BLS RACCONTI #3 Booklet by IDM Film Fund & Commission

RACCONTI #3 BLS-SCRIPT LAB PROJECTS

CONTENT

4 WELCOME 6 FAQ 8 BLS PRE-PRODUC TION FUNDING 10 WRITERS’ ROOM AT THE RACCONTI #3 SCRIPT LAB 12 HEAD WRITERS & TUTORS 16 GUEST LECTURERS 18 JURY 20 PROJECTS & PARTICIPANTS 40 RACCONTI TEAM 42 IMPRINT

WELCOME TO RACCONTI Three years after the launching of RACCONTI BLS-Script Lab, the first film projects to emerge from our program will soon come to fruition. Caterina Carone’s “Fräulein” and “Zweitland”, by South Tyrolean screenwriter Michael Kofler, are both currently putting the final components of their financing into place, with production planned to begin in 2015. The RACCONTI Script Lab was a creative nucleus and catalyst for these projects: with the help of the tutors and through exchange with other participants, they were developed into treatments and, a few months later, their authors were brought together with producers. Good stories need a sufficient amount of time to incubate. BLS supports this process through pre-production funding. Without the staying power and vision of the RACCONTI writers and their producers, however, these projects wouldn’t be in the current process of realization. We’ve been impressed, and look forward to seeing the films once they are finished! But we do not only “measure” RACCONTI’S resonance by completed projects but also by the creative partnerships that have arisen through the lab: Here one finds not only likeminded peers but also co-writers, dramaturgs and mentors who open new doors. The focus is on the Italian- and German-speaking markets, but the network stretches from northern Europe all the way to the USA. The interface always remains South Tyrol, however, where the RACCONTI Script Lab actually takes place.

Equally important to this international spirit, in our view, is the desire for innovation and change in terms of varying genres (from feature films to television series) and workshop formats. This year, the RACCONTI writers had the opportunity to participate in our very first Writers’ Room, working on a series concept (brochure, page 22) in collaboration with our partner for this project, Sky Italia (“Romanzo Criminale”, “Gomorra”). In addition, the participants found inspiration in two workshops and a location tour of the region, and developed their own ideas for television series, which are presented in this brochure. Does South Tyrol really offer material for exciting, innovatively told TV series? RACCONTI brings together talented authors from two language areas into a region that still represents a field of unresolved cultural tension today, just as it did 100 years ago. We hope you’ll be surprised and delighted by these film projects and their creators. Developing stories for series takes teamwork. So we thank all those who have lent inspiration to this year’s RACCONTI Script Lab: first and foremost, the authors and tutors, for their hard work and the joy they find in experimentation, but also our industry partners, who gave us so much support as guest lecturers and jurors.

The BLS RACCONTI Team Christiana Wertz, Carmen Cian, Sandra Buchta

FAQ What is RACCONTI? RACCONTI is a script-development program and advanced training initiative for professional screenwriters. Who may apply? All professional screenwriters may apply, but the program is targeted specifically at writers from the Italian and German language areas. Talented writers from South Tyrol (including those from outside of the industry) are expressly urged to apply. On what type of projects does RACCONTI focus? The program is aimed at projects that are suitable for a co-production between Italy and Germany, Austria or Switzerland and that have a connection to South Tyrol. The thematic focus may shift each year: RACCONTI #1 dealt with feature films, while RACCONTI #2 and RACCONTI #3 focused on television series. The next call for applications will be announced on the BLS website. How does the selection process of the participants work? Candidates are required, within the predefined deadline, to submit their CV and filmography, a letter describing their motivation and a sample of their work. In a preliminary round of selections, about 15 candidates will be invited to personal interviews; the definitive participants for the Script Lab will be chosen out of this group. BLS representatives, the RACCONTI creative team and, in some cases, attached partners carry out the selection process.

What does the program offer? The program offers the opportunity to work within an intercultural team, under the guidance of international experts. Over the course of two workshops in South Tyrol and through individual dramaturgical consultations (online), participants develop their material into market-ready treatments. In addition to the story consultants who guide the development process, these include guest lecturers who focus on current themes relevant to the target markets. RACCONTI #3 also offered the possibility, for the first time, of being part of a Writers’ Room: In addition to their own projects, the writers developed a common series concept under the guidance of the tutors/head writers. When does RACCONTI take place? The Script Lab is an annual BLS event and takes place between early spring and summer. The call for applications is usually announced around the middle of October; the application deadline is in mid-December.

·· Due to the internationalism of the program, participants can expand their personal networks and establish interesting contacts with writers and producers from other countries. Does it work? Out of 11 feature film projects developed in the RACCONTI #1 Script Lab, three currently have producers attached to them and have been granted development funding from BLS. Three TV series projects from last year’s RACCONTI #2 Script Lab have been optioned by production companies and are now in the process of further development. How much does it cost? Participation in the RACCONTI Script Lab is free of charge. Travel costs are borne by the participants. In some cases (for example, especially long workshops) participants may be asked to contribute with a small amount to the cost of lodging.

How do the screenwriters benefit? ·· BLS presents the RACCONTI projects to pro ducers and network representatives in Italy, Germany and Austria. ·· The writer who delivers the most compelling treatment, as determined by a jury at the end of the lab, receives a Development Award (EUR 5,000). ·· Participants have a tangible chance of attaching a producer to their project and thus obtaining development financing for the project from BLS.

BLS PREPRODUCTION FUNDING You’re interested in further developing one of the projects presented here? Then let us answer a few of the most important questions regarding potential pre-production funding! What does BLS pre-production funding encompass? With this type of funding, support is provided for project development and production preparation, in particular. In exceptional cases – for example in the case of projects which were developed within the framework of RACCONTI #3 – support is also provided for screenplay development. One of the most important prerequisites for production preparation funding is that the project can prove a cultural reference to South Tyrol, thus making it suitable, to a great extent, for shooting in South Tyrol at a later date. The Cultural Reference The cultural reference of a project can be defined as the material itself, but also as film professionals, in particular the producer, writer or director. The cultural reference can also be defined in relation to a particular subject matter and/or personality or character, which has current, social, historical, political, economic, scientific or cultural relevance to the region of South Tyrol. The mere fact that a project is deemed suitable for a film shoot in South Tyrol, however, cannot

be recognized as a cultural reference. With the framework of the application process, you have the possibility to highlight and substantiate this cultural reference, in particular in a Producer’s Note, Writer’s Note, Director’s Note and, of course, within the treatment or the screenplay, should a screenplay already be in existence. Who is eligible? As a rule, production companies are eligible to submit applications for the BLS funding model. In the case of a co-production, the application is generally submitted by the majority producer. If a South Tyrolean producer is involved in a national or international co-production, a further exception takes effect. In this case, the South Tyrolean producer is to submit the application, regardless of the producer’s status within the co-production group. Please note that this information pertains primarily to feature film productions. In cases of projects planned as television co-productions, you are advised to seek consultation with a BLS funding consultant. Extent and Type of Funding Within the framework of the BLS funding model, a maximum of 50% of the calculated production preparation costs can be supported, not exceeding a maximum of 50,000 Euros per project. Accumulations with other sources of funding be-

yond the 50% limit are also possible. Production preparation funding does not require a specific regional effect. BLS provides funding in the form of non-repayable financial grants – regardless of the economic success of the production From Application to Disbursement Applications for production preparation funding may be made, revised and submitted at any time via the BLS online portal. Applications will be considered during the following period of review. Personal consultation with a BLS funding consultant is required prior to application submission. In order to be eligible for consideration for production preparation funding, the following supporting documents are required: ·· a synopsis ·· a calculation of preparation measures ·· a description of the measures ·· a financing plan of the production preparation ·· an exploitation concept ·· a 10-page (minimum) to 12-page (maximum) treatment ·· the screenplay (if already in existence)

partial installment (50% of the funding amount) is disbursed upon completion of the financing. The second partial installment (25% of the funding amount) is disbursed following an audit of expenses and a report of the further development of the project; the third partial installment (25% of the funding amount) is disbursed following an audit of the final report, results and total expenditure. Application Deadlines Application deadlines for the year 2014 and 2015 are: 24 September 2014 (Funding decisions will be made on November 17, 2014) January 2015 May 2015 September 2015

Projects to receive funding will be determined within six to eight weeks after commencement of the period of review. Disbursement of the funding amount is made in three installments. The first

WRITERS’ ROOM AT THE RACCONTI #3 SCRIPT LAB

This year’s Script Lab offered participants the opportunity to work together on a series project, within the context of the Writers’ Room. Of the 100 screenwriters who applied, a first selection was interviewed at the Berlinale and, from there, eight participants were chosen for the Writers’ Room. Tutors Giacomo Durzi, Tom Schlesinger and Daniel Speck acted as head writers throughout the process. Based on preliminary discussions with Sky Italia, RACCONTI’s partner this year, they developed the series concept “The Valley”, for which Sky Italia were given a first look option. Over the course of two five-day workshops in South Tyrol in the spring as well as virtual teamwork between the seminar blocks, the concept was developed further together with those a uthors participating in the Writers’ Room.

TV features at ORF, spoke about the genesis of the cult series “Braunschlag”; screenwriter Jeppe Gjervig Gram provided the Writers’ Room with an insight into the internationally successful series “Borgen” and into the philosophy of story development at the Danish channel DR. After having been inspired by the creative process as well as by the research and a location tour, the participating writers then conceptualized their own ideas for a TV series. They received dramaturgical advice from the three tutors throughout the process. The individual projects are then presented at specially organized pitches to interested producers at Filmfest München and at the Venice International Film F estival. We were lucky enough to secure the expert Sybille Kurz as a pitching coach for the writers.

Throughout the process the authors were professionally supervised by a number of guest tutors: Roberto Amoroso and writer/story editor Nicola Lusuardi explained the criteria according to which series that employ horizontally storytelling are developed at Sky Italia; writer/producer and director David Schalko and Klaus Lintschinger, head of

HEAD WRITERS & TUTORS

GIACOMO DURZI Screenwriter, Director, Producer

As a screenwriter he wrote several TV movies and TV series for Italian TV and has been working for the main production companies such as Tao Due (“Distretto di polizia”, “RIS”), Grundy-Freemantle Italy (“Liberi di giocare”, “La nuova squadra”), Cattleya (“Quattro famiglie e un matrimonio”), Publispei (“I Cesaroni”), and Magnolia (“Camera cafè”, “Vicky tv”). Recently, he wrote the Italian adaptation of the series “In treatment” (Wildside for Sky Cinema), and a new TV series, “Sicilia Connection” (Tao Due for Mediaset). As an editorial and script consultant, he worked for NBC Universal Italy and Fox International Channels, launching new channels, selecting and developing the productions for Fox Life and History Channel. He has worked as head writer and script consultant for Mediavivere-Endemol Italy and the Italian company Itc Movie, developing new formats for TV series, like for the German company Tandem Communications. He’s partner and head of development for feature films of the Italian independent production

company Ascent film. As a director, he wrote and directed several documentaries for Italian and European broadcasters such as RAI, The History Channel, NBC Universal Network, CHANNEL 4 and MTV. His last film “SB I knew him well”, has been world premiered in competition at the 2012 Festival Internazionale del Film di Roma, selected in many other international film festivals and released in theatres and TV in Europe. As a producer, he produced short films, documentaries and features such as “L’estate di mio fratello” by Pietro Reggiani (in competition in many international festivals, won several prizes such as the Jury Prize at the Tribeca Festival in 2005), and “Non pensarci” by Gianni Zanasi, in competition at the 2007 Venice Film Festival. He has taught screenwriting and mentored students at the DFFB (Deutsche Film und Fernsehakademie Berlin), at the IFS (Internationale Filmschule Köln), and he’s tutor for Biennale college cinema (Fondazione La Biennale di Venezia) and head writer of the TV series developed at the BLS-Script Lab RACCONTI #3. He is a member of the Associazione 100Autori board, the Italian guild for screenwriters, Italian delegate of FERA (Federation of European Film Directors), and of the executive board of Giornate degli Autori-Venice Days of the Venice International Film Festival.

TOM SCHLESINGER Screenwriter, Producer and Dramaturg

Tom Schlesinger was the story con sultant on the HBO documentaries “Prom Night in Mississippi” with Morgan Freeman and “A Small Act”, both premiering at Sundance and winning awards internationally. Tom was the story consultant on “Nowhere in Africa”, which won the Academy Award for Best Foreign Film, and on “Beyond Silence”, which was nominated for an Academy Award. Tom wrote the feature script “Chappie and Me”, with Morgan Freeman now attached, and is developing “The Valley”, a television series with Daniel Speck and Giacomo Durzi under the auspices of the BLS. He co-executive produced “The Last White Knight”, which premiered at the Toronto Film Festival, and was story consultant on the award-winning doc, “The Rugby Player”, currently playing to sold-out audiences internationally.

Tom was Creative Producer on the documentary “Startup Education”, which premiered at the 2013 SXSW Film Festival, and on “Shirley: Visions of Reality”, which premiered at the Berlin Film Festival the same year. He facilitates film seminars for Pixar Animation Studios, Lucasfilm Ltd., the American Film Institute, the Writers Guild of America, and the Directors Guild of America, and workshops facilitating Story Constellations as a powerful development tool. Tom also facilitates Human Potential seminars including: “Art as Transformation” at UCLA; “Myths, Dreams and Movies” at the Esalen Institute and the Saybrook Institute; and “Creative Flow: the Inner Reaches of Outer Space”, at the Academy of Art in Munich and The Working Group in Toronto. He lives in Santa Monica with his wife, Eleonora Migliorini.

DANIEL SPECK Screenwriter

Screenplay (Selection) ·· “Maria, ihm schmeckt’s nicht!” (Maria, He Doesn’t Like It!) – Film, comedy based on the Jan Weiler bestseller, Producer: Claussen+Wöbke+Putz ·· “Zimtstern und Halbmond” (Cinnamon Star and Half Moon), Christmas film, family comedy, Claussen + Wöbke + Putz for Bavarian Broadcasting/ Degeto ·· “Meine verrückte Türkische Hochzeit” (Kiss Me, Kismet) – Romantic comedy RAT PACK for PRO7 ·· Adolf Grimme Award (2007) ·· Bavarian TV Award (2007), best screenplay ·· Jury Prize, 3sat Audience Award at the Baden-Baden Television Film Festival (2006) ·· “Fischer fischt Frau” (Fischer Seeks Wife) – Film, romantic comedy, Constantin TV for ZDF ·· “Im Club der Millionäre” (In the Millionaire’s Club), Thriller, Bioskop Film for PRO 7, Co-Writer: Keith Cunningham

Visiting lecturer and dramaturg for, among others ·· Munich University for Television and Film ·· Cologne International Film School ·· Atelier Ludwigsburg-Paris ·· German Film and Television Academy in Berlin ·· Munich Screenplay Workshop ·· Munich University of Music and the Performing Arts ·· Institute for Applied Creative Psychology, Munich ·· Fellow at the Institute for Advanced Study Konstanz (University of Konstanz), Center of Excellence “Cultural Foundations of Social Integration” Current projects ·· “Was Männer wollen” (What Men Want) – Film, romantic comedy, Yellow Bird Pictures ·· “Antonio im Wunderland” (Antonio in Wonderland) – Film, comedy based on the bestseller by Jan Weiler, Bavaria Film ·· “Bella Germania”, Historical Mini Series 3 x 90 minutes, Bavaria Film for ZDF

GUEST LECTURERS NAME

Roberto Amoroso Creative Director, Sky Italia, responsible for such inno vative Italian TV series as “In Treatment”, “Gomorra” and “1992”.

Jeppe Gjervig Gram Co-writer of the Danish TV series “Borgen” and showrunner of the new series “Follow the Money”.

Sibylle Kurz Coach and communication trainer, specialized in the art of pitching.

Klaus Lintschinger Head of TV features and series at the ORF (Austrian Public Broadcasting), responsible for more than a hundred productions, among them many European co-productions.

Nicola Lusuardi Screenwriter (“In Treatment”) and story editor (“1992”) for original productions at Sky Italia.

David Schalko Writer, director and producer (Superfilm) of Austria’s most successful TV series, “Braunschlag”.

RACCONTI #3 JURY

FERDINAND DOHNA PRODUCER, DOG’S LIFE/EOS ENTERTAINMENT (“BORGIA”) WOLFGANG FEINDT COMMISSIONING EDITOR SERIES, ZDF LUCIA PIVA OFFICE FOR AUDIOVISUAL MEDIA BOLZANO (DEPT. OF ITALIAN CULTURE) LUDOVICA RAMPOLDI SCREENWRITER OF THE TV SERIES “IN TREATMENT” AND “1992” (SKY ITALIA) PHILIPP STEFFENS HEAD OF FICTION, RTL BARBARA WEIS OFFICE FOR AUDIOVISUAL MEDIA BOLZANO (DEPT. OF GERMAN CULTURE) MICHELE ZATTA DIRIGENTE, RAI FICTION 19

PROJECTS & PARTICIPANTS

22 THE VALLEY – GIACOMO DURZI, THOMAS SCHLESINGER & DANIEL SPECK 24 BROTHERS’ PEAK – ANDREA LEANZA & FIDEL SIGNORILE 28 BOLZANO VS. BOZEN – FRANCESCA BERTONI 30 THE BURNING – STEVE HUDSON 32 A QUIET LAND – MATTEO BERDINI 34 CASANOVA’S LESSONS IN LOVE – TOMMASO CAPOLICCHIO 36 STAIRS – ELENA VON SAUCKEN 38 APRÈS-SKI – KLAUS WOLFERTSTETTER 21

THE VALLEY Genre: Crime Format: 10 x 50’

Synopsis The idyllic life of a South Tyrolean village is disrupted when a 16-yearold girl vanishes in the woods during a teenage dare game. The bewildered villagers set out to find her, but don’t find a trace. Who’s responsible for Nina’s mysterious disappearance? Where is she? Is she dead or alive? As the investigation deepens, the villagers have to confront their darkest secrets ...

“THE VALLEY” is a crime drama series, set at the Alpine border between Italy and Austria. Along with its wineries, hotels and a stellar hockey team, the village of “La Val” has a renowned clinic for treating addictions. Each of the ten 50-minute episodes encompasses one day in the search for Nina, focusing on one character who may be responsible for Nina’s disappearance. This un ravels the backstory beginning with Marco and his family returning to the village six months before. Irene, Nina’s mother, and Marco, the father of Nina’s boyfriend – the main suspect – are forced to work together to solve the mystery of Nina’s disappearance. Irene is a local empathetic alter native therapist, and Marco is an internationally successful, egocentric neuroscientist. They are at odds with each other philosophically about how to treat addictions, especially as it pertained to Irene’s daughter. Sixteen years ago, they had a passionate love affair just before Marco left for New York in order to pursue his medical career. Irene never forgot about the power of their connection. Marco never looked back and became famous. Back in his mother’s Alpine addiction clinic now, Marco is working on a psychotropic drug that cures addictions. A big business. But he’s not sure

GIACOMO DURZI, THOMAS SCHLESINGER & DANIEL SPECK THE VALLEY

if the side effects of the drug will be more harmful than what it is treating. Irene speculates that this drug is related to Nina’s strange behavior before she disappeared.

This series concept was developed in cooperation with the participants of the Writers’ Room at the RACCONTI Script Lab.

Each episode suggests another solution to the mystery that is getting exponentially darker: each character brings missing information about Nina. And the more Irene and Marco spend time together in the investigation, the more they realize that there is still an erotic attraction between them. By mid-season, Marco is shocked when he finds out that Nina might be his own daughter. But the real truth is far more evil than that. Eventually, Marco and Irene need to face the dire consequences of their secret past – consequences that have come back to haunt them in a deadly way. Whereas each villager’s secret pertains to perversions and crimes that men are perpetuating against women, the theme of the series ultimate ly relates to the dark side of motherhood, the harrowing truth of how the shadow of a mother’s love can turn into coercion, possessiveness and violence.

ANDREA LEANZA City of Residence: Rome, Italy Phone: +39 328 0150671 Email: a.leanza74@gmail.com Agency: Carol Levi & Company

Biography

Filmography

Andrea Leanza is an established Italian screenwriter of English origin on his mother’s side. Since 2006 he has worked on some of the most successful Italian prime time TV series, such as “Distretto di Polizia”, “R.I.S. Roma” and “Il Tredicesimo Apostolo”. His first feature film, “L’uomo Giusto” won the 2010 Best Screenplay Award at the Mostra del Cinema dello Stretto, in Messina. His second feature, “Vallanzasca – Gli Angeli del Male”, co-written and directed by Michele Placido, premiered in 2010 at the Venice Film Festival and won three Silver Ribbons at the 2011 Italian National Syndicate of Film Journalists Awards. Having been raised bilingually, he writes fluently in English; his latest US based feature film project has been favourably received by CAA and is now being considered for development by a selcted number of producers and financing companies.

·· 2012 “Il Tredicesimo Apostolo”, fantasy – crime, TAODUE, screenwriter ·· 2012 “R.I.S. ROMA 3”, police procedural, TAODUE, storyliner ·· 2010/11 “Distretto di Polizia 11”, police procedural, TAODUE, storyliner ·· 2009/10 “Distretto di Polizia 10”, police procedural, TAODUE, storyliner and screenwriter ·· 2008/09 “Distretto di Polizia 9”, police procedural, TAODUE, storyliner and screenwriter

ANDREA LEANZA & FIDEL SIGNORILE BROTHERS’ PEAK

FIDEL SIGNORILE City of Residence: Rome, Italy Phone: +39 349 6423239 Email: fidels@tiscali.it Agency: Studio Cau Morandi Minutillo Turtur

Biography

Filmography

Fidel Signorile was born in Rome in 1973. He has a Bachelor Degree in Italian Literature at La Sapienza University of Rome, with a thesis on Italo Calvino. After a Screenplay Training Course at RAI Cinema e Televisione he started to work as a screenwriter.

·· 2014 “Oriana Fallaci”, Fandango for Rai Uno, writer (in post-production) ·· 2013 “Un medico in famiglia”, Publispei for Rai Uno, writer ·· 2012 “Questo nostro amore”, PayperMoon for Rai Uno, writer ·· 2011 “Tutti pazzi per amore”, Publispei for Rai Uno, writer ·· 2010 “La Prima Linea”, Lucky Red, Toronto Int. Film Fest, writer ·· 2009 “Il commissario Manara”, Dauphine for Rai Uno, writer

BROTHERS’ PEAK I MASCABRONI Genre: War-Drama Format: 4 x 100’ or 8 x 50’

Synopsis 1915. A young Italian mountaineer and his Austrian rival become friends after saving each other’s lives during a perilous climbing contest, but when the war breaks out they suddenly find themselves on the o pposite sides of the Italian front.

Brothers’ Peak will recount one of the most extraordinary episodes of the First World War in the Dolomites, from the point of view of both warring sides: the exhausting battle between the Italians and the Austrians over a high, narrow mountain pass. For almost a year a hundred men fought to their last breath at an altitude of over 3,000 meters, using all their tactical and physical skills, in an almost superhuman feat of survival and endurance, among snowy crests, menacing peaks and frightful gorges. The two factions soon reached a stalemate: the Austrians conquered the peak but were not able to break through the Italian post. The Austrians were better armed – they had a machine gun – but what the Italians lacked in equipment they made up for in cunning: they began to dig tunnels under the peak in order to blow it up with dynamite. Eventually they succeeded, but by that time at the Austrian headquarters the generals had already decided to move their troops somewhere else: the pass was not worth fighting over after all. In the end all those brave young men died for nothing.

ANDREA LEANZA & FIDEL SIGNORILE BROTHERS’ PEAK

Writer’s note A war tale, then, but also – and perhaps more importantly – a story about a great friendship and its tragic fate. Antonio and Karl, two rival mountaineers who become friends after an expedition goes wrong, at the outbreak of war are recruited by their respective armies as scouts to blaze a trail through a narrow mountain pass for the troops. It starts out almost as a game, but soon the mountain will exact its price in blood.

Inspired by true events, this is a soulstirring tale of friendship, bravery and the ultimate absurdity of human conflict set against one of the most spectacular mountain backdrops of World War I.

As the Centenary of World War I on the Italian front draws close, this story would like to pay homage to the best of Europe’s youth of that time and offer an opportunity to explore and reflect upon the topical and ever recurring theme of national identity vs. universal citizenship.

FRANCESCA BERTONI City of Residence: Bolzano, Italy Phone: +39 339 1957671 Email: francesca.bertoni3@gmail.com

Biography

Filmography

After graduating in film history and criticism in Italy, I attended a couple of workshops in filmmaking that made me realize I had a great passion for writing. Therefore, I went to the USA where I completed a Master’s Program in film and television screenwriting at New York Film Academy. My first achievement as a writer was winning the pilot category at the 2011 “Table Read My Screenplay” Competition with an original sci-fi TV series project. Now I work both as screenwriter, as well as assistant director – I really enjoy being on set! I’m currently involved in a few projects as script consultant while working on my spec scripts, too. I’ve also published a comic novel about temporary employment that I might turn into a screenplay.

·· 2014 “Il Valzer della Neve”, Noir, L’Occhio e la Luna Productions, script consultant ·· 2014 “Everest”, Action/Drama, Universal, Working Title and Cross Creek Productions, third assistant director ·· 2013-2014 “Kaloghero. Tutta un’Altra Vita”, Comedy, Pilgrim Film Productions, script consultant ·· 2013 “Clouds of Sils Maria”, Drama, Pallas Film and CG Cinéma Productions, set manager ·· 2012 “Un Passo dal Cielo 2”, TV series, Lux Vide Productions, script consultant and second assistant director ·· 2010-2012 Cinema Lab DAY FOR NIGHT, Bolzano, screenwriting teacher

Writer’s note Aliens exist, they all live in Alto Adige, and I’m one of them! These are my usual thoughts every time I’m out of the county: I just have to say the magic words “I come from Bolzano”, and of course I have to listen to the same statements – like “no way! Your Italian is so good!” – as if Alto Adige and the rest of Italy were two different worlds that meet for the first time. Bolzano vs. Bozen is the honest result of these considerations; my goal is to give an inside look of the problem, and explain to “foreigners” (or at least try) how (or if) did South Tyroleans overcome their identity issues.

FRANCESCA BERTONI BOLZANO VS. BOZEN

BOLZANO VS. BOZEN Genre: Crime Drama Format: 12 x 50’ In a gloomy and grey Bolzano of the year 1982, where the strain between Italian and German South Tyroleans is about to reach its boiling point, Italian mother tongue detective Nico Fabris, and German mother tongue detective Johann Kaufmann struggle to work together in the mutual hunt of a cruel and clever serial killer.

Synopsis July 11, 1982. An empty, silent square in a sticky summer night. Nobody seems to be around until we hear laughs and songs approaching from all directions, and shortly hundreds of cheerful people fill the square: the Italian soccer team has just won the World Cup against West Germany. The celebrations go on peacefully until a bunch of guys, drunk and excited, bump into a small crowd of people who are having fun as well, although they’re clearly speaking German. Both groups don’t need much time to get pissed off by each other, and start a fight that quickly involves almost everyone in the square. Hidden in the dark of a side street, a man watches the big brawl, slightly shakes his head, and walks away. His name is Nico Fabris, and he’s a police detective who has just moved from Rome to Bolzano. Although his transfer to South Tyrol is temporary, Nico is very reluctant to accept it. He plainly admits to dislike the city and especially its residents, people who declare themselves to be Italian, but speak and live as if they were in Austria or Germany. The situation gets even worse when he meets his partner, Johann Kaufmann, a 100% South Tyrolean, German mother

tongue detective who portrays everything that Nico scorns about the county. As far as Johann is concerned, he also refuses his partnership with the nth, average Italian who shows a very superficial approach, and can’t go beyond predictable phrases such as “everybody speaks only German in Bolzano”, and “are you a fan of the Italian or German soccer team?” Despite their mutual hostility, the two detectives agree to bury the hatchet when they realize there might be a serial killer in town. The hunt for this cruel and clever criminal will force Nico and Johann not only to poise different cultures and experiences, but also to reveal their own skeletons in the closet. Bolzano vs. Bozen is an anthology drama series that covers over thirty years of history of the county seat from the 1980’s to present days. With each season set in a different decade and setting, and through different characters as well, the show depicts how Italian and German South Tyroleans struggle to claim their own identity. There can be only one, true protagonist then: the city of Bolzano/Bozen itself, with its quest to find its soul through its residents and their cohabitation issues. The ultimate goal is to give an answer to the following questions: after years of conflicts, efforts and big transformation, has the city found its essence? Have its citizens been able to achieve a sharing? The final judgment is in the audience’s hands.

STEVE HUDSON City of Residence: Cologne, Germany Phone: +49 221 16842657 Email: steve@gringo-films.com Website: www.gringo-films.com Agency: Curtis Brown, London

Biography

Filmography

Steve Hudson was born in London, and grew up in the UK and South America. After writing, directing and acting extensively at Cambridge University, he worked in theatre in Italy, Cuba, Belgium and London before love brought him to Germany in 1995. It was here that he began writing and directing for TV and film. Steve’s short “Goodbye” won Best European Short Film at the Venice Film Festival in 2004. This was followed in 2006 by his award-winning debut cinematic feature, “True North”, and in 2007 the BBC/WGBH 5-part series “Cranford”, which won 2 Primetime Emmys. In 2008, Steve set up Gringo Films, specializing in international co-productions. Under the Gringo label, Steve is responsible for the development and production of a variety of theatrical features with diverse partner countries (Japan, Israel, UK, Ireland, Portugal, Italy), as well as pursuing his own work as a screenwriter. Steve is an alumnus of the Interna tional Producing Program of the International Film School Cologne, has a Master’s Degree from Cambridge University, and is a member of the European Film Academy.

·· 2014 “Duisburg“. 6-part Crime Drama (TV), Senator Entertainment AG, writer (in Development) ·· 2014 “Happy Hour”, Comedy (Cinema), Gringo Films, producer (in Post-Production) ·· 2014 “The 90 Minute War”, Mockumentary Comedy (Cinema), Gringo Films – Norma Productions, producer (in Production) ·· 2013 “Bethlehem” Political Thriller (Cinema), Gringo Films – Pie Films, producer ·· 2007 “Cranford” 5-part Costume Drama (TV), BBC – WGBH, director ·· 2006 “True North”, Drama (Cinema), Ariel Films – BBC Films, writer-director

Writer’s note For all our modern faith in justice and equality, European civilization is founded on the lurid cruelty of the Middle Ages. It was here that mechanisms were established by which the labor of the majority secures the privileges of the few. The repression was not only physical, but spiritual and sexual – and nowhere more blatantly so than in witch-hunts. But our ancestors were never just submissive victims. Witchcraft charges were often trumped-up – but that does not mean witchcraft did not exist. For good or ill, pagan magic survived long into the Christian era. Burning at the stake, some witches called down the most appalling curses upon their tormentors. Let’s hope at least some of the curses worked.

STEVE HUDSON THE BURNING

THE BURNING Genre: Historical/Fantasy Drama Format: 12 x 55’

In the darkest Middle Ages, a barefoot preacher and his boy are drafted in to hunt down witches in a remote mountain village.

Synopsis A village, URTICA, lost high in the Dolomites. The Middle Ages have yet to arrive, and the villagers scratch out their living with neither Lord, nor Church. For the rulers of the medieval world, it is anathema – a nest of foul witches. Fra Giuseppe (BEPPE) is a wandering barefoot preacher who scrapes a living selling folk-remedies, pardons and relics – none even remotely authentic, but all prescribed with enough compassion to make them halfway effective. When his assistant dies of the plague, Beppe seeks out an orphanage to find a replacement. The nuns raise orphans with catechism and the whip for sale as menial ser vants, and young Jacopo (JACK) has always been singled out for punishment: His mother was a witch, and the vivid scar down his face is a testament to her burning. The scars inside are deeper – Jack truly believes that he is dirty, sinful, tainted. He is determined to vanquish the devil within him, to burn it out. In spite of his reservations at Jack’s religious fervor, Beppe buys the boy as his new assistant. The Church doesn’t like free-lancers, however, and soon Beppe falls foul of the black-hooded Dominicans of the

Inquisition, and is arrested by the local DUKE. His treasury and barracks emptied by the crusades, and plagued by accusations of witchcraft in far-off valleys, the Duke offers Beppe a choice: hunt the witches in the mountains – or hang. Under armed guard, Beppe and Jack make the arduous trek up to Urtica to bring the rule of law and the word of God to this last little outpost of pre-Christian society. Urtica is matriarchal, ruled by women, still close to prehistoric spirits of nature and the woods – and all the dark powers that lie within. Here, the terrified Jack will discover carnal desire – and will have to decide whether the devil is within himself, or the sweetness of a woman’s sex. And here, Beppe will have to chose between the simple parables of the Gospel – and bringing the full murderous force of ecclesiastical justice down on the village. Unbeknownst to Jack, Beppe is all too familiar with the task before him. He has conducted a witch-hunt before – and dreads nothing more than leading one again. For the Duke, the Church and the Inquisition – cash-strapped as they are – the terror of a witch-hunt is the cheapest and most effective way of bringing Urtica to heel. Whether they like it or not, Beppe and Jack will be their un willing executioners.

MATTEO BERDINI City of Residence: Fermo, Italy Phone: +39 339 3989111 Email: matteo.berdini@gmail.com Website: www.fiorelagiannelli.it Agency: Fiorella Giannelli

Biography

Filmography

I was born in 1975 in Ancona, a town on a rocky peninsula in the region of the Marche. Then I studied, had my diploma in science, moved to France and Spain, graduated in Engineering in Italy, worked as an engineer, quitted 8 months later, moved to Rome, worked in a fascist restaurant, had my diploma at the National School of Cinema. And started working as a scriptwriter and a filmmaker. From 2004 to 2011, besides writing for cinema, I worked as a video-journalist for “Chi l’ha visto?”, a TV show which deals with crimes and missing people. I worked on hundreds of cases, mostly disappearances. And what I can say is that a missing person most of the time is gone. Since 2011 I have worked for the Rai History Channel as a documentary maker. I like traveling. This makes me feel less stupid.

·· 2014 “La Grande Guerra” (“The Great War”), Documentary, Rai Storia – Corriere della Sera, director ·· 2014 “The Genius of Marche”, Documentary, Ballandi – Sky Arte, writer ·· 2013 “Tre giorni dopo” (“Three Days Later”), Comedy, Rai cinema – Verde Oro, scriptwriter ·· 2012 “Margini di sottosuolo” (“Deep Time”), Docudrama, Sciara film, scriptwriter ·· 2009 “La casa sulle nuvole” (“The House on the Clouds”), Dramatic Comedy, Rai Cinema – Centro Sperimentale di Cinematografia, scriptwriter ·· 2008 “Non dire mai questa parola” (“Never say this Word”), Documentary, Maldestro prod., writer and director

Writer’s note As a reporter, I had the chance to work on stories based in Alto Adige. Its capital, Bolzano, has ever been considered a model of development in Italy. But under the quietness of this glittering sea, a stream of conflicts is ready to shake its foundations. One day I met a committed female police officer who had violently lost her child. Torn between justice and revenge, she finally chose the former. But what if her instinct for revenge had prevailed? This TV series tries for the first time to investigate this quiet land through the personal journey of a mother who is fighting for the truth.

MATTEO BERDINI A QUIET LAND

A QUIET LAND LA PACE DEI SANTI Genre: Noir/Drama Format: 8 x 45’ A committed female narcotics detective becomes a prostitute and a drug addict to avenge her daughter’s brutal death from an overdose.

Synopsis Sara (34) was a good cop in Bolzano. As a narcotics detective, she thought there was only one place drug dealers belong: prison. She was about to start working in an Interpol Special Unit against human and drug trafficking between Bolzano, Innsbruck and Munich when she discovered that her daughter Elisa (16) was back on heroin. Sara took her to a rehab clinic in the Alps. Now, after five years of sentimental isolation, Sara kissed a man on New Year’s eve. This man was Tony, her boss. She feels she can start a new life now. But one night Sara gets a call from the rehab. Elisa left during the night, someone helped her. Soon a journalist discovers that another girl, unrelated to Elisa, has been reported missing. The case becomes national. A week later a body is found, entangled against the Isarco river’s gate. Sara is there when they pull the body out of the river. The body belongs to the first missing girl. Then a scuba diver yells. A couple of metres away he has found another body. It’s Elisa’s. Sara’s life seems over. At first, the investigation concentrates on a foam party where the two teen agers spent the night before their death. The first girl would have slipped into the Isarco, Elisa would have tried to

help her and they would have ended into the river. But Sara can’t accept the reconstruction. Too many elements haven’t been considered: were the girls on drugs that night? Who did the German cigarette butts found by the river belong to? Who was the girl found with Elisa? The post-mortem examination on Elisa’s body establishes that she died of an overdose. Soon a man is stopped, a German driver with a criminal record. Sara regains her confidence in the justice system. But a couple of days later, due to a technicality, the man is released. Sara is now torn between her trust in justice and her personal commitment to avenge Elisa’s death. Desperate, she decides to investigate the case on her own. Sara traces the truck driver, who leads her to the owner of the shed where the foam party took place – an entrepreneur from Innsbruck. Sara finds out he has been laundering money. Slowly a network of connections between South Tyrol, Austria and Bavaria becomes clear, involving teenage prostitution, drugs and two Italian police officers. Her career is at risk. Her relationship with Tony is jeopardised. Out of the blue she is forced to take 50 days leave. From this moment on she will probe into an underworld of drugs and sex slavery she didn’t know, in order to find the person who killed her daughter. The first season of the series will drive the audience to discover the infinite potential of a human being trapped between her sense of duty and her instinct for revenge, exploring fearlessly her darkest side.

TOMMASO CAPOLICCHIO City of Residence: Rome, Italy Phone: +39 329 9370140 Email: akapola72@gmail.com Agency: Studio cau-morandi-minutillo-turtur

Biography

Filmography

Born in Rome, 27/12/1972. After attending and winning the 2nd Rai workshop for screenwriters, starts his career working 10 years on one of the most succesful family series in Italy: “Un medico in famiglia”. He wrote the shortfilm “Being good at Mikles” directed by Christian Angeli, awarded of an Italian Golden Globe given by the foreign press. He had two books published, “Little Suicides Club” (a dark-comedy) and “The Infiltrate” (an international thriller). In the following years he turns frequently from radio to theatre, books and shortfilms. He likes challenges in different formats and genres. He got two “Premio Solinas” Awards.

·· 2014 “Phobias”, Drama, United Film Company, screenwriter ·· 2009 “Due Mamme di troppo”, Comedy, Canale 5, screenwriter ·· 2008 “Crimini”, Thriller, Rai Due, screenwriter ·· 2004 “Fare bene Mikles”, Drama, Misami Film, screenwriter ·· 2005 “I Cesaroni”, Comedy, Publispei, screenwriter ·· 1996-2010 “Un Medico in Famiglia”, Publispei, screenwriter

Writer’s note I was fascinated by the idea of Giacomo Casanova, the equivalent of a modern day rock star, hiding under an assumed name in Bolzano during the 18th Century – the Age of Enlightenment and also the age of “free love” amongst the upper classes. What would happen if the legendary seducer were forced to come to terms with him self and his narcissism because he could not express his true nature? And what would be the community’s reaction when the presence of such a well-known and controversial figure was revealed? A person fully equipped to explore the mysteries that have always surrounded seduction, sexuality and feelings. Has humanity’s attitude towards these matters really changed that much over the centuries?

TOMMASO CAPOLICCHIO CASANOVA’S LESSONS IN LOVE

CASANOVA’S LESSONS IN LOVE Genre: Sex Comedy Format: 6 x 50’

You can teach seduction, can you learn love?

Synopsis 1756. Having just escaped from jail in Venice, Giacomo Casanova, the notorious seducer, flees to Bolzano where he waits for papers that will enable him to depart for Munich. Destitute and incognito, he stays with the banker Jurgen Menz, the only person who is aware of his real identity. Giacomo does not have much time – Venetian spies are everywhere – but the docu ments are slow to arrive. His best course of action is to keep a low profile and, for the time being at least, keep his passion for women – all women – under control. Despite his caution, he makes the acquaintance of three women who are difficult to resist. The first is Lisa, Jurgen Menz’s daughter. She subscribes to the philosophies of Enlightenment, and Giacomo is introduced to her as an intellectual fleeing persecution from the Venetian authorities. The second is a beautiful nun called Caterina – banished to a convent after a scandal involving a married man. The third is Helena, a South Tyrolean countess. She has enjoyed a fleeting relationship with Giacomo in the past and threatens to expose him if he does not become her lover. Giacomo tries to escape, but he is totally captivated by all three of them

and soon capitulates, first with Helena and then with Caterina. Not with Lisa, however. With her, he is quite the opposite of his famous character: shy, awkward and, above all, chaste. He is in love with Lisa, and she eventually confesses her love for him. Helena realizes that Giacomo is smitten with Menz’s daughter and vindictively reveals his true identity. Lisa is appalled: she gave her heart to a libertine and a liar, the infamous Giacomo Casanova! She rejects him and her father throws him out of the house. Giacomo has lost everything and has no money. Suddenly, however, people with sexual and sentimental problems begin flocking to him for advice – and what’s more, they are willing to pay for it. He becomes a “love counsellor” for Bolzano’s upper class. The documents arrive and Giacomo can at last flee to Munich before he is arrested, but all he wants to do is win Lisa back. Just when he is about to give up hope, she presents herself as pupil. She wants to win the affections of a wealthy young marquis and requests lessons in seduction. Although it is against his own interests, Giacomo is forced to reluctantly accept in order to be close to her and make amends, but how does one teach a woman to seduce a love rival? Will Giacomo manage to keep his seductive nature and jealous feelings under control in order to obtain Lisa’s forgiveness and perhaps her heart? Meanwhile, the Venetian authorities are closing in …

ELENA VON SAUCKEN City of Residence: Munich, Germany Phone: +49 163 4035255 Email: elenavonsaucken@gmx.de Agency: Verlag der Autoren

Biography

Filmography

Elena von Saucken was born in Munich, Germany, and holds a degree in Media planning, development and consultancy. In 2004-05, she attended the Atelier for young European producers at the Baden-Württemberg Film Academy and the FEMIS in Paris, France. Elena worked as an independent producer for several years and received a Lola for Best German Short Film for “Polar” by Michael Koch in 2009. Her first screenplay was produced in 2010 as the award-winning film “Das Lied in mir” (“The Day I Was Not Born”). The same year Elena was invited to attend the screenplay workshop at the Academy of Film and Television (HFF) in Munich. Her screenplay “Coconut Hero” was awarded the Tankred Dorst Prize at the 2011 Munich Film Festival and is going to be shot in Ontario, Canada summer 2014.

·· 2014 “Coconut Hero”, comic melodrama, UFA FICTION / SIX ISLAND PRODUCTIONS, SWR, HR/ARTE, writer ·· 2011 “Das Lied in mir”, drama, UFA FICTION, Filmacademy Baden-Württemberg, BR/SWR, writer ·· 2009 “Polar”, middle length drama, KINOMATON MÜNCHEN, KHM, DSCHOINT VENTSCHR, SF1, producer ·· 2008 “Serious Games”, documentary, KINOMATON MÜNCHEN, ZDF-3sat, producer ·· 2006 “7 1/2 Women”, experimental short film, Filmacademy Baden-Württemberg, arte, producer

Writer’s note As a reporter, I had the chance to work on stories. Everybody has a secret – even the black loo lady sitting in the restaurant’s bathroom beside a little table decorated with artificial flowers. She came into the country illegally. She hides her little daughter under the table while she works. But that’s not all. She also possesses 1,5 kilo of cocaine that she found on a dead man in one of the bathroom cabins some days before. She couldn’t resist keeping it. It will make her visible and powerful. It will make her rise. And I am aching to watch. That’s why I want to do STAIRS.

ELENA VON SAUCKEN STAIRS

STAIRS Genre: Crime Drama Format: 10 x 50’

Hit by a twist of fate Ona, an illegal West African woman evolves into an ascending staff m ember of a Munich luxury hotel and into a powerful drug lord at the same time.

Synopsis After a dangerous and arduous trip through North Africa, across the Mediterranean Sea and through Italy, losing her husband on the way, the young Malian woman Ona ends up with less than nothing in Munich. Illegal in the country, she settles down with her five-year-old daughter, in a rundown empty building and starts working as a loo lady in the bathroom of an Italian restaurant-hotel using the papers of another African woman. One day, Ona finds a dead man and, with him, 1.5 kilo of cocaine in one of the bathroom’s cabins. She takes the “treasure” into safety and gets rid of the body. Ona manages to sell small portions of cocaine to random customers she acquires in the hotel. Encouraged by the first 100 Euro bills in her hands she starts touring the local sex clubs gathering more and more customers.

Mica, notices her commitment at work and offers her a better job. She becomes a kitchen helper, which means she is allowed to move out of the basement. Crossing paths with Mica more frequently now, they start a delicate secret relationship, Mica being married to the daughter of the hotel owner. All along, Ona is torn between the two careers life and destiny have offered her. The job at the restaurant fulfills her dream of becoming a part of society, while the drug dealing and its profits feeds Ona’s new addiction for power. The contrast between the two opposing directions is the base of the entire series. In the end of the first season, Ona has managed to find a place to live, bribed an officer for a temporary residence permit, and has organized the escape of more family members from Mali. At the same time, she has been fighting for her place in the drug trading community and killed for the first time. Things get nasty when finally the owner of the stolen cocaine tracks her down and her lost husband reappears.

While Ona builds up a network of subdealers amongst the Munich loo ladies, the Italian hotel’s location manager,

KLAUS WOLFERTSTETTER City of Residence: Berlin, Germany Phone: +49 1511 1645913 Email: post@klauswolfertstetter.com Website: www.gattysglobal.de Agency: gattys global

Biography

Filmography

Born (1977) and raised in Munich, Klaus started to work for production companies and local newspapers as a junior editor and writer, later became a copy writer for an advertising agency based in Cologne. He stayed in Cologne to study screenwriting at the ifs international filmschool and finished in 2005 with a BA. Since then he has written and co-written feature films and epsiodes for TV series, got three development deals for his own ideas and invented and wrote a series of youth novels.

·· 2014 “Walter kocht” (work in progress), Zcomedy, film 1 GmbH, Dir.: Anno Saul, writer ·· 2011 “Der Sommer der Gaukler”, comedy, gff & moviepool, Dir.: Marcus H. Rosenmüller, writer (co-writer: R. Hültner) ·· 2008, “Alarm für Cobra 11”, action/crime, action concept, writer – 2 episodes (co-writer: Jan-Martin Scharf) ·· 2009 – 2011 “The class”, youth novels, Thienemann Verlag, 4 novels

Writer’s note The funny thing about good sitcoms is that they are very serious. This concept takes the gender problem very serious and discovers how funny it can get between men, women and their ideas of themselves or each other.

KLAUS WOLFERTSTETTER APRÈS-SKI

APRÈS-SKI Genre: Sitcom Format: 12 x 23’

If you can party here, you can party everywhere.

Synopsis Two best friends GERALD (26) and FABIO (28) try to live like gigolos but it doesn’t work out well for them in their hometown Munich. It sounded like the perfect opportunity when they surprisingly were awarded to lease a bar in a ski resort in South Tyrol. Recently the occasional drink after a day of skiing became an excessively celebrated lifestyle event in the Alps. Gerald and Fabio are sure: Now their dreams will come true. Everything in this sitcom is about men and women and the mystery of how to deal with the other sex in times like this. It is about dreams and reality and it involves a variety of interesting characters working in or living at the bar. Although they fight, argue and struggle a lot with each other, they will secretly admit, that this bunch of people are some kind of family. Gerald and Fabio met in High School when they had both the same brilliant idea to install a webcam in the teachers changing room of the gym. Since this event they knew that they are a perfect match, a buddy team with creative energy that no one can stop. They really don’t get why none of their plans worked out yet. They have a weird idea of male/female relation-

ships and every plan they make lacks not only knowledge but is basically misled by the deep misunderstanding of human nature. Minutes after Gerald and Fabio arrive at their new bar, Fabio falls in love with the ski instructor NATALIA (23). From this moment on, Gerald loses his hedonistic wingman in an never ending relationship-struggle. The second surprise: Nobody expects them to run the bar, because there is already RITA (34) who is perfectly doing this for years. Let’s say: Almost perfect. Rita got banned from running a bar for lifetime, because she forgot to pay taxes. But not only the owners of the bar (a global enterprise known as the catholic church) and their local representative Padre Anton are pleased with the way she did run the business. Everybody hopes it will continue like this, with Gerald and Fabio in the background and Rita as their employee. While Fabio is confronted with the demands of his first serious relationship, Gerald finds a very powerful counterpart in the self confident and harsh Rita, who is the exact opposite of what Gerald thinks a woman should be. And vice versa. Every season starts with the opening of the bar when the holiday season begins. And every time there are big dreams and high hopes. At the end of the season, when the tourists have left and the bar closes, we will see what’s left of all dreams and if reality was maybe even better.

RACCONTI TEAM

Christiana Wertz BLS – Head of Film Fund & Commission Email: wertz@bls.info Phone: +39 0471 066 625

Sandra Buchta RACCONTI – Concept & Coordination Email: buchta@bls.info Phone: +49 176 29224290

Carmen Cian BLS – Film Funding & Location Development Email: cian@bls.info Phone: +39 0471 066 626

Evi Agreiter RACCONTI – Project Assistance Email: film@bls.info Phone: +39 0471 066 608

Lisa Frei RACCONTI – Book-Editing Email: film@bls.info Phone: +39 0471 066 608

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