Daily Tiger #6 (English) by International Film Festival Rotterdam

daily tiger

42nd International Film Festival Rotterdam #6 Tuesday 29 January 2013 ZOZ voor Nederlandse editie

(news P3)

(la tendresse / watchtower / dummy jim P5)

(sonia silk operation / neda razavipour P7)

Shorts Awarded. Last night, the winners of the three Canon Tiger Awards for Short Films 2013 were announced. They are The Tiger’s Mind by Beatrice Gibson (UK, 2012), Unsupported Transit by Zachary Formwalt (Netherlands, 2011) and Janus by Erik van Lieshout (Netherland, 2012). The IFFR short film nominee for the European Film Awards 2013 is Omar Robert Hamilton’s Though I Know the River is Dry (Egypt, 2013).

Janus

The Tiger’s Mind

CineMart in full swing: director Rosa Barba (right) discusses her Art:Film project Subconscious Society at one of the market’s one-to-one meetings.

photo: Nadine Maas

Unsupported Transit

Cross-platform traffic In its Changing Channels stand, IFFR explores the blurring boundaries between cinema, television and online by presenting episodic works made for television and the internet in a festival setting. By Ben Walters

As everyone knows, the days of hard and fast distinctions between cinema, television and online content are long gone. More and more movies are released on disc or streamed on demand after nominal or non-existent theatrical runs; increasing numbers of film auteurs are pouring their energies into prestige television projects and smart TV sets allow web content to be viewed on home set-ups that might rival the smallest multiplex screens for size and quality. Fertile fault lines

Changing Channels, a strand in IFFR 2013’s Signals section, offers a rich sample of material from the fertile fault lines of this changing landscape, concentrating on episodic work made for television and the internet. “We’re living in strange times”, notes Inge de Leeuw, who programmed the strand. “Divisions are not so strict anymore; directors can do what they want.” Based at Cinerama, and combining theatrical screenings and a web lounge, the Changing Channels programme largely falls into two categories: narratively complex TV miniseries made by established filmmakers, often balancing high production values with a downbeat tone; and web content created by young

directors with a scrappy, knockabout style and a contemporary social-satirical sensibility. The first group includes series like Agnieszka Holland’s Burning Bush, produced by HBO and set in the Czech Republic; Kore-eda Hirokazu’s 11-part Going Home; and Prófugos by Chile’s Pablo Larraín, whose feature No plays in this year’s Spectrum. “In previous years, we’ve seen a lot of American filmmakers making television, but I was keen to show how much is happening around the world”, says De Leeuw. Of course, such authored projects have existed before – think of Fassbinder’s Berlin Alexanderplatz or Von Trier’s The Kingdom. “European public broadcasters have been supportive in the past but, because of the economic crisis, it’s getting harder”, says De Leeuw. “Now it’s pay TV: Canal+ and HBO in Europe and Latin America. But production itself is quite quick, financially. And I think filmmakers are interested because of the storytelling possibilities: you can have more characters with complex storylines.” Close to home

When it comes to online content, the low-cost, low-risk basis of most productions makes the format especially appealing to young directors who can experiment with form on minimal budgets, but still potentially reach an audience via YouTube, Vimeo and the like. There’s an understandable tendency for such productions to look close to home for subject matter, telling stories about characters whose lives are often satirical takes on the storytellers’ own. Changing Channels offers a

chance to sample a broad swathe of Brooklyn-based parodies of young New York life, from Joe Swanberg’s Young American Bodies to Issa Rae’s The Misadventures of Awkward Black Girl. Lena Dunham’s HBO hit Girls also screens. An increasing number of young directors are shuttling between platforms. Ry Russo-Young has made serious-themed indie features such as Nobody Walks and You Won’t Miss Me, but has turned comedic for her three-part web series, Muscle Top, a tongue-in-cheek show about young queer musicians with a political edge, backed by New York magazine Paper. She approaches the different forms with different expectations. “When making features, I’m more inclined to let moments breathe,” Russo-Young notes, “whereas with anything else that I know will live online, I’m always looking to tighten because I assume the attention span of the viewer is different.” Experimentation

Mexico’s Sebastian Hofmann directed the feature Halley in the Hivos Tiger Awards Competition, but also has his web series Los micro burgueses, made several years ago with friends for practically no money, playing in Changing Channels. A sardonic satire of youth culture and bourgeois complacency, it also demonstrates the fascination with decaying bodies and existential ennui evident in Halley. “I ridicule myself and Mexican society in a very crude and stupid manner”, Hofmann says. “I’d been following some web series I really liked from the United States and Spain; I had the time and I had

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some friends and we had a camera and a boom mic and we had fun and drugs. We just made it. It was just an experiment.” Accountability

Since then, Hofmann has become accustomed to working with bigger budgets and institutional backing – which brings levels of accountability the DIY web producer doesn’t have to deal with. “Money brings opportunities but also responsibility. It makes everything much more difficult, more bureaucratic. With Los micro burgueses, I could do and say whatever the fuck I want. Now I still do, but I have to get the signature, the stamp from above.” He still considers his web show to be apprentice work. “My first response when Inge asked to screen it was, ‘Rotterdam is such a prestigious festival, why would you want to show this crappy Mexican web show?’” Such deprecation is suggestive of the low status in which web work – even work as vibrant, funny and incisive as Los micro burgueses – is still held, even by those who make it. Such attitudes look certain to shift, however. Hofmann himself is working on a new web show (“it deals with existential issues and my fear of death, which is a recurring theme in my work”) and the mainstream industry is paying increasing attention: David Fincher’s political thriller House of Cards and the new cult sitcom series Arrested Development were produced as online-exclusive content for Netflix, while Bryan Singer’s H+ was made for YouTube. Strange days indeed.

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In the Tea House In 2007, director Atousa Bandeh Giasabadi presented My own 1000 square metres at IFFR, and in 2011 the festival screened her short The Day I Disappeared. During High Tea this afternoon, Atousa will present a sneak preview of her most recent work, An Afternoon in Tehran. Tea House/Gallery Inside Iran, Schouwburgplein 54, 4 p.m. – 6 p.m.

Impossible angles Leonard Retel Helmrich’s new film is to be shot in English in the US. Nick Cunningham reports

Sergio Caballero

photo: Nichon Glerum

Going the distance Tiger-winning director, wine grower, musician and sound artist Sergio Caballero is roaring back into Rotterdam to pitch his new project which (the Spanish filmmaker jokes) is a true “blockbuster”. By Geoffrey Macnab

Caballero won his Tiger for Finisterrae (2010), a film that has gone on to play at 60 festivals. The new project La Distancia is presented in CineMart as part of the new Art:Film collaboration between Rotterdam and CPH:Dox, but Caballero says it’s his most mainstream project yet. “It represents a shift toward the more understandable, commercial, even more narrative way of seeing a movie”, Caballero says. By contrast, Finisterrae was more “meditative” and experimental. The new film, a heist yarn with sci-fi elements, is already in pre-pro-

duction. It is being made through Advanced Music SL, the production company Caballero co-founded in 1993. “It has been a very hectic month and a half”, the director says. The project was presented at CPH:Dox. Television Española boarded the project at that stage. Now, Caballero is in a big hurry. The film is about a young peasant from the Crimea who heads to Siberia to work in a coal mine. Once there, he becomes the boss of one of the biggest power plants in Siberia. “I need to start shooting in three weeks because of the snow”, the director explains. “After that, I still need support and funding for post-production and for filming more stuff in the studios.” At the same time, Caballero is looking for sales agents and distribution for both Finisterrae and La Distancia. Finisterrae was originally handled internationally by Film Sharks. Now, Caballero and his team are looking

for new ways to get the film seen and to capitalize on its festival success. As he rushes to complete the financing for La Distancia, Caballero is also preparing for the 20th anniversary of Sonar, Barcelona’s International Festival of Advanced Music and New Media Art. Meanwhile, he is also overseeing his vinery 4 Kilos in Mallorca. The vinery produces 70,000 bottles a year. He co-founded it with Francesc Grimalt in 2006. 4 Kilos even now has its own coat of arms: GRIMALT CABALLERO, Winemakers through and through!” “The energy is the same. Whether you go to the vinery or go to Sonar or make films”, the Spaniard says of his relentless multi-tasking. Here in Rotterdam, Caballero spent Sunday afternoon discussing the links between art and film. At CineMart, he is determined to drum up international interest in La Distancia. “It is a big blockbuster,” he declares. “Come, sales agents, come!”

Yellow Robin takes off in Curaçao After the success of the inaugural Curaçao International Film Festival (CIFFR) in April 2012, IFFR and CIFFR will introduce a new prize during the second edition that runs 4-7 April 2013, IFFR chief Rutger Wolfson announced yesterday. Together with five film institutions in the region, the Yellow Robin Award will be given to an outstanding local film talent who, based on the submission of a feature film of minimum 60 minutes duration, will receive a $10,000 cash prize and an invitation to IFFR 2014, where the film will be screened. Should the winner have a suitable film project in development, Hubert Bals Fund and CineMart selection will be considered. Right now, partnering institutions are Trinidad and Tobago Film Festival, the Cuban Film Institute (ICAIC) and the Jamaican Film Commission, with two more to be confirmed. “It is a very good step after the very successful first edition”, Wolfson comments. Ahead of yesterday’s press conference, Wolfson reflected on last year’s collaboration. “We didn’t know what to expect and we were really happy with how things turned out, because it was really like the first time that non-commercial non-Hollywood type films were screened in Curacao”, he observes. “It’s a small island, but there is a big cinema-loving audience and we just didn’t know how they would respond to our programme. But the response was very, very positive and the visitor numbers were much higher than we expected.” NC

Producer/director/writer Hetty Naaijkens-Retel Helmrich arrived at IFFR yesterday in search of co-producers and a sales outlet for her brother Leonard Retel Helmrich’s Poker Play – his first fiction film in more than two decades. It will be shot in English in New York with US actors. His previous documentaries, noted for their spectacular camera work, have garnered him numerous international awards, including top honours (twice) at Sundance and IDFA. For the film, to be shot in Summer 2014 and about a poker game with high geo-political stakes, Retel Helmrich will again use his patented ‘single shot’ camera style, an innovation which led the New York Times to dub him the “master of impossible angles”. This time, he will deploy ‘single shot’ in 3D. “We want to show this to the world”, comments Naaijkens-Retel Helmrich. Naaijkens-Retel Helmrich also spoke about her documentary Hollandse Nieuwe, co-directed with brother Leonard, about the Dutch culinary obsession with the herring. The film features two high-profile Dutch industryites: EYE International chief Claudia Landsberger and festival stalwart Fred de Haas, who wax lyrical on the fishy subject. The feature-length doc, to be broadcast in the Netherlands on 3 June, promises to be as visually impressive as the siblings’ previous collaborations. “You cannot imagine how he did those shots”, she stresses of her brother’s camerawork. “When you see this film, it’s even more than in Position Among the Stars. He used even more impossible camera angles.” Naaijkens-Retel Helmrich also found out yesterday that her documentary No Child’s Play (Buitekamp – Kinderen) will be released across 15 screens in May 2013. The film concerns what she calls the “East Indies holocaust”, when (between 1942 and 1949) thousands of Dutch and mixed race nationals, and hundreds of thousands of indigenous people, were killed – formerly during WWII, latterly as the country was seeking independence from Dutch rule. “Sukarno claimed independence from the Netherlands in 1945, but the Netherlands didn’t acknowledge that for another four years, and during that time it was terrible.”

Matterhorn pick-up German sales agency Media Luna has picked up international rights for Diederik Ebbinge’s Matterhorn, produced by Gijs van de Westelaken of Amsterdam-based Column Film. The film, which world-premiered in IFFR’s Bright Future, is about the positive effect a tramp has on a lonely middle-aged man. Late debutant Ebbinge (43) turned to filmmaking after a successful career as an actor and comedian. Media Luna acquisitions manager Alessandro Lombardo was impressed by the film’s “beautiful comedy”. “Matterhorn’s profound story of people living alone in a backward village is up-to-date”, he says. “While most films are about people relocating to the big city, Matterhorn’s feel-good story touches everybody.” Managing Director Ida Martins adds: “We are happy to have Matterhorn with us. The main plot gives us insights into two lost individuals who re-evaluate their lives … as sometimes we experience in real life.” NC Rutger Wolfson at yesterday’s press conference

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Drive, she said The new film from Marion Hänsel is a partly autobiographical combination of road movie and romantic comedy. By Geoffrey Macnab

Marion Hänsel has made films in some very farflung places: in remote parts of Africa (Dust, Sounds of Sand) and at sea (Black Ocean). For her 2001 essay film Clouds, Letters to My Son (Nuages, Lettres à mon fils), she chased clouds all over the world. Now, with La Tendresse, she has made a film closer to home – a road movie/romantic comedy set between the Alps and Brussels. “It was another challenge – something I had never done”, Hänsel reflects of the film, which she scripted herself. “Something light in its theme. Most of my films are quite heavy.” This is a story about an unexpected reunion. Lisa and Frans (Marilyne Canto and Olivier Gourmet), a divorced couple who’ve hardly seen each other for 15 years, set out by car to see their son, who has injured himself while skiing. The Belgian director also set out to give the film a sense of scale. La Tendresse, receiving its world premiere in Spectrum, may be an intimate affair with many scenes set within cars, but she still shot on 35mm and in widescreen. She made sure that she never repeated herself, always looking for fresh ways of framing. “So that was a big challenge for me. And then, most of all, I have a phobia when I am in a car driven by someone other than me.” Her cameraman, who had worked for her for many years, was sceptical that she would be able to make the film. “He looked at me and said, ‘But Marian, do you realize you will have to be in the car for five weeks because you have to direct the actors ... I know you. You go hysterical when you are in the car!’” In the event, making the movie helped cure Hänsel of her car phobia. “It was like a therapy, but very frightening. I managed!”

Labour of love Patient preparation played a key part in the development of Pelin Esmer’s Tiger entrant Watchtower. By Ben Walters

Nature can be dangerous. Watchtowers are positioned throughout Turkey’s forests in case of fires, with guards posted for lengthy stints alone in the woods where the wolves howl at night. But it can be restorative too. In Watchtower (Gozetleme kulesi), the second feature by Turkish filmmaker Pelin Esmer and a competitor in the Hivos Tiger Awards Competition, a watchman at one such station, Nihat (Olgun Simsek), is taking refuge in rural solitude after a personal cataclysm. On his occasional trips to fetch supplies at a nearby town, he encounters Seher (Nilay Erdönmez), a young woman working for the local bus company and with her own emotional turmoil to deal with. His trauma concerns the unwanted loss of life; hers its unwanted creation. Slowly, they enter into a kind of engagement that might restore them both, alone together in the forest.

“If you can’t stop time, you can slow it down”, suggests Esmer. “They had to slow down to move on. The whole thing is a little pause they create for each other.” This approach comes across in Watchtower’s frequent use of lengthy takes, some for periods of low-key activity, others for sustained bouts of emotional intensity – notably one especially wrenching scene by Erdönmez midway through the film. The pre-shooting process also benefited from a sense of patience. “The preparation was long days of talking, but we never rehearsed”, says Esmer, whose debut feature 10 to 11 received Hubert Bals Fund backing and played at IFFR 2010. “I spent months drinking tea and talking with the actors – more about life than the script, trying to get to know them.” For Erdönmez, there were physical challenges to the role as well: there are times when it’s hard to believe she isn’t genuinely pregnant. “She was a really skinny girl, and she is again now. We worked with a dietician and she gained about 10 kilos – and only to her breasts and belly. I think she concentrated on where

she should gain the weight! It was extraordinary.” Watchtower slowly took shape from “a collection of images and sounds I have collected all my life”, Esmer says. “In Turkey, we have hostesses on buses and they make these very impersonal announcements. The moment they put down the microphone, you feel it’s a totally different story. So I thought, what if it’s her last announcement and I follow her? Another image was a girl walking by a deserted road alone. There was the image of the watchtower itself. And I have a lot of memories of drinking tea at bus stations. I realised that underneath all these images was the feeling of guilt. But I had to be patient to see how they would slot together.”

Hivos Tiger Awards Competition Watchtower / Gozetleme kulesi – Pelin Esmer

Wed 30 Jan 21:45 PA5 Fri 01 Feb 16:15 PA1 Sat 02 Feb 19:00 PA3

Life cycle There are autobiographical elements to the story. Hänsel’s son is a ski instructor who once had a bad accident in the Alps. She has been divorced. Hänsel makes the very good point that almost every family has experienced rupture and separation. “There are so many separated couples around the world”, she sighs. “Most people either have parents that are divorced or in their own lives have split … it’s so common.” This, then, is a universal theme. Hänsel’s trick is to treat her subject matter with irony and humour. “I thought it was important to try to tell people that it can go well. You don’t always live in agony and hate each other because you are separated … people can make something positive out of a negative experience. Getting divorced is never fun; it is always a kind of failure, but from this failure you can make something positive.” The film features a tremendous comic set piece when Lisa becomes trapped at a motorway toll booth. Aggressive and angry drivers are honking behind her, but she is rescued by a chivalrous lorry driver. This scene also has autobiographical roots. “I’ve had very good experiences with truck drivers”, the director says, telling the story of how her car once broke down on the motorway. A truck driver put her car on the back of his truck and then drove her to a garage. “And then he said, ‘If you want, I will drive you home.’ Truck drivers are nice people!”

Tiger entrant Dummy Jim recreates an epic bike ride in the 1950s. By Edward Lawrenson

Some time during the 13-year development of Dummy Jim – a beguiling fiction-documentary hybrid that recreates a cycling journey a deaf Scotsman called James Duthie made in the early 1950s from his village in the North of Scotland to the Arctic Circle – its director Matt Hulse wrote a conventional screenplay. It was part of a development process that included pitching the project at CineMart in 2007. “The feedback that kept coming back was, this guy doesn’t really change – there’s no progression, no arc”, recalls Hulse. “I said, what are you talking about, he starts out drinking tea and he ends up drinking coffee!” It’s actually a very telling detail. In the small Scottish village in which James Duthie lived “the early 1950s was more like 1910”: this was a community of flinty-minded staunchly Presbyterian folk who would likely have dismissed coffee drinking as an act of cosmopolitan self-indulgence.

Recreating Duthie’s trip through post-war Europe with actor Samuel Dore, who is himself deaf, and using beautifully crafted Super-8 footage, the movie celebrates Duthie’s eyes-wide-open curiosity. Based on a self-published book that Duthie, who died in 1965, wrote of his travels, the film sees Duthie emerge a changed man through his experiences. Hulse received Duthie’s book ‘I Cycled into the Arctic Circle’ as a gift from his mother back in 2000. “She knew I liked self-published esoteric things,” Hulse says, adding that the book came with a note from his mother that he wasn’t obliged to turn it into a film. In fact, this set in motion a 13-year process that finally led to the completion of the feature, which receives its world premiere in the Hivos Tiger Awards Competition. A key part of the film’s charm grew out of the work that Hulse undertook with the present-day inhabitants of Duthie’s home town, including scenes in which children from the local school read extracts from Duthie’s book. Hulse approached the school’s head teacher early on in the project: “Basically, she looked me steely in the eye and thought: do I trust this guy? Once she was on board

everything was fine, because it was through the kids that we got to talking to the community.” Hulse initially intended to raise finance for the project through more traditional sources. But after commitments secured at CineMart fell apart, Hulse raised the bulk of his small budget through selling Dummy Jim-related merchandise on a dedicated website. The release of the soundtrack by the One Ensemble and Sarah Kenchington prior to production also helped stimulate interest in the project. Currently working on a film idea that will see him revisit songs he and his siblings wrote when they formed a punk band aged nine, Hulse also plans to republish Duthie’s original book: “It will include my footnotes. It’s a chance for me to wrap this project all up.”

Hivos Tiger Awards Competition Dummy Jim – Matt Hulse Tue 29 Jan 13:00 PA4 Wed 30 Jan 09:15 DJZ (press & industry) Wed 30 Jan 12:15 PA6 Sat 02 Feb 09:30 PA2

Spectrum La tendresse / Tenderness – Marion Hänsel

Tue 29 Jan 17:00 CI1

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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: Elsbeth Jongsma, 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

Three’s company Last year, two Brazilian directors shot three feature-length films in a fortnight. With two of these screening at IFFR, they discuss this ambitious project. By Edward Lawrenson

Ricardo Pretti, Leandra Leal and Bruno Safadi

photo: Nichon Glerum

Brazilian director Bruno Safadi was in Rotterdam three years ago with a documentary about the pioneering 1970s production company Belair (also the name of his film), run by Rogério Sganzerla and Julio Bressane (subject of a 2000 IFFR retrospective). Safadi is back at IFFR with director Ricardo Pretti, actress Leandra Leal and producer Reita Toledo, and talks to the Daily Tiger about their new work. It’s a project called the ‘Sonia Silk Operation’, a hugely ambitious scheme under which he and Pretti directed three full-length feature films in the space of two weeks. Two films in the trilogy are receiving their world premieres in Spectrum: Safadi’s Harmonica’s Howl, a lushly photographed, densely atmospheric study of the complex relationship between two women and a man, and Prettis’ Rio Belongs to Us, a haunting, unsettling drama about a young woman who returns to Rio after a ten-year absence (which stars Leal, who also has a prominent role in Harmonica’s Howl). An experimental documentary called Meta Mancia (directed by Safadi and Pretti together) will complete the trilogy. And as if he’s not busy enough, Safadi also has another film at IFFR, Eden. Shooting three features over the space of 14 days is no mean feat, especially given a total production budget of €40,000 (which they increased with support from, among others, the Hubert Bals Fund, for post-production – both films boast impressively immersive sound design). It turns out the project was conceived as a further tribute by Safadi and Pretti to the innovative experimental output of Belair films. “They did seven features in three months”, Safadi says, explaining that their Sonia Silk Operation trilogy of films enters into a dialogue with Belair’s output. One feature of this ongoing dialogue is the attention Safadi and Pretti’s films pay to their main location: the now affluent neighbourhood of Leblon, in which both films take place and where many Belair movies were also shot. With its impressive sea views and striking architecture, the area is stylishly captured by

Safadi and Pretti, and through their exploration of this environment they evoke a tradition of Brazilian cinema that stretches back to its earliest days: Safadi refers to the fact that the very first filmed footage of Brazil was made nearby (by two Italians, in 1897, from a boat – a shot that both films reference); and Pretti mentions Bressane’s Rua Aperana 52, the director’s archive study of a street in the district (which showed at IFFR last year). “What Monument Valley is to American filmmakers” says Pretti, “Leblon is to us – it’s very iconic.” Completing the shoot of three features in two weeks was, Pretti agrees, a challenge: “The kind of discussions we had were practical. It’s very hard to get everything done in three weeks, there are very complex logistics of how to move the whole crew from one set to another, especially given that one set of Bruno’s film was in another city. We had all these kind of problems, which we discuss a lot, but in a conceptual way from the beginning we always wanted to mix things up.” Leal adds: “I had to play two different characters in two movies at the same time. It was hard, but because we were so involved in the project from the beginning,” (Leal also produced) “I was prepared.” Talking a day after their first screening, the Sonia Silk crew are very happy with the IFFR reception. They plan to screen the film on TV – the film is co-produced by cable station Canal Brasil – and on DVD, and hope to screen it theatrically. “Leandra and Mariana [Ximenes, her co-star] are famous in Brazil, their work is recognisable ... so that will help”, says Safadi. “These movies are experimental, of course they are, but today there is an audience for that.”

Spectrum Harmonica’s Howl – Bruno Safadi Tue 29 Jan 14:30 LV2 Fri 01 Feb 09:00 CI4 Rio Belongs to Us – Ricardo Pretti Tue 29 Jan 12:00 LV2 CI2 Fri 01 Feb 20:00 Éden – Bruno Safadi Thu 31 Jan 22:15 PA1 Fri 01 Feb 11:45 LV5

Eyes wide open Artists working in Iran express themselves in highly coded fashion. By Geoffrey Macnab

A woman’s face is in front of the camera, staring straight at the lens. At first, we think it is a still image but then the woman blinks, rolls her eyeballs and licks her lips. This installation, entitled Dialogue with Open Eyes, is one of the many works from Iranian artist Neda Razavipour showing as part of Signals: Inside Iran. To the innocent viewer, the deceptively simple short film seems like experimental fare: a playful investigation into voyeurism and the gaze. But that’s not how the Tehran-based Razavipour describes it. Dialogue with Open Eyes was commissioned before the 2009 election in Iran. Her brief was to make a work focusing on dialogue. When she finally made the work, there was no speaking at all – and that was the point. “Why Dialogue with Open Eyes? When they [the Iranian authorities] interrogate you in jail, they put something over your eyes. Then, you must talk. You cannot do anything else.” Razavipour acknowledges her frustration that Western viewers attempt to read allegorical meanings into Iranian art and cinema, or look for traditional Iranian motifs. “I tell you, this is harder than censorship. Censorship we know. After 30 years, we know how to deal with it. We know the limits and how to work on it.” It’s far tougher, she suggests, to break free of outsiders’ preconceptions. “I can tell you exactly what Western people want to see in Iranian work, but this is not interesting for me.” At the same time, she accepts that much of the work (including her own) is deeply layered and full of subtext. “When I do something in Iran, it’s filtered by the fact that I am a woman”, she notes. “It could be feminist. It could be sociological.”

Neda Razavipour

photo: Nichon Glerum

Before moving back to Iran, Razavipour lived for several years in France, studying fine art at the Sorbonne and working as a stage designer. In the end, after 14 years, she decided to return to her homeland. “I left Iran when I was 15. Iran to me was like a puzzle to with some pieces missing. I wanted to come back and look for them.” As an artist in Iran, she had a sense of mission. She liked the fact that she seemed special. “In France or outside, they have so many people like me.” Even so, in re-

cent years, she has felt more and more frustrated at the obstacles in front of her. “For sure, now, it is harder and harder, economically and politically”, the artist muses. “I have more and more works I can’t show there. I don’t want to be afraid any more. Perhaps I am getting old! I need some basic things I don’t have there.” Nonetheless, her work has a meaning in Iran that it risks losing when shown abroad. In her 2009 work Find the Lost One, the artist shows two screens with the same images – but with one person erased from one of

INTERNATIONAL film festival rotterdam

the screens. Again, this seems like a clever formalist conceit, until you realize that in contemporary Iran, it’s not unusual for people to go missing in bizarre circumstances. Razavipour originally planned to become a doctor and came to art in a roundabout way. No, she says, she is not interested in formal experiments or abstraction for its own sake. She describes herself as a “conceptual artist” but one whose work is always firmly rooted in real life.

Press & Industry Screenings Tuesday 29 January PROGRAMME CHANGES

Cinerama 3

Lesson of the Evil Cinerama 3, 09.00 NEW

My Name Is Negahdar Jamali and I Make Westerns [ep]

•FLM•

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Nahid Ghobadi/Bijan Zamanpira, Iran, 2012, Video, 79 min, Farsi/Kurdish, e.s.

111 Kurdish girls live in an area without marriageable men. They bring their problem to the president’s attention, threatening to commit collective suicide. A presidential envoy is sent to prevent the drama. On the way he is confronted by absurd obstacles. 11:00 Odayaka [ep]

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Somewhere in an old provincial city in Iran that’s been there for thousands of years lives a pleasant eccentric. His passion is making cowboy films and his neighbours play the Indians. Americana in 11:30 Iran. It’s still possible. This docuBlancanieves BF mentary provides an appealing Pablo Berger, Spain/France, 2012, picture of the Persian amateur DCP, 104 min, no dialogue John Ford, but also of everyday Blancanieves is Spanish for life in the ancient city of Shiraz. Snow White: the Grimm classic is situated in pre-war Spain, 22:30 where the daughter of an invalid Frankenstein’s Army [wp] BF toreador has to cope with the Richard Raaphorst, Netherlands/ terrible stepmother. Exciting, Czech Republic/USA, 2013, silent black-and-white film of Video, 86 min, English course evokes comparisons with Nazi zombie horror In which The Artist - to Spain’s advantage. blood and limbs fly cheerfully. Inspired by the diary of the illustrious Dr Victor Frankenstein, a small group of Nazis is working Cinerama 4 on an army of super soldiers, 09:30 made up of human remains from Mater Dolorosa [ip] SP their fallen comrades. Adolfo B. Alix Jr., Philippines, 2012, DCP, 86 min, Filipino, e.s.

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Pathé 5

Adolfo makes several ﬁlms each year, without losing quality. This time it’s a dramatic crime family story with impressive acting and equally impressive black-andwhite. Godmother 1. Nominated for the The Big Screen Award.

•FLM•

09:00 De wederopstanding van een klootzak [wp]

Guido van Driel, Netherlands/Belgium, 2013, DCP, 90 min, Dutch, e.s.

Dokkum, of all places. You ﬁnd yourself there as a crook from Amsterdam. There you are in the refugee centre as an Angolan refugee. Or you live there, as a vindictive Friesian farmer. And why? Because Guido van Driel ﬁlmed his comic strip there, that’s why. 11:30 Silent Ones [wp]

Mira Fornay, Slovakia/Czech Republic, 2013, DCP, 90 min, Slovak/Czech, e.s.

12:00 Lukas the Strange [wp]

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John Torres is the poet of Philippine cinema. A poet with his own rules and ways of working. He can announce to make a ﬁlm in Mindanao, but then heads for Luzon which is the other way. His work is like diary writing, it follows life and travels. Always there: a true love for cinema.

A girl wakes up after a car crash. Her younger brother has disap14:00 peared. As she promised him, Miss Lovely BF she boards a freighter to find a Ashim Ahluwalia, India, 2012, new life. Then the shady Gábor DCP, 110 min, Hindi, e.s. crosses her path. Hallucinogenic, An exciting thriller in retro style surrealist trip in the twilight zone about Mumbai’s underworld between two worlds, debut by of sex horror films in the 1980s. Dutch filmmaker. The naïve Sonu, one of two brothers running a dirty movies 14:00 studio, dreams of launching De nieuwe wereld [wp] BF his mistress, a mysterious new Jaap van Heusden, Netherlands, actress, into mainstream film. 2013, DCP, 85 min, Dutch, e.s. Mirte is a cleaner in the reception centre for asylum seekers at the Cinerama 5 airport. She tries to forget her past through routine. When the 09:00 charismatic West African Luc is Torres & cometas [ip] SP brought in, Mirte seems to get Gonçalo Tocha, Portugal, 2012, a grip on her life again. A film DCP, 61 min, Portuguese, e.s. about loss, fleeing and love from Portuguese filmmaker Tocha an unexpected corner. made his name with captivating personal ‘travelogues’ on the 21:30 Azores. Together with his sound Ma belle gosse [ip] BF man, he now sets off looking Shalimar Preuss, France, 2012, with the same semi-participating DCP, 80 min, French, e.s. procedure in Guimarães, the Summer vacation. Island, ‘cradle of Portugal’. Of course beach, ice cream, family. It is with good music. all so relaxed and innocent, but seventeen-year-old Maden seems to be somewhere else. There is a prison is nearby, between the sea and the house. Maden checks the mail everyday, secretly. •geel•

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.

•FLM•

•paars01•

Maria Ramos, Netherlands/Brazil, 2013, DCP, 95 min, Portuguese, e.s.

Third part of a trilogy by Brazilian-Dutch ﬁlmmaker about the legal system in Rio de Janeiro. Penetrating portrait on how a new police force was set up to pacify the favela ‘Hill of Pleasures’.

•paars01•

•geel•

•paars01•

By the chronicler of the Filipino countryside and harsh life on remote islands, beyond thick jungles and behind wild mountains. He knows what he’s talking about: he still works regularly as a farmer on family ground. Everything must be selfmade. Even the riﬂes. 13:00 Die Welt [ep]

•geel•

De nieuwe wereld

Alex Pitstra, Netherlands, 2012, DCP, 80 min, Arabic/English/Dutch, e.s.

Revolution! And then what? At ﬁrst, usually insecurity and economic decay. A young Tunisian has doubts about his future after the 2011 revolution. Should he go to Europe? His father says no. But he meets a Dutch female tourist. Feature debut by DutchTunisian ﬁlmmaker. 15:00 The View from Our House [wp]

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Anthea Kennedy/Ian Wiblin, United Kingdom, 2013, Video, 76 min, English

Investigation into the memories of a photographer during the ﬁrst years of Nazi Germany. By juxtaposing contemporary images of her neighbourhood with 8mm ﬁlms, her history resonates into the present. Striking audiovisual essay about the power of memory.

Avanti popolo

•FLM•

09:45 Avanti popolo

•geel•

Michael Wahrmann, Brazil, 2012, DCP, 72 min, Portuguese, e.s.

•geel•

Marcelo Lordello, Brazil, 2012, DCP, 105 min, Portuguese, e.s.

Mes De Guzman, Philippines, 2013, Video, 114 min, Filipino, e.s.

Cinerama 6

John Torres, Philippines, 2013, DCP, 85 min, Tagalog, e.s.

Ricky Rijneke, Netherlands/Hungary, 2013, DCP, 97 min, Hungarian, e.s.

Marek has no real friends except his guard dog and hangs out with skinheads. When his dispirited mother reappears in his life, Marek faces a horrible predicament. An authentic and hypnotic chronicle of a sluggish existence always on the verge of explosion.

13:30 Hill of Pleasures [wp]

Kamran Heydari, Iran, 2012, Video, 65 min, Farsi, e.s.

Master Miike is not the gentle type. He owes his title of master to films with almost unbearable violence. The news helps him a bit this time: the film shows a shooting, a slaughter actually, at a school. For those who don’t yet know Miike, first try For Love’s Sake.

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A young woman in Taipei is confronted with the blindness of her mother who is convinced she has a sixth sense. Shot with little facilities, but it is Verbeek’s most mature ﬁlm - about uprooting, spirituality and modernity. Nominated for The Big Screen Award.

11:15 They’ll Come Back [ip]

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•FLM•

David Verbeek, Netherlands, 2013, DCP, 80 min, Mandarin, e.s.

09:15 My Dog Killer [wp]

•geel•

The tsunami disaster is far away, but the fear it brought is very tangible. Producer and actress Kiki Sugino plays her most gripping role ever as a young mother who is in danger of succumbing to her imagined fear. Nominated for the The Big Screen Award.

Pathé 2

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•geel•

Uchida Nobuteru, Japan/USA, 2012, Video, 100 min, Japanese, e.s.

17:00 How to Describe a Cloud [wp]

Miike Takashi, Japan, 2012, Video, 129 min, Japanese, e.s.

20:45

de Doelen Jurriaanse Zaal 09:15 111 Girls [ep]

10:45 Steel Is the Earth [wp]

•FLM•

09:00 Lesson of the Evil

ADMISSION WITH P&I ACCREDITATION ONLY

The recently deceased Rotterdam veteran Carlos Reichenbach plays a bad-tempered, wayward father who waits for his lost son while the other son seeks to come closer with Super-8 ﬁlms and old LPs. Layered, humorous debut with a beautiful mise-en-scène; evokes memories.

LantarenVenster 3 09:15 Disappearing Landscape [wp]

My Dog Killer

•FLM•

•geel•

Vladimir Todorovic, Singapore/Serbia/ Spain, 2013, DCP, 70 min, Japanese/ Mandarin/Serbian/Spanish, e.s.

Three modern stories about migration. Not the easiest ﬁlm of the festival, but the cleverest. The ﬁlmmaker, a Serbian artist who teaches in Singapore, exploits his own experience. His interest in landscapes translates into controlled beauty, sparkling like a mathematical equation. 13:00 Matterhorn [wp]

Hill of Pleasures

•geel•

Diederik Ebbinge, Netherlands, 2013, DCP, 87 min, Dutch, e.s.

Fred lives on his own. His wife is dead, his son has left. He leans on the church, busses, meat-andtwo-veg. Then Leo appears. Leo is a tramp. Fred lets Leo move in with him. An absurdist feature debut with a laugh and a tear in stuffy Netherlands.

Odayaka

Steel Is the Earth

VALID WITH THE FOOD & DRINKS CARD Matterhorn

11:15

90’

82’

12.00

13:00

89’

90’

96’

15:30

15.00

Wadjda Haifaa Al Mansour

14.00

14:15

82’

16:30

16.00

16:15

100’

17.00 Oh Boy Jan Ole Gerster

BF 90’

Silent Ones Ricky Rijneke

La tendresse Marion Hänsel

Building 1

Chen Chieh-jen

17:00 Happiness

85’

97’

18:45

84’

107’

109’

II 79’

11:00

90’

11.00 Odayaka Uchida Nobuteru 11:15

12.00

They’ll Come Back

11:30 Silent Ones 11.00 12.00 Ricky Rijneke

72’

11:00 How to Raise ...

100’

13:30

13.00

105’

13.00 97’

14.00

Hill of Pleasures

Miner

14:00

13:15 Matei Child

15.00

95’

85’

15:30

BF De nieuwe wereld 14.00 15.00 Jaap van Heusden

Miss Lovely Ashim Ahluwalia Jirafas

87’

80’ BF

80’

15:30

120’

110’

16.00

16:15

16:30

76’ 16:30

17.00 a Cloud

95’

140’

80’

18.00 SP

102’

18:30

18:45

18.00 109’

17:00 How to Describe

17.00

Bellas mariposas Salvatore Mereu

Hill of Pleasures Maria Ramos

The Master Paul Thomas Anderson

129’

David Verbeek

Lore Cate Shortland

16.00 16:15

Lesson of the Evil Miike BF Takashi SP

94’

16:00

Call Girl Mikael Marcimain

A. Kennedy / I. Wiblin

15:00 The View from BF Enrique Álvarez Our House

14:15

Alexandra Gulea 13:00 Matterhorn Diederik Ebbinge 13:15 Soegija Garin Nugroho 13:00

19.00

20.00

120’

21:45

118’

21.00 BF

De ontmaagding van Eva van End

89’

102’

bascule

22:00

22.00 d’amour

Hélène Fillières

22:15 Une histoire

SP 96’

23.00

Kidd Life Andreas Johnsen

87’

22:30 Voice Over

Pieta Kim Ki-Duk

22:15

Two in One Kira Muratova Falls

Ying Liang

22:15 When Night

Dominik Graf

21:45

65’

22.00

22:15

81’

75’

70’

23.00

107’

23.00

Richard Raaphorst

80’

Silent Ones Ricky Rijneke

22:30 Frankenstein’s Army

Shalimar Preuss

22:00

Sightseers Ben Wheatley

Faces James Benning

21.00

80’

115’

24.00

95’

130’

140’

97’

95’

119’

24.00

135’

104’

Ginger and Rosa Sally Potter

Reality Matteo Garrone

22:00

21:15 Avant que mon coeur

Sébastien Rose

20.00

BF 116’

21:45

BF 98’

Los salvajes Alejandro Fadel

21:30 Ma belle22.00 gosse 21.00

Kamran Heydari

20:45 My Name Is II Negahdar Jamali ...

20.00

Miss Lovely Ashim Ahluwalia

110’

Eva van End

21:30

Michiel ten Horn

104’

70’

First Comes Love Nina Davenport

20:30 De ontmaagding van

Nordvest Michael Noer

19:30 Big Talk

19.00

19:15

Pieta Kim Ki-Duk 19:15 Disappearing Landscape

Vladimir Todorovic

86’

Polizeiruf 110: Der scharlachrote Engel

21:45 Der Fahnder: Nachtwache

94’

Grenzgänger Florian Flicker 21:30

90’

87’

TG 105’

74’

102’

Soegija Garin Nugroho

Michiel ten Horn

19:30 Big Talk

19:30

Tiedan

Hao Jie

19:45

II 104’

El muerto y ser feliz Javier Rebollo

I.D. Kamal Karamattathil Muhammed 20:00

80’

69’

22:15

21:45

140’

Misericordia Khavn de la Cruz

22:00 How to Raise ...

92’

Carne de perro Fernando Guzzoni

115’

105’

Karaoke Girl TG Visra Vichit Vadakan

BF 138’

Celsius

Riri Riza

19:45 Atambua 39°

Odd Couples verzamelprogramma

Leones Jazmín López 19:30

WELCOME

BF 85’

19:45 TV Night: So You CC Think You Can Act 19:15

Our Nixon Penny Lane

Studio

Peter Strickland SP

20:15 Berberian Sound

BF 75’

Les chevaux de Dieu Nabil Ayouch Rengaine Rachid Djaïdani

19:30

Fata Morgana Peter Schreiner

19:15

verzamelprogramma

Kees Brienen

19:15 DEAD BODY

19:15

Bellas mariposas Salvatore Mereu

19:00

19:00 The Love Songs of

Ifa Isfansyah

One Day When the Rain Falls

18:30 The Flaneurs #3

18.00

100’

96’

SP 72’

They’ll Come Back Marcelo Lordello

Poor Folk Midi Z

81’

18:30

18:15

85’

First Comes Love Nina Davenport

Avanti popolo Michael Wahrmann

16:30 Dogs Are Said to See ...

17:00

and Gentlemen

17:00

BF 80’

Die Erbin Ayse Polat

17:00 The Hunter and the Skeleton BF

17:30

89’

84’

Emperor Visits the Hell Luo Li

Melaza Carlos Lechuga

Change of Fortune Kira Muratova

György Pálfi

16:45

87’

110’

16:30 Final Cut: Ladies

Space Harmonics verzamelprogramma 16:30 The Charm of Others

Ninomiya Ryutaro

16:45

84’

Kern Veronika Franz / Severin Fiala

17:00 Axel und Peter

17:00

101’

Cherchez Hortense Pascal Bonitzer

Mouly Surya

98’

91’

When They Talk About Love

16:30

The Delivery Guy Andrey Stempkovsky

90’

15:45 What They Don’t Talk About BF

Jean-Claude Brisseau

15:30

Three Stories Kira Muratova

91’

DG 89’

The Gardener Mohsen Makhmalbaf

62’

105’

My Dog Killer Mira Fornay

15:15 La fille de nulle part

Taboor Vahid Vakilifar

14:30

Krivina Igor Drljaca

14:15 Malody

14:30

Bruno Safadi

Erinnerung

Dominik Graf

72’

Invisible Present Tense verzamelprogramma

Kid Fien Troch

122’

14:15 Magnificent Life of the Prince

Penumbra Eduardo Villanueva

Nordvest Michael Noer

13.00

13:15

SP 70’

90’

14:00

74’

14:15 Lawinen der

15:00

14:30 The SP Harmonica’s Howl

Song Fang

13:45 Memories Look at Me

68’

Dummy Jim Matt Hulse

St. Matthews

12:15 The Island of

Kevin Jerome Everson 12:30

64’

75’

36 Nawapol Thamrongrattanarit

11:45 Las lágrimas BF

Pablo Delgado Sánchez

de liefde

84’

12:00 Toegetakeld door

Ari Deelder

Après mai Olivier Assayas

Mai morire Enrique Rivero 12:00

II 100’

Dominik Graf

Tony Conrad

14:00 Bouncing off the Walls

Denk ich an Deutschland

12:30 Deutschland 09

12:00 Rio Belongs to Us

Ricardo Pretti

Darvag Abolfazl Jalili

11:30

120’

72’

11.00

GFP Bunny Tsuchiya Yutaka

10.00

10:15

Rhino Season Bahman Ghobadi

Quinceañera

10:00 My Sister’s

90’

Aaron Douglas Johnston Ektoras Lygizos

Prófugos Pablo Larraín

09:45 My Stolen Revolution SP 89’

Nahid Persson Sarvestani 75’

Boy Eating the Bird’s Food

09:30 km

09.00

09:15

10:00

Public Screenings Tuesday 29 January Programmaschema dinsdag 29 januari Oude Luxor Schouwburg Grote Zaal Pathé 1 Pathé 2 Pathé 3 Pathé 4 Pathé 5 Pathé 6 Pathé 7 Cinerama 1 Cinerama 2 Cinerama 3 Cinerama 4 Cinerama 5 Cinerama 6 Cinerama 7 Judy Kibinge

09:00 Something Necessary

LantarenVenster 1 LantarenVenster 2 LantarenVenster 3 LantarenVenster 5 LantarenVenster 6

111 Girls Nahid Ghobadi / Bijan Zamanpira

10.00

09:15

My Dog Killer

09.00

09:15

70’

Avanti popolo BF Michael Wahrmann BF

Misericordia Khavn de la Cruz

137’

Press & Industry Screenings Tuesday 29 January Admission with P&I accreditation only Press & Industry Screenings Tuesday 29 January de Doelen Jurriaanse Zaal

TG 10.00 90’

114’

Mira Fornay Marcelo Lordello Maria Ramos Pathé 2 Public Screenings Wednesday 30 January

09.00

van een klootzak

Guido van Driel

61’

09:00 De wederopstanding

Pathé 5

Gonçalo Tocha

09:45

Landscape

Vladimir Todorovic

09:15 Disappearing

10:00

75’

Oude Luxor 09:00 11:30 SP BF NEW Lesson of the Evil Blancanieves Pablo Berger Cinerama 3 Miike Takashi 129’ 104’ de Doelen 09:30 12:00 SP SP Mater Dolorosa Lukas the Strange Jurriaanse Zaal Adolfo B. Alix Jr. John Torres Cinerama 4 86’ 85’ Schouwburg 09:00 Torres & 10:45 Steel Is the Earth 13:00 Die Welt SP SP Grote Zaal Mes De Guzman Alex Pitstra Cinerama 5 cometas Pathé 1 Cinerama 6 Pathé 2 LantarenVenster 3 Pathé 3

Kleuren en afkortingen

Hivos Tiger Awards Competitie

Prijzen voor de nieuwe generatie. Zestien genomineerde filmmakers strijden met hun eerste of tweede speelfilm om drie gelijkwaardige Hivos Tiger Awards.

Tiger Awards Competitie voor Korte Films

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.

Bright Future

Vers bloed. Eerste of tweede speelfilm van filmmakers waarvan het festival in de toekomst nog veel goeds verwacht.

Spectrum

Rotterdam op zijn breedst. Het festival selecteerde actueel, krachtig en vernieuwend werk uit alle windstreken, van veteranen tot minder bekende regisseurs.

Spectrum Shorts

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.

Signals: Dominik Graf

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.

Signals: Kira Muratova

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.

Signals: Inside Iran

Actuele Iraanse cinema en videokunst, afkomstig uit het levendige undergroundcircuit van Teheran waar galeries ontmoetingsplaatsen zijn voor makers en publiek.

Signals: Changing Channels

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.

Signals: Sound Stages

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.

Signals: Regained

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.