Daily Tiger #5 (English)
The daily newspaper of the 42nd edition of International Film Festival Rotterdam, from 23 January to 3 February 2013.
42nd International Film Festival Rotterdam #5 Monday 28 January 2013 ZOZ voor Nederlandse editie (NEWS P3) (Longing for the rain / our nixon / my sister’s quinceaÑera P5) daily tiger (36 P7) Following a successful first day of meetings, IFFR’s Head of Industry/CineMart Manager Marit van den Elshout welcomes CineMart delegates and other industry professionals for drinks in de Doelen. photo: Ruud Jonkers A room of its own Further details have been revealed of IFFR in the Cloud, the new gateway for festival filmmakers to reach international audiences via iTunes. By Geoffrey Macnab Through a ground-breaking partnership with French digital distribution company and aggregator Under The Milky Way, IFFR is opening up its very own “room” on iTunes (itunes.com/iffr) where – initially – viewers from the Benelux will be able see selected Rotterdam titles. Under The Milky Way first approached Rotterdam last year, shortly after Cannes. “I don’t remember if we were really talking about iTunes or if it was a more general proposal at that stage”, recalls Juliette Jansen, who oversees distribution at IFFR. “For us, the interesting thing about the proposal was that we really needed a partner to internationalize our distribution policy.” Effective distribution the selection. We used to have only the Hubert Bals Fund titles within the distribution section, but now we want to have a more representative selection from the Festival.” For example, IFFR released last year’s highly controversial Tiger winner, Clip, on DVD and various VOD platforms. iTunes, though, promises to give the Rotterdam brand a huge boost internationally. Under The Milky Way serves more than 170 rights holders and has offices in 10 countries. It has aggregation contracts with global platforms like Google, Sony and Amazon, as well as iTunes. By partnering with Rotterdam, the company has practical plans to give the festival’s filmmakers access to international distribution. The attraction for the filmmakers is that they have few upfront costs or risks. The Festival will pay for 30% of the encoding costs while Under The Milky Way will cover the remaining 70% (this can cost from €700 to €1,000). Rights holders will be given “quality reports” detailing exactly how their films are performing. Go for it Chris Anderson, long tail theory posits that in “an era without the constraints of physical shelf space and other bottlenecks of distribution, narrowly-targeted goods and services can be as economically attractive as mainstream fare.”) Jansen contacted around 100 rights holders and producers from the Bright Future and Spectrum sections to see if they were interested in putting their films on iTunes Benelux. The initial selection will be limited to 30 titles that have no sales agent or Benelux distributor attached. “I notice that people are waiting a little bit”, Jansen observes of their original response. “It might be the case that they will find a sales agent during the Festival. They have to wait for the US premiere because they can’t be on iTunes. They still have many questions.” Today, Jansen will be meeting rights holders, trying to address their concerns. “So far, I think I have six or seven that immediately said, ‘Yes, I’ll go for it’.” Timing Branding Thanks to the digital revolution, there are tens of thousands of films available on VOD platforms. That’s why branding is so important and why the Festival is trying so hard to guide viewers into Rotterdam’s room on iTunes. To underline just how IFFR in the Cloud can help filmmakers, Labelle cites the example of David Dusa’s Fleurs du Mal (Flowers of Evil). The film, which came through CineMart and screened in Rotterdam, was a festival success but didn’t find a distributor willing to give it commercial distribution. “What we did was brought it on iTunes and gave it a global release in 60 territories simultaneously … the film all of a sudden is available in 60 countries with different subtitle tracks. That is a typical example of what it can lead to.” At present, Labelle points out, the IFFR room is available in the Benelux only, but the aim is to expand it further so that “the brand of the festival can also be seen in the Canada, USA and Australia.” “I am dreaming of that!” Jansen states. “It all started last year, when I was invited here to give a talk on digital distribution”, Under The Milky Way CEO Pierre-Alexandre Labelle explains of why he decided to pitch the festival. The aim for both parties is, as Labelle puts it, to help “filmmakers and rights holders who often bring films to great festivals like Rotterdam but have a hard time getting effective distribution on a global basis.” IFFR already had its own distribution label, Tiger Releases. Festival films have also been available on other VOD platforms, among them Mubi, Ximon and Cinemalink. The festival acquires rights on selected titles for the Benelux. “We have broadened At first glance, an internet giant like iTunes may not seem a natural home for festival films. However, as Labelle notes, “these guys are like retailers. They have big shops … they understand that the film market is very atomized. There are many different players out there – producers, distributors, sales agents. The whole patchwork of rights is a very complicated matrix … that’s where we come in.” In other words, this is another example of the “long tail” wagging. (In the words of Wired Magazine’s “With IFFR in the Cloud, there’s a direct contract between the filmmaker and Under The Milky Way in order to have distribution”, Labelle explains. “The Festival is involved in helping us manage the material aspects and obviously the communication, branding and so forth.” Labelle suggests that Under The Milky Way’s working method is akin to that of a traditional video distributor, putting DVDs into a shop. “I think it’s just a question for the filmmakers of finding the right timing and when it feels good for them”, Labelle says. Industry Panels today 11 a.m.–1 p.m. Aggregate partners and get your films seen online. Rotterdam Lab, De Unie, Mauritsweg 34-35 2 p.m.–3 p.m. IFFR in the Cloud Industry Club, de Doelen 4th floor INTERNATIONAL film festival rotterdam WORLD PREMIERE - SPECTRUM LA TENDRESSE - BY MARION HÄNSEL TENDERNESS PRODUCER: MAN’S FILMS PRODUCTIONS / SALES AGENT: DOC & FILM INTERNATIONAL SUNDAY 27: 17H - PATHÉ 1 / MONDAY 28: 18H15 - PATHÉ 5 / TUESDAY 29: 17 H – CINÉRAMA 1 WWW.WBIMAGE S .BE …BECAUSE SUPERGLUE IS FOREVER BY JOHAN GRIMONPREZ I COMRADE KIM GOES FLYING BY KIM GWANG HUN , ANJA DAELEMANS AND NICHOLAS BONNER I FARMER JACK BY ARJAN WILSCHUT I THE FIFTH SEASON BY PETER BROSENS AND JESSICA WOODWORTH I KID BY FIEN TROCH I THE MIRROR / THE MOTHER / THE WIFE BY JELENA VANOVERBEEK I SWAN SONG BY ANOUK DE CLERCQ , ANTON AEKI AND JERRY GALLE I TENDERNESS BY MARION HÄNSEL I TOKYO GIANTS BY NICOLAS PROVOST I HET ZWIJGEN VAN HELENA BY PIETER DUMOULIN TALENT MATTERS WWW.FLANDERSIMAGE.COM @ IFFR.13 AD_flanders_Rott_268Wx190H.indd 1 23/01/13 09:19 Clear on rights New York-based producer Madeleine Molyneaux will lead a panel discussion this afternoon on the ever-lively topic of rights negotiation and clearance. Fellow panellists include Fortissimo’s Nelleke Driessen, Luxembourg-based producer Paul Thiltges and filmmaker Penny Lane, whose Our Nixon screens in Bright Future (see page 5). “The purpose of the panel is to empower both filmmakers and producers internationally to pursue stories that they wouldn’t normally want to go after because they might be deemed high risk as they have to deal with real life personages, having to chase music rights from estates that haven’t been cleared and to demystify the whole rights and clearances process”, Molyneaux says. “This panel has never been done before at IFFR. As a producer and also a business affairs and rights and clearances person I have been involved with this for many years and have watched how a lot of projects gets derailed because of people’s fears of legal issues.” Molyneaux argues that it is essential to have a sales representative on the panel “as they basically have to sweep up after a messy project” – a fact which may determine whether or not they will take the project on in the first place. The producer further explained how she recently had to acquire the rights for a Screaming Jay Hawkins song that had never previously been cleared. “I did it in the old fashioned hard way, tracking down the person that owned the estate on Google, negotiating with them for four months, begging, pleading and ultimately getting the rights. When somebody says to you ‘you can’t use that song, you’ll never get it, you can’t afford it’, there are always ways around it.” Nick Cunningham IFFR Director Rutger Wolfson listens to Dutch Minister of Culture Jet Bussemaker at the festival yesterday. photo: Bram Belloni Industry Panel today 3 p.m.-4.30 p.m. Navigating rights and clearances Industry Club, de Doelen 4th floor, limited access Gimme shelter Attending IFFR yesterday to discuss an upcoming summit on local film finance, the Netherlands’ new Culture Minister found time to talk to the Daily Tiger. By Geoffrey Macnab Short surprises in the Tea House Today’s High Tea consists of two short presentations by women artists/filmmakers with work in different sections of the festival: Bani Khoshnoudi is the director of Ziba, a premiere in Bright Future, and Desiree Akhavan has work showing in the Changing Channels Web Lounge. They will be bringing some short extra surprises along to the tea party. Tea House/Gallery Inside Iran, Schouwburgplein 54, 4 p.m. – 6 p.m. Cuts in Dutch public funding for film made under the previous Government won’t be restored. That was the blunt message from new Culture Minister Jet Bussemaker. “We also see that the cutbacks create some problems, but they also create new innovations”, Minister Bussemaker said. “I don’t want to make steps back but I want to make step forwards. I see a whole new generation of young filmmakers and young painters. They think in terms of crowd-funding. They also find new ways and it is my goal to support them and not only to go back to the years past.” Bussemaker was in town to discuss further the special Government ‘summit’ on the film industry being organized in late March by the Ministry of Economic Affairs and the Ministry of Culture. “The last years, we see that a lot of Dutch productions go to Belgium and go to Germany because it is very expensive to make a film in the Netherlands”, the Minister noted. The summit will discuss potential solutions to this ongoing drain of Dutch talent and investment. Ideas being floated include “a tax shelter like they have in Belgium or a tax rebate like they have in Germany. This has not only to do with the Government policy in relation to culture, but also our tax policies and economic policies.” Bussemaker emphasised her commitment to helping the film industry in the Netherlands to “develop in the future.” Asked about the perception abroad that the culture sector has been unduly heavily hit by cuts, the Minister acknowledged that the previous Government created a hostile atmosphere toward the arts. “I hear nowadays from the people working in the field of culture that they did not feel appreciated at all”, the Minister said. “(In) the new coalition … I believe that we need culture and creativity to have a strong future in the Netherlands. At the same time, we need to find new ways in the organisation of culture.” However, in the Netherlands, she suggested, the film industry was still heavily dependent on public funding. The challenge now was to “find a balance between public money and private money.” “The problem in the Netherlands is that there is so much public money and so little private money. We have to find a way to increase the private money for the film industry”, the Minister continued. She said that, compared to other countries, “we have huge film funds in the Netherlands.” During her visit to Rotterdam, Bussemaker was shown around de Doelen by IFFR Director Rutger Wolfson, also dropping in on both the CineMart and the Video Library. She also attended a screening of David Verbeek’s How to Describe a Cloud. Asked about her favourite Dutch film of recent times, the Minister spoke of her enthusiasm for Maria Peters’ Sonny Boy (2011). Core concerns A former employee of the Binger used her time there to develop a project now in CineMart. By Nick Cunningham Daan Gielis photo: Nadine Maas Daan Gielis has attended countless CineMarts in the past, but this is her first as a screenwriter. This time last year she was handling press for the Binger, the renowned Amsterdam-based training and development programme. In 2013, she is pitching La Holandesa, produced by Smarthouse Films’ Danielle Guirguis and to be directed by Joost van Ginkel (170Hz). The film, based on the Gielis-scripted short film Undertow, concerns a woman whose desire to become a mother cannot be fulfilled. Her feature script was developed at the Torino Film Lab. “I was writing already for a couple of years – I studied film – but always other jobs came along, and I really liked them”, Gielis comments. “But then I pitched this idea to Danielle, and we made this short film, and I liked it so much. That’s how it happened.” Gielis used her time at the Binger wisely, attending lectures and workshops, learning the process of screenwriting from leading exponents of the craft. “I saw so many amazing people doing lectures and I also understood the importance of working with a script editor. To focus on the core of the story, especially when you are a first time writer I think it is so difficult – you have so many things to tell. You see a lot of first-time films which are a bit too over-crowded … I also learned a lot from reading many scripts and being on the (Binger) selection committee – that is also very helpful to see how people write and how mistakes can be made.” Her project is a very personal story, and deals with how the inability to have children was an obsession of some of the women she observed. “They were doing really weird things, going around the world to get pregnant and doing IVF, and I thought I really wanted to do a short film about that, and after that was finished I thought I really wanted to tell more. I guess I wasn’t done yet.” So why a male director? “I must say that I was talking to female directors as well, but the writer is female, the producer is female, so I thought it would be good to have a male approach”, she points out. “Of course, when I wrote the short film, I was expecting a lot of reactions from women but I also got a lot of reactions from men who were saying that they were struggling with this problem too, so I thought – why not.” INTERNATIONAL film festival rotterdam 3 deadline first call 28.02.2013 (12h) e 400,000 is just one of the numerous reasons to make your next film here. www.screenflanders.com i follow us on AD_Rotterdam_190Hx268W.indd 1 i 24/01/13 10:34 Sister act Aaron Douglas Johnston’s new film My Sister’s Quinceañera grew out of an acting workshop in his home town. By Edward Lawrenson Material girl Yang Lina’s Tiger-entrant debut feature Longing for the Rain is a supernatural critique of China’s creeping consumerism. By Edward Lawrenson “I feel in my life there are often quite supernatural scenes. I’m not satisfied with the surface of everyday life.” So says Yang Lina of her debut feature, Longing for the Rain (Chunmeng), which has its world premiere in the Hivos Tiger Awards Competition. It’s a telling remark because her film also combines fantastical elements with the humdrum stuff of real life. Set in contemporary Beijing, Longing for the Rain revolves around Fang Lei, a middle-class mother whose routine is disturbed when she is visited by a phantom-like fig- ure in a series of increasingly erotic encounters. An assured blend of closely observed domestic drama and unsettling ghost story, the film combines documentary-style depictions of Fang’s family life with unsettling, dreamlike sequences that may – or may not – be the product of Fang’s unhappy imagination. The film’s exploration of spiritual concerns – Fang visits various religious elders for advice on her ghost lover – is set against the increasingly consumerist values of China’s growing middle class. Fang’s husband spends more time on his tablet computer than with his young family, while her best friend is obsessed with expensive designer clothes boutiques. “Chinese society now is quite crazy,” says Yang, “people feel a lot of anxiety. No matter if you’re man or a woman, rich or poor, people are under a lot of different pressures. When everybody gets more material goods, it seems everyone becomes more insecure. Fang is one of these people. Everybody needs to be rescued – even religious power is useless to help.” In Rotterdam for the first time, Yang is well aware of IFFR’s reputation. “Many independent Chinese filmmakers have been supported by the festival”, she says, adding that she’s grateful for the support the Hubert Bals Fund gave her during post production. “Film is great excuse for you to get to know a world you’re not accustomed to.” Aaron Douglas Johnston is talking about his new film My Sister’s Quinceañera, a warm and subtle family drama set in the Iowa town of Muscatine which receives its world premiere in Bright Future today. Johnston himself originates from Muscantine, but his movie is set among the town’s Hispanic community, with which he had little familiarity before embarking on this project. Its focus is on Silas (Silas Garcia), a quietly spoken, gently curious young man who is the eldest brother in a large family presided over by single mother Becky (Becky Garcia). Boasting a low-key charm and told with unforced naturalism, the movie revolves around Silas’ decision whether or not to leave home for the city as his younger sister nears her ‘quinceañera’, a traditional family celebration to mark a girl’s fifteenth birthday. The film grew out of an acting and filmmaking workshop Johnston initiated some two months before the shoot. It was in working with the people who became his actors that Johnston first learnt of the quinceañera ritual. Hivos Tiger Awards Competition Longing for the Rain / Chunmeng – Yang Lina Mon 28 Jan 21:15 PA6 Sat 02 Feb 12:30 PA7 Notes on a scandal Richard Nixon emerges as an avuncular boss in a fascinating archive-only documentary. By Ben Walters Few people’s home-movie footage includes the Pope, Haile Selassie or Henry Kissinger eating cake. But then few people’s workplace is the White House under Richard Nixon. “It’s so goofy, this combination of the innocuous, sweet, humanising nature of home movies as a concept with the knowledge that it’s the Nixon administration”, says director Penny Lane. “We knew those two things together would be interesting.” Our Nixon, which plays in Bright Future as a world premiere, offers a uniquely intimate perspective on one of the most notorious periods of recent American history. The foundation of the documentary is a newly retrieved archive of Super-8 home movies shot between 1969 and 1974 by three of Nixon’s closest allies: chief of staff H.R. Haldeman, advisor John Ehrlichman and assistant Dwight Chapin, all three of whom would later receive criminal convictions over the Watergate scandal. As its title suggests, Our Nixon presents a different perspective on that subject. Without offering any apologies, it shows life in the administration on its own terms: a dynamic, often jovial enterprise of men seeking to change the world, only gradually realising the enormity of the scandal growing around them. “It all looks different from that position”, Lane notes. “It seems so obvious, but they didn’t see the future. They thought they were part of this other story.” The film fleshes the story out with contemporary news footage, public broadcasts, archive material, later interviews with Haldeman, Ehrlichman and Chapin and audio from the famous White House tapes – the secret recordings Nixon instigated that came back to haunt him. But the documentary’s core comprises material from the 500-odd reels of Super-8 footage, totalling around 30 hours, that the producers digitised to preservation standard at a cost of around $50,000 (raised via Kickstarter). “This stuff was slightly legendary in the archival and presentation worlds, but no one (outside that world) has really been interested in it”, says Lane. “For a researcher or historian or conspiracy theorist, they’re useless. They don’t get at anything to do with criminality or conspiracy.” Nor do they offer a new, unguarded aspect on the disgraced president as a man. “We were thinking it might be more like intimate time with Nixon, but it’s not”, Lane acknowledges. “He’s there in the background – he’s like your boss or your dad, or sometimes your son who needs your support.” As well as world-historical moments, there’s footage of staff goofing around, flora and fauna of the White House garden and simply getting on with the business of government. “They filmed when they were bored, or when something really interesting was happening and there were already a hundred million news cameras on him. Everything’s really amateur. If Nixon’s in the shot, he’s over there and you get the back of his head. The stuff doesn’t work as anything but diary, showing the world from ‘our’ position”, Lane explains. And that’s the special appeal of the film. Ultimately, Our Nixon allows us to see Haldeman, Ehrlichman and Chapin not as cartoon villains but as people forced to live with the consequences of the corrupt machine to which they were party. “My interest is the human casualties,” Lane says, “and in the end that wasn’t the people who were spied on and harrassed. They came out of it as heroes and they’re still heroes. It’s the people in the administration – they ruined their own lives and besmirched their children’s names. [These home movies are] so full of dramatic irony it can be painful.” Bright Future Our Nixon – Penny Lane Tue 29 Jan 19:15 LV1 Thu 31 Jan 11:45 CI1 Partnering with leaders in the town’s Latino community to publicise his workshops and attract participants, Johnston uses the process to develop his storyline. “I went in saying, ‘I’m going to train you guys and we’re going to make a film afterwards.’ I started out not knowing what the film was going to be about in terms of story.” Silas is played by Silas Garcia, who brought a great deal of his own biography and experience to the character (although he’s unrelated to his onscreen ‘family’). “When he got there, he saw a whole load of Dutch people” – Amsterdam-based Johnston works with a crew from the Netherlands – “and he thought, ‘What’s this?’” Johnston recalls: “There were also some beautiful Dutch women there – that was enough of an interest for Silas to make him stay!” Having lived in the Netherlands for ten years – he went to film school in Amsterdam and says his entire “film network” is in the city – Johnston admits he has “an ‘outsider’s eye’ on my home town and indeed on American culture.” Charting the quiet compromises and everyday tensions of an ordinary working family, the film even owes something to a tradition of social realism. “This is how I would describe it”, says Johnston. “I’ve been trained by European art house films, and you don’t see a lot of films like this in the US: there’s something that feels very European about it.” Bright Future My Sister’s Quinceañera – Aaron Douglas Johnston Mon 28 Jan 09:00 CI3 (press & industry) Mon 28 Jan 18:15 PA6 Tue 29 Jan 10:00 PA6 Thu 31 Jan 16:30 CI4 Sat 02 Feb 22:30 CI2 INTERNATIONAL film festival rotterdam 5 Colofon Daily Tiger NL: Anton Damen (hoofdredactie), Kim van der Meulen (eindredactie), Joost Broeren, Paul van de Graaf, Sietse Meijer, Maricke Nieuwdorp, Nicole Santé, Veerle Snijders (redactie), Loes Evers, Rik Mertens, Pete Wu (web), Sanne de Rooij (marketing en communicatie), Marieke Berkhout (traffic) UK: Edward Lawrenson (editor-in-chief ), Nick Cunningham, Geoffrey MacNab, Mark Baker (editors), Ben Walters (web) Met medewerking van: Harriëtte Ubels Programmainformatie: Chris Schouten, Melissa van der Schoor Coördinatie A-Z: Saskia Gravelijn (tekst), Amanda Harput (beeld) Fotografie: Felix Kalkman, Bram Belloni, Corinne de Korver, Marije van Woerden, Ruud Jonkers, Nichon Glerum, Nadine Maas Vormgeving: Sjoukje van Gool, Laurenz van Galen, Gerald Zevenboom Drukker: Veenman+ Acquisitie: Daily Productions Oplage: 10.000 per dag, Volkskrantdag 12.000 Persistence of memory Nawapol Thamrongrattanarit’s Tiger competitor 36, a delicate mood piece about the transience of memory, was inspired by a note about a lost memory stick. By Edward Lawrenson Nawapol Thamrongrattanarit umtw_cata_132x190:Mise en page 1 8/01/13 16:37 Page 1 photo: Felix Kalkman It was a short announcement Nawapol Thamrongrattanarit saw on the bulletin board of a hostel in Berlin a few years ago that provided the inspiration for 36, the Thai director’s debut feature which screens tonight in the Hivos Tiger Awards Competition. A fellow guest was asking about the whereabouts of a memory stick he or she had lost; the note prompted Thamrongrattanarit to think about the way so much of our memory is now dependent on digital storage. “I’ve got lots of hard drives to edit my movies and I have about 10,000 digital photos on the drives. And I realised if the drives broke, everything would disappear”, he says. These thoughts feed into 36, a delicate, melancholy mood piece that explores ideas of transience and permanence and the shift from analogue to digital technologies. The movie tells of the meeting between Sai, location scout on an unnamed movie shooting in Bangkok, and another member of the crew. As they explore a potential location – a derelict old building – and take photos, they strike up a friendship that may lead to a romance. Thamrongrattanarit then jumps forward a few years, and finds Sai trying to retrieve the photos of that first encounter – which are stored on a drive that is now corrupted – reflecting with quiet sadness on the lost moments of that first meeting with her potential lover. Told in a series of 36 static shots – the number of images on a roll of 35mm photographic film – the film is impressionistic, dreamy and poignant. Each scene is introduced by a short text, too; some have a direct connection with the action on screen, while others are more oblique: “The title of each scene is like when you put a caption on a photo you post on Facebook. Sometimes it’s very personal; you’re the only one who knows what it means.” “The first part [charting Sei’s time on the location recce] is quite slow”, says Thamrongrattanarit. “I tried to make it feel like the memory of the main characters: there’s no clear story, it’s as if they are thinking about the past. Only after that does the storyline become clear: the story of exploring the memory in the present day.” The film is also concerned with the relationship between memory and architecture, depicting the effects of the rapid demolition of Bangkok’s older buildings. “Thailand has no policy to preserve old buildings,” says Thamrongrattanarit, “everything is destroyed. I often walk around the old parts of the city and I feel that the old buildings have memories in them. It’s our history, but the government doesn’t want us to experience it. So many parts of the city are disappearing, everything is changing – it’s like the digital era. We forget many things very fast.” Thamrongrattanarit mostly financed his film’s $20,000 budget himself, and to keep costs down shot digitally: “In order to tell a story about analogue I had to use digital equipment”, he says. Digital technology is also a focus of his new film, which he plans to call The Year of June. Recently awarded a production grant from Venice’s Biennale College Cinema, it is based on the twitter feed of an anonymous girl whom Thamrongrattanarit is following. “It’s an experimental piece but also a narrative, something like 36.” Given 36’s concern with the fragile nature of digital storage – “with a hard drive, when it breaks you won’t know why”, he says – has Thamrongrattanarit ever lost files like Sai did? “Yes, I’ve lost things, but only small things.” So does he back his files up? “No, no; but this is life. It comes and goes!” Hivos Tiger Awards Competition 36 - Nawapol Thamrongrattanarit Mon 28 Jan 11:30 DJZ (press & industry) Mon 28 Jan 16:30 PA4 Tue 29 Jan 12:30 PA7 Thu 31 Jan 21:15 PA6 Sat 02 Feb 17:45 CI4 36 International Film Festival Rotterdam and Under The Milky Way are proud to present Mojo Concerts presenteert IFFR in the Cloud The best opportunity to get your film distributed in VoD IFFR in the Cloud gives ﬁlmmakers the opportunity to distribute their ﬁlms on iTunes in the Benelux within the itunes.com/iffr collection. Films can also be offered to other territories according to rights and material availability. Entering this innovative programme is open to all feature ﬁlmmakers with an IFFR 2013 selection for Bright Future or Spectrum. IFFR in the Cloud provides standard yet very ﬂexible conditions for filmmakers to effectively distribute their films. Also, through its partners, IFFR in the Cloud signiﬁcantly lowers the technical costs of preparing ﬁlms for Global VoD Distribution on platforms such as iTunes. WOENSDAG 5 JUNI ZIGGO DOME AMSTERDAM KAARTVERKOOP VIA WWW.LIVENATION.NL EN WWW.TICKETMASTER.NL Tulkus 1880 to 2018 Paola Pivi unde r the mil For more information on IFFR in the Cloud, please contact: Juliette Jansen distribution@ﬁlmfestivalrotterdam.com ﬁlmfestivalrotterdam.com 25.01.13 — 05.05.13 Witte de With Center for Contemporary Art Witte de Withstraat 50, Rotterdam www.wdw.nl underthemilkyway.eu INTERNATIONAL film festival rotterdam Lu Zo, the incarnation of a high lama of Drepung Monastery. Photo by Joseph Francis Charles Rock, taken in 1931. Courtesy Harvard-Yenching Library wa ky y 7 Press & Industry Screenings Monday 28 January PROGRAMME CHANGES Japan’s Tragedy from Pathé 5 to Cinerama 5, 13:45 Poor Folk from Cinerama 5 to Pathé 5, 13:45 ADMISSION WITH P&I ACCREDITATION ONLY •FLM• 11:00 DEAD BODY WELCOME [wp] Kees Brienen, Netherlands, 2013, DCP, 80 min, English/Dutch, e.s. BF LantarenVenster 2 Verzamelprogramma, 73 min •geel• de Doelen Jurriaanse Zaal 09:15 Watchtower [ep] Pathé 2 •FLM• TG Pelin Esmer, Turkey/Germany/France, 2012, DCP, 96 min, Turkish, e.s. 09:15 La tendresse [wp] SP •paars01• He hides from his own conscience by ﬂeeing into a remote watchtower. She ﬂees her surroundings in the basement of a rural bus station. Both have a secret that they can no longer hide when they meet each other. 11:30 36 [ep] Marion Hänsel, Belgium/France/Germany, 2013, DCP, 81 min, French, e.s. Hänsel’s ﬁrst ﬁlm based on her own script gives the concepts of personal and anecdotal a wise and loving signiﬁcance. Beautiful roles by Canto as mother and Gourmet as her ex. They drive to a ski resort to fetch their son, a ski instructor with a broken leg. 11:15 Dummy Jim [wp] Matt Hulse, United Kingdom, 2013, DCP, 90 min, English/French, e.s. When he arrives in India, Kees Brienen hears that his friend has died. It’s a bitter welcome, taking him to his friend’s remote village and a slow reconciliation with the way all life has to go. A feature based on and mixed with true events. 10:00 DINAMO P&I Screenings 4 SH •paars02• DINAMO (Distribution Network of Artists’ Moving image Organizations) distributors show recently acquired work. These titles can also be seen in the festival video library. Bestaat uit: Postface à la brochure de 1942 [wp] Cinerama 4 Stanislav Dorochenkov, France/Russia, 2013, DCP, 27 min, Russian, e.s. •FLM• 09:15 Avant que mon coeur bascule [ip] Sébastien Rose, Canada, 2012, DCP, 96 min, French, e.s. SP •paars01• Russia’s new capitalists have demolished over 200 historic buildings in the city. Parallels with the siege of Leningrad are looming. Dead World Order Dana Levy, France, 2012, DCP, 7 min, no dialogue Bellas mariposas TG Nawapol Thamrongrattanarit, Thailand, 2012, DCP, 68 min, Thai, e.s. TG 36 is the number of shots on an analogue roll of ﬁlm. It’s also the number of shots in this ﬁlm. Yet it’s not a strict ﬁlm, but the playful quest of a young photographer for the photos that disappeared on her computer: a whole year’s worth, including one of a challenging encounter. 13:15 Halley [ep] Sebastián Hofmann, Mexico, 2012, DCP, 85 min, Spanish, e.s. Over 50 years ago, the deaf James Duthie biked from his Scottish ﬁshing village to the Arctic Circle and back again. Why? Just because. Hulse worked for 12 years on this visual mix of documentary and ﬁction. A treat for the eyes and ears. 13:15 Bellas mariposas [ip] Salvatore Mereu, Italy, 2012, DCP, 102 min, Italian, e.s. Sarah is 16. She pretends to be in distress at the side of highways, then robs those who stop to help. A man dies of a heart attack, as a result. Haunted by the spirit of her victim, she soon ﬁnds herself on the widow’s doorstep. 11:30 Melaza [ip] An essay which deals with the desire to preserve and organise objects, and by doing so, to tell a speciﬁc historical tale. Walt Disney’s ‘Taxi Driver’ [ep] Bryan Boyce, USA, 2012, DCP, 4 min, English BF •geel• Carlos Lechuga, Cuba/France/Panama, 2012, DCP, 80 min, Spanish, e.s. TG SP •paars01• Beto is dead and can no longer hide this with make-up and perfume. Life stops. For zombies too, at some stage. But before we get that far, Beto experiences a special friendship with the vivacious Luly. Contemporary Gothic story with an unusual twist. 15:15 They’ll Come Back [ip] Marcelo Lordello, Brazil, 2012, DCP, 105 min, Portuguese, e.s. A day in the life of 12-year-old Caterina who, from the slums of the Sardinian capital Cagliari, spreads her optimistic view of the world on the large-scale wrongs she sees around her. Committed and moving, cheerful and sad, colourful and contrasting. Nominated for The Big Screen Award. Money and love worries of swimming teacher Aldo and rum factory worker Monica in Melaza, the cradle of Cuban sugarcane. With tangible love for Cuba, the director takes a fresh look at his struggling characters: you can also learn to swim in a piscina without water. Walt Disney’s re-imagineering of Martin Scorsese’s classic ﬁlm Taxi Driver follows Mickey Mouseobsessed Travis’ search for love. County Down Episode 1 [ep] Laura Parnes, USA, 2012, DCP, 9 min, English Something Necessary Mirroring rave culture and unbridled optimism around technology, a society is so obsessed with novelty and consumerism that it embraces its own ruin. Plastic Rap with Frieda [ep] Tom Rubnitz, USA, 2012, DCP, 4 min, English Cinerama 5 09:30 Kidd Life [ip] •FLM• BF •geel• Frieda performs her rap song with a bevy of dolls as back-up singers and dancers. Song lyrics by Barbara Lipp and Tom Koken. A Day for Cake and Accidents [wp] Steve Reinke/Jessie Mott, Canada, 2013, DCP, 4 min, English TG Pathé 5 09:30 Noche [wp] Andreas Johnsen, Denmark, 2012, DCP, 97 min, Danish, e.s. •FLM• Cris (12) and her brother are thrown out of the car by their parents after their endless squabbling. That marks the start of a brief ramble through northwestern Brazil. In this modern fable, an upper-class teenager learns to see the world from a different perspective. 17:30 Happiness Building 1 [ep] Chen Chieh-jen, Taiwan, 2012, Video, 84 min, no dialogue, e.s. TG Leonardo Brzezicki, Argentina, 2013, DCP, 85 min, Spanish, e.s. SP •paars01• The six friends of suicide victim Miguel gather to clear out his things, guess his motives and celebrate his life. Uneasy and sultry atmosphere in this psychological drama whose soundtrack surrealistically erases the boundaries between past and present. 11:30 Northwest [wp] Michael Noer, Denmark, 2013, DCP, 96 min, Danish, e.s. Danish ﬁlmmaker is there with his camera when Kidd, an ordinary kid, changes from one day to the next into the sensation of the year with his catchy rap songs. Even the Prime Minister wants his autograph. Gripping documentary about rap, fame and riches - and their price. 11:45 Atambua 39° Celsius [ep] Riri Riza, Indonesia, 2012, Video, 90 min, Indonesian, e.s. A cast of animated animal characters engage in absurdist dialogues, confessing various melancholic desires and transgressive secrets. nocturne #2 Pieter Geenen, Belgium, 2012, DCP, 12 min, no dialogue Happiness Building SP •paars01• The artist built, in a huge timber mill still in operation, a grand and dark installation and told his actors to reconnoitre the space. A prison as happiness building. 21:45 The Delivery Guy [wp] Andrey Stempkovsky, Russia, 2013, DCP, 90 min, Russian, e.s. BF •geel• BF •geel• Alexey lives in asmall town near Moscow and delivers pizzas. One day he gets a dubious opportunity to make money for the treatment of his terminally ill father. An existential thriller and a moral parable on the problem of choice and the ambiguity of sacriﬁce. Clever young local burglar in a suburb is commissioned by immigrant traders. When he also does jobs for local gangsters, the extra earnings bring major problems. Exciting second feature by co-director of widely praised prison drama R. Nominated for The Big Screen Award. 13:45 Poor Folk [ep] Midi Z, Taiwan/Myanmar, 2012, DCP, 105 min, Mandarin/Thai, e.s. Atambua is a very hot, dusty town in the Indonesian part of Timor. A boy from a family torn by East Timor’s bloody independence is in conﬂict with his drinking father, misses his mother and falls for a girl with a past. Real people and real heat. 13:45 Japan’s Tragedy [ep] Kobayashi Masahiro, Japan, 2012, Video, 101 min, Japanese, e.s. A mobile phone camera registers the main roads and squares of Tehran. The absence of revolutionary powers becomes evident in the silence. Der Doppelgänger [wp] Bernard Gigounon, Belgium, 2013, DCP, 6 min, no dialogue The actor is the killer of his own image, sometimes older, sometimes younger, in different aesthetic contexts and ﬁlmic universes. Soegija SP •paars01• LantarenVenster 5 Judy Kibinge, Kenya/Germany, 2013, DCP, 85 min, Kikuyu (Gikuyu)/English/Swahili, e.s. •FLM• BF •geel• Black-and-white, with rice-paper doors. The director knows his classics, but remains a modernist. A father and son wrestle with death and loss. Strangely enough, the tone remains light. 12:00 Something Necessary [wp] SP •paars01• de Doelen Willem Burger Zaal 10:00 Fine, Thanks [wp] BF •geel• Mátyás Prikler, Slovakia, 2013, 35mm, 130 min, Slovak/Hungarian, e.s. Family life during wartime: children are against parents, brothers are against sisters, wives are against husbands... A highly realistic family portrait that turns into a metaphor of a totally messed up society. Disturbing, epic and intimate at once. 12:45 Lasting [ep] A gangster ﬁlm that doesn’t look or 16:00 What They Don’t Talk feel like one, but like life itself. At About When They Talk least, life in the lawless border area About Love [ep] BF between Myanmar (Burma) and Thailand. A lively trade in drugs, Mouly Surya, Indonesia, 2013, DCP, 101 min, Indonesian, e.s. young girls and other illegal things. A wondrous ﬁlm, and that is With plenty of dreams and few clearly what the maker wanted. winners. She tells cheerful love stories about young blind people, played by blind actors. Apparently someone who can’t see has to possess more 20:45 imagination. Maybe that explains the imaginative power of the ﬁlm. Soegija [ep] SP •geel• The past weighs heavier for some than for others. For this Kenyan woman, a victim of political and racial violence, it is heavier than conceivable. Nor is the past that light for that Kenyan man, even though he was the culprit. They must hate each other. The story decides otherwise. The Delivery Guy LantarenVenster 6 09:30 First Comes Love [ep] Nina Davenport, USA, 2012, Video, 105 min, English •FLM• Pathé 7 •FLM• SP •paars01• •paars01• SP Garin Nugroho, Indonesia, 2012, DCP, 120 min, Indonesian/Dutch/ English/Japanese/Javanese/ Cantonese/Latin, e.s. 18:30 One Day When the Rain Falls [wp] Ifa Isfansyah, Indonesia, 2013, Video, 98 min, Indonesian, e.s. •paars01• Jacek Borcuch, Poland/Spain, 2012, 35mm, 93 min, Polish/Spanish, e.s. Two Polish students fall in love with each other during a holiday in Spain. But a horrible accident ruins their relationship and their plans. A thrilling existential drama in which fate seems to overcome the best-laid plans of men. 19:00 Karaoke Girl [wp] Visra Vichit Vadakan, Thailand, 2013, 35mm, 77 min, Thai, e.s. Historic ﬁlm shows in a special way - special for both countries - the violent divorce between the colonial Netherlands and the new and militant Indonesia. Besides Bishop Soegija, the ﬁlm follows young Indonesians and Dutch. About love and war. Nominated for The Big Screen Award. SP •paars01• Meticulous family story set in an old Javan house. Outside, it’s raining incessantly. The story’s three parts, each with a relative as protagonist, reveal contradictions between faith, generations and views of the future. Atmospheric ﬁlm about old and new Indonesia. Single and over 40 but wanting children. Davenport decides not to wait any longer and goes for IVF. Pregnancy, a ‘modern family’ and changed relationships. Perfectly captures the spirit of the age. 22:15 Fahrtwind Aufzeichnungen einer Reisenden [wp] Bernadette Weigel, Austria, 2013, DCP, 85 min, German, e.s. BF •geel• Karaoke Girl TG Cinerama 3 09:00 My Sister’s Quinceañera [wp] •FLM• Cinerama 6 BF •geel• •FLM• Karaoke is not always nice for everyone. Because you’re too shy to sing. Or because you are forced to satisfy the audience with more than just your voice. This sensitive look behind the screens shows the life of an escort girl and the poor idyll she hails from. 21:45 I.D. BF •geel• Austria, on the doorstep of the East. But what is out there, in the East? Bernadette Weigel sets out to ﬁnd out with her 8mm camera, without knowing when and where it will end. A sensitive and beautiful travelogue like no other. Aaron Douglas Johnston, USA/ Netherlands, 2013, DCP, 72 min, English A different Americana, far removed from jeans ads and truck commercials. Mexican-American residents of small-town Iowa, non-professional actors, depict the power of family ties in an intensive collaboration with a director born in Iowa and based in Amsterdam. Kamal Karamattathil Muhammed, India, 2012, DCP, 87 min, Hindi/English, e.s. A worker suddenly collapses in the ﬂat of two girls in Mumbai. Charu follows a lead from his cell phone, trying to ﬁnd his identity. She encounters unfamiliar urban spaces and lifestyles. Dynamic, cinematically challenging work of an upcoming Indian talent. Avant que mon coeur bascule 09.00 10.00 11.00 12.00 28 13.00 14.00 15.00 Programmaschema maandag januari Public Screenings Monday 28 January 16.00 19.00 BF 82’ Press & Industry Screenings Sunday 27 January 17.00 20.00 No Pablo Larraín CHANGED 118’ 18.00 21.00 SP 19.00 22.00 20.00 21.00 22.00 23.00 24.00 de Doelen Jurriaanse Zaal 09:15 19:30 21:45 Big Talk 09.00 Ricky Rijneke 10.00 97’ Silent Ones TG 11:15 Emperor Visits BF 11.00 the Hell 70’ Li Luo 98’ 12.00 Michiel ten Horn 13:00 De ontmaagding van 13.00 Eva van End 14.00 BF 09:00 Noche Oude Luxor Cinerama 3 Leonardo Brzezicki TG 11:00 85’ 68’ 94’ 96’ 36 Nawapol Thamrongrattanarit TG 12:30 19:30 How to Describe 20:00 Misericordia SP a Cloud Khavn De La Cruz David Verbeek 80’ 70’ Jirafas Enrique Álvarez SP SP 15:15 Fat Shaker 17:15 Toegetakeld door TG BF 15.00 16.00 17.00 18.00 de liefde Mohammad Shirvani Ari Deelder 85’ 90’ 16:30 Kidd Life BF 16:00 Watchtower 18:00 GFP Bunny Andreas Johnsen TG Pelin Esmer Tsuchiya Yutaka 97’ 23.00 24.00 22:15 The Complex Penumbra Nakata Hideo TG Eduardo Villanueva SP 106’ Kleuren en afkortingen Wasteland Rowan Athale 89’ de Doelen Jurriaanse Zaal Cinerama 4 Schouwburg 09:00 Grote Zaal LantarenVenster 2 The Island of St. Matthews SP 105’ 70’ 14:15 BF Simon Killer Antonio Campos BF 90’ 139’ 21:45 BF Hivos Tiger Awards Competitie BF TG 22:15 Kevin Jerome Everson 10:00 86’ 106’ Pathé 1 LantarenVenster 3 Pathé 2 LantarenVenster 5 84’ Kayan Maryam Najafi BF BF 13:15 BF 90 Minutes Eva Sørhaug 16:00 19:30 15:30 Las lágrimas BF 18:30 SP 95’ 64’ Ship of Theseus Anand Gandhi Hill of Pleasures Maria Ramos 19:15 Blancanieves Pablo Berger CHANGED 21:30 124’ Kid Fien Troch El muerto y ser feliz Javier Rebollo SP SP 90’ Prijzen voor de nieuwe generatie. Zestien genomineerde filmmakers strijden met hun eerste of tweede speelfilm om drie gelijkwaardige Hivos Tiger Awards. 22:15 Soldate 09:30 Ziba Bani Khoshnoudi Pablo Delgado Sánchez 10:00 DINAMO P&I SH 85’ 95’ 94’ 13:15 TG Pathé 3 LantarenVenster 6 Screenings 3 II 86’ 104’ 68’ Fat Shaker Mohammad Shirvani BF It Felt Like Love Eliza Hittman TG 80’ Jeannette TG 90’ TG Tiger Awards Competitie voor Korte Films Daniel Hoesl 21:45 TS Fine, Thanks Mátyás Prikler 21:00 10:00 compilation prog. Tunnel 79’ Pathé 4 Pathé 5 Alexandra Gulea 80’ 111 Girls N. Ghobadi / B. Zamanpira 16:00 Matei Child Miner BF 13:00 TG A Fallible Girl Conrad Clark 16:30 19:00 18:15 36 Nawapol Thamrongrattanarit La tendresse Marion Hänsel Quinceañera BF 72’ Dummy Jim Matt Hulse SP 81’ BF 130’ Prijzen voor kort maar krachtig. Drieëntwintig films korter dan zestig minuten zijn geselecteerd voor deze competitie, waarin drie gelijkwaardige Canon Tiger Awards for Short Films te winnen zijn. Nordvest Michael Noer 21:15 BF 96’ 10:00 Pathé 6 113’ 87’ 80’ Paradies: Glaube Ulrich Seidl SP 13:00 BF BF Matterhorn Diederik Ebbinge 15:15 18:15 My Sister’s TG 89’ 96’ Ma belle gosse Shalimar Preuss 15:30 TG Aaron Douglas Johnston 18:30 Longing for the Rain Yang Lina TG 85’ TG 96’ Bright Future BF 09:30 Pathé 7 87’ Su Re Giovanni Columbu TG 12:30 Penumbra Eduardo Villanueva BF 89’ 80’ Watchtower Pelin Esmer 17:00 Noche Leonardo Brzezicki SP 86’ Vers bloed. Eerste of tweede speelfilm van filmmakers waarvan het festival in de toekomst nog veel goeds verwacht. 19:45 09:15 Cinerama 1 94’ Il futuro Alicia Scherson SP 11:45 When the Curtain Falls Ziba Bani Khoshnoudi 12:00 Gebo and the 14:15 BF Die Welt Alex Pitstra 14:30 II 87’ Mater Dolorosa Adolfo B. Alix Jr. GFP Bunny Tsuchiya Yutaka DG 130’ BF 82’ 22:15 Lonely Bones Frankenstein’s Army Richard Raaphorst 20:00 BF 96’ Spectrum Our Honest Bread Kira Muratova 19:30 96’ SP KM 100’ Cinerama 2 Manoel de Oliveira 91’ Shadow 14:45 Die Freunde der DG 89’ SP The Gardener Mohsen Makhmalbaf 16:45 17:00 Die Sieger Dominik Graf Emperor Visits the Hell Luo Li The Hunter and the Skeleton BF 22:30 Long Farewells Kira Muratova Towheads Shannon Plumb BF 94’ KM 97’ Cinerama 3 Dominik Graf 14:00 Freunde 16:30 BF 86’ 22:00 Malody Krivina Igor Drljaca 19:00 How to Raise... BF Rotterdam op zijn breedst. Het festival selecteerde actueel, krachtig en vernieuwend werk uit alle windstreken, van veteranen tot minder bekende regisseurs. Misericordia Khavn de la Cruz SP 75’ 82’ Cinerama 4 72’ Die Erbin Ayse Polat SP On Mother’s Head Putu Kusuma Widjaya 21:00 Celluloid Man Shivendra Singh Dungarpur 20:30 My Name Is II Negahdar Jamali RG Spectrum Shorts Kamran Heydari 65’ SH 164’ Cinerama 5 09:15 22:30 Death Metal Angola 16:30 SS Jeremy Xido 83’ Cinerama 6 110’ La noche de enfrente Raúl Ruiz SP 11:30 Lee Towers: The Voice of Rotterdam 93’ 98’ SP 14:00 BF Hans Heijnen 14:45 The Patience Stone Atiq Rahimi Kalayaan Adolfo B. Alix Jr. II 98’ Lukas the Strange John Torres SP 115’ SP 85’ 19:15 Something Necessary 17:30 SP De kracht van kort: films van één tot negenenvijftig minuten lang, uit alle windstreken. Ze worden gebundeld in verzamelprogramma’s of in combinatie met lange films vertoond. Judy Kibinge TV Night: Showtime 16:45 CC 89’ 20:00 Cinerama 7 13:45 Magnificent Life of the Prince verzamelprogramma 69’ Das Gelübde Dominik Graf Kayan Maryam Najafi SH 81’ DG 92’ 22:30 Mirror Mirror verzamelprogramma BF 86’ RG Signals: Dominik Graf 19:15 DG Wavemakers Caroline Martel 17:00 Hauntological SS 96’ 99’ LantarenVenster 1 12:30 Taboor Vahid Vakilifar 14:45 73’ 21:45 Diego Star Frédérick Pelletier Futures TS 72’ BF 91’ LantarenVenster 2 LantarenVenster 3 Sérgio Andrade 99’ 75’ SH Here, Today verzamelprogramma TS Blind Colour verzamelprogramma SH 20:00 Terra Incognita verzamelprogramma 16:30 Present Tense verzamelprogramma 72’ 69’ SH 22:00 Fifth Gospel of Kaspar Hauser BF Alberto Gracia verzamelprogramma SH 72’ 61’ Retrospectief van Dominik Graf, de belangrijkste chroniqueur van het hedendaagse Duitsland. Met een oeuvre van zestig producties – voornamelijk voor televisie – het best bewaarde geheim van de Duitstalige film. 19:30 When the Going 09:30 A floresta de Jonathas BF 12:00 Tiger Awards Competition for Short Films 7 BF 14:15 Tiger Awards Competition for Short Films 6 Gets Tough SH verzamelprogramma 82’ 09:45 LantarenVenster 4 CHANGED 230’ Foudre Manuela Morgaine DG 120’ Signals: Kira Muratova Eternal Homecoming Kira Muratova KM KM 16:30 All Magic Sands/ Chappaqua RG 114’ LantarenVenster 5 Dominik Graf 12:15 Wondering Alien 09:15 München – Geheimnisse einer Stadt 14:15 19:30 Andrew Lampert SH 95’ 80’ Big Boy Shireen Seno 14:30 Short Stories: Pull BF 89’ 22:00 Jirafas Enrique Álvarez Together SH SP 94’ LantarenVenster 6 Directors 19:45 Short Profile: Mika verzamelprogramma verzamelprogramma Taanila 89’ SH Voor het eerst is het volledige oeuvre van een van de meest uitzonderlijke Oost-Europese kunstenaars van de afgelopen vijftig jaar buiten Rusland en Oekraïne te zien. Een onnavolgbaar en onweerstaanbaar oeuvre dat geen grenzen kent. verzamelprogramma 98’ Press & Industry Screenings Monday 28 January Press & Industry Screenings Monday 28 January 09.00 10.00 11.00 12.00 13.00 14.00 15.00 16.00 de Doelen Jurriaanse Zaal 96’ Admission with P&I accreditation only 17.00 TG 68’ Signals: Inside Iran 18.00 13:15 II 19.00 Halley Sebastián Hofmann TG 85’ 20.00 15:15 21.00 They’ll Come Back Marcelo Lordello TG 105’ 22.00 17:30 Happiness 23.00 Building 1 SP 24.00 21:45 09:15 TG Watchtower Pelin Esmer 11:30 10:00 36 Nawapol Thamrongrattanarit BF 130’ Chen Chieh-jen 12:45 84’ The Delivery Guy Andrey Stempkovsky Lasting Jacek Borcuch TG 90’ BF Actuele Iraanse cinema en videokunst, afkomstig uit het levendige undergroundcircuit van Teheran waar galeries ontmoetingsplaatsen zijn voor makers en publiek. SP 93’ 90’ de Doelen Willem Burgerzaal 09:15 Fine, Thanks Mátyás Prikler SP 81’ 19:00 TG Karaoke Girl Visra Vichit Vadakan Signals: Changing Channels 74’ CC 13:15 Pathé 2 09:30 La tendresse Marion Hänsel 11:15 Dummy Jim Matt Hulse 11:30 Bellas mariposas Salvatore Mereu Northwest Michael Noer BF SP 102’ Pathé 5 Pathé 7 Cinerama 3 Quinceañera 09:00 My Sister’s BF 72’ Noche Leonardo Brzezicki TG 13:45 85’ 96’ Poor Folk Midi Z BF CHANGED 105’ De fraaiste voorbeelden van ‘episodic storytelling’ met televisie- en internetseries die gemaakt zijn door onafhankelijke filmmakers, voor één keer groot(s) te zien op het scherm of in de speciale weblounge in Cinerama. 20:45 Soegija Garin Nugroho 11:00 DEAD BODY SP 120’ Signals: Sound Stages WELCOME BF SS Kees Brienen SP 96’ 80’ Aaron D. Johnston Sébastien Rose Cinerama 4 09:30 09:15 Avant que mon coeur bascule 11:30 Melaza Carlos Lechuga Kidd Life Andreas Johnsen BF 97’ BF 80’ Cinerama 5 Cinerama 6 LantarenVenster 2 LantarenVenster 5 09:30 11:45 Atambua 39° Celsius SP 13:45 Riri Riza 90’ Japan’s Tragedy Kobayashi Masahiro SP 16:00 What They Don’t Talk About BF When They Talk About Love CHANGED 101’ 18:30 One Day When the Mouly Surya Rain Falls 101’ SP Niet beeld, maar geluid staat centraal in Sound Stages. Het festival als jukebox, met een keur aan filmische klankervaringen en live performances, installaties, optredens en films die de oren strelen. Binnen, maar nadrukkelijk ook buiten de bioscoopzaal. Ifa Isfansyah 98’ 21:45 I.D. Kamal Karamattathil Muhammed 10:00 DINAMO P&I BF Signals: Regained Screenings 4 SH RG compilation prog. 81’ 87’ 12:00 Something Necessary SP Judy Kibinge Een greep uit het geheugen van de cinema. Met aandacht voor het experiment, gerestaureerde klassiekers, speciale evenementen en exposities, en de huidige opvattingen over film, geschiedenis en beeldcultuur. Vast onderdeel van de sectie Signals. 85’ LantarenVenster 6 First Comes Love Nina Davenport SP 107’ 22:15 Fahrtwind – Aufzeich- BF nungen einer Reisenden Bernadette Weigel 85’