajevo Film Festival Competition Programme screens world, international and regional premieres of feature, short, animated and documentary films from: Albania, Armenia, Austria, Azerbaijan, Bosnia and Herzegovina, Bulgaria, Cyprus, Croatia, Georgia, Greece, Hungary, Kosovo, Malta, Macedonia, Montenegro, Moldavia, Romania, Serbia, Slovenia and Turkey. Films selected in Competition Programmes for feature, short and documentary film compete for the prestigious Heart of Sarajevo Awards. The 20th edition of the Sarajevo Film Festival will take place from 15th till 23th August, 2014.

Professionnel organisation of filmaker in democratic republic of Congo. Produced of a film kinshasa francophone

Annie Betu Kandu

Didier Lukusa Mutobola

Aning FILM Aning FILM is a film and converging media production company that has been established in 2011 as a new part of a 20 year old family business. Based in Zagreb and looking to spread business to other interesting corners of Europe, our mission is to develop and produce authorial audio-visual projects, dramatic narratives, whose core revolves around market value and authorâ&#x20AC;&#x2122;s liberty working together in harmony. Contact details: Aning FILM | Zeleni trg 4 | 10000 | Zagreb T: +385 91 6284 527 | F: +385 1 6184 502 | matija@aning.hr | www.aning.hr

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CONGO

ORGANISATION DES CINEASTES CONGOLAIS

CROATIA

BOSNIA and HERZEGOVINA

Rada Sesic

Sarajevo Film Festival

Matija Radeljak

109

Focus Media

The Croatian Audiovisual Centre is the central film funding and strategic film agency in Croatia. Its remit ranges from supporting development, production, distribution, exhibition, marketing and promotion to professional training and supporting national film archive through the system of public subsidies. The Centre also promotes Croatian film and co-productions at all major film festivals and markets and administers the Croatian cash rebate scheme for film and TV production, aimed at encouraging inward investment.

Focus Media is a Croatian production company founded in 2003. The company was designed to be a creative outlet for Zagreb based filmmakers of independent feature films, short films, documentaries and TV projects. As a highly profiled company, our aim is to nurture established and fruitful relationships, but also to create new ones.

croatia

Tina Hajon

Croatian Audiovisual Centre

Irena Markovic’

HRT – Croatian television

Hrvoje Hribar

Sanja Ravlic

Croatian Radiotelevision is a public radio and television company. It is one of the European public broadcasting organisations created to serve the society, establish a public good and contribute to the development of a democratic society. HRT began back in May 1926 with the founding of Croatian Radio. Broadcasting had been started by members of the Zagreb Radio Club. They obtained a concession and authorization from the State, and founded the Zagreb Radio station. "Hello, hello! This is Radio Zagreb" these were the first words broadcast at 8:30 pm May 15th on medium wave. Three decades later, the first television station began broadcasting in what was then Yugoslavia, but also across South-East Europe. Croatian Television (formerly called Television Zagreb) began broadcasting on May 15th 1956. In June 1990 the Parliament of the Republic of Croatia passed a law changing the name from Radio and Television Zagreb to Croatian Radiotelevision. HRT is a public radio and television station mainly funded by taxes and advertising revenue. Its four channels are broadcast to more than one million homes. It has 3,500 employees, 21 radio channels, a television centre in Croatia and several abroad. 70 studios and departments are involved in the production of programmes. 18,000 hours of national programmes are produced each year, and about 7,000 hours of foreign programmes are broadcast.

Robert Tomic’ Zuber

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111

Nukleus film

Hulahop Film and Art production is a Zagreb-based independent production company from Croatia. It was established in 2006 by the acclaimed documentary director and producer Dana Budisavljevic’ and the experienced cultural manager Olinka Vištica, best known as a co-author of the MUSEUM OF BROKEN RELATIONSIPS, the most successful Croatian art project. Hulahop focuses on the production of creative documentaries and shorts and the distribution of the European animated films, as well as our own titles. In addition, Hulahop also manages the World Festival of Animated Film ANIMAFEST ZAGREB. Hulahop is a member of EAVE, EURODOC and EXORIENTE professional networks. In producing films our principal aim is to work on innovative, creative documentaries by the filmmakers who are passionate about exploring the genre and its themes, and who love their characters. Hulahop production titles include: DIANA'S LIST (cross genre doc, in production, developed through EAVE), MIA, MYSELF AND AN EXTRA CHROMOSOME (doc, awarded with HBO Adria Award for Docu Rough Cut Boutique of Sarajevo FF 2013), FAMILY MEALS (ZagrebDox Audience Award, Best Balkan Newcomer at Dokufest Prizren 2012), LAND OF KNOWLEDGE (doc, Special Mention of Zagreb Film Festival 2011), THEN I SEE TANJA (short fiction, premiered at Rotterdam FF, 2010) and two projects in development RETURN TO THE LAND OF WITCHES (awarded at BDC Discoveries with Woman Make Movies consultancy award).

Nukleus film Croatia is the legal successor of the Nukleus u. association registered in the Republic of Croatia, Zagreb, in 2004 Nukleus has become the regional production company who's films crossed the Croatian border, and were shown at important festivals and TV stations. In the Spring of 2012 together with the director Miha Knific we established Nukleus film Slovenia as our new outpost. 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 European Film Academy, ACE Producers Network, Documentary Campus Masterschool, EURODOC, EAVE (European Audiovisual Entrepreneurs), exOriente workshop, as well as a regular attendant of the coproduction and pitching forums – Rotterdam, Berlin Film market, Documentary Campus, EEF, IDFA. We are part of HRUP (Croatian Producers Association). We also participated in Producers on The Move in Cannes in 2012 and Producers Lab Toronto 2013.

croatia

Dana Budisavljevic’

Hulahop

Sinisa Juricic

Kinematograf Kinematograf was founded in 1999 and until 2008 its primary activity was film exhibition. As a production company, KINEMATOGRAF is engaged in the development and production of all forms of audiovisual works; feature and short films, documentaries, animated and TV films, series and TV formats. Some of our projects are realized through international co-productions and through collaboration with NGOs. Our main goal is to conceive and produce projects that deal with socially relevant issues, nurture innovation in artistic expression and are exciting and provocative enough to leave a mark globally. Djana Mladenovic

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113

Restart

Pebble Film was created in 2007 by Slobodan Karajlovic and Ana Vilenica with a vision to produce narrative driven, cinematic stories for film and television. The company directors bring together complementary skills they have learned working in different areas of the industry, not only in film and TV, but also in theatre and performing arts. Pebble Film is closely collaborating with Fun Da Mental, its sister company set up in Zagreb, Croatia. Our last short film “Easter Eggs” has been shown on numerous international film festivals including Tribeca Film Festival, LA Shorts, Edinburgh International FF, Tangier Medditeranean and Short Shorts Tokyo International FF. We’re currently negotiating with the Japanese distributor for its Japanes release. Pebble Film/FDM are currently in pre-production of a short film “Il Fuoco/The Fire”, which participated NISI MASA European Short Pitch 2013. Both Ana and Slobodan completed all three modules of MAIA 2013 workshops, an advanced training programme for emerging European producers.. Pebble Film/FDM have currently several projects in development.

Restart is an organization focused on production, education, distribution and exhibition of creative documentary films. The organization was founded in 2007.

Contact details: Pebble Film | Klaiceva 9a / 24 Parliament Hill | 10 000 / NW3 2TN | Zagreb / London T: +447769515380 | s.karajlovic@rocketmail.com

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croatia

Slobodan Karajlovic

Pebble Film

Contact details: Restart | Trg Vladka Macˇeka 1 | 10000 | Zagreb T: +385 91 514 00 54 - +385 91 893 06 75 | nbosha@gmail.com - vanja@restarted.hr www.restarted.hr - www.dokukino.net - www.restartlabel.net

Vanja Jambrovic’

Nebojša Slijepcˇevic’

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Czech TV

Sekvenca aims at producing original cinema that reaches audience everywhere. We pay specific attention to new and emerging authors with distinctive handwriting and try to tailor the production in order to serve and support their vision. Our main goal is to connect with fellow filmmakers around the world and establish a wide network of collaborators so that we can mutually help each other create engaging and thought-provoking cinema.

Manager of International Programme Project Center. After graduation at Film and Television school of Academy of Performing Arts in Prague (FAMU) joined a production company K2, focused mainly on documentary movies about people from Central Europe coping with difficult historic events in the 20th century. Since 2001 working for Czech Television on different positions, now as a Manager of International Programme Center, specialised in international coproduction and funding of projects in development,. She is responsible for international projects across genres and platforms and collaboration with EBU (European Broadcast Union). Successfully launched international cross- media project Why poverty? in Czech television with EBU collaboration worldwide.

Czech Republic

croatia

Jure Pavlovic

Sekvenca

Marketa Stinglova

Czech Republic

Luka Venturin

Artcam

Petra Oplatkova

Film Distribution Artcam is fully integrated distribution company focused on independent and arthouse films in the Czech Republic. Since founding in 2000 we released more than 100 European films with arthouse profile. In 2012, in cooperation with Fresh Film Fest, Artcam introduced joint label FRESH ARTCAM focused on 1st & 2nd films and innovative models of distribution (Day & Date Release, VOD, Events). Recent titles: Caesar Must Die (Taviani brothers, 2012), Just the Wind (Bence Fliegauf, 2012), Amour (Michael Haneke, 2012), Post Tenebras Lux (Carlos Reygadas, 2012), NO ( Pablo Larrain, 2012), Clip ( Maja Milos, 2012), Pevnost / Fortress ( dir. 2012 Lukas Kokes, Klara Tasovska) Contact details: Artcam | Rašínovo nábrˇeží 6, 128 00 Praha | 110 00 | Prague T: +420 221 411 699 | petra@invitr0.com | www.artcam.cz - www.invitr0.com

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Commissioning Editor Specialist Factual ARTE France For many years, Nathalie Verdier has been a Commissioning Editor in Arte France. She has produced all kind of documentaries on various topics for the Thema evenings, recently she has joined the Arts Department and is now looking for documentaries related to Arts and Culture with a fresh and creative approach.

FRANCE

Arte France

Nathalie Verdier

Arte France cinema Since its founding, Arte France Cinema has been involved in more than 600 films and has worked together with over 300 different directors representing more than 50 different nationalities. The subsidiary policy focuses on talent renewal, efforts to boost European and world cinema, and steps to revitalize French cinema. Roughly speaking, co-production may be broken down into three categories: one-third first features, one-third French films, and one-third international joint ventures. Contact details: Arte France Cinema | 8 Rue Marceau | 92130 | Issy-Les- Moulineaux T: 33 1 55 00 74 48 | F: 33 1 55 00 73 97 | c-launay@artefrance.fr | www.arte.tv

Claire Launay 117

Nathalie Combe

Joëlle Levie 118

REZO films

A.S.A.P. Films is an independent production company jointly created in 2003 by the producer Cedomir Kolar, Oscar-winning director Danis Tanovic and producer Marc Baschet. The company’s philosophy is that of independent production of films by authors from different parts of the world, regardless of the language, cost or author’s notoriety. Contact details: A.S.A.P. Films | 4 rue de Saintonge | 75003 | Paris T: +33142774776 | F: +33142778680 | ckolar@noos.fr

Born in 1966, Laurent Danielou started as a Cultural Attaché to the French Embassy first in Moscow then in Los Angeles, where he founded the "French Hollywood Circle" in Los Angeles, chaired by JeanJacques Annaud. He also collaborated as a writer with newspapers such as Le Monde and Les Cahiers du Cinéma. He co-founded two successful magazines in France, Synopsis, and Zurban. He his currently managing director of Rezo Films International, a world sales and production company based in Paris. He recently produced or co-produced Eric Rohmer's TRIPLE AGENT , Philippe Leclerc's PRINCESS OF THE SUN and Alexander Sokurov's ALEXANDRA.

Cosmographe Productions

WIDE HOUSE

Cosmographe Productions is a production company located in the South of France near Montpellier. Created by Nathalie Combe in 2006, it operates independently, with an editorial policy focused on film and video essays that have been broadcast on European television and awarded prizes in numerous festivals throughout the world. Cosmographe pays particular attention to developing the distribution and screening of its films in cinemas, as well as on DVD and VOD.

Wide House is the documentary branch of WIDE funded in 2010. The company's purpose is promoting and distributing internationally cross-cultural, social, creative and innovative titles for all rights and all Media. Wide House will handle 5 to 10 new feature length documentaries per year and a wide range of TV programs.

Online Film Financing - OLFFI

Wild Bunch

Created in December 2010, SAS Online Film Financing – OLFFI is a consulting firm specialising in the financing of audiovisual projects. One of its main activities is the development of a web platform, www. olffi.com, dedicated to audiovisual professionals seeking public funding and resources for their productions. The information module OLFFI EXPLORE centralizing information on funding programmes and tax credits is now on line.

Wild Bunch is one the world’s leading players in the field of international sales, its position strengthened by both a wealth of experience recognised by foreign distributors worldwide, and a broad, artistically diverse selection of the of director-lead international cinema. Currently handling an international sales catalogue of around 300 titles, Wild Bunch has established a reputation for both professionalism and provocation with distributors worldwide.

FRANCE

Cedomir Kolar

A.S.A.P. Films

Laurent Daniélou

Geoffrey Garreau

Marie-Pierre Valle 119

connecting cottbus

Christine Reisen is currently working as an independent consultant/mentor/expert for international producers and institutions. From 1991 to early 2013 she worked with ARTE France as a senior commissioning editor, heavily involved in international coproduction - in recent years mainly in specialist factual. Regularly invited member of selection committees, juries, meetmarkets, pitchings, mentoring workshops and panels, she is amongst other activities involved in developing and pre-saling a selection of projects of international producers.

Connecting Cottbus is a two-day co-production event parallel to the FilmFestival Cottbus. Its main objectives are to create future co-productions between East and West European countries as well as to straighten the network between professionals from these regions and to enhance awareness about current issues of the European film industry. Every year, around 13 projects are selected and presented to the audience of about 150 guests - international financiers, commissioning editors, sales agents, experienced producers and representatives of film fund institutions. Panel discussions and workshops offer inside information and exchange about recent developments and challenges in the film industry, such as financing, audience design and marketing.

Contact details: Chatou - France | T: +33 7 61 01 11 53 | christine.reisen@gmail.com

germany

FRANCE

Christine Reisen

Bernd Buder

GEORGIA

Zaza Rusadze

Zazarfilm

Deckert Distribution

The Film Production and Distribution Company Zazarfilm has been launched in March 2007. The company was founded by a Georgian writer/director Zaza Rusadze and is based in Tbilisi. Zazarfilm aims to develop, produce and distribute author driven documentary, feature and animation films. In 2009 the company has completed its first production a short film by Zaza Rusadze FOLDS AND CRACKS. The film received the Discovery Award at the 19th Festival of East European Cinema in Cottbus. Zazarfilm’s first feature length production, the directorial debut by Zaza Rusadze A FOLD IN MY BLANKET world-premiered at 63rd Berlin International Film Festival in 2013 as the opening film of the Panorama. Alongside of the festival run of A FOLD IN MY BLANKET Zazarfilm is currently in development with several documentary and feature film projects.

Deckert Distribution is a world sales company for documentaries and stands for excellent, director-led, award-winning films, such as the OSCAR nominated RABBIT A LA BERLIN by Bartek Konopka and Piotr Rosolowski, RECIPES FOR DISASTER by John Webster, CANNED DREAMS by Katja Gauriloff, ¡VIVAN LAS ANTIPODAS! by Victor Kossakovsky, FATHER’S GARDEN – THE LOVE OF MY PARENTS by Peter Liechti, Sundance winner THE MACHINE WHICH MAKES EVERYTHING DISAPPEAR by Tinatin Gurchiani, VELVET TERRORISTS by Pavol Pekarcˇík, Ivan Ostrochovský and Peter Kerekes, as well as PIPELINE by Vitaly Mansky and SONG FROM THE FOREST by Michael Obert. The company was established by managing director Heino Deckert in 2003. In general we have a strong interest in social topics, political issues, history, ecology and in films from / about Russia and Eastern Europe. We love films that carry a strong signature by its author. We distribute theatrical and TV documentaries.

Heino Deckert

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Screen International

The Mitteldeutsche Medienförderung (MDM) supports the development, promotion and strengthening of film culture, television culture and media culture industries in the federal states of Saxony, Saxony-Anhalt and Thuringia. All phases of the project may be supported, starting with preparation through production to distribution and presentation of all film, television, video and other audio-visual media productions which are economically promising. MDM can support international co-productions that have the potential to attract audiences in the co-producing countries and beyond. A producer from the Mitteldeutschland region, in exceptional cases from other German regions, attached to the project as well as a Mitteldeutschland spend in the realisation of the project are required.

Screen International is one of the leading trade publications for the international film industry with its daily online news service www.screendaily.com. Martin Blaney has been Screen’s correspondent for Germany, Austria and Switzerland since 1990 and has worked for various initiatives of the MEDIA Programme as well as festivals in Berlin, Munich, Rotterdam and Locarno and markets in Warsaw, Cottbus, Trieste, Moscow and Sofia, among others. He holds a doctorate on the relationship between the film industry and television in West Germany between 1950 and 1985.

MDR TV

Claudia Schreiner

Dr. Claudia Schreiner is head of the department Culture & Science at Leipzig based MDR TV – Mitteldeutscher Rundfunk. This department is responsible for the History, Science, Culture and Religion programme broadcast by ARD/ MDR and Arte, producing documentaries, features, magazines and live broadcast of cultural events. Her responsibilities include editorial and financial controlling of numerous documentary slots in MDR Television and ARD. Born in Cologne, Germany. Ph.D. in History, Political Science and Archaeology.

germany

GErmany

Manfred Schmidt

Mitteldeutsche Medienfoerderung

Martin Blaney

SOFA - School of Film Agents In its 2nd edition SOFA – School of Film Agents invites eight young professionals for an intense workshop during August 2014 to Wroclaw, Poland. The program’s special quality is build upon its unique target group consisting of film culture managers from Middle and Eastern Europe, the republics of the Caucasus and the Balkan States. Contact details: SOFA - School of Film Agents | Vondelstr. 26 | 50677 | Köln T: +49 221 28 58 706 | F: +49 221 28 58 704 | nikitin@filmplus.de | www.sofa2013.org

Nikolaj Nikitin

ZDF – DAS KLEINE FERNSEHSPIEL Rise and Shine World Sales Rise And Shine World Sales is one of the leading international boutique size sales agents. RISE AND SHINE markets and sells outstanding documentaries to broadcasters and distributors around the world. With an average of 15 new films per year we are proud of our exquistite catalogue of award-winning films from all over the world. Diana Karklin 122

Our responsibility within the TV station ZDF is to discover and systematically coach new talents. It provides a professional partnership for the realization of projects through close dramatic support, but also huge scope for development of originality and idiosyncrasy. Das kleine Fernsehspiel supports not only production but also script development. Fictional and documentary low-budget works of a length exceeding 40 minutes have the chance of being promoted, provided the filmmaker has completed no more than two previous feature-length film projects. Every year about 22 new productions are developed: TV films and movies, documentaries, essays, experimental forms and mixed genres, with films commissioned for TV as well as international co-productions for cinema being equally eligible. New broadcasts and pilots for TV formats are developed in Quantum, the ZDF “laboratory for format development”.

Lucas Schmidt

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Dokuart

Graal s.a. is a production and post-production company, located in Athens. The company is in its 14thyear of operation, is clearly focused on cinema and its involvement in the cinematic process varies from the early stages of pre-production to providing post-production services for short, feature films and documentaries. Graal has produced three feature films and two documentaries to date, awarded in international festivals. In 2003 the company entered international co-production for the first time and continued with a wide selection of projects, which expand beyond the Balkans. Since 2010 it is the main sponsor of the Agora Film Market section of Thessaloniki IFF, offering a complete image post-production & lab services award.

The main profile of Dokuart is producing documentaries, mainly of the director Ágnes Sós, and also taking part in educational projects.

hungary

greece

Konstantina Stavrianou

Graal

Ágnes Sós

Eleni Alexandrakis

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Eleni Alexandrakis

FINNAGORA

Selected Works By Eleni Alexandrakis: 2008 Angel and the Weightlifter feature fiction film 2004 The woman who missed home feature fiction film 1995 A drop in the ocean feature fiction film 2010 Omichli.doc documentary 2002 About the Holy and Mysterious Myhr documentary 1999 Easter is in the air documentary 1994 Tonia Marketaki documentary 1990 The Children of Greece a series of six 30-minute documentaries Her films have been awarded in the Berlin Forum, in Houston World FilmFest, in Thessaloniki, Istambul, Valladolid and other festivals. Eleni Alexandrakis is a filmmaker that has produced or co produced her own feature films and documentaries. The last fiction feature film that she wrote produced and directed was Angel and the Weight lifter in 2008. After this, in 2010 she has made the documentary Omichli. doc and she has been working on three projects: During one Night (a tv film), Près de l’au-delà (French Greek feature film), Giannis in the Cities (feature film). She is the scriptwriter and the director for GIANNIS IN THE CITIES and at the moment the sole producer of the project.

Leena Pasanen started her carrier as a journalist in 1988 at the Finnish News Agency, first as a reporter and later on as a political commentator in the Parliament house. In 1993 she joined YLE, Finnish Broadcasting Company, where she worked as a reporter, political commentator, subeditor and TV presenter for the current affairs magazine programme on YLE TV1. After that she was the head of documentaries for YLE TV1 years 1999-2000. When YLE launched new digital channels, she was chosen as the Head of Programmes responsible for cultural, factual and fiction programmes in YLE Teema, a channel focused on culture, science and education. She stayed with the channel until November 2005 when she started her work as the director of EDN, European Documentary Network in Copenhagen. In November 2008 she returned to YLE in Finland as Coordinator of Programmes at YLE Fact and Culture and was leading a two-year pilot project on 360 degree commissioning. In 2011 she was appointed as Coordinator and Senior Advisor at YLE Media and Customer Relations. She is currently the director of Finnagora, the culture and science institute of Finland in Budapest, Hungary. She has been a regular expert, tutor and lecturer for several training programmes, for example EDN, Discovery Campus, EURODOC and Television Business School. She is a EURODOC graduate year 1999 and a member of the international advisory committee of Hot Docs. She has also been a member of the board of IDFA Forum, INPUT and the Bonnier’s Journalistic Award in Finland and served as a jury member for several international festivals, among others Sundance and IDFA.

Contact details: 17 Ploutrchou str. | 10675 | Athens T: 00302107248024 - 6937311713 | F: 00307227437 | Elal2@ath.forthnet.gr - elenialaexandrakis@gmail.gr Eleni Alexandrakis Filmmaker Showreel: youtu.be/RnvE7Zrh10A

Leena Pasanen

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Hungarian National Film Fund

Hanka Kastelicová is the Executive Producer of Documentaries for HBO Europe. Based in the Budapest head office she works closely with HBO Europe’s production centers in Warsaw, Prague and Bucharest, and is responsible for the development and production of HBO Europe’s documentary films. She earned a Master of Arts degree from the Faculty of Film and TV Documentary Department at the Academy of Performing Arts in Prague. She continued with her professional career in Slovenia, where she worked for more than 25 years as a documentary director and producer, latterly as commissioning editor and Head of Development of documentary programming. As an experienced and dedicated documentary film-maker, she has lectured on documentary filmmaking. She has also served as a moderator and participant on numerous industry panels and other documentary events.

The Hungarian National Film Fund was established in 2011 and started receiving applications in October that year. During the first 2 years 21 feature films and two documentaries were made and more than 60 scripts developed with the contribution of the HNFF. The first 4 films have already been released in the movie theatres, among which Coming Out a Hungarian comedy had already 75 000 viewers. The latest Hungarian success is that The Notebook, the World War II feature film directed by Janos Szasz got to the shortlist of 9 foreign films for the Academy Awards. The film produced in an organic European co-production: Hungary-Germany-Austria-France, won subsidy of the HNFF and received the support of Eurimages. The film also won the Crystal Globe (Grand Prize) of the Karlovy Vary International Film Festival. One of the 2 documentaries, Love Stream by Agnes Sos was selected for IDFA and Heavenly Shift a black comedy of the first filmmaker Mark Bodzsar was competing in international competition at the Warsaw Film Festival. At the Cannes Film Festival Hungary was represented by the short film Soft Rain in the Directors’ Fortnight, directed by Dénes Nagy. Next year about 15 films will start production supported by the Film Fund, and internationally acclaimed Hungarian film directors like György Palfi, Ferenc Török and Bence Fliegauf will shoot or finish their new films. The HNFF started its sales operations and has been selling Hungarian films successfully worldwide. In 2013 Mafilm the company that owns sound stages and a backlot merged with the HNNF, and so did The Hungarian Film Lab. To find the source for the tax incentive has become easier in 2013 since a deposit account operates to reserve taxpayers’ money for film productions. From this account film productions can get their 20% tax rebate, when they submit the National Film Office’s certificate for eligibility. This takes place on a first come first served basis. More and more productions come to Hungary to shoot their films. European production companies, please come to Hungary as a filming destination!

HBO Europe currently provides basic and premium channels to fifteen countries: Hungary, the Czech Republic, Slovakia, Poland, Romania, Bulgaria, Moldova, Slovenia, Croatia, Serbia, Kosovo, Montenegro, Macedonia and Bosnia and Herzegovina and the Netherlands. HBO Europe offers five high quality movie channels (HBO, HBO2, HBO Comedy, Cinemax and Cinemax2); HBO Europe also offers the latest on demand services with HBO On Demand, the subscription video-on-demand service, and HBO GO, the broadband subscription service that gives the subscriber unparalleled flexibility and program choice. Documentaries HBO Europe commissions and co-produces documentary programming; it also acquires up to twenty-five documentary films from independent producers every year, focusing on feature length productions, which should have a strong connection with the countries where we broadcast, but can be made by film makers from outside our region. The HBO documentary, by definition, gives strong insight into its subject, creates debate, shows a different perspective, and is daring, creative and innovative. HBO continually seeks out character driven stories with a strong narratives and high production values. Contact details: HBO Europe | Riado u.5 | 1026 | Budapest T: +36 1 372 3765 | F: +36 1 209 7607 | hanka.kastelicova@hbo.eu | www.hbo-europe.com

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hungary

Hanka Kastelicova

HBO Europe

Agnes Havas

Balazs Zachar

Inforg-M&M Inforg-M&M Film is a Budapest-based independent film production company. The company’s aim is to provide space for art movies and commercial feature films, also gives and opportunity for documentaries, short films, animations and any kind of extreme genres, and it’s also open for any kind of international production services. Inforg Studio was founded in 1999 by producer Andras Muhi. During the past ten years the company produced 17 feature films, such as the so called „Hungarian new wave’s” brightest directors movies (MILKY WAY, WOMB, and in 2011 the Berlinale winner JUST THE WIND). Contact details: Inforg-M&M | Kinizsi u. 11 | H-1092 | Budapest T: +36 30 949 3507 | muhi@inforgstudio.hu | www.immfilm.com

András Muhi 127

Dorino Minigutti

Silvia Sandrone 128

Apulia Film Commission Foundation

Mirage Film Studio is a Budapest based production company, founded in 2010 by director Szabolcs Hajdu, producer Andrea Taschler and Nandor Lovas and line producer Peter Reti. The aim of our company is to produce feature, short and documentary projects on the highest possible standard, with the contribution of international partners. By working closely together with the directors and the scriptwriters Mirage Film Studio also intends to function as a creative workshop where young Hungarian filmmakers can develop their projects with the involvement of Hungarian and international professionals and script consultants.

Apulia Film Commission Foundation is the regional body born to build up and enhance the audiovisual system in Puglia. In the region local, national and international movie companies have the chance to work and shoot through 4 different funds, and receive free services as per bureaucracy paperworks, casting, production offices. More than 180 national and international movies and tv projects have been funded and were shot in Puglia.

AGHEROSE

Aranciafilm S.r.l.

Agherose is a independent and dynamic production company based in Udine - Italy. It was founded in 2010. Agherose has made several documentaries co-produced with France, Slovenia and Croatian partners. The mission Company is to produce Historical Documentaries, culture and current affairs for an international audience. Currently the company is cooperating with cinematheques and home movie archives in projects on the collective memory. Contact details: Agherose | Via Palmanova 73/R | 33100 | Udine T: +3904321841718 | F: +3904321841920 | dorino.minigutti@agherose.com | www.agherose.com

Aranciafilm S.r.l. is a Bologna based production company, set up in 2003 by Giorgio Diritti, Simone Bachini and Mario Brenta. It produces feature and documentary films and won, in 2010, the David di Donatello for the Best Production Company, with “The Man Who Will Come” (winner of David di Donatello for Best Film in 2010). The debut feature film, written and directed by Giorgio Diritti, “Wind Blows Round” (2005), was shown at more than 60 film festivals worldwide, winning numerous awards. The “Man Who Will Come”, is the second feature-length film, award winning at the Rome Film Festival in 2009 with the Grand Jury Prize. The third feature directed by Giorgio Diritti, the Italian/France co-production “There Will Come a Day”, made its world premiere in the World Dramatic Competition at the Sundance Film Festival 2013.

Antenna MEDIA Torino

italy

hungary italy

Nandor Lovas

Mirage Film Studio

Raffaella Delvecchio

Maura Andreuzzi

Antenna MEDIA Torino was the promotion and information office in Italy for the Media Programme of the EU since 1996. From January 2014, it is one of the Creative Europe Desks for the Media Subprogramme. The new Programme CREATIVE EUROPE (2014-2020) includes a Culture Sub-Programme, supporting performing and visual arts, heritage and other areas, and a Media Sub-Programme which will provide funding for the cinema and audiovisual sector. The role of the Creative Europe Desks is to help filmmakers and other audiovisual industry professionals understand and apply to the Media’s funding schemes and benefit from the support system. Contact details: Antenna MEDIA Torino | Via Cagliari, 42 | 10153 | Torino T: 011539853 | F: 011531490 | sandrone@antennamediatorino.eu | www.media-italia.eu

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Claudiatomassini + associates

Bonawentura produce shows, concerts, documentaries; organize the program in the Miela Theatre in Trieste.

We are a PR agency with offices in Berlin and New York specializing in international film publicity, marketing campaigns and events at the major film festivals and beyond. Thanks to our excellent contacts with the media and local film industries we also offer full service production publicity and tailor-made domestic publicity campaigns in Germany and Italy.

Sabrina Morena

italy

Bonawentura

Claudia Tomassini

CSC Production

Franco Però

Cinema e Video Cinema&Video International is a trade magazine focusing on cinema and audiovisual industry. It has a printed and an online version and it is distributed inside the main Italian and European Film Festivals and Markets. Contact details: Cinema e Video | Via Jacopo Nardi 21 | 50132 | Florence T: +39.055.2001594 | F: +39.055.2001594 | carolina.mancini@cinemaevideo.it | www.cinemaevideo.it

Carolina Mancini

In 1997 she is the founder of Roma Film Commission, that she manages and directed until 1999. In 2000 at Centro Sperimentale di Cinematografia (CSC) she’s in charge of President Office, Communication Office, Iconographic Archives and Production Department. Since 2008 - with the birth of CSC Production, she becomes General Manager and Executive Producer. In addition to several and awarded shortfilms and documentaries she has produced seven feature films – debut films: Sei pezzi facili by VV.AA., Incidenti by VV.AA., Ma che ci faccio qui! by Francesco Amato, La casa sulle nuvole by Claudio Giovannesi, Dieci inverni by Valerio Mieli, Mozzarella Stories by Edoardo De Angelis, Il terzo tempo by Enrico Maria Artale, Amori elementari by Sergio Basso (post production), Leoni by Pietro Parolin (post production).

Eurimages (Council of Europe) Eurimages is the cultural support fund of the Council of Europe. Established in 1989, it currently numbers 36 of the 47 member states of the Strasbourg-based Organisation. Eurimages promotes the European audiovisual industry by providing financial support to feature films, animations and documentaries produced in Europe. In doing so, it encourages co-operation between professionals established in different European countries. Contact details: Eurimages (Council of Europe) | Bâtiment Agora, Allée des Droits de l’Homme | 67075 | Strasbourg T: +33 3 90 21 47 32 | F: +33 3 88 41 27 60 | roberto.olla@coe.int | www.coe.int/t/dg4/eurimages/default_EN.asp?#

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Elisabetta Bruscolini

Roberto Olla 131

Stefano Basso

FCM

Fabrica is a communication research centre. It is based in Treviso, Italy, and is an integral part of the Benetton Group. Established in 1994, Fabrica offers young people from around the world a one-year scholarship, accommodation and a round-trip ticket to Italy, enabling a highly diverse group of researchers. The range of disciplines is equally diverse, including design, communication, photography, code, video, music, journalism, politics and media.

Massimiliano Cocozza, 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.

Fandango

Film Commission Torino Piemonte

Fandango is a Film Production, Distribution and Sales company. More, Fandango is a Publishing House and and a Music Label. During its 24 years of life, Fandango has established itself as an independent and unconventional cultural reality, defined by many as a “factory” where the arts of cinema, literature and music live together and contaminate each other. Fandango has unveiled many of the greatest Italian talents of the last decade: Gabriele Muccino, Emanuele Crialese, Matteo Garrone, whose two last movies Gomorrah and Reality have won the Grand Prix in Cannes and numerous awards. Among others Fandango also produced The Consequence Of Love by Paolo Sorrentino and in these past years some of the most important Italian successes: Loose Cannons and Magnificent Presence by the acclaimed movie director Ferzan Ozpetek; Habemus Papam, Nanni Moretti’s last movie, starring Michel Piccoli and Moretti himself; Diaz- Dont’t Clean up This Blood by Daniele Vicari which premiered at the Berlin International Film Festival and won the 2nd Panorama Audience Award Panorama . In 2013 Fandango has produced the first movie directed by Rolando Ravello and the new movies by Sergio Rubini and Giovanni Veronesi.

Operating since September 2000, Film Commission Torino Piemonte 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.

Contact details: Filmmaker | Via Aosta, 2 | 20155 | Milano fmkmi@tiscali.it | www.filmmakerfest.org

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Lea Dicursi

Fabrica

Massimiliano Cocozza

Angelica Cantisani

Filmmaker Filmmaker support the documentary by a contribution of 8.000,00 euro. Filmmaker follow me in each phase of development, writing, shooting, editing.

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FVG Film Commission

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, proudly being the first such experience in the Italian panorama. The Fund operates in three main sectors: Training: encouraging the participation of local audiovisual professionals in national and international training courses for directors, scriptwriters, producers, editors, camera operators, and sound engineers. Development: covering all the levels between the idea and the production phase, that is, from script-writing and research, to casting, fund raising and presentation of a teaser. Production: this last action includes financial support to cover production expenses, together with the promotion of the project as to create a more competitive product. Along with the day-to-day management of the fund, the FVG Audiovisual Fund has organized several international events â&#x20AC;&#x201C; such as Ties That Bind - Asia Europe Producers Workshop, Eurodoc Transregional Workshop and When East Meets West - aimed at creating platforms for film professionals from all around the world as well as developing the local audiovisual industry. The main purpose is to offer new training possibilities and set up new market places, where professionals can meet, share experiences and collaborate.

The FVG Film Commission gives technical support (location, logistic and bureaucratic matters) to the production industries that choose to shoot in Friuli-Venezia Giulia. It manages also the FVG Film Fund that finances the shooting carried out in the Region.

Contact details: FVG Film Commission | Piazza Duca degli Abruzzi 3 | 34132 | Trieste T: +39.040.3720142 | F: +39.040.0641329 guido@fvgfilmcommission.com - gianluca@fvgfilmcommission.com - federico@fvgfilmcommission.com www.fvgfilmcommission.com

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Paolo Vidali

Friuli Venezia Giulia Audiovisual Fund

Guido Cassano

Gianluca Novel

Federico Poillucci

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Fabrizio Cerato

Genova - Liguria Film Commission

Gagarin is administrate since 2002 by Franco Bocca Gelsi. Graduate at EURODOC European Producer training (documentary) in 2007 and E.A.V.E. (European audio visual entrepreneur) (fiction) in 2006, he has a Master in Romance and Script obtained at HOLDEN SCHOOL by Alessandro Baricco. Member of EPN (European Producer Network) since 2007, Member of Boards of Agenzia per il Cinema e lâ&#x20AC;&#x2122;Audiovisivo di Milano (Agency for cinema and audio-visual resources Milan) between 2008 and 2011, President of A.P.I.L. (Association of independent Producer Lombardy) until 2013. He taught at Civic School of Cinema Milan since 2010, and he is Academic at N.A.B.A. (New Academy of Fine Arts) Milan since 2011, and Academic at I.U.L.M. (Open University of Languages and Communication) Milan since 2012 and since 2014 at CSC MIlano( Centro.Sperimentale.Cinematografia). Gagarin aims to produce films which can be considered into a continental philosophical perspective, referred to nineteenth and twentieth century philosophical ideas (specifically in the form of film aesthetics and film theory). In terms of Film Theory, one author emerges in Gagarin's approach to film production, Gilles Deleuze. The Deleuze idea is that films provide new tools, problems and prospects able to lead us to rethink philosophical issues and methodologies. Also, Classical Film Theory, inspired by pre-semiotic theorists like AndrĂ¨ Bazin, is the base of Gagarin's Philosophy. We believe in presenting quality film to the audience in order to make it more exigent and less subordinate to the commercial market.In this perspective Gagarin tries to renovate the genre giving an author point of view to the genre's language. In this way, any project that Gagarin takes in consideration becomes a real challenge for a new audience and new markets.

Genova - Liguria Film Commission is a non-profit organization founded by the Liguria Regional Government, the Municipality of Genoa and other public Authorities of the ligurian territory. Its main mission is to attract to Liguria productive investments in audiovisual production, stimulating the growth of local businesses and increasing the visibility of the Region on the big screen. Contact details: Genova - Liguria Film Commission | Villa Bombrini, Via L. A. Muratori, 9 | 16152 | Genova T: +39 010 86 80 850 | F: +39 010 86 81 399 | info@glfc.it | www.glfc.it

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Franco Bocca Gelsi

Gagarin

Fabio Canepa

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IDEATRUCCO PRODUCTIONS

Founded in 2004, following the international Eurodoc experience, GraffitiDoc rapidly gained a solid reputation as a high-level production company, both for the quality of its authors and subjects engaged. Already since its first works, mainly creative documentaries, it developed projects alongside some of the best production companies in Europe, destined for the main international TV channels and selected at prestigious festivals. Amongst GraffitiDoc’s latest works, Dust – The Great Asbestos Trial by N. Bruna and A. Prandstraller, financed by the French, German, Swiss and Belgian state TVs, was shortlisted for Best Feature Documentary at the David di Donatello 2012. It won prizes in international festivals like the Baghdad Film Festival 2012 (Best Film), Rio de Janeiro FilmAmbiente 2012 (Best Feature Documentary) and the Jury Prize at Cinemambiente Intl Film Festival 2011. Having created a solid filmography and an efficient international network, since 2010 GraffitiDoc has been dedicating its efforts to fiction film, developing feature films and serving as executive producer. With Giorgio Cugno’s project Alien Food (aka Without the Implant), GraffitiDoc was selected at the prestigious FrameWork program of Torino Film Lab in November 2013.

As a technical services and training company specialized in professional makeup, based in Bologna from the '80, Ideatrucco Productions started working around writing and storytelling when it opened the house in Udine in 2008. The educational section of the company (Ideatrucco Academy), has been the first makeup school with annual professional makeup courses in the region Emilia Romagna in 1984. The Makeup & hair design and staff was responsible for many opera theatre as the Teatro Comunale in Bologna, Fondazione Arturo Toscanini, Ravenna Festival, and the company has collaborated with Franco Zeffirelli, Hugo de Hana, Luca Ronconi, Pierluigi Pizzi, and many others in the last 30 years. Ideatrucco Productions has also worked for Italian and foreigner movie directors like Ermanno Olmi and Gianni Amelio, Vera Belmont and Egidio Eronico, Cristina Mazzavillani Muti and Andrea Adriatico, and for the stars of music like Skin of Skunk Anansie or Meat Loaf or the Italian singers Gianni Morandi and beloved Lucio Dalla. In the fashion business Ideatrucco Productions, was an Italian professional support for European and USA cosmetic companies like L'Oreal, Maybelline New York and Revlon, and for stylists as Lorenzo Riva, Pierre Cardin, Cinzia Ruggeri, Raffaella Curiel, and beloved Aldo Coppola, developing also private label cosmetics projects. Ideatrucco Productions in 2001 has been a founder partner of Consorzio Digicitt in Bologna and in 2013 has been co-founder of Alpe Adria Audiovisual, a cross - border cluster of audiovisual companies between Friuli Venezia Giulia and Slovenja. Ideatrucco Productions is involved to develop managements skills for film festivals organization, to provide contents for press and audiovisual products, to increase coaching and fund-raising, to enable for indipendent fiction and factual projects. The company is focused on unpublished project, especially intercultural stories and biographies, with the aim of co-production networks where find the skills and creativity that meets on its cultural and professional grow.

HYPHAE

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 communication between the roots of very far trees, creating a Wood Wide Web. Similar to 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 della cattedrale 8 | 34121 | Trieste T: 040-9881190 | hyphaefilm@gmail.com | www.hyphae.org

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Enrica Capra

Graffiti Doc

Anna Piazza

Alessandra Santanera

Ale Santanera - makeup artist and storyteller works : 'Once upon a time ... the makeup' short fiction for makeup congresses (1996) 'Like Chalk on the Blackboard' documentary film - in development Anna Piazza - freelance writer and screenwriter works: 'Liberami' movie project based on the novel edited by Arpeggio Libero (2012) - in development 'With the case in the hand' movie project - in development Contact details: Ideatrucco Productions | Viale Ledra 52 | 33100 | Udine T: +39 346 3591827 - +39 338 2253058 | info@ideatrucco.com - ann7@hotmail.it | www.annapiazzaproject.wordpress.com - www.ideatrucco.com

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INVISIBILE FILM

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 distributor of quality movies from all over the world. The catalogue includes the most prestigious Italian classics directed by acclaimed authors like Fellini, Antonioni, Visconti, Argento and many others.

Invisibile Film is a film production company set up in Milan in 2006. Founding member and manager is Gabriella Manfrè, who has worked in the film and TV production business for over 20 years. In 2011 Gabriella was nominated at the David di Donatello Awards as Best Producer and she won the Golden Ciak Award as best producer for the film Le quattro volte (Four Times). Le quattro volte - secondo feature by director Michelangelo Frammartino – was sent to the Atelier section of the 2007 Cannes Festival as a production project and then participated to the 2010 Quinzaine des Réalisateurs (Director’s Fortnight). The film won the Label Europa Cinemas Award, was distributed in Italy by Istituto Luce and was sold in 50 countries around the world. Is in distribution, the first feature film by Bruno Oliviero, The human variable, a crime film in co-production with Lumiere & co. and Rai Cinema. The project was selected in Berlin at the Co-production market in 2011 and be presented at the 67° Festival del film di Locarno 2013 - Piazza Grande. Giovanni Maderna’s feature-film Schopenhauer, the company’s first production, was officially selected for the 2006 Locarno Film Festival and invited to, amongst other venues, the 2007 Turin ‘Da Sodoma a Hollywood’ Festival, the Buenos Aires 2007 BAFICI and the 2006 New York Open Roads at the Lincoln Centre Filmfest. The company’s production included Francesco Gatti’s second documentary Le regole del gioco, premiered at the 2007 Bellaria Festival; Gli anni Falck, directed by Giusi Castelli and Francesco Gatti, presented at the 2007 Filmmaker Film Festival, at the XXVI Bergamo Film Meeting and at FidMarseille 2008. Also produced, the medium-lenght feature film Camille e Mariuccia by Samuele Romano, co-produced with The London Film School, will be presented at the 2008 Locarno Film Festival in the competitive Pardi di domani section; La pita by Pierluigi Laffi; Casa Verdi by Anna M. Franceschini be presented at the Torino Film Festival 2008 - Italiana.Doc; 63 miglia by Laura Viezzoli; Olympic Taxi by Alessandro De Toni, L’importanza di essere scomodo: Gualtiero Jacopetti by Andrea Bettinetti and The land of jerry cans by Paola Piacenza.

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Marco Valerio Fusco

Intramovies

Cristina Caon

Ottavia Fragnito

Davide Maldi

Gabriella Manfrè 140

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Kiné

Jolefilm is a theatre, cinema and documentary production company based in Padua, founded in 1999 around the artist Marco Paolini’s work. Productions have aimed at developing public awareness of current topics tied to Italian and European territories, bringing out young talent and collaborating with renowned professionals in the field. Among the latest productions: the feature film La prima neve (First Snowfall) and Io sono Li by Andrea Segre (Shun Li and the Poet, 2011), the short films Con il fiato sospeso by Costanza Quatriglio (2013) and Anna by Diego Scano e Luca Zambolin (2013), and the documentaries Indebito by Andrea Segre (2013), L’uomo che amava il cinema by Marco Segato (2012), Mare chiuso by Andrea Segre (co-production, 2012), In tempo, ma rubato by Giuseppe Baresi (2009), Via Anelli by Marco Segato and Chi ga vinto? by Enrico Lando (2008), La mal’ombra by Andrea Segre and Francesco Cressati (2007); and the live broadcasts of theater performances by Marco Paolini: ITIS Galileo (2012), Ausmerzen (2011), Miserabili. Io e Margaret Thatcher and La macchina del capo (2009), Album d’aprile (2008) and Il Sergente (2007).

Kiné has realized many important international co-productions, like Bréves histoires de l’amour qui dure (distributed by ARTE France), The Enemy Within (for Al Jazeera Documentary Channel). In recent years Anita by Luca Magi (developed in the EURODOC Programme) was in competion at 30° Torino Film Festival and at DocLisboa2013. Kiné has developed and presented its projects in some of the most important markets and European training programs. The producers of Kiné are present at all the major industry events. Two of our projects have obtained the MEDIA Development Fund in 2011 and 2012. In 2013 Kiné realized The Train to Moscow (main competition at 31°Torino Film Festival) and Holidays by the sea by Ermanno Cavazzoni (Rome FIlm Festival 2013)

Jump Cut

Luigi Pepe

Jump Cut is an independent film production company. Its objective is to produce Arthouse films that are experimental in theme, style and type. It was founded in Trento in May 2011 from the experience gained in producing the medium-length film “Dafni e Cloe”. The founder, Luigi Pepe, went to the ZeLIG, school for documentaries, television and new media in Bolzano. His attention to the new media led him to produce content that is well suited to the changes undergone by the distribution market in the digital age able to combine (technological and artistic) innovation and on-going relationships with the territory and its professionalism. Contact details: Jump Cut | Piazza Cantore, 21 | 38121 | Trento T: +39 3479432824 | luigi.pepe@jumpcut.it - silviapoeta@gmail.com | www.jumpcut.it

Silvia Poeta Paccati 142

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Francesco Bonsembiante

JOLEFILM

Alessandro Carroli

KINEOFILM Kineofilm represents the specific area of KINEO activity that is dedicated to produce feature films. So to know the experience of Kineofilm we need to give an idea of Kinéò: It was founded as a Cultural Association focused on audio-visual research and communication studies. It strives passionately to fuse technology, art and society in concrete synergy through the development and delivery of innovative cultural projects. It was founded in 1995 from a panel of international filmmakers that, starting from the experience of “Ipotesi Cinema” and getting associated, has produced in few years something like 50 films, among which: documentaries, TV’s programmes and feature films, creating a series of laboratories in different European cities: Munster, Bristol, Athens, Strasburg, Vienna, London etc. Recently ideating a literacy innovative programme with the support of UNESCO, Kineofilm considers the audiovisual research as a fundamental point of his cinematographic approach. Its last two feature films produced between 2010 and 2013 are taking advantage of the collaborations started with an American distribution and with an Italian VOD platform. The researching approach leads to achieve innovative ways of making cinema, for a more democratic communication committed in social promotion: www.kineofilm.it

Laura Pellicciari

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Maia Workshops

In November 2012 Kinodromo project began: in collaboration with SEAC CINEMA Kinodromo manages a Cinema Theatre in Bologna, screening a selection of quality movies both at national and international level, beside events, forum and musical soirĂŠe. Kinodromo presents an unusual and independent kind of program with a special attention to the participation of its public, a renewed social way to promote cinema culture. In 2013 Kinodromo starts its own distribution project, building a network of cinema theatres widely distributed all over Italy.

Maia Workshops is an advanced training and coaching programme targeted to emerging European fiction, documentary and cross-media producers, with a focus on Central, Eastern and Mediterranean countries. The programme is made up of three 5-day workshops across a year respectively dedicated to Creative Aspects of Development, Legal & Financial Issues and Marketing & Distribution, plus networking activities for participants and graduates at the main industry events and festivals in Europe. Maia is supported since 2006 by the Media Programme.

Contact details: Kinodromo | Via Milano, 9 | 40139 Bologna T: +39 3478555497 | info@kinodromo | www.kinodromo.org

Giacomo Grassi

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Barbara Di Micco

Kinodromo

Graziella Bildesheim

Gabriele Brunnenmeyer

Lucana Film Commission The Lucania Film Commission Foundation aims to promote and support italian and foreign companies which would shoot film, television, audiovisual and advertising productions in Basilicata. Its mission also includes the promotion and the enhancement of artistic and environmental heritage, the historical memory and the traditions of the communities of Basilicata, the professional and technical resources of the region, in the view of creating attractive conditions for film productions in our region. Paride Leporace

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Alessandra Pastore

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Movimenta

Mansarda Production Srl is an audiovisual and multimedia production company, created in Trieste in March 2012 by a festival programmer (Nicoletta Romeo), a film director and producer (Thanos Anastopoulos) and a geologist with a passion for underwater video shooting (Roberto Romeo). Different professional backgrounds that give value to a multicultural and dynamic production company, that pays attention to the relationship between cinema and new digital technologies, and to the production of creative documentaries as well as feature films. In our first year of activities we have co-produced the feature film "I Kori" (The Daughter) by Thanos Anastopoulos, a Greek - Italian co-production, which made its international premiere at the Berlin Film Festival (Forum) in February 2013 and was screened in Toronto, Melbourne and several other international festivals. The film was released in Greece in October 2012, and has won the Best Directing, Best Screenplay and Best Photography Awards at the Hellenic Film Academy Awards 2013. It also won the Fipresci Prize at MotovunFF and Best Directing and Best Actress at TiranaFF. It will premiere in Italy at the 25th TriesteFF. We are currently working on the pre-production of two documentaries, IL MURO DI TRIESTE directed by Thanos Anastopoulos and Davide Del Degan and I NIPOTI DELLA GRANDE GUERRA by Cristian Natoli and Alberto Sorge.

Movimenta is a production company based in Carpi, Italy, which was founded in 2004. Our core business is developing and producing creative documentaries and our horizon is the International market. We privilege social issues, stories of human interest, mainly character driven, which reflect a universal meaning. During the last years we have attended EAVE and Eurodoc to enlarge our network and realize our films as International co-productions. We have established very successful and lasting cooperation with Italian and international production companies, in order to bring awarded creative key members into our films.

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Thanos Anastopoulos

Mansarda Production

Claudia Tosi

Nefertiti Film Nefertiti Film is an independent production company, located in Friuli Venezia Giulia, which operates at both national and international level. It creates research projects with a strong autorial breath for the cinema but not only, all based on a craftsmanship philosophy. Contact details: Nefertiti Film | Via p. Amalteo, 68/b | 33078 | San Vito al Tagliamento (Pn) www.nefertitifilm.it | info@nefertitifilm.it

Alberto Fasulo

Nadia Trevisan Francesco MiccichĂ¨ 146

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Piemonte Doc Fund

Officine UBU, founded in Milan by Franco Zuliani in 2001 as production company named UBU Film. In 2006 UBU Film became Officine UBU, starting the Divisions of Theatrical and Home Video Distribution (in partnership with RAI Cinema, Sony PHE and Feltrinelli) focused on high quality movies. In 2013 Officine UBU released Sacro GRA by Gianfranco Rosi, Golden Lion at Venice F.F. 2013, La Religieuse by Guillaume Nicloux, with Isabelle Huppert, in Competition at Berlinale F.F. 2013, A lady in Paris, with Jeanne Moreau, in Competition at Locarno F.F. 2012, Another woman’s face (Il volto di un'altra) by Pappi Corsicato, in Competition at Rome F.F. 2012, Something in the air (Aprés mai) by Olivier Assayas, Best Screenplay at Venice F.F 2012. Among the next films that are going to be released in theaters: A touch of sin by Jia Zhangke, Best Screenplay at Cannes F.F. 2013; 2 Days in New York by Julie Delpy, with Chris Rock; Mr. Morgan’s last love by Sandra Nettelbeck, with Michael Caine; A promise by Patrice Leconte, with Rebecca Hall, Alan Rickmann; Priest’s children by Vinko Bresan; Vijai and I by Sam Garbarsky, with Patricia Arquette; Gabrielle by Louise Archambault, Public Awards at Locarno F.F. 2013. The company also started the new brand, UBU DOC, to distribute high quality documentaries. Among the last titles acquired: La Maison de la Radio by Nicolas Philibert; The pervert's guide to ideology by Sophie Fiennes, starring Slavoj Zizek; the much-awarded More than Honey by Markus Imhoof; The Substance: Albert Hofmann's LSD by Martin Witz.

Piemonte Doc Film Fund is the first Film Fund in Italy exclusively dedicated to supporting documentaries. Active since 2007, is aimed at supporting documentaries produced by companies and film-makers based in Piemonte / is open to Italian and foreign productions for projects on subjects related to the local area and for projects involving local companies and professionals in the post-production stage, if they find a company based in Piemonte as a partner/co-producer.

Partner Media Investment PMI is an independent production and distribution company in Italy. The main activity is the production of independent feature films and documentary. It's aim is to produce and co-produce european and non european quality projects. Since 2014 PMI will also be focusing in the theatrical distribution for multiple territories in Europe, Italy-France-Benelux.

Andrea Stucovitz 148

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Aldo Ciolfi

Officine Ubu

Paolo Manera

Pilgrim Film Pilgrim Film was founded in 2008 by film professionals coming from different experiences and with different skills, who share a common vision of a new way of making films and audiovisual works, developing different and original narrative styles connected to new technologies, multimedia and new languages, with a new idea and new paths of film production, in a close collaboration with the new production companies who are at present developing and working in Europe and all over the world. Our attention is particularly focused on international co-productions of both feature-films and documentaries: this is extremely important to confront ideas, cultures, authors and different ways of filmmaking, in order to realize original projects, opened to the new technological, artistic and cultural challenges. Due to its geographic position, set in a precious balance between the Mediterranean world and the Central-East Europe, Pilgrim Film is projected towards the future and a new European Cinema. FILMOGRAPHY of the production company for the last three years 2009- "Caffe Trieste" 2010- "Italiani sbagliati" (The wrong italians) 2011- "Abdus Salam, the dream of symmetry" 2012- "Lee" 2012- "Clely".

Andrea Magnani

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Rai Cinema

Plinio Films was established in Bologna (Italy) in 2007 with the aim of making documentaries. “Nermina’s World” the last film produced by Plinio Film with Intrigo Internazionale, co-financed by Mira Film (CH) and supported by Filme fur eine Welt and Cineteca di Bologna won ex-aequo the Salani Award at Trieste Film Festival in 2013.

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 audiovisual 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: Plinio Films | Via Leandro Alberti 55 | 40137 | Bologna T: +39 3478260107 | vittoria.fiumi@gmail.com

Michele Pupo

RAI CINEMA Branch of Italian Public Broadcaster RAI TV for TV Rights Acquisitions (scripted), Theatrical Production, Theatrical and Home Video Distribution.

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Vittoria Fiumi

Plinio Films

Federico Pedroni

Guido Pugnetti 150

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Settimana della Critica di Venezia

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.

A series of 7 or 8 films – debut works – independently organized by a commission nominated by the SNCCI – Sindacato Nazionale Critici Cinematografici Italiani (The National Union of Italian Film Critics)

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Fabio Mancini

Rai Tre

Francesco Di Pace

Contact details: Rai Tre | Viale Mazzini 14 | 00195 | Rome T: 06.36865129 - 348.6422746 | fabio.mancini@rai.it - f.fabiomancini@gmail.com

Niccolò Manzolini

Seiperdue

Slingshot Films

Seiperdue was created in 2005 and operates in the audio-visual production field. Working both in the private sector (Danone Corporate, Generali Group Asteria Multimedia Trento, Art Project Milano, Studio COP Milano, Solaris Lab Modena, Consorzio CER di Bologna, L’Immagine Ritrovata Bologna, MC Architects Bologna) and with public institutions (Comune di Bologna, Provincia di Torino, Cineteca di Bologna, Fiera di Milano). In 2013 Seiperdue produced its first feature film titled BABIS!, a challenging intersection between documentary, stop motion and fiction, shooted between Italy and France, coproduced by the French company Baboutos and the Italian Artimedia. The film was funded in Italy by Cineteca di Bologna, Apulia Film Commission, Del Monte Bank Foundation and in France by CNC-Centre National de Cinématographie, PACA-Provence Alpes Cote d’Azur Region and ACSE. In 2014 Seiperdue is working onhis second feature film project (pre production) IL DRAGO

Based in Trieste, Italy, from 2013. We look for new, creative, independent and challenging films, able to communicate to audiences worldwide. Our strategy is to promote the film through all platforms, in order to maximize exposure and revenue possibilities. Our inputs include: project development, financing strategies, traditional and digital distribution, rights negotiation, promotion, marketing and exploitation, project packaging. We rely on an international network of consolidated partners, and we look forward to meeting new courageous talents. Line-up: Zoran, my nephew the idiot, by Matteo Oleotto, Italy/Slovenia, 2013 (Feature Film). Dancing with Maria, by Ivan Gergolet, Italy/Argentina, 2014 (doc).

Manuela Buono

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153

ST/ART CINEMA

Cinema production and post-production company. It provides motion graphic, HD shootings and editing, 2K Digital Intermediate, 3D computer graphics, web & mobile apps. Has collaborated on several productions: 2012 Lullaby to my father by A.Gitai, Agav Film - 69° Venice Film Festival 2011 MM Milano Mafia by B. Oliviero, Invisible Film and Chiare Lettere Ed. 2009 Poesia che mi guardi by M. Spada, Miro Film - 66° Venice Film Festival 2009 Quartieri Cinesi by B. Oliviero, Indigo Film, Rai Cinema 2008 Un Paese diverso by S. Soldini and G. Garini, Achab Film - 65° Venice Film Festival 2008 4 Giorni con Vivian by S. Soldini, Ass. Locus - Locarno International Film Festival, Rome International Film Festival

Was established in the ’90 years, led by producers and directors Maria Martinelli, Franco Calandrini e Stefano Mordini. Since the foundation the focus of the company is the promotion and divulgation of Cinematographic's Art, involving in his own production the most esteemed experts of cinematography’s field.

Promotion cultural activity Since 1993 to 2003 it managed the Communication Education Centre the “Palazzina”, sponsored by Department of Culture of Imola city, organizing cultural exhibition and educational courses funded by European Community. Since 2007 to 2011 it managed the Essay Cinema Gulliver of Alfonsine City, organizing cultural and cinematographic activities, and screening the first run of independent films and the film exhibition of documentary called DOC IN TOUR funded by Emilia-Romagna region and by F.I.C.E. Permanent Activities CORTOIMOLAFESTIVAL - International Short Film Festival (1994 / 2013) www.cortoimolafestival.it Ebe Stignani Theatre, Imola City RAVENNANIGHTMARE - Horror Film Festival (2003 / 2013) www.ravennanightmare.it Corso Cinema, Ravenna City ROCCA CINEMA – Arena Essai Theater 2004 / 2013 Ravenna www.roccacinema.it Arena Theater, Ravenna

italy

Mattia Colombo

Start

Francesca Magnani

Maria Martinelli

Cinematographic production activity Since 1998 StartCinema products documentaries and films in co-production with the most important Italian broadcasters TELE+, SKYTV, DOLME, MIKADO, MEDUSAFILM, RAI, FININVEST, FOX TV and it has participated at the major Nationals and Internationals Cinema festivals’: TORINO FILM FESTIVAL, INTERNAZIONAL VENICE FILM FESTIVAL , 55° BERLIN FILM FESTIVAL- INTERNATIONAL FILM COMPETITION, TOKYO FILM FESTIVAL - HAIFA INTERNATIONAL FILM FESTIVAL - BUENOS AIRES FILM FESTIVAL - PHILADELPHIA FILM FESTIVAL, where has obtained awards and rewards. Contact details: ST/ART CINEMA | 13, Via Mura di Porta Serrata | 48100 | Ravenna T: +39 0544 684242 | F: +39 0544 682970 | maria.martinelli05@gmail.com | francesca_magnani@libero.it www.startcinema.it/start-cinema.htm

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Torino Film Lab

Stefilm is one of the leading documentary production companies in Italy. It is committed to creating and distributing documentary films which bring new talent and stories with an exciting approach to the world. We produce one-offs and documentary series on historical, social and cultural issues.

TorinoFilmLab is a year-round, international laboratory that supports emerging talents from all over the world, through training, development and funding activities. The training initiatives Script&Pitch, Audience Design, Writers' Room, and AdaptLab, as well as the development-focused FrameWork programme run parallel during the year. They all reach their conclusive moment at the TorinoFilmLab Meeting Event in November during the Torino Film Festival, with the exception of the Interchange programme that ends during the Dubai Film Festival.

Our award winning films include PORTO MARGHERA – VENICE 59th Mostra del Cinema di Venezia 2002, SORRISO AMARO (RICE GIRLS) 60th Mostra del Cinema di Venezia 2003 and MoMA New York, International Documentary Fortnight; CITIZEN BERLUSCONI, nominated for the German Grimme Award in the year 2004; MOSTAR UNITED (IDFA 2009), VINYLMANIA (Goteburg Int. Film Festival 2012 and IFF Rotterdam 2013) and CHAR, NO MAN’S ISLAND (selected at Berlinale Forum 2013 and winner of 23 awards in various international festivals. FOOD MARKETS – IN THE BELLY OF THE CITY (5 X 52’) has just received the US.TASTE AWARD as ‘Best Foreign Language Program’.

Contact details: Torino Film Lab | matthieu.darras@torinofilmlab.it | www.torinofilmlab.it

italy

Stefano Tealdi

Stefilm

Matthieu Darras

Contact details: Stefilm | Via B. Galliari 5B | 10125 | Torino T: +39 0116680017 | www.stefilm.it

Paolo G. Marino

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Toma Cinematografica

Transmedia

Mr. Tommaso Calevi founded "Toma" in 1987 following his desire to produce movies for the international market. Toma production company produced theatrical and television movies especially with France and Canada like "Mille Bornes" by Alain Beigel, "Family" by Michel Poulette till, more recently "The Golden Door" by Emanuele Crialese (as Executive Production).

Transmedia is an emerging company with intention to make high quality independent feature, short and documentary films mostly focusing on a new talents from Northern Italy, Central Europe and Slovenia.

Contact details: Toma Cinematografica | Via Cosseria, 2 | 00192 | Roma T: +393477394827 | posta@tomacine.it

Igor Princic

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Vega’s Project

Trentino Film Commission & Fund was opened in 2011 to promote and support film, television and documentary companies to shoot in our region. TFC offers logistical support such as scouting locations, obtaining discount rates in hotels, involving active local professionals, and establishing contacts with government agencies and police authorities.

Vega’s Project is committed to developing and consolidating its mission of producing for cinema and tv with the ambition of combining a high standard quality with the interests of general public. In this context, Vega’s Project can be considered as a strategic partner towards major retailers and national networks and it's also an active partner in international projects. Vega’s Project is able to provide valuable support to the definition and starting of projects of any size and budget, intervening if necessary, in any production activity, from scripture to realization, including a support in finding sponsors. On the advertising sector, Vega’s Project is also able to provide creative support, collaborating with a staff of professionals who have signed the best advertising campaigns on the market today. Thanks to the different and complementary professional backgrounds of its members and their relationships with other agencies, Vega’s Project ensures the efficiency and quality provided by its staff and guarantees a pleasant and creative working environment in continuous development.

Tucker Film

Sabrina Baracetti

Thomas Bertacche

Despite being a young company, set up in 2008, Tucker Film has already managed to become a point of reference in Italian independent production and distribution. The company focuses on two main fields of interest: projects related to the territory and culture of Friuli and the distribution of Asian films. Among the movies distributed by Tucker Film are: Rumore Bianco by Alberto Fasulo (2008), Departures by Takita Yojiro (2010 - Oscar Award 2009 for Best Foreign Movie), Poetry by Lee Chang-dong (2011), A Simple Life by Ann Hui (2012), L’Estate di Giacomo by Alessandro Comodin (2012 - Premio Pardo d’oro Cineasti del presente and Premio George Foundation at Locarno Film Festival 2011), In Another Country by Hong Sang-soo (2012) and Zoran, Il mio nipote scemo by Matteo Oleotto (2013 – International Critics’ Week Award at Venice Film festival 2013). Current distribution projects bear witness to Tucker Film’s stature: TIR by Alberto Fasulo (Marc’Aurelio d’oro at the Festival internazionale del film di Roma, 2013), Class Enemy by Rok Bicˇek and Parole povere by the well-known Italian director Francesca Archibugi, a documentary on Italian poet Pierlugi Cappello Tucker Film co-produced. Contact details: Tucker Film | Via Villalta 24 | 33100 | Udine Sabrina Baracetti: T: +39/3355665589 | F: +0432 299545 | sabrina@tuckerfilm.com Thomas Bertacche: T: +39/335384929 | F: +0432 299545 | thomas@tuckerfilm.com www.tuckerfilm.com

italy

Laura Zumiani

Trentino Film Commission

Salvatore Allocca

VERDEORO Daniele Mazzocca established his new company, Verdeoro, in 2006. In 2009 he started the production of the documentary "The Rimet Trophy: The Incredible Story of the World Cup" co-production between Italy and Argentina about the history of the World Cup, presented on the occasion of the 2010 World Cup and sold worldwide by RAI Trade in over 20 territories. In 2010 begin the production “The Lost World Cup – the true incredible Story of the 1942 Patagonian World Cup”, mokumentary on the World Cup of 1942 (which never existed), directed by Lorenzo Garzella and Filippo Macelloni; an Italian – Argentinean co-production in association with Rai Cinema and with the support of the Italian Ministry of Cultural Heritage. The world premiere of the film took place at the Giornate degli Autori – Open Space of the Venice Film Festival in 2011. Specialized in co-productions between Europe and Latin America, Verdeoro, with the support of the Italian Ministry of Cultural Heritage, produced in 2010 the film "The Mountain", Italian-Brazilian-Portuguese co-production, directed by the Brazilian Vicente Ferraz, to be released in Italy in 2014. In 2012, Verdeoro shot the black-commedy "Three Days Later", the debut of Daniel Grassetti, Italian-Argentinean co-production, produced in collaboration with Rai Cinema.

Daniele Mazzocca

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Videomante

Created in 2010 by directors and producers Federico Ferrone, Michele Manzolini, Francesco Ragazzi and Magdalena Szymkow, Vezfilm produces documentary films and cross-platforms. Its first international co-production was My House Without Me by Magdalena Szymkow (2012), produced with Otter Film and the Andrzej Wajda Studio (Poland). Its other coproduction’s are Anita (2012) by Lua Magi, Coming for the Visit (2013) by Lucie Tourette and The Train to Moscow (2013) by Ferrone and Manzolini. Vezfilm is currently co-producing the documentary feature You Have to Be There by M.Szymkow, on the life of Polish writer and reporter Ryszard Kapus’cin’ski.

Videomante is a company focused on the production of creative documentaries. The recent productions include Valentino's Gift, co-produced with ARTE and YLE and The Special Need, co-produced with Detailfilm and ZDF. Contact details: Videomante | Via Leonardo da Vinci, 3 | 33043 | Cividale del Friuli T: 0039 0432 703157 | F: 0039 0432 700809 | erica@videomante.it | www.videomante.it T: 3285681288 | Carlo.zoratti@gmail.com | www.vilma.it

italy

Federico Ferrone

Vezfilm limited

Erica Barbiani

Michele Manzolini

Giampaolo Penco

Carlo Zoratti

videoest

YFF-Young For Fun

Videoest was founded in 1990 by five members already engaged in the professional video industry. After an initial start-up phase it gave rise to investments to enhance the productive capacity of society and bring the standard in broadcast production. The company deals with institutional documentaries, video advertising, promotional and product videos for trade fairs and exhibitions, educational videos, press releases, audio-visual documentation for the company archives. Advertising campaigns, integrated communications Its strength is the production of documentaries. In recent years Videoest has increased its productions of documentary about contemporary art and architecture. Its latest productions, MEMORY OF FLUIDS – GIUSEPPE PENONE SCULPTOR and WHY A FILM ABOUT MICHELE DE LUCCHI have been both selected for the International Festival of Films on Art in Montreal.

The Cultural Association YFF-Young For Fun was founded in 2005 with the aim of promoting and creating new cultural initiatives undertaken by young people, using film, photography, music as different channels and tools of communication. Among the several activities, in 2012 the association has produced the documentary “Per Mano Ignota - Peteano, una Strage Dimenticata” by film director Cristian Natoli who co-wrote it and produced it with Alberto Sorge. The documentary was selected in several film festivals and was nominated to the “David di Donatello Award”.

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Cristian Natoli

Contact details: YFF-Young For Fun | Via Maniacco, 10 | 34170 | Gorizia T: +39 347 7628840 - +39 349 3809012 | cristiannatoli@yahoo.it - albsorge@gmail.com www.permanoignota.com

Alberto Sorge 161

Paolo Borraccetti

Zelig School for Documentary, Television and New Media, founded in 1988, is a non-profit educational centre specialized in training in the documentary field. ZeLIG is a member of the European and International Association of Cinema Schools, GEECT and CILECT, the German documentary association AG DOK, the Italian Doc/it and EDN, the European Documentary Network.

Independent producer/director with training and experience both in Europe and in the United States

italy

Vasili Vikhliaev

ZeLIG

Paolo Borraccetti

Luca Ciut Alberto Bogo

Alberto Bogo

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Alberto Bogo was born in Genoa on 20 June1977. As a child, he became interested in cinema. At the age of 14 he dropped out of school to try to pursue a successful career in the rock music world with his first band, Dust. Other bands will follow. He soon went back to school and grew an interest in poetry and literature. He read a lot, though he studied very little. In 1996 he set up Marvel and became the band’s lead vocalist and song writer until 2003, holding numerous concerts in Northern Italy. The band did not hit the big time, even though their performances earned them a lot of admirers thanks to their shows presenting a mix of shock theatre and music vaguely inspired by Alice Cooper’s shows. After the band’s dissolution, he set up a new project with Dorian Hyde (2005- 2010), a band whose appearance and music were strongly influenced by horror films as well as dark and decadent themes. He graduated in Education Sciences in 2010 with a thesis entitled Le nuove paure. Un approccio sociologico al cinema horror (“New Fears. A Sociological Approach to Horror Cinema”). He analysed Z. Baumann’s work from a new point of view. From that moment, Bogo has defined himself as a “Horror Sciences” graduate. During this period he has written numerous articles for horror cinema magazines and websites, such as Nocturno, Horror Show, Splattercontainer. Having developed an obsession for horror films and feeling disappointed after leaving his rock star career, Bogo, together with his business partner Andrea Lionetti, has written and produced his first film, Extreme Jukebox. Contact details: Alberto Bogo | Via B. Agnese 2 | 16151 | Genova T: 3405577520 | bogo.alberto@gmail.com

Luca Ciut is a music composer who works for movies, documentaries and commercials. He worked with Emmy winner director Rudy Poe, with Emmy winner concept designer and director Daniel Auber and with Italian Golden Globe winner Davide Del Degan. In 2011 Luca Ciut moved to Los Angeles to attend the Film Scoring Program at UCLA Extension, and in Fall 2012 he got selected for the SCL Mentorship Program. Luca currently lives and works in Trieste. Contact details: Luca Ciut | Via Sticotti 2 | 34123 | Trieste T: (+39)339.5022.748 | lucaciut@gmail.com | www.lucaciut.com

Luca Ciut

Andrea Lionetti Andrea Lionetti, born in Genoa on October 30th, 1976, is a newcomer - screenwriter fresh from the success of the slasher-comedy Extreme Jukebox (2013), written and poduced together with his partner movie's director Alberto Bogo, that will be soon distributed in U.S.A. and Canada by the prestigious Troma Entertainment. Lionetti is now proposing new original plots following and enforcing the Extreme Jukebox formula but not limited to, in order to create amusing films adequate to the cinema international context keeping always one eye on the genre and author's movies with which he and Alberto have grown up. Contact details: Andrea Lionetti | Via pietro Chiesa 16/1 | 16149 | Genova T: 3921103810 | andrea.lionetti7@gmail.com | www.extremejukeboxthemovie.com

Andrea Lionetti

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Baltic Productions

Davide Stocovaz was born in Trieste in 1985. After graduating from the course audiovisual obtained to IPSIA Luigi Galvani of Trieste and the postgraduate course in audiovisual production techniques to ENAIP of Trieste, has collaborated with film professionals like David Del Degan, Andrea Magnani and Diego Cenetiempo. In 2010 he won the First Prize for Screenplay MATTADOR, dedicated to Matteo Caenazzo, with the script, "Instincts"; in 2011 he wrote and directed the short film "Arthur", produced by Pilgrim Films. In 2013 realizes, along with Michele Pupo, the documentary "The Way of Tolerance and inclusion" in the city of Trieste.

Film Jam is a relatively young PE (Private Enterprise) film making company, a daughter company of a wellestablished film production company Baltic Productions JSC. In the first year of our existence we already have in pre production one full size feature film Forefathers’ Eve, dir. Wiktor Grodecki from Poland, 2 feature films and 2 documentaries in development by Lithuanian authors-directors. Main personality in company is a Canadian-Lithuanian producer Stasys Baltakis, who is a shareholderpartner of Baltic Productions JSC as well. All other producers working in Film Jam PE are young though already experienced on a film set producers who recently graduated LMTA (Lithuanian Music and Theatre Academy) with their Bachelor or Master degrees. Stasys himself is an Associated Professor at LMTA, so he hand picks best students to join the team of a young but ambitious company Film Jam PE. Although company does not have projects that are completed yet- a script of feature film Izaokas is aiming to get into a program EKRAN established by Wajda Studio and Wajda School in Poland, feature film’ Forefathers’ Eve is about to be shot in early spring and it’s script was noticed and company got an invitation to collaborate in sales and distribution matters by Philip N. Bergson of Fulfillment Agency in London.

Contact details: Davide Stocovaz | Via Kandler 9 | 34126 | Trieste T: 3355426084 | davidestocovaz@virgilio.it

Michele Vaccari

Michele Vaccari was born in Genoa in 1980. He operate on writing and communication from 1996. He worked as copywriter for Wind company and also as screenwriter for Zodiak Active, Andrea Patierno's Todos y contentos, Marco Bechis's Karta Film. He consituted “Enter-tain” with production editor and director Lucio Basadonne, a joint company to realize industrial videos (Bourough of Genoa, INAIL), viral marketing advertising (RAI5, Vodafone, Arexon, Ringo), metal and indie videoclips (Ephel Duath, Folkstone, Eliopetri) to funding personal movies (Apocalippo [2002], Teosofia, winner of Tentacoli indie Festival [2006], ) and, specifically, a project for a teen slasher full length film. The mission of Enter-Tain is excited a horror, surrealism and grotesque nouvelle vague in Italy. He created Niccolo Ammaniti's website and worked for him for ten years as web communication manager. After his Master at Scuola Holden on Theory and Technique of Storytelling in 2004, he began to occupy about publishing: he became editor for Bevivino Editore (2004-2006) Edizioni Ambiente (2006-2009), Transeuropa Edizioni (2010-2012) and Mattioli 1885 (2013-actually). He wrote three novels who have had a good critical answer: Italian Fiction (ISBN 2007), Giovani, nazisiti e disoccupati (Castelvecchi 2010), L'onnipotente (Laurana 2011). Contact details: Michele Vaccari | Via San Martino 49A | 16131 | Genoa T: 3407864606 | vaccari.micheleio@gmail.com | www.enter-tain.com

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Lithuania

italy

Davide Stocovaz

Stasys Baltakis

ˇ CIOBRELIAI ˇ Ciobreliai is a film production company, based in Vilnius, Lithuania, producing feature (Crisis) and short films (The Noisemaker, The Amateurs, Dog’s Life, Identities, Victim, Ten Reasons, Suicide) with the young generation of filmmakers, in co-production with European partners. ˇ Contact details: Ciobreliai | D.Gerbutavicˇiaus str. 10-91 | 04317 | Vilnius T: +37060107802 | marija@ciobreliai.lt | www.ciobreliai.lt

Marija Razgute 165

FILMLAND STUDIOS

The Lithuanian Film Centre, established in May, 2012, is a state institution under the Ministry of Culture of the Republic of Lithuania. The Centre operates under the Film Law. The aim of the Centre is to participate in designing an effective film and audiovisual sector policy and to foster the sustainability of the Lithuanian film industry. The Lithuanian Film Centre: - allocates subsidies for the development, production and distribution of Lithuanian films and international co-productions; - promotes Lithuanian films at home and abroad; - implements programmes in areas of film education, national film heritage, training for professionals, research and statistics; - administers The Film Registry and film ratings scheme; - represents Lithuania at international film festivals, fairs, organizations and programmes.

Since its inception nearly two decades ago, Luxembourg audiovisual pioneer Paul Thiltges Distributions & PTD Studio has grown into one of the country's busiest and most prolific production and distribution companies. Founded in 1993 by Paul Thiltges, the company has participated as producer, co-producer or sales agent for more than 60 productions in a wide range of genres including fiction films, documentaries and animated films and series. In 2005 David Grumbach joined the company. In 2013 David & Paul founded Juliette Films, their new production company. David is also the new president of BAC Films (Paris).

Luxembourg

EAVE European Audiovisual Entrepreneurs is a professional training, project development and networking organisation for audiovisual producers. Working with a worldwide network of partners we are involved in programmes for producers in Europe, Russia, Latin America, the Arab world, Asia and Africa.

Kristina Trapp

Luxembourg

Lithuania

Rolandas Kvietkauskas

Lithuanian Film Centre

Paul Thiltges

Film Fund Luxembourg Established in 1990 and restructured in 1998, Film Fund Luxembourg is the official body in charge of the development and promotion of the audiovisual sector in the Grand-Duchy of Luxembourg. It is jointly overseen by the Ministers responsible for media, communication and culture. Film Fund Luxembourg implements the overall policy of the government’s support for the audiovisual industry and manages the national support scheme. Film Fund Luxembourg also assists supervisory Ministers in areas such as the drafting of regulations and legislation. Film Fund Luxembourg is responsible for promoting the audiovisual sector and its future development, establishing international co-production agreements, delivering certificates on the nationality of works and compiling statistics relating to the sector. Film Fund Luxembourg closely co-operates with the industry representatives such as the Luxembourg Producers Association (ULPA), the screenwriter’s and director’s association (LARS) and the association representing all the local film technicians (ALTA). Film Fund Luxembourg represents Luxembourg in all European audiovisual initiatives, like Eurimages, MEDIA, EFP. Since 2003 the Fund has organized every two years the “Luxembourg Film Awards” (Lëtzebuerger Filmpräis) which rewards the country’s best film contributions.

Karin Schockweiler

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Sisters and Brother Mitevski is a family run production company based in Macedonia. Labina, Teona and Vuk successfully launched their company in 2001. Labina is one of most acclaimed actress coming from Balkan region, starting her carrier in Golden Lion awarded and Oscar nominated film Before the Rain. In the company she is responsible for the production. Teona is director who finished her master degree at the prestigious Tish School of Art, NYU and Vuk is painter and sculptor, working as set designer and art director. Their last film The Woman Who brushed off her tears with Victoria Abril had it’s premier at Berlin Film Festival 2012, and successfully travelled to more than 50 festivals around the world. The film was theatrically released in Belgium and Macedonia, and in 2013 will be Germany and Slovenia. Their previous film I am from Titov Veles, a Cinemart/ Cinelink project was theatrically distributed to 14 countries in 2008/2009, including USA and Canada, and was screened in the official competition at following festivals: Berlin Film Festival – Panorama Section; Sarajevo Film Festival, where it won Special Jury Award; Toronto Film Festival-Discovery section, Cannes Film Festival- ACID selection. It has won more than 15 international awards at festival around the world. Sisters and Brother Mitevski are currently finishing Alerik, a short clay – stop animation film, which was directed and animated by Vuk. In 2013 they are planning to shoot a new short animation and their next feature film is scheduled to be shot in 2014. All their films are European co-productions involving partners from Slovenia, France, Belgium, and Germany. Sisters and Brother Mitevski company motto is: Cinema is first and foremost a visual form and it is our duty to use it masterfully and push its limits.

The Macedonian Film Fund was established with the aim of providing comprehensive funding and promotion for films and film authors, and therefore to support the development of cinematography. Being associated with the European Film Academy gives us a wonderful opportunity to affirm our orientation for the equal treatment and support of national and international co-productions as a way of providing international distribution, recognition and promotion of European films. In that way, the European Film Awards are a celebration of the annual film creativity and a great tool for the promotion of European films and filmmakers!

Darko Basheski

Film Tank Independent Film Company based in México and focused on Latin-American films. Producer of “Norteado” (México-Spain, 2009) directed by Rigoberto Perezcano; Co-Producer of “The Maid” (Chile-México, 2009) by Sebastián Silva; Co-Producer of “La Sirga” (Colombia-France-México, 2012) by William Vega; Producer of “Gofer” (México, 2012) by Jorge Michel Grau and Producer of “When Horses Learnt How to Cry” (México-Spain-France, 2014) directed by Nicolás Pereda. Contact details: Film Tank | Zamora 169 – 9 | 06170 | Mexico T: +52 55 6265.8092 - M: +34 652.328.639 | pablo.briseno@gmail.com | www.filmtank.mx

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Macedonia

MACEDONIAN FILM FUND

Mexico

Macedonia

Vuk Mitevski

Labina Mitevska

Pablo Briseño Galván

169

Otter Films

MX35 is mainly a rental house based in Poland. Besides supplying film equipment to various film and TV productions it has also produced and co-produced shorts, documentaries and fiction films.

We are a production company based in Warsaw, focused on creative documentaries and arthouse films for cinema and TV, with an emphasis on the international market. With the producer Anna Wydra and director Bartek Konopka nominated for Oscar 2009.

Piotr Litwin

Katarzyna Siniarska

Poland

MX35

Bartek Konopka

New Europe Film Sales

POLISH FILM INSTITUTE

New Europe Film Sales is a boutique world sales company based in Warsaw, Poland. The company holds worldwide rights to a number of short and feature films and works with theatrical, TV, VOD and internet buyers. Until the end of 2011, NEFS specialized in short film sales (including works by Ruben Östlund, Tomek Baginski and Jonas Odell). Since 2012, it also works with feature films and documentaries. Currently the catalogue includes Berlinale Generation Grand Prix winner & Latvia's Oscar submission Mother, I Love You by Janis Nords, Matt Porterfield’s Sundance/Berlinale title I Used to be Darker, the Gotham Award-nominated food dramaNow, Forager: A Film About Love and Fungi by Jason Cortlund and Julia Halperin, Anka and Wilhelm Sasnal’s Rotterdam 2012 competition title It Looks Pretty From a Distance and Kos-Krauze and Krzysztof Krauze’s Papusza (Special Mention at Karlovy Vary IFF, Best Direction at Valladoilid IFF 2013). The company also has a catalogue of over forty award-winning short films.

Established in early 2005, the POLISH FILM INSTITUTE (PISF) has the aim to support national film industry in Poland. His comprehensive system enables support for a film project at all stages of film production, and helps promote Polish films in Poland and abroad. With a budget of 22 M EUR for production it subsidies 40-50 feature films par year, including minority co-productions. In 2011 11 co-productions were produced, including 8 minority and 3 majority projects. Among recently supported films are: Nude Area by Urszula Antoniak, Sister of Mercy by Paweł Pawlikowski, Ayka by Sergei Dvortsevoy, Refugiado by Diego Lerman, Under Electric Clouds by Aleksei German, PFI gives up to 0,9 M Euro for majority co-productions and 0.45 M Euro for European minority coproductions. The minimal requirements for a minority co-production are among others: Co-production conform with the rules of the European Convention of Co-production, no less than 20% and 10% share of the budget in case of bi- and trilateral co-production, Participation of Polish talents; for feature films at least chef of department, 80% spent of the subsidy in Poland, The subsidy can not be higher than 50% of the Polish financing. The PFI evaluates applications according to their artistic values, festival potential and their Polish content (shooting in Poland, hiring Polish talents or post-production facilities are required).

Robert Balinski

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Steppenwolf Film

Takfilm is a young production studio, with the aim to develop and produce Polish films with the potential to cross borders and intrigue European audiences. Takfilm invites emerging talents to develop and direct projects through the company. Takfilm is established by Kuba Kosma and director/producer Dariusz Gajewski.

Steppenwolf Film, was established in Bucharest in 2006 as an independent production company. It is active in discovering new European voices with a focus on developing micro budget productions and promoting indie works. Alex Traila is working as a reader, development consultant and promoter for various film projects and currently is engaged in coordinating CineLink - Work in Progress for Sarajevo Film Festival.

Contact details: Takfilm | Al. Jerozolimskie 121/123/39 | 02-017 | Warsaw T: +48.602.435.513 | kubakosma@gmail.com

ROMANIA

Poland

Kuba Kosma

Takfilm

Alex Traˇilaˇ

TVP Kultura

Agata Makohin

Portugal

Miradouro Media Miradouro Media LDA is a Lisbon/Portugal based company. It was established by Eszter Hajdu and Sandor Mester. The main profile of the organisation is producing film and classical music events and tours, distributing cultural projects. Contact details: Miradouro Media | Travessa Artur Lamas n 21, R/C drt, | 1300-078 | Lisboa T: 351914732187 | eszter@hajdueszter.com | www.hajdueszter.com

BAZELEVS Bazelevs Group of Companies was founded in 1994 by Timur Bekmambetov in Moscow, Russia. Bazelevs produces commercials and films some of which have made it to the top of the Russian distribution list like "The Irony of Fate. Continuation", "Night Watch", "Day Watch", post-production of the “Wanted”, "Black Lightning" and “Yolki”. Specialization: a complete cycle of film production - producing, attracting the best domestic and foreign experts, location management, casting, technical support for filming in Russia and abroad, and a full range of postproduction services of any complexity: editing, scoring, computer graphics and animation, special effects for movies and video. Computer graphics division of Bazelevs Group of Companies is well known.

Russia

TVP Kultura is the theme channel run by TVP - the biggest polish public broadcaster. We are devoted to the culture but culture in a very wide meaning - our audience can find there various genres like fiction - the best movies from all around a world. New and known from festivals but also classic ones, concert of classic music, but also jazz rock even ambitious pop, theatrical pieces, debates and discussions about not only culture issues also social and others, culture news, animated films and of course documentary movies - not only about culture or art docs but also current affairs, social, personal stories, essays and all other genres.

Anastasia Pavlovic

Contact details: Bazelevs | Ul.Pudovkina 6-1 | Moscow T: +79153251794 | nas-pavlovich@yandex.ru | www.bazelevs.com

Eszter Hajdu 172

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CTB Film Company

Colors of the World is an International Film Festival and film launching pad aiming to promote the new Russian cinema in the global community. It supports Russian films that highlight such concepts as tolerance, inter-cultural dialogue, family values, youth ethics, human dignity and the world's diversity. The company engages in a number of Russian and international film forums and educational programs, bringing high quality foreign films to Russia and creating new market opportunities for Russian cinema worldwide. Alena Alova received her BA in Film from the Russian State University of Cinematography in Moscow in 1996. She went on to pursue her graduate studies at Columbia University in New York, where she received her MFA in Screenwriting in 2000.

CTB Film Company was founded in 1992. The company’s primary activity is the production of feature films, and animated films co-produced with “Melnitsa Studios”, with a budget of 2 to 25 million US dollars. The CEO of CTB Film Company is producer Sergey Selianov. Today, CTB is one of the most established names in Russia’s film production business. According to an independent research conducted by Movie Research Company in March 2010, CTB was named the leading filmmaker in Russia. Films by CTB have been presented at many Russian and international film festivals and have received over a hundred awards. Among them, A Love Story by Konstantin Bronzit, was nominated for an Oscar as the Best Animated Short Film by the American Academy of Motion Picture Arts and Sciences. Mongol by Sergey Bodrov, Sr. was nominated for the Best Foreign Language Film. The film crew of The Cuckoo was awarded the National Prize of Russia in 2004.

RUSSIA

Alena Alova

Colors of the World

Natalia Drozd

Ministry of Culture of the Russian Federation The Ministry of Culture of the Russian Federation is the governmental body responsible for state support in the field of production and distribution of Russian films. Contact details: Ministry of Culture of the Russian Federation Moscow 125993, M.Gnezdnikovsky per., 7/6 | 125993 | Moscow T: +74956294859 | F: +74956294859 | demchenko@mkrf.ru | www.mkrf.ru

Leonid Demchenko

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Nikola Ljuca

Vladimir Vidic

Horopter Film Production

Dart film was founded in 2006 by two young film professionals, barely out of film school at that time. Since then it has managed to find its' place in the expanding field of Serbian film production by independently producing a number of shorts and documentaries. Instead of being just another service production company, we set out to form a creative workspace for filmmakers of our own generation, who are interested in the same themes as we are, dealing with the same issues we do and developing a very close relationship and growing with them.

In past few years, Horopter Film Production has produced commissioned and thematic documentaries, and also the acclaimed "Unplugged". Presently it is in production of two feature documentaries "The Wall of Death, and All That" and The Beginnings Vol.1 "The Universe Doesn't Give a Shit".

serbia

Serbia

Natasa Damnjanovic

Dart Film

Mladen Kovacevic

Liquid Art As a production with the most up to date equipment and highly professional staff with experience and knowledge, Liquid Art produces extreme videography that has only begun to cover a part of the unsaturated niche of the local market. It has the ambition and quality to venture into foreign markets. With an active production of just a half year's time, the unit gained external support from the World Wildlife Foundation, Mares and BS Kinetics GmbH which proves the quality and commitment of the team. Liquid Art has a specialized animation team, that enhances the deductive quality of the movies. Also, the company has support from the academic staff and research team of the Faculty of Natural sciences, department of Biology and Ecology. Besides the above, the company has great opportunity to expand in size and the territory of operation. We make the movies the way we like them, simple, clean and underwater. Specialties: Underwater Videography, Nature Documentaries, Nature Exploration, Underwater Photography, Sound Design

Dušan Brkovic’

Jovana Milanko

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Soul food

Paprika Film doo is founded in 2006 as a motion picture, video and television programme production by Moma Mrdakovic, an arhitect who lives and works in New York not just as an arhitect, but also as an assistant director of many many well-known directors, like Jim Jarmusch and Georg Lucas. Paprika Film produced Moma’s first feature film called MAMAROSH. Film was a co-production between Serbia, Germany and Hungary, with financing from eleven different local funds and European fund - Eurimages. The production took place in Serbia, Hungary, Germany and USA. Since then the film was at many festivals and it was sold to over 50 countries, as well as to HBO, the famous television cannel. Paprika Film has a few feature films projects in development and one documentary film “ The Whitness of God’ s Creation“ by Dragana Latinovic.

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: Paprika Film | Kraljice Natalije 5 | 11000 | Beograd Dragana Latinovic: T: 00381 69 1979 700 | dasourfilm@gmail.com - miramarfilm@gmail.com Lidia Teleki: T: 00381 63 515 372 | li.teleki@gmail.com - miramarfilm@gmail.com Andrija Trickovic: T: 00381 61 133 5010 | akv300@gmail.com - miramarfilm@gmail.com

Lidia Teleki

Andrija Trickovic

Miroslav Mogorovic

West End Productions The company, which produced in East Europe mainly from offices in the West, was founded in 2003 by Milena Garfield and Uliks Fehmiu Garfield is a pioneer of private and theater production in Eastern Europe. As associate artistic director and marketing director of Belgrade Drama Theater, she produced biggest hits of the ’90s using her concepts of theater marketing. She was managing director of Saatchi& Saatchi BTL, Balkans, and managing editor of “New Moment” magazine for visual arts. She lives in Washington D.C. Uliks Fehmiu, a film and theater star in Yugoslavia, left for America in the ’90s to continue his professional career in theater, films and on TV, including the lead in the highly acclaimed Peter Sellars “Children of Heracles.” In 2006 he returned to the region with several leads in the films from Slovenia, Serbia and Bosnia, including the lead in Novkovic’s “Tomorrow Morning” and “ White White World”. He lives in New York City. In 2007-2009 West End was the main producer of the White White World with the coproduction partners Ostlicht filmproduktion Germany and Hepp Film Sweden. Contact details: West End Productions | Stanslava Sremcevica 5 | 11 0000 | Belgrade T: + 1 703 203 1982 | milena.garfield@gmail.com - artisanpa@yahoo.com

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serbia

Serbia

Dragana Latinovic

Paprika Film

Uliks Fehmiu

Milena Garfield

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A Atalanta

It is active in the audio-visual sphere : For 17 YEARS ( Founded in 1996) Gross turn-over from audio-visual activity of the company is 23 515 625 €, (30% of this amount is a support in form of grant from the Ministry of Culture of the SR and Audio-visual Fund: “AVF“ ) It has created: over 42 000 working opportunities in the audio-visional field, totally. ( see Note 1 *) It doesn´t have: Any debts, delayed payments, legal disputes, It doesn´t have: Executory contracts behind the schedule All contracts have been stipulated specifying duties, including contracts with the Ministry of Culture and AVF. It has produced: 11 full-length films : features (5 of them minority co-productions), 4 full-length documetary films (1 minoriy co-production), 4 TV series, 108 medium and short-length documentary films, 1698 journalistic programmes, 2100 hours of dubbing. It has published: 7 DVDs, 2 books, It has been awarded by: 98 awards, It has at disposal following technologies: 4x camera equipment, 4x AVID film-editing technology, 2x mix PRO TOOLS, 1x recording studio.

A Atalanta is an independent film and television Production Company based in Ljubljana, Slovenia (established in 1992). Owner and president is producer Branislav Srdic who has been in the film industry for 40 years and has worked on more than 60 film’s. Activities; Productions, Co-productions, Services, Distribution, Equipment Rental Interests: international co-productions

Contact details: Trigon Production | Sibírska 39, 831 02 Bratislava, SR postal:Hríbová 09, 821 05 Bratislava, SR 821 05 | Bratislava T: +421 905 428 355 | F: +421 2444 584 77/444 551 91 | patrik.pass@trigon-production.sk www.trigon-production.sk

BLADE is an independent production house based in Ljubljana, Slovenia. It was founded in 2002 and specializes in full-service production for film, theatre, dance and music video recordings and commercials. With professional experience and knowledge, BLADE provides a range of services to fellow filmmakers and advice to creative and technical crews at all stages of film production. Inside BLADE operates the 666 production house with experience in production of short films and music videos. Zoran Dževerdanovic’ is the founder and director of production company Blade production.

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Visegrad Film Forum

Friendly Production

Visegrad Film Forum is an educational and networking platform for film students and recent graduates from the film schools coming foremost from Visegrad countries. It consists of masterclasses, workshops and discussions run by acclaimed film professionals. Event creates environment for cooperation among the participants, promotes the realization of collaborative audiovisual projects through an unique access to the speakers with decades of experience in film industry.

Independent video production company based on documentary production. Cooperating with all major video productions and tv stations in Slovenia and abroad.

Branislav Srdic

Blade Production

Jakub Viktorin

SLOVENIA

SLOVAKIA

Patrik Pašš

TRIGON PRODUCTION

Zoran Dževerdanovic’

Dušan Moravec 181

Slovenian Film Centre

The story behind the brand Perfo began in 1996. The production house Perfo d.o.o. was established a few years later, in 2005, by Andrej Štritof and Aleš Pavlin, producers who have been working actively in the field of Slovenian cinematography for more than 15 years. Through Perfo’s prolific history they have produced hundreds of TV commercials and music videos recently focusing on TV series and film production. In the last few years Perfo has collaborated to create the commercial hit series »It’s good to be a neighbour« and the internationally acclaimed »In Treatment«, awarded with a Viktor award (Slovenian version of Emmy) for best TV show. In the field of film production the company has produced features »A Trip«, »Dual«, a short »E-Pigs« and the documentary »Children of socialism- Change my head«. At the moment is in pre-production of film Siska Deluxe, new film of Jan Cvitkovic.

Slovenian Film Centre (SFC), a public agency of the Republic of Slovenia, was established in 2011 as a successor of the Slovenian Film Fund – a public fund. The goal of the Slovenian Film Centre is to encourage creativity in the film and audiovisual field in the Republic of Slovenia by creating suitable conditions for film, audiovisual and cinematographic activities. Among recently premiered minority co-productions we want to spotlight Zoran, my Nephew Idiot (dir. Matteo Oleotto), premiered in Venice Critics Week 2013, Circles (dir. Srdjan Golubovic), premiered in Sundance 2013 and Berlinale Forum. Films supported by SFC in programme of Trieste Film Festival: Boles by Špela Cadež– short/animation in competition, Class Enemy by Rok Bicˇek,- feature film, out of competition, Project – Cancer by Damjan Kozole – documentary – out of competition.

Andraž Pöschl

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Jožko Rutar

Rtv Slovenia

Staragara

National television

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.

SLOVENIA

Ales Pavlin

Perfo

Miha Cernec

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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.

DobleSentido is a marketing and communication agency created and managed by Álvaro Vega in 2013 that develops its activity into the film industry. Films, festivals and events promotion, as well as consultancy and training programs, are their areas of influence. Distributors as Avalon, Versus and Oliete Films, production companies as Ridley Scott Associates, sales agents as Latido Films festivals as Almería Western Film Festival and Phenomena Experience, or professional training programs as EAVE, are already among its clients.

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

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spain

DobleSentido

Alvaro Vega

Red Film Sales Red Film Sales is an international sales agent for feature films and documentaries specializing in indipendent film distribution and marketing. Contact details: Red Film Sales | Gewerbestrasse 5 | 6330 | Cham T: +41 41 511 5177 | efm2014redfilmsales.com | www.redfilmsales.com

Gerhard Spiehs

Switzerland

SLOVENIA

Danijel Hocˇevar

Vertigo Emotionfilm

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Wallie Pollè

Andrea Posthuma 186

Film Producers Netherlands

'For us it's all about when the lights go out and the film begins. That's the magic in making movies.' Cinatura Development is an international film production company that aims to enable structured International co-productions. Based in the Netherlands and Great Britain, Cinatura focuses on delivering outstanding products to the global market, from feature films and documentaries to television series. In an industry where accessing finance can be tough even for the veterans, Kees Kasander has succeeded in making 120 films over three decades, while managing to take 80% of the chosen projects into production. Recent successes include the BAFTA and Cannes winning Fish Tank.

Film Producers Netherlands is the association of film producers in the Netherlands. Our aim is to stimulate and support a dynamic and creative film industry. We represent the majority of Dutch film producers, promoting their common interests by lobbying in government and the film industry on their behalf at the national and international level. Contact details: Film Producers Netherlands | Korte Zoutkeetsgracht 2 | 1013 MC | Amsterdam T: 0031 (0)20 627 0061 - 0031 6 31790017 | info@filmproducenten.nl | www.filmproducenten.nl

Cinéart Netherlands B.V.

Filmmore

Cinéart is an independent film distributor exploiting theatrical, dvd, TV and VoD rights in Belgium and the Netherlands. Our ambition is to select films based on quality, and make the most of it. We work hard to allow every movie to shine on the big screen whether they are small, big, huge, European, Asian, American, African, cross over, art house or mainstream. From Almodóvar to the Dardenne brothers, from 'Slumdog Millionaire' to 'Babaji'. Present in Belgium for the last 30 years (www.cineart.be), and in the Netherlands since 2008 (www.cineart.nl), Cinéart brings stability, professionalism, enthusiasm, ambition and attention to details. What passion stands for.

Filmmore is a leading full-service post-production, editing and visual effects facility working on feature films, drama series and documentaries. We provide high end post-production, visual effects (VFX) services and on-set supervision, applying the very highest standards of creative and technical skills to every aspect of the post-production process. This makes us not merely a service provider, but the perfect partner for your production. We have offices in The Netherlands, Belgium and Luxembourg.

Creative Europe Desk NL / Dutch Culture

Fortissimo Films

Creative Europe is the new EU programme, with a budget of €1.46 billion for 2014-2020, to support European cinema and the cultural and creative sectors, enabling them to increase their contribution to jobs and growth. The Creative Europe Desk NL helps Dutch filmmakers and other audiovisual industry professionals understand and apply to the MEDIA subprogramme’s funding schemes, and to promote the programme in the Netherlands.

Fortissimo Films is one of the world's leading international film, television and video sales organizations specializing in the production, presentation, promotion and distribution of award-winning and innovative feature films. With offices in Amsterdam, Hong Kong, Beijing, London and agents in the USA, Europe, Tokyo and the Middle East, the company has a truly global presence and reach. The library of FORTISSIMO FILMS includes feature films, feature-length documentaries, animated films and short subjects. As of 2013, FORTISSIMO FILMS represents over 350 films from around the globe.

Contact details: Creative Europe Desk NL / Dutch Culture | Herengracht 474 | 1017 CA T: 00 31 (0) 20 6164225 | andrea@mediadesknederland.eu | www.mediadesknederland.eu

Marjan Van der Haar

The Netherlands

Julia Ton

Cinatura Development

Ben Willems

Ellis Driessen 187

Holland Film Meeting

Henneman Agency is one of leading agency in the Netherlands, representing over 100 prominent creative talents in all areas of the entertainment industry. Ranging from actors and writers to directors and composers, Henneman Agency plays a key strategic role between client and producers on a national and international level. In addition to the standard services as an agency, Henneman Agency initiates various new TV, film and theatre projects either by buying rights (novels of other works of intellectual property) or creating new works. These projects offer unique creative and business opportunities for the agency's creators and actors and will become the key focus in the immediate future for the company. Henneman Agency is the one stop shop for talent and an expert in developing stories. Henneman Agency actively works on an international network. One of our aims is to create a platform for European talent and serving this talent by providing exposure for those with quality and ability to conquer the international film and entertainment industry. Henneman Agency works closely with other European agencies with the aim of becoming a central meeting point for talent for European and worldwide productions. Henneman Agency will create a ‘One Stop Shop’ for international producers and casting directors who want to create a project with European talent, but prefer to access a single entity instead of agents in several individual countries.

Holland Film Meeting (HFM) is the international programme of the annual Netherlands Film Festival in Utrecht, the Netherlands. Its main activity is a small and effective co-production platform for European primarily feature length films. The co-production market this year held its 15th edition and presented a selection of 23 film projects to invited potential financiers and co-producers. The presentation format is a 3-step system including plenary pitchings, round table sessions and individual meetings. Every year Holland Film Meeting focus on the audio-visual industry of a territory or country. The programme further presents seminars, workshops and a public lecture and an interview with key industry film professionals. Examples of completed films earlier presented at the platform includes: A Long Story (Jorien van Nes), Circe Films, My brother the devil (Sally El Hosaini) S-Films, Bullhead (Michaël R. Roskam) Savage Film, Our Grand Despair (Seyfi Teomam) Bulut Film, Adrienn Pál (Agnes Kocsis), Print KMH, Milo (Berend Boersma and Roel Boersma) Fu Works, The Happiest Girl in the Worls (Radu Jude) Hi Film Productions, Involuntary (Ruben Östlund) Platform Production) Some other Stories (Hanna Slak, Ivona Juka, Ana Maria Rossil) SEE Films, Guernsey, Nanouk Leopold) Circe Films. Next edition will take place 25/9-28/9 2014.

Signe Zeilich-Jensen

The Netherlands

Vanessa Henneman

Henneman Agency

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Netherlands Filmfund

Ikon (Netherlands Interdenominational Broadcasting Company) is a public broadcasting corporation that plays a central role in society by producing programmes for radio, television and new media on behalf of seven Christian churches. From a (Protestant) Christian tradition and a religious perspective, IKON produces content for radio, television and new media that both broadens and opens up new horizons in order to inspire, motivate and galvanise. IKON contributes to the public debate in its own particular way which is based on genuine curiosity, admiration and an ability for criticism, while building bridges between Christians, other faiths and non believers in an imaginative way. IKON’s goal IKON focuses on those in society who want to learn about values, rooted primarily in Jewish-Christian traditions, on which our culture is based. Besides the individual’s freedom in society as a starting point, IKON also raises awareness of how relative this concept actually is, since not every human being is actually able to share this freedom.

The Netherlands Film Fund is the national agency responsible for supporting film production in the Netherlands. It focuses on the quality and diversity of feature films, documentaries, shorts, animation and experimental films. The Fund's operations cover participation in development, production and distribution. Besides, it supports film activities such as film festivals, coproduction markets and individual training for film professionals. It is also responsible for prom.

N279 Entertainment

Els Vandevorst

N279 Entertainment is a Dutch production company founded by producer Els Vandevorst (formerly owner of Isabella Films) and director Martin Koolhoven. The company focus on feature films with artistic value and accessibility for an international audience. These may be art-house-oriented movies as well as movies with a broad commercial potential and appeal. The company’s activities comprise the development, financing and production of films for cinema. Films (co) produced are It’s all so Quiet by Nanouk Leopold, Nono, the Zigzagkid by Vincent Bal, A Fold in my Blanket by Zaza Rusadze, Kid by Fien Troch and Franco-onia by Alexsandr Sokurov.

Doreen Boonekamp

The Netherlands

Margje De Koning

IKON

Viking Film Viking Film is the Amsterdam based film production company founded in 2011 by Marleen Slot. International in scope, Viking Film wants to make high-quality films for both Dutch and international audiences with a special focus on arthouse, children films and animation films. Viking Film wants to be cross-border and intends to enter into cooperation with producers and makers from Europe, Latin America and Asia. At this moment Viking Film is working on several films like ZURICH from director Sacha Polak (selected for Berlinale Residency) and BULL DOWN! by Gabriel Mascaro. Besides that Viking Film recently finished the feature documentary NEW BOOBS (Sacha Polak) and the co-production LEONES (selected for Venice Film Festival 2012) by Argentine director Jazmin Lopez. Marleen worked as a producer at Lemming Film for many years. She is part of EAVE and board member of ACE. In 2013 she was selected Producer on the Move during the Cannes Film Festival.

Marleen Slot

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Meetings on the Bridge

Vpro is a Dutch National Broadcasting Organization based on the non-profit principle. It creates approximately 50 hours of radio, 20 hours of television and one program guide a week. The VPRO is domain of creative and journalistic autonomy. Quality is in this case more important than the numbers of viewers and listeners. We try to surprise the audience with unusual and controversial programs,watching society in an analytical way without prejudice in its continual change. The VPRO strives after being original and open minded on new ideas and technologies, in content as well as in design. This has brought about a vast number of award-winning programs, both on local and international (film)festivals.

Meetings On The Bridge, the industry section of the Istanbul Film Festival, primarily showcases film projects and films in post-production from Turkey at Film Development and Work in Progress workshops with the purpose of initiating negotiations for co-productions. Aiming at offering further incentives, a TurkishGerman Co-production Development Fund was established in collaboration with the Medienboard BerlinBrandbenburg and Hamburg Schleswig-Holstein funds in 2011. MEETINGS ON THE BRIDGE continues to offer new prospects to filmmakers in any stage of their films, and acts as a go-to destination of the Turkish film industry for international professionals.

www.vpro.nl

turkey

The Netherlands

Joost de Wolf

VPRO

Gülin Üstün

turkey

Ehemm Production Ehemm is a production company specialized on short and feature films, documentary, commercial and music video from a cinematic point of view.The company is founded by Can Eren and Beste Yamalıoğlu in Turkey, 2013. Both founders of the company are young filmmakers from Turkey who have some short film experience before. Our aim is to make films, commercials and music videos that are creative and unique both in narrative and narrational sense without losing our cultural and historical heritage. We use cinema to tell people what we see as important in a way that is unique to us. Beste Yamalıoglu

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Contact details: Ehemm Production | Merkez Mah. Harzemsah Sok. No:56 D:4 Bomonti, Sisli | Istanbul T: +90 533 256 1004 | besteyamalioglu@gmail.com | www.ehemm.com

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Ksenia Volochkovskaya

FRED Film Radio

Amadeus Entertainment is a London-based company, offering a range of services within the entertainment industry: • International Sales and Distribution: We acquire and sell International film rights. Our catalogue boosts over US$70m worth of new film productions. We mainly specialize in such genres as 3D animations, action, thriller, biography fiction, fantasy, fairy-tales and, sometimes, drama with very strong artistic but also commercial potential. We are also very proud of representing one of the most unique award-winning Italian Classics catalogue of over 240 titles, from the 50s through the 90s including such films as "Divorce Italian Style" and "Cinema Paradiso". Our policy is to acquire only few titles a year that we feel passionate about. By saying that, we intend to give each title we acquire the necessary care and attention it deserves. Amadeus Entertainment is also involved in co-productions and consulting for several production companies worldwide. • Music – Music Production, Licensing and Sound Design

Fred Film Radio is a multi-channel, digital, film festival radio, targeted at all those who love independent cinema and all those who gravitate around the world of film festivals: filmmakers, film critics, journalists, film students, festival organizers, the film industry. FRED currently boasts 13 language channels plus Entertainment and Extras channels, allowing digital radio listeners to follow exclusive day by day broadcasts in English, Italian, French, German, Spanish, Portuguese, Polish, Slovenian, Romanian, Mandarin, Korean, Japanese and Arabic.

Chiara Nicoletti

united kingdom

Ivo Fiorenza

Amadeus Entertainment

Contact details: Amadeus Entertainment | Riverbank House - One, Putney Bridge Approach - London | SW6 3JD T: +44 7958 3671 159 | ivo@amadeus-ent.com - ksenia@amadeus-ent.com | www.amadeus-ent.com

Federico Spoletti

The Hollywood Reporter Leading Los Angeles-based international film industry trade magazine; weekly in print and daily online for all the latest, top international news from your region. Contact details: The Hollywood Reporter | Moscow T: + 7 965 411 38 99 - + 44 774 8686571 | nhfilmbiz@gmail.com | www.hollywoodreporter.com

Nick Holdsworth

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Ukraine

Directory films Promotion of new generation of cinematographers of Ukraine, training of high-quality specialists and involving of Ukrainian filmmakers into European projects are the aims of Directory films. The artistic board is created for achieving these aims, it supports young filmmakers from the development of the script via artistic supervising at the set to the consultations during film editing and festival road of movies.

Igor Savychenko

Interfilm Production Studio Interfilm Production Studio was founded in 2001 in Kiev. It produces features and documentaries and has successful story op international co-production with France (ARTE FRANCE CINEMA), Estonia, Georgia, Armenia. Our films have a large audience, receive awards at international film festivals and screen at cinemas and broadcast worldwide. Ukraine has nominated our latest feature biopic Paradjanov on Soviet-era director Sergei Paradjanov for Oscar Academy Award in the foreign language film category. Olena Fetisova

Odessa International Film Festival Odessa International Film Festival is one of the biggest audience film festivals in Eastern Europe and CIS countries, with attendance of 115 thousand people. The program includes international competition, Ukrainian competition and non-competitive programs of art mainstream cinema as well as Film Industry Office and Summer Film School.

Julia Sinkevych 196

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WEMW PARTNERS

The 2014 edition of When East Meets West has several strategic industry partners. Each one of them has a key role in planning, promoting and organizing the co-production forum

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members of the EAVE network at WEMW 2014

EAVE

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PROFILE

European Audiovisual Entrepreneurs, EAVE, is a professional training, project development and networking organization for audiovisual producers. Working with a worldwide network of partners we are involved in programmes for producers in Europe, Russia, Latin America, the Arab world, Asia and Africa. Founded in 1988, our objectives are to provide professional training opportunities and to bring producers from different regions of the world together with the aim of facilitating co-production relationships. We believe that the support of independent voices, creative imagination and culturally driven companies within the global media industries is an urgent necessity in the 21st century. Through our work we aim to contribute towards the creation of strong networks of producers and to encourage the exchange of knowledge and skills which will strengthen independent production across the world.

PARTNERSHIP

Since its foundation, the Trieste festival’s professional platform dedicated to co-producing with Eastern Europe – WHEN EAST MEETS WEST – has established itself as an important reference for European professionals. EAVE, one of the leading European training and development providers, is proud to have been a partner from the very beginning. In the framework of this partnership, EAVE is advising on the strategic planning and programming of the event and promoting WEMW among the members of our thriving network. EAVE is also involved in the project selection (EAVE group leader Danijel Hocevar is part of the selection committee), the preparation day of the selected project representative (EAVE graduate Stefano Tealdi is one of the tutors), the plenary session Classic vs. Alternative Distribution. Should we choose? by EAVE expert Alvaro Vega, the case study of Zoran, My Nephew the Idiot (project developed in the European Producers Workshop 2008) and the award ceremony (EAVE CEO Kristina Trapp and EAVE graduate Nikolaj Nikitin are members of the international jury selecting the best project/producer). Furthermore, we are delighted that the EAVE network has a significant presence at WEMW with 11 projects produced or co-produced by EAVE producers in the official selection and 37 EAVE network members attending.

CONTACTS

2013 EAVE | 238c, rue de Luxembourg | 8077 Bertrange, Luxembourg T: +352 44 52 10 1 | F: ++352 44 52 10 70 | eave@eave.org

Aurelien Bodinaux Jules Debrock Pierre Drouot Snezana Maric Sinisa Juricic Irena Markovic Matija Radeliak Riina Sildos Claire Launay Heino Deckert Nikolaj Nikitin Nandor Lovas Franco Bocca Gelsi Enrica Capra Alessandro Gropplero Roberto Olla Stefano Tealdi Marta Zaccaron Alexander Dumreicher-Ivanceanu Paul Thiltges Tina Trapp Kuba Kosma Cristina Badea Natalia Drozd Anastasia Pavlovic Natasa Damnjanovic Uliks Fehmiu Miroslav Mogorovic Danijel Hocevar Jozko Rutar Vanessa Henneman Leontine Petit Reinier Selen Marleen Slot Trent Gulin Ustun Olena Fetisova

NEON ROUGE Belgium INTI FILMS Belgium FLANDERS AUDIOVISUAL FUND Belgium REFRESH Bosnia and Herzegovina NUKLEUS Croatia FOCUS MEDIA Croatia ANING FILM Croatia AMRION Estonia ARTE FRANCE CINEMA France DECKERT DISTRIBUTION Germany SOFA - SCHOOL OF FILM AGENTS Germany MIRAGE FILM Hungary GAGARIN FILM Italy GRAFFITI DOC Italy FVG Audiovisual Fund Italy EURIMAGES Italy STEFILM Italy QUASAR Italy AMOUR FOU Luxembourg FILMLAND STUDIOS Luxembourg EAVE Luxembourg TAKFILM Poland ADENIUM Romania CTB Russia BAZELEVS Russia Dart Film Serbia WEST END PRODUCTIONS Serbia SOUL FOOD Serbia VERTIGO Slovenia SLOVENIAN FILM CENTER Slovenia HENNEMAN AGENCY The Netherlands LEMMING The Netherlands RINKEL FILM The Netherlands VIKING FILM The Netherlands NFI The Netherlands MEETINGS ON THE BRIDGE Turkey INTERFILM Ukraine

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MAIA Workshops PROFILE

PARTNERSHIP

Maia Workshops is an advanced training and coaching programme targeted to emerging European producers. It is made up of three residential workshops across a year, respectively dedicated to Creative Aspects of Development, Legal & Financial Issues and Marketing & Distribution, plus networking activities for participants and graduates at the main industry events and festivals in Europe. Under the guidance of some of the best industry experts from around the world Maia has a steady hold on the state of the art in the global audiovisual market. The programme can be described as an ongoing laboratory where participants meet their peers and get together to explore new worlds for themselves and their projects. Maia is promoted by the Genova Liguria Film Commission and supported since 2006 by the Media Programme. The cooperation between Maia Workshops and WEMW was initiated in 2012 with the common intent to join forces in promoting both the professionals and the projects participating in the respective initiatives. The emerging producers among the professionals attending WEMW are indeed the ideal target group for Maia, and quite a few projects developed by recent or older graduates of the training programme can righteously find a place in the catalogue offered by WEMW to its guests. Maintaining and reinforcing the fundamental bridge between east and west in terms of sharing both stories and finance for coproductions, is also a common concern and objective for both programmes. The four projects presented here were developed by emerging producers who have participated in the Maia Workshops programme. They have been selected by the Maia team on the basis of their international appeal as well as their feasibility and distribution potential. Another project jointly developed by Maia graduates Maarten Schmidt and Daniel Lambo (BE) has been selected by WEMW for the official pitching session within the 2014 Focus on Benelux.

CONTACTS

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Maia Workshops c/o Genova-Liguria Film Commission Villa Bombrini, Via L. A. Muratori, 9 | 16152 Genova - Italy T: +39 010 86 81 459 | info@maiaworkshops.org

Maia projects and graduates at WEMW 2014 CRISIS

Attending: Marija Razguté Genre: Fiction Director: Andrius Blaževicˇius Writer: Tekle Kavtaradze, Marija Kavtaradze, Andrius Blaževicˇius Producer: Marija Razgute Budget: € 380.000 ˇ Company: CIOBRELIAI

A thirty-year-old man Vytas gets fired from a factory in the provincial town of Lithuania. A father of two children starts looking for a new job, however, unsuccessfully. Very soon these attempts are becoming forced. His unemployed days are gradually filled with more and more intense boredom – long morning hours in bed, whole day spent in front of a TV or wandering around in a local supermarket. Being unconscious about it, he is enjoying his new casual routine life as a child. Gradually, a precipice starts appearing in front of Vytas and his family, which is deepened even more by Vytas’s feelings towards a young hairdresser Marija. Vytas’s illusion about a “different” life with Marija clashes faster than he expects himself, however, becomes an unexpected trampoline into his personal maturity.

Attending: Slobodan Karajlovic Genre: Fiction Director/Writer: Edi Muzina Producer: Slobodan Karajlovic Budget: € 600.000 Company: Pebble Film e Fun Da Mental (Croatia)

Baradin/former Croatian soldier, Nahtigal/next door guy and Gjon/Albanian small crook make a robbery that turns into a bloodshed. Baradin, in shere panic, starts killing the hostages and then, fully derailed, shoots himself. Nahtigal, while running from the police, accidently runs over Gjon. After taking the robbed money he leaves him on the road, but Gjon, although badly injured manages to flee. Nahtigal transfers the money into the other car where his girlfriend Blanka is waiting for him. They hide in a motel waiting for the police to remove the road blockades. Their plan is to flee to Brussel, their plane tickets are ready. Gjon is after Nahtigal and Blanka. Police and Oliver Travas, a social worker are after both of them. Who will be the first one, who will die and who will get the money and run? “Footwork” is a story about Croatia today. On the ruins of social values, new and frightening society is being created and it influences the way we behave, live and die. Those who were yesterday heroes are now turning into criminals; while criminals have already become leading figures of society. Corruption thrives and ordinary people are forced into radical actions.

FOOTWORK

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HONEYMùN Attending: Salvatore Allocca Genre: Fiction Director: Salvatore Allocca Writer: Emiliano Corapi, Amara Lakhous, Salvatore Allocca Producer: Andrea Petrozzi, Daniele Esposito, Salvatore Allocca Budget: € 200.000 Company: Marvin Film, Vega’s Project (Italy)

A man and a woman, muslim clandestines with nothing in common, find themselves at to travel together just landed in Italy and having to pretend to be a married couple in the eyes of three Italian musicians in crisis who have decided to help them to reach the French border as soon as their small tour in southern Italy will end. Two strangers will live a fake honeymoon that will lead them to be closer and to reconsider what is truly important to them.

IDYLL (IDILA) Attending: Zoran Dževerdanovicˇ Genre: Fiction Director/Writer: Tomaž Gorkicˇ Producer: Viva Videnovic’, Zoran Dževerdanovicˇ Budget: € 408.205 Company: Blade Production (Slovenia)

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Nothing could seem further from the frivolous world of trendy young city people on a fashion shoot than the basement of two demented hillbillies. But in fact, something even darker than this basement joins them together.

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July 11-19, 2014 w w w. oi f f. c om. u a

STAFF

210 FRIULI VENEZIA GIULIA AUDIOVISUAL FUND 211 TRIESTE FILM FESTIVAL 212 AUDIOVISUAL CLUB OF CONFARTIGIANATO UDINE

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Alessandro Gropplero

Elisa Bordon

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TRIESTE FILM FESTIVAL

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, proudly being the first such experience in the Italian panorama. The Fund operates in three main sectors: Training: encouraging the participation of local audiovisual professionals in national and international training courses for directors, scriptwriters, producers, editors, camera operators, and sound engineers. Development: covering all the levels between the idea and the production phase, that is, from script-writing and research, to casting, fund raising and presentation of a teaser. Production: this last action includes financial support to cover production expenses, together with the promotion of the project as to create a more competitive product. Along with the day-to-day management of the fund, the FVG Audiovisual Fund has organized several international events â&#x20AC;&#x201C; such as Ties That Bind - Asia Europe Producers Workshop, Eurodoc Transregional Workshop and When East Meets West - aimed at creating platforms for film professionals from all around the world as well as developing the local audiovisual industry. The main purpose is to offer new training possibilities and set up new market places, where professionals can meet, share experiences and collaborate.

In more than 20 years of activity the Association Alpe Adria and its main project, the Trieste Film Festival, have always stood out for the originality of their initiatives. The festival has explored and brought into light films and directors that had been forgotten for many years, as well as discovering new talents. In these years, the Trieste Film Festival has acquired increasing national and international importance, becoming a unique point of reference, for the cinema of the Central and Eastern European countries. At a national level, the festival plays a leading role, being for years the only festival to focus on the cinematography of these countries and doing so with scrupulous attention. Nor is it a coincidence that the initiative was founded in Trieste, a Central European but above all multiethnic and multi-cultural city that has always provided a gateway to the East. The public has always supported the event enthusiastically. In recent years, the venue had to change in order to increase the number of screenings and the number of seats for a demanding public that is constantly growing in numbers. The Trieste Film Festival is currently followed by the most important printed press, television, radio and webmagazines.

italy

Paolo Vidali

FRIULI VENEZIA GIULIA AUDIOVISUAL FUND

Cristina Sain

Anette Dujisin

Vittoria Rusalen

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italy

Audiovisual Club of Confartigianato Udine

Rachele Francescutti

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 T: +39 0432.516770 | rfrancescutti@uaf.it

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index participants

Alexandrakis Eleni Allocca Salvatore Alova Alena Alper Soner Anastopoulos Thanos Andreuzzi Maura Badea Cristina Balinski Robert Baltakis Stasys Baracetti Sabrina Barbiani Erica Basheski Darko Basso Stefano Bertacche Thomas Betu Kandu Annie Bildesheim Graziella Blaney Martin Bocca Gelsi Franco Bodinaux Aurelién Bogo Alberto Boncea Andrei Bonsembiante Francesco Boonekamp Doreen Bordon Elisa Borraccetti Paolo Bozhilova Martichka Briseño Galván Pablo Brkovic’ Dušan Brunnenmeyer Gabriele Bruscolini Elisabetta

124 159 174 14 146 129 18 171 165 158 161 169 132 158 109 145 123 136 104 162 18 142 191 210 163 26 169 177 145 131

Buder Bernd Budisavljevic’ Dana Buono Manuela Canepa Fabio Cantisani Angelica Caon Cristina Capra Enrica Carroli Alessandro Cassano Guido Cerato Fabrizio Cernec Miha Ciolfi Aldo Ciut Luca Cockova Emilija Cocozza Massimiliano Colombo Mattia Combe Nathalie Coton Gilles D’hollander Maarten Damnjanovic Natasa Daniélou Laurent Darras Matthieu De Koning Margje De La Serna Isabel De Wolf Joost Debrock Jules Deckert Heino Dedic Lejla Delvecchio Raffaella Demchenko Leonid

121 112 153 137 133 141 138 143 135 136 183 148 163 36 133 154 118 44 48 176 119 157 190 44 192 103 121 107 129 175

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Detaille Thierry Di Micco Barbara Di Pace Francesco Dicursi Lea Driessen Ellis Drouot Pierre Drozd Natalia Dujisin Anette Dumreicher-Ivanceanu Alexander Dževerdanovic’ Zoran Falaschi Francesco Fasulo Alberto Fehmiu Uliks Ferrone Federico Fetisova Olena Fetzer André Finotto Paolo Fiorenza Ivo Fiumi Vittoria Fracchia Edoardo Fragnito Ottavia Francescutti Rachele Fusco Marco Valerio Garfield Milena Garreau Geoffrey Grassi Giacomo Gropplero Alesandro Gysel Eurydice Hajdu Eszter Hajon Tina Havas Agnes 216

105 144 153 132 187 103 175 211 10 181 76 147 179 160 196 10 102 194 150 86 141 212 140 179 119 144 210 22 172 110 127

Henneman Vanessa Hocˇevar Danijel Holdsworth Nicholas Hribar Hrvoje Hugé Stéphanie Jakob Enrico Jambrovic’ Vanja Juricic Sinisa Karajlovic Slobodan Karklin Diana Kastelicova Hanka Kolar Cedomir Konopka Bartek Kosma Kuba Kovacevic Mladen Kvatashidze Alexander Kvietkauskas Rolandas Latinovic Dragana Launay Claire Leghissa Nicole Leguebe Wilbur Lenaerts Filip Leonetti Beppe Leporace Paride Levie Joelle Lionetti Andrea Litwin Piotr Ljuca Nikola Locatelli Alessandra Lovas Nandor Lukusa Mutobola Didier

188 184 195 110 107 100 115 113 114 122 126 118 171 172 177 54 166 178 117 138 105 101 86 144 118 163 170 176 133 128 109

Magnani Andrea Magnani Francesca Makohin Agata Maldi Davide Mancini Carolina Mancini Fabio Manera Paolo Manfrè Gabriella Manzolini Niccolò Manzolini Michele Maric Snezana Marino Paolo G. Markovic Irena Martinelli Maria Matelis Arunas Mazzocca Daniele Mercken Kenneth Miccichè Francesco Milanko Jovana Minac Matej Minigutti Dorino Mitevski Vuk Mladenovic Djana Mogorovic Miroslav Moravec Dusan Morena Sabrina Mshvenieradze Tamara Muhi András Murataj Andamion Natoli Cristian Nesna Jella

149 155 172 141 130 152 149 141 152 160 68 156 111 155 64 159 22 146 177 50 128 168 112 179 181 130 54 40 161 60

Nicoletti Chiara Nikitin Nikolaj Novel Gianluca Olla Roberto Oplatkova Petra Palmers Joyce Papp Bojana Pasanen Leena Pašš Patrik Pastore Alessandra Pavlin Ales Pavlovic Jure Pavlovic Anastasia Pedoth Ines Pedroni Federico Pellicciari Laura Penco Giampaolo Pepe Luigi Però Franco Petit Leontine Piazza Anna Poeta Paccati Silvia Poillucci Federico Pollè Wallie Porcelli Enzo Pöschl Andraž Posthuma Andrea Princic Igor Pugnetti Guido Pupo Michele Radeliak Matija

195 123 135 131 116 101 56 125 180 145 182 116 173 100 151 143 160 142 130 32 139 142 135 186 76 182 186 157 150 150 109 217

Ravlic Sanja Razgute Marija Reisen Christine Roland Emmanuel Rossi Erika Rusadze Zaza Rusalen Vittoria Rutar Jožko Sain Cristina Sandrone Silvia Santanera Alessandra Savychenko Igor Schmidt Maarten Schmidt Manfred Schmidt Lucas Schockweiler Karin Schreiner Claudia Selen Reinier Sesic Rada Sezer Kivanc Sildos Riina Siniarska Katarzyna Sinkevych Julia Slijepcˇevic Nebojša Slot Marleen Sorge Alberto Sos Agnes Spiehs Gerhard Spoletti Federico Srdic Branislav Stalter Judit 218

110 165 120 102 90 120 211 183 211 128 139 196 30 122 123 167 122 60 108 14 72 170 196 115 191 161 125 185 195 181 56

Stavreski Gjorce 36 Stavrianou Konstantina 124 Stinglova Marketa 117 Stocovaz Davide 164 Stoev Galin 26 Stucovitz Andrea 148 Sugawara Danyael 80 Tealdi Stefano 156 Teleki Lidia 178 Thiltges Paul 167 Tomassini Claudia 131 Tomic Zuber Robert 111 Ton Julia 186 Tosi Claudia 147 Traila Alex 173 Trapp Kristina 166 Trent 80 Trevisan Nadia 147 Trickovic Andrija 178 Ustun Gulin 193 Vaccari Michele 164 Valle Marie Pierre 119 Van Der Haar Marjan 187 Van Meerbeck Philippe 106 Van Rompaey Willem 104 Vandevorst Els 190 Vega Alvaro 185 Venturin Luka 116 Verbeek David 32 Verdier Nathalie 117 Verhaeghe David 48

Vervloet Elly Vidali Paolo Vidic Vladimir Vikhliaev Vasili Viktorin Jakub Volochkovskaya Ksenia Wieser Sasha Willems Ben Yamalıog˘lu Beste Zaccaron Marta Zachar Balazs Zeilich-Jensen Signe Zoratti Carlo Zumiani Laura

106 134 176 162 180 194 100 187 192 90 127 189 161 158

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