Mas y Mas October

más ymás

monthly newsletter of NISI MASA

OCT12

IMPROVISATION The art of Improvisation interview:

Víctor Clavijo report:

Nisimazine in September

Still from "Shadows" by John Cassavettes (United States, 2012)

editorial

Image of 18 Comidas by Jorge Coira

Welcome to Improvwonderland!

Ladies and gentlemen of the esteemed May y Mas reader-ship, you may unbuckle your seatbelts, dance barefoot and follow no instructions provided in the imaginary compartment on this page. Your freedom of thought & creation is our priority. On behalf of our cabin crew, I thank you for journeying with us and wish you a pleasant browsing through Improvwonderland.

Meanwhile, at a random point in the 18th century, some fellow utters the word “improvisation” and goes on mixing together musical phrases of his own and of his colleagues and predecessors.

The phrases blend into something new. Little does he know that what he’s up to, originates in Latin, going backwards like this: improvvisare > improvviso > improvvisus > in + provisus > providere, which means to foresee, to provide. So, a term that comes from its opposite. Hmmm, the drama! But what does it mean for us today and how useful or popular of a tool is it among young filmmakers? I’ve got one word that says it all: KINO. Elaboration: KinoBus of the Kino movement.

Every summer an old minibus is filled with the minimum equipment necessary to shoot, edit, screen and survive and then it shakes the dust off the European roads. About 15 to 20 souls live together, cram on the bus and sometimes accompanying car(s), drive for hours on end to reach the destination or a shelter, set camp again & again, without sleeping in a decent bed countless days in a row. They are nomad supertroopers, bound to improvise and explore their creative potential to the extreme. All encountered situations are, in fact, opportunities to breed creation through spontaneous actions and reactions, and what better way to exercise your calling, get to know yourself and your fellow filmmakers than this? Adventures of all kinds hop on at every turn, as the caravan advances through bright and stormy weather, along the ever changing landscape and people. Still, everyone keeps an enthusiastic attitude and the contagious smiles in their eyes assure you they’re looking beyond appearances. So take your chance and hitchike with the ingenious KinoBus gang, as they’re taking a short KinoStop on next page.

by Sorina Ioana Diaconu

Mas y Mas is a monthly newsletter published by the association NISI MASA. EDITORIAL STAFF Coordination & Layout Lucía Ros Serra

Contributors to this issue: Sorina Ioana Diaconu, Alain aka PinPin, Maximilien Van Aertryck, Vincent Bitaud, Andrea Franco, Celluloid Front Liberation, Victor Clavijo, Mohamed Beshir, Ugnė Gudžinskaitė, Franziska Knupper

NISI MASA (European Office) 99 Rue du Faubourg Saint Denis 75010, Paris, France Tel: +33 (0)9 60 39 63 38 Email europe@nisimasa.com Website www.nisimasa.com

credits.

3

Improvisation

dossier

The Art of Improvisation

When improvisation meets collaborative roadtrippin’

Image by Alain aka PinPin

are done in recluse areas, in the countryside where there’s little or no cinema impact, people receive this visit with a wide range of attitudes, from curiosity to shyness, from joy to suspicion. By the end, there’s a unanimous feeling that something great has been achieved, and that is because knowledge and skills have been shared and exchanged between people who were strangers and who got friends, despite language differences, cultural background or religious orientations. Multiply that and spice it up with the thrills and joys of nomad lifestyle!

You’ve probably heard of this spontaneous laboratory of creation that goes by the name of KinoBus. Congratulations, you’re a fortunate lucky punk. For those who joined the party later, let’s take it gear by gear: [insert random Ws question] is KinoBus?! Kinobus = Kino Kabaret on wheels, fuelled by the love + devotion of a restless pack of artists, set out to defy time (& space!) and explore making short films in 72 hours or less. One of their defining traits is the generosity with which they encourage the communities on the route to participate in the process. Since most of the KinoStops

This August, KinoBus left from France (reuniting Kino Paname from Paris & Kino Moutarde from Dijon) and reached Bulgaria. Ioana and Ale (two very nice Romanian sisters, members of kino5) hosted the pack and organized screenings under the big sky in Gura Riului, Romania. Also joining in, from Vienna, was Synes, another brave trooper from kino5. And yours truly, from Bucharest, kino in the making (stay tuned!) So, bookmark that KinoBus can also function as a meeting point for other Kino cells around the world! Word spread and we got suddenly invited to a psy trance festival in the woods, to hold a workshop. Spending the entire week out in the nature provided us with many opportunities to transcend barriers of all sorts and seize unique moments of creative bliss for all those involved. And on top of that, heaps of cherries of fun and games. Read & watch for yourselves here, here , here and… here! See you next summer, on a new KinoBus route?

by Sorina Ioana Diaconu

Matrimania - about improvisation and preconceived ideas

Image by Manesh Santaram

avoiding a representation of “exotic India”. In this detached state, we will be able to study our subjects like blank slates. This is the heart of our documentary work - we are convinced that a film “writes itself” during shooting, that the events we witness and take part in create their own meaning, significance, and narrative. We’re still total strangers to the world we are about to discover. Our preproduction research is above all else an attempt to create a state of open-mindedness and to define what we hope (and hope not to) document and share.

In about a month we’re going to embark on a 45 days journey across India to follow Mahesh Shantaram, one of the countries most in-demand wedding photographers.

Improvisation is what you could define our shooting with, but certainly not as a way to make up for a laking preparation. Rather as a condicio sine qua non from which we’ll constantly fuel up the energy needed to live the present moment.

We will arrive in India with all the cliché baggage we Westerners carry. Looking neither to confirm or reject them, we will be conscious of our prejudices and detach ourselves from them in the hopes of

With Matrimania we want to invite the viewer to be an intimate witness to something he or she would probably never see otherwise, unlike most documentaries that try and support the viewpoint of the filmmakers. Our approach is based on touching the viewer in a personal way through the natural power and drama of the images and situations we come across. We aim to create an environment that invites the viewer to identify with our subjects, to reflect on the situation at hand and to imagine a new point of view. Our primary objective is to allow our viewers to accompany us on a journey into the unfamiliar, and let their own personal thoughts and worries dictate what they will discover through our work.

by Maximilien Van Aertryck & Vincent Bitaud Discover more about Mahesh’s work here. and Matrimania the film, here.

dossier

A shout in Eden

1

4 Shadows

2

3

Still from Shadows

Two years after the death of senator Joseph McCarthy, Shadows (1959) by John Cassavetes was released. The poor senator would have had a hard time believing his eyes, after a decade of hysterical witch-hunting, incarcerations and defamations he had in fact failed to purge cinema of its insubordinate spirits. A new generation of filmmakers was ready to use McCarthy’s blacklist to wipe their backsides, and, without asking for permission, so they did.

“According to the script, Jimmy is supposed to turn and walk away” –Elia Kazan explains Jame's Dean famous improvisation in East of Eden (1955), one moment after his father, played by Raymond Massey, refuses to take the money his son made for him as a birthday present.

But Dean screams instead, and gets closer to his father, hardly trying to embrace him; Massey stands still in the set, perplexed by this sudden reaction. This painful shout, which appears to emerge so naturally from the inside, like a sort of liberating wail, brings back all the sorrow of both Jimmy’s role and own persona; as if his tough life strangely melted with his performance.

The early death of his mother, when he was nine, and the later leaving of his father, caused a deep sadness in young Jimmy, who grew up with his aunt in a family environment, but with an obvious lack of parents love.

His first public appearance was in a Broadway play called See the Jaguar, where he performed a young boy who had been locked up by his insane mother for all his life.

In this enlightening image (1) from that first piece, we already see Dean imprisoned and excluded from the adults world; always looking up, always begging for the attention of the elders.

Soon after that, he would be the distressed Cal Trask from East of Eden, and again we would find the same desperate gaze (2), asking for a parental approval. Yet still there would be another, the last one, where he is not only desperate, but angry (3), in Nicholas Ray’s Rebel without a Cause (1955).

But why this particular improvisation appears so upsetting and heartrending?

I would say that we can clearly perceive the truth behind that shout. We’re not only witnessing how this cold man is incapable of forgiving his son; a terrible rejection which goes beyond hate. We are also recalling Dean’s orphan past and loneliness.

Now, after all those years, his spontaneous shout eventually turned into a fatal prophecy.

by Andrea Franco

The first feature by the Greek-American director heralded a new sensitivity, it gave voice to a generation that found no satisfaction in the soporific payoff of consumerism: a fridge, two cars and a mononuclear family. Shadows magically captures the restless longing of this new subjectivity, that, to the tune of free jazz, looked beyond the American Dream for answers to the painful conundrum of existence. So improvisation in the film is more an existential necessity rather than a stylistic choice, it is the testament of a reckless determination to reject conventions, social and cinematic alike.

Co-produced by fellow Greek renegade Niko Papatakis (freedom fighter in Algeria, club owner in Paris and occasional filmmaker worldwide), Shadows is credited for having been the “first” American Independent movie.

Whether it was or not is a matter of secondary importance, what really matters is the reality that inhabits its frames, the sweaty excitement of a new life. Blacks and whites united by the shared contempt towards the constrictions of “civilised” living, impatient to find and forge a linguistic crossbreed whose rudimentary essence is already incubated in the rhythm of Shadows.

By Celluloid Liberation Front

5

Improvisation

Interview...

Víctor Clavijo

Victor Clavijo is one of those actors that has made his own space in the Spanish film industry very slowly but firmly. He has a wide experience on theatre, television and film, where he has worked with some of the most important Spanish filmmakers such as Gonzalo Suárez, Mariano Barroso or Manuel Gutiérrez Aragón.

In 2010, he played a part in 18 Comidas by Jorge Coira, who was filmed using different improvisation techniques. We asked him a few question about how it was like and what he thinks about improvisation.

You can watch his videobook here.

You have an extensive career in film, television and theater. In which do you think the actor has more freedom to improvise? Or in which have you had more freedom?

I think it all depends on whether improvisation is the foundation of the story you're playing. There has been small format television series that have been shot on this premise, and also movies. Maybe it's easier to do these experiments in the audiovisual than in the theater, as in the editing room you can discard the moments when the improvisation is stocked, and in theater, obviously not. But there are similar experiments in theater, which is a genre in itself.

There are even contests or "matches" in improvisational theater. In my case, I had some freedom to add some things of my own to the interpretation in some of my works, but it's what we consider "small contributions" to the character, nothing more.

My previous experience to 18 Comidas in the field of improvisation was limited to acting classes, some experiments in short films, or, at most, during rehearsal of some play or movie, as a way of approach the character. But I never had the freedom to improvise in the middle of the scene and, much less, to improvise quite a scene...

You were part of the cast of "18 Comidas" (18 Meals) by Jorge Coira, where the characters were being created while filming across different improvisation techniques. What were those techniques? What kind of guidelines the director gave you to create these characters and situations?

Jorge was very clear about the dramatic outline of the film, what were the characters, what happened to them and what was the relationship between them. From there, he wanted that what happened in the scene, it was for the first and last time. He didn't care, a priori, how the scene evolved or how it was resolved. You can imagine the pressure in each one of the actors. I think we all knew that if there was a vacuum situation, not knowing how to continue, there could be no real gold; if the camera picked up this confusion, it was invaluable, rare to be reproduced.

We knew that in the "listening" and the silence we could have some very powerful moments, so the actors, we relaxed in that aspect and nobody panicked vacuum ... The most important thing was to "hear" the other, receive as an actor, and that's a wonderful safety ... when a wonderful accident occurred during a scene, we took advantage and threw that thread.

Despite all that, all the actors had a mobile phone from which Jorge could call us anytime in the middle of the scene (as he watched from the monitor) and ask us to introduce a new element, a change of the course.

dossier

You, as an actor, do you prefer to improvise or do you need everything tight and ready to give the best of you? How do you feel safer?

I love to improvise because that's where the unexpected arises, the spark, the strange action which is out of the expected or "already seen".

Not all improvisations are good, of course, but sometimes you can find bright moments that you can rescue, but they lose their "first time" force if you try to repeat or replicate what you've done before.

If you're in position and you understand the character, what he needs and what is his relationship with others, what is being played, his urgency, etc ... it's very easy that arise moments of absolute brilliance and hardly imagined by a writer in his loneliness. Each actor has a different energy, a way of understanding the character to be able to incarnate it, a way of talking and a bucnh of unpredictable reactions that are characteristic of his nature, and this is difficult to translate, in all its richness, in a script.

I think that when you improvise, you get to understand the character in a more direct way than through the study of the script and endless talks with the director.

But I also believe that the actor needs a guide for the action to be interesting and to don't lose hisself in vagueness, so the history is kept up at all times, and that' why there must be a figure out of the scene that guide the situation to turning points and dramatic interest, preventing the disaster.

Victor Clavijo

What do you think that improvisation can bring to a story?

I think that improvisation brings new perspectives to a story, the point of view of the actor, his imagination and all the unpredictable stuff he can bring that is not in the script. I think it's a way to investigate the character and the history, and sometimes it can be used during the rehearsals as a way to approach and understand the character. Sometimes, during these rehearsals, things arise and should be used for the story, but most of the times, director doesn't trust fully in the actor's creativity. Improvisation is an inexhaustible source of creativity and the directors, sometimes, should know how to exploit that.

by Lucia Ros Serra

spotlight

6

September has been a very important month for Nisimazine and that's why we want to show you what we have being doing. We send a journalist in La Biennale di Venezia (Italy), we hosted a full film journalism workshop in Kaunas International Film Festival (Lithuania) and Filmfest Hamburg invited two Alumni to cover their programme. Here you have a sample!

Nisimazine Venice

Still from La Nave Dolce by Daniele Vicari

La Nave Dolce by Daniele Vicari Long before the rise of the Mediterranean migrations to Italian waves, before floating detention centers, before the Berlusconi-Qadhafi billion euro migrant agreement. On 8 August 1991, the Italian coastal city of Bari learned staggering news: The Albanian cargo ship "Vlora" was headed toward its shores, loaded with 20,000 people who had hijacked the ship and decided they wanted to migrate to Italy.

La Nave Dolce is literally translated as “The Sweet Ship,” a tongue-in-cheek reference to its original cargo of sugar. The 90-minute documentary is based on thoroughly filmed archival material, covering every step of the ship’s journey, from the collectively energetic boarding of the masses and flooding of the ship in the Albanian port, to the astonishing, dramatic footage of the flock of people crossing the Adriatic Sea with helicopters hovering over the ship, stirring excited reactions from the passengers, screaming “Italia! Italia!” and waving the victory sign. In that scene, one of the Italian commentators interviewed in the film says, “I did not understand the victory sign, what have they won?” signaling the downward spiral of the story; the Italian government’s reaction.

The documentary runs a catchy electro-rock soundtrack alongside the grainy archival material, sometimes to the point of oversaturation. Aside from the graininess comes the spotless interviews, shot against a white background, almost glamorizing the various boarders of Vlora, who tell — in various Italian accents — their personal versions of the story. It also features Italian officials involved in the so-called “rescue” operation.

Vicari explains in his director’s statement how the state of collective astonishment at the exceptional event allowed for photographers and filmmakers to document everything freely. Authorities were so taken by surprise, he says, that they were not aware that embedded within such images was testimony for the future.

The documentary caters this retrospective vision of Italian authorities’ erratic reactions toward migrants. The rescue plan for the ship rapidly shifted to a callous imprisonment of thousands of anguished Albanians in the city stadium for days, until the decision was made to deport them back to Albania — at least most of them.

As explained by Robert Budina — one of those on board the ship, now a director in Italy — the fall of the Berlin Wall injected a surge of liberation and will into Albanians, leading to the collective decision to find a better life, even if it involved finding it in a risky, non-conformist way. On the other hand, the same event of the wall falling created an opposite, defensive surge in neighboring Italy, deemphasizing human rights and giving its interior ministry an upper hand in dealing with any hint of "change."

The story is an eye-opener for the Italian target audience, but it is relevant beyond that one boat voyage to Bari.

by Mohamed Beshir You can read another article here.

7 Nisimazine Kaunas Beast Paradise by Estelle Larrivaz interpretation of the story.

In the middle of all these events the children stand out. It is difficult for Clarisse and Ferdinand to forget their previous idyllic family life, reflected in the neatly filmed initial shots. They cannot act sufficiently as their understanding of reality is still full of dreams and fairytales. It is here that the drama of the film is at its strongest: helpless children being lost in the harsh world of adults.

Still from Beast Paradise by Estelle Larrivaz Estelle Larrivaz’s first feature Beast Paradise (“Le Paradis des bêtes”) combines family drama with thriller elements. Dominique (Stefano Cassetti), an emotionally unstable man, beats his own wife, Cathy (Géraldine Pailhas), and decides to leaves his own pet shop in France to flee to Switzerland with his children Clarisse (Valentine Klingberg) and Ferdinand (Léon Brachet). While Cathy, after recovering in hospital, tries to find a trace of her family, Dominique multiplies his attempts to settle a new life in skiing resort, telling the children his own

However, it is not easy to follow the film`s movement. The storyline and characters are rather flat and inconsequent, so the audience has to guess and read quite a few unclear gaps left in the plot, leaving the story pretty ambiguous. The ingenious decision to bring some more suspense to a typical family drama film is also sometimes failing. The more it becomes like a thriller, the stronger is a tendency to define protagonist and antagonist, but then it is not an impartial and realistic family story anymore. Finally, you realize there is no logical ending, which would fit to both genres. Beast Paradise is not only the Estelle Larrivaz’s first feature, but also her first film after an 11 years break, where she took a challenge of writing the script and directing the movie. Maybe coping with several tasks at the same time was too ambitious in this case, yet sensitive acting and thorough photography smooths it over. Beast Paradise, as an attempt to shoot a different family drama, highlights the problem this genre still needs to deal with.

By Ugnė Gudžinskaitė You can read all the articles here

Nisimazine Hamburg Never to late by Ido Fluk

But whatever the movie might lack in exciting dialogue, IdoFluk makes up forit with pure visual excellence. In that way Never too late is a treat for every spectator. Several close-ups of the protagonist’s face, his neck, mouth and hair are so gentle and soft as if the camera’s eye was exploring every inch of his skin. When he lies on a meadow, at the shore of the Sea of Galilee or in his very own bathtub, the point of viewis always unconventional, so curious and forcing the audience to look at every situation from a new angle. By creating those stunningly beautiful images, IdoFluk takes the audience on a trip through Israel, a country of many issues, stories and of incomparable variation.

by Franziska Knupper You can read other articles here

Still of Never to late by Ido Fluk

spotlight

The amount of Israeli movies at this year’s Hamburg film festival is amazing. Filmmakers from all over the world and from the holy land itself tackle all kinds of issues concerning the country of their origin. Ido Fluk, currently resident of New York City, is one of them. In his movie Never too late he paints the picture of a young man disconnected from his roots and his family. He goes on a journey to rediscover his own lifestory, travelling all across Israel only accompanied by his imaginary father. Thus he picks up pieces from his past while collecting new encounters. It is a careful and tender portray of a man who has lost a lot and who only slowly starts looking for new perspectives and new directions in his life. For some people themovie might be too calm, too slow as the character moves from one place to the other without saying much. He just bows his head, covers his face with his long dark hair, remains silent and leaves everyone around him - including the audience -just hanging there, clueless.

news BUCHAREST Experimental Film Workshop CALL FOR PARTICIPANTS

NISI MASA - European Network of Young Cinema is association with Bucharest International Experimental Film Festival (BIEFF) is organizing a super interesting workshop about Experimental Film.

Funded by European Union 'Youth in Action' Programme, the Experimental Film Workshop will take place in Bucharest, Romania during 18th-22nd November 2012. (travelling days 17th and 23rd November).

We're looking for 20 participants aged 18-30 who are residents in Romania, Austria, Luxembourg, Italy and Hungary.

The call is open for filmmakers, performance artists and composer engaged in experimental film or driven by audiovisual expression.

Applying to the workshop is free of charge and the participation fee will be of 50 euros, which will include accommodation and food during the 5-day workshop. Also, the 50 % of the participants travel costs (up to 75 euros) will be reimbursed after the workshop.

The working method of the workshop is collaboration and reflexion with fellow participants. Our aim is to explore and develop ourselves together. Working language of the workshop is English.

To know more about the workshop visit NISI LEAKS or contact hannaleena@nisimasa. com Application form: https://docs.google.com/spreadsheet/viewf orm?fromEmail=true&formkey=dDRZNlFzQ 3dNeEQxRGtfMUYyek9UUlE6MQ Deadline: 10 October 2012

GENERATOR: youth BRIGHT YOUNG audiovisual forum SCREENS BOOK GENERATOR: youth audiovisual forum, hosted by NISI MASA and its member associations, will take place during 3 days in Strasbourg, France (January 25 – 27, 2013), bringing together 120 young people (from at least 19 different partner countries) and youth leaders with experts and decision makers. The forum will debate on how young people can have access to European culture and express themselves thanks to audiovisual tools.

In two days, participants will take part in different activities, such as plenary debates, presentations, one-to-one meetings, group workshops (film labs, script labs, film critique workshops), screenings and a project fair.

The dynamic nature of the program, its different levels of interaction and communication and the strong implication of partner organizations and participants in sharing their experiences and proposing their own ideas all aim to foster a collaborative spirit which reaches far beyond the event itself to indirectly promote tolerance and understanding between cultures.

From 1st to 8th July, NISI MASA–European Network for Young Cinema hosted Bright Young Screens, a workshop seminar where participants developed an intercultural dialogue and non-formal education through young film festivals, funded by the Youth in Action Programme and the Council of Europe.

The 6 day long seminar, which took place during FEST – Training Ground in Espinho (Portugal), was a total blast and among its guests, we had Marion Klotz (Memento Films), Paz Lázaro (Panorama, Berlinale), Scandar Copti (director and producer of “Ajami”); Liz Harkman (director manager of Encounters, Bristol) and NISI MASA friends Tomas Prasek (Eventival) and Wim Vanacker (NISI MASA’s Head of Script Department).

Now you can read the book online here.

If you want a .pdf version of the book, send an e-mail to: lucia@nisimasa.com

NISIMAZINE KAUNAS

We are looking forward to welcoming you at this ‘NISI MASA Has Talents Forum’! We will be giving you expanded information very soon!

NEWINTERNS

New people in 'da house' We are happy to welcome to new interns in the NISI MASA Headquarters in Paris, who will help us with our future projects!

Direct from Slovakia, Jakub Viktorin, who is the right hand of our Head of Script Department and will help him with European Short Pitch!

Dusan Kasalica, from Montenegro, will stay with us helping us with big events as GENERATOR and the Distribution of our films!

For the first time, the Nisimazine team arrives to Kaunas International Film Festival to make a huge coverage on its daring and interesting programme.

The team, composed by Vaidė Legotaitė, Ugnė Česnavičiūtė, Ugnė Gudzinskaitė, Donata Juškelytė, Saulius Kovalskas from Lithuania and Zowi Vermeire (The Netherlands) and Sami Pöyry (Finland), is working hard on the e-book that will be published as soon as the festival is over.

While we wait for the complete Nisimazine Kaunas book, here you can find archived the daily newsletters we are sending out!

Find it here: www.nisimasa.com/?q=node/463

news

nISIMAZINE IN FILMTORINO FILM LAB FEST HAMBURG CALL FOR APPLICATIONS

The always interesting Filmfest Hamburg invited two of our Nisimazine bloggers to cover this year's edition. Michaela Pnacekova and Franziska Knupper where in charge to bring you the reviews and articles of the most interesting films shown during festival.

Our friends from Torino Filmthe Lab have just launched two calls for participants for their new of list Script&Pitch: Here,edition find the of articles and interviews that our journalists did during Filmfest HamSCRIPT&PITCH burg: One more year, TorinoFilmLab, in partner- 170with Hz, by Joost van Ginkel ship NISI MASA and Le Groupe Ouest, - Interview aBjarup Director of This Life organized new Riis, edition of Script&Pitch, Interview Marek Rozenbaum, Producer of an advanced script development course for God’s neighbours scriptwriters and directors of feature films - Inteview all over theMichael world. Mayer, Director of Out in Torino Film Lab is looking for 16 projects, the Dark which be by developed - Never will too late, Ido Fluk in a 9 monthscourse (from MarchAtlas to November 2013, - Turning,

by Charles including 3 residential workshops and 2 on - Interview Yolande Zauberman, Director of line sessions.

Would you have sex with an Arab?

The course will follow the entire scriptwriting process and will end with a final pitch in front of film professionals (producers, distributors, etc), which will take place during the Meeting Event in November 2013, during the next Torino Film Festival.

Support short film The Passersby BATESIAN PROJECT

Script&Picth is open to professional scriptwriters, writer-directors, as well Batesian team, international group of film as to writer-producers and development enthusiasts, with consisting among others of executives a good knowledge of NISI MASA members form Kino5 and Kino English, as it’s the working language of all Praha have been developing short film THE Script&Picth workshops and meetings.

PASSERSBY for nearly 9 months.

Workshop locations & dates: 1st 11-17 March 2013 Theresidential Passersbyworkshop: is part of the whole series of (location be confirmed) so called to BATESIAN Universe. This short is 2nd residential workshop: 16-22 Junetrans2013 film playing in the fiction world of skill (Brignogan, France) fer technology.

In this fictional world of skill 3rd residential workshop and Meeting transfer and trade, one New York City busiEvent: 21-27 November 2013 (Turin, Italy) nesswoman has no skills to offer–and loses herselfinfo in aand plot to corrupt forms: the skill transfer More application corporation that simultaneously employs www.torinofilmlab.it/training.php and demeans her.

For doubts and questions contact: scriptandpitch@torinofilmlab.it BATESIAN International team launched the first KICKSTARTER campaign and they are Deadline for applications: going to produce it in Montreal during KINO 31st October 2012 (10-20 October). The 00 in only 3 weeks

goal is to produce GREAT film of high value even with little resources. Even though all the crew works for free, they need at least a little budget for the additional production expenses.

The goal of the Kickstarter Campaign is 2.000 $ (USD) - with this money they would like to feed the crew, rent location and pay part of travel expenses to Montreal and save a little bit for further marketing of the finished film. I. If you want to support this project, follow the link at KICKSTARTER: www.kickstarter.com/projects/69779335/ the-passersby-short-film?ref=live The rule of Kickstarter is strict as you know – it is either everything or nothing if we don’t reach the goal. The Kickstarter campaign finishes on 10 October, the 1st day of Kino 00 in Montreal and the crew will have 10 days for production and postproduction of the film.

The premiere of the film is planned for the closing screening of Kino00 in Montreal on 20 October 2012.

agenda 26 september - 7 october Nisimazine Kaunas

10 October Deadline Support first Batesian project The Passersby

10 October Deadline Bucharest Experimental Film Workshop

20 October Premiere The Passersby en Kino00

26- 28 October Expolingua Berlin 2012

31 October

Deadline TorinoFilmLab Script&Pitch and Writer's Room Click for more info!

1 November

Breaking Shorts 2nd Deadline

ISTANBUL EXPRESS AT EUROLINGUA BERLIN The 25th International Fair of Languages and Cultures, Eurolingua Berlin, will take place in the capital of Germany from the 26th to the 28th October.

During two days, visitors will have the unique opportunity to gain an overview of the diverse programmes and services offered for language learning and teaching as well as for cultural exchange.

Also, the Istanbul Express films, developed by NISI MASA, will be screened there as a show of how multilingualism is used in audivisual and cinema projects.