TIRANA - ALBANIA
2-6 OCTOBER 2019
Qendra Kombëtare e Kinematografisë Rr. “Aleksandër Moisiu”, nr.77, 1012, Tiranë, Albania Tel. +355 4 2378 004 firstname.lastname@example.org www.nationalfilmcenter.gov.al
Under patronage of
FO RE WO RD
Number “Three” is special. The Pythagoreans recognized it as the first true number. The past couple of years, have been much of a trial and error trying to find our stand. During this year, the region has undergone changes of seismic proportions. In politics, and not only. There were major changes in film institutions management, airlines went bust in the last moment, and even earthquakes hit. Yet, nothing deterred us. We persevered and pushed forward leaner and stronger. On the third edition of Balkan Film Market, we build upon past experiences and focus in our core values; striving to provide what is most lacking to the community of creators by shedding light on relevant projects and gutsy authors that deserve visibility, but are facing hardship to gain momentum. Our long-standing goal is to create a close-knit network of filmmakers that share passion and concerns, a network well spread through the region and into the broader Europe. Our moto goes: “Once a BFM friend, always a friend”. More than a network of professionals, we are aiming to put together, a much-needed circle of friends that one can rely on, for advice and guidance. Together, we intend to carry on supporting and promoting bold and unique voices of diverse Balkan film scene. A quality film is often confrontational and challenges the status quo. We are aware that on a time of changes, the wind will not always favor our daring sail, but we are convinced that it is our duty to help bring the Balkan film at the forefront of European film scene today.
ANDAMION MURATAJ Director
BFM PRO GRA M
2 OCTOBER 2019 WEDNESDAY 18:00 OFFICIAL OPENING CREATIVE BALKAN - the vision we share A short presentation of Balkan Film Market 2019 themes and events. Attending Ministry of Culture of Albania, Ambassador of Italy, Jérôme Spinoza Counselor for Cooperation and Cultural Affaires of French Embassy, Chairman Albania Center of Cinematography, Kosovo Cinematography Center, Representative of Mibac, Rafaela Rica, Ilir Butka, and Andamion Murataj etc. 20:00 ALBANIAN RECEPTION @ ROGNER HOTEL
3 OCTOBER 2019 THURSDAY 10:00 PANEL | Collaborating with France - Tips from the insiders Julien Ezanno, Laura Briand, Francois Margolin A take from both sides – Applying at CNC with Balkan Projects. Impact of Regional and bilateral agreements on the multiple country co-productions. Moderated by Francois Terrier 10:00 PITCH BALKAN | Rehearse with Agathe Berman 11:15 COFFEE BREAK 11:30 PANEL | Balkan Projects in France’s Film Developing programs CNC, Emilie Pianta Essadi, La Fabrique Cinéma / Institut Français, Camille Ferrero - Less is More / Le Group Ouest Moderated by Julien Ezanno
13:00 LUNCH 16:00 PANEL | European Film Sales and Distributions from low output Balkan countries. Laura Briand, Bujar Kabashi, Robert Budina 17:00 PANEL | Shooting Locally Aiming Globally - Stories and Locations Sinne Mutsaers (Netflix) Clemens Erbach (filmmakers.de) Discussion about the new directions on promoting Albania as a film location for European productions. Designing an agenda to attract foreign co-productions and empowering the next generation of filmmakers. Workshops and professional training of locals with the goal to create a sustainable film industry. 18:00 A CASE STUDY | THE VAN - A Successful French and Albanian co-production. Olivier Berlemont (Origine Films) Ermir Keta (Anima Production) 20:00 BFM FRENCH NIGHT @ KINO
4 OCTOBER 2019 FRIDAY 10:00 PANEL | Cross-border Collaboration, Filmmakers Perspective. Empowering the next generation of filmmakers. A discussion about changes that creators wish for, in order to attract foreign co-productions. 10:00 PITCH BALKAN | Rehearse with Agathe Berman (ongoing)
11:15 COFFEE BREAK
11:30 PANEL | Apulia Film Commission and New CrossAdriatic Initiatives. Interreg CIAK and CIRCE projects in filmmaking that involve Italy, Montenegro, Albania and Greece. Scouting new talent and developing new projects. A first step to build upon. 13:00 LUNCH 16:00 PANEL | Producing and Distributing Italian films in Balkans and vice versa. Experiences and Suggestions Paola Corvino, Genc PÃ«rmeti 17:00 FACES OF WOMAN OF BALKAN CINEMA Presentation of the successful women in Balkan Cinema. 18:00 PANEL | Future Projections of Regional Cinema Institutions in an era of change. Presenting new programs and recent incentive schemes across Balkans Eduart Makri, Sehad Cekic, Arben Zharku, Panos Thomaidis 20:00 MONTENEGRO RECEPTION @ PEPPER LOUNGE
5 OCTOBER 2019 SATURDAY 10:00 PITCH BALKAN | Presentation of Projects Moderated by Agathe Berman 11:15 COFFEE BREAK 11:30 PITCH BALKAN | Presentation of Projects Moderated by Agathe Berman
13:00 LUNCH 16:00 PITCH BALKAN | ONE-ON-ONE MEETINGS 19:00 PITCH BALKAN | AWARDS CEREMONY 20:00 ITALIAN RECEPTION @ CIK SHIK
6 OCTOBER 2019 SUNDAY 10:00 MORNING ROUND TABLE | Mobile Cinema and Youth Presentation of new imitative: Taking advantages of Smart Phones and High Speed WiFi-Networks for media content creating and distribution. Making Films Making Statements!
PIT CH BAL KAN
Logline Three faiths, two islands and one world war.
Short Synopsis A powerful love story between two people resists the subversive energy of the war and hatred. Returning to the beginning of the Great War, THE BAY is a film that explores the motives and relationships still alive in the contemporary Europe. Multi ethnic relations, conflicts, war threats and war itself are counterpointed with the beauty of a peaceful bay where it seems these agonies could and should not exist. The two have once and for all fallen apart until the emerging great social unrest and conflict reunites them, causing them to make a noble sacrifice. This proves that there is one thing which is in harmony with natural beauty, that is LOVE.
Short Bio of the Director
DRAŠKO ĐUROVIĆ DIRECTOR email@example.com
Drasko Djurović is born in 1962 in Titograd He graduated 1993,at Belgrade at the Faculty of Drama Art-Group Film and Tv Directing. He worked as a film advisor for the Ministry of Culture of Montenegro. He post graduated at Faculty of Visual art at Cetinje and now he is lecturer at Faculty of Drama. He worked as a director for Tv Serbia, Tv Politica, Studio BI TV Montenegro music and eductational videos. His film ACE OF SPADES is Montenegro’s first Oscar entry in history.
Director`s Statement Today, one can ask the question whether any generation can live in peace or is it all just a cyclical pause between wars. Here, near a little invincible nation, down the mountain, towards the sea, in Perast, which was at that time under the Austro-Hungarian monarchy, two men of similar perception, surrounded by Mediterranean beauty, are enjoying peace. One of them is an officer and the other one is a local broker. Oto and Ivo.
Secured Budget 150 000 â&#x201A;Ź Total Budget 608 875 â&#x201A;Ź Funding Body Film Center of Montenegro
That is a small, quiet town, where people do some trading, some smuggling, but most of all they are enjoying the sun and every-day things on the coast. Suddenly, Ela, who is Jewish and ex-lover of Ivo (main character), shows up. and amidst it all the murder of Prince Ferdinand happens somewhere far away and comes as a warning that the war will get everywhere. From this first part of the pastel-color, diffuse light that symbolizes peace and hedonozam, treated normally and with teleoptics, we slowly move to the contrasting, dangerous world of intrigue and hatred through larger movements of the camera and wide optics with a color that is becoming colder, monochrome, as an anticipation of tragedy. This is a visually driven story that settles in this small town near the mountain, with leaning towers towards the sea... Sharks are advancing through the passage, through this narrow passage, through the Verige bay, to which we all flock, not knowing if it is a rescue or a total destruction.
PREDRAG KARLO KALEZIC PRODUCER firstname.lastname@example.org
Logline Đina brings both personal and political story about a Montenegrin woman, who had survived the hell of rocks called the Naked Island – what she has to say about it is yet to come... Short Synopsis This Feature Documentary Film brings us the political and personal story of Ms. Ðordina Ðina Markuš (1920 – 1993), a young Montenegrin woman who had been arrested during the IB resolution and sent to the “Naked Island” to serve her sentence – she has spent three years of her twenties on the Island. The documentary is based on Nataša Nelevic discovery of the unpublished diary od Ðina’s, which is mainly based on her time spent on the Island. I have conducted thorough research, following Ðina’s life journey up to the time in Belgrade where she committed suicide due to many psychological problems she had after leaving the hell of rocks. Ðina’s diary the only document of women in camps’ of the 50s Yugoslavia, and through the vivid description the documentary film, will give us an insider’s perspective on the “Naked Island..
Short Bio of the Director
SARA STIJOVIĆ DIRECTOR email@example.com
Sara Stijović (Podgorica, 1997) is a senior in college studying Film and TV directing at Faculty of Dramatic Arts Cetinje, specializing in Documentary film. She had directed several short fiction and documentary films. Her film “Bars, walls” won an award for the Best documentary film at the 17th Hyperfest Film Festival and was selected in: HNFF/ MNE Film Festival, MicroFAF, Krajina FF, DUFF, Sombor FF, Document Vranje 2018, First Frame Sarajevo, Motovun FF, etc. She holds Al Jazeera Ambassador certificate from investigation documentary training. She has been selected for an Artist residency in the city of Campobasso, region Molise, Italy where she independently created short documentary film. Now, she is developing a feature documentary film with the work title Djina.
Director`s Statement One of the feelings that is pushing us to tell this story is the fact that maybe by telling this story some justice would be, post scriptum, given to all 140 Montenegrin women who have been sent to the Island. In general, women’s memories have not been released in public until the 90’s. Shortly after, few female researchers have started talking about the ‘female’ and ‘feminine’ side and experience of the time at the Island. Sadly, this practice of speaking out loud hasn’t happen in Montenegro.
Secured Budget 25 000 € Total Budget 52 886 25 € Funding Body Montenegrin Film Centre
Also, the motive to tell a story of Đina is to show dramatic and tragic experience that women had to go through in order to barely survive. Some documents show that the practice of showing women that they are less worthy then men had been crucial tool used at the Naked Island/ St. Gregory, which we are coming face to face reading Đina’s memories. Females had become victims of oppression and all of the ideas of female emancipation which had been promoted by the regime had come to the point that they have been contradict and unauthentic – most of all, unfair and wrong. Using the texture of the materials, deep field of depth, perspective in the space, illusion of the three dimensions, we would try to proceed the emotion of the places where Đina has lived in...
BRANIMIR ŽUGIĆ PRODUCER firstname.lastname@example.org
FACE OF HONOR COUNTRY MONTENGRO
Logline A boy in the war puts honour and destiny of his family above his own life. The film reexamines the price of an individual human sacrifice through a story about promise, love and growing up. Short Synopsis During the WWII, a boy runs away from a paramilitary fascist unit which killed his parents and finds a secure place in the home of WWI Albanian hero Nur Doka. Nur’s house is surrounded by the Albanian paramilitary which demands that the boy be taken out and killed. If he does not obey, the army will kill all of his family. Soon, Nur will have to make a choice between the child, his honor and the lives of his family. Before the final decision, Nur goes to talk with the army commander to ask for the forgiveness for the boy, and also goes to the village judge to ask for help from him according to common law. Finally, Nur realizes that no other authority can help him, and makes the decision to not hand over the boy, because honor is more important than life. Then, Nur’s son Mehmed, pretending to be the fugitive boy, decides to sacrifice himself by changing places with the boy who entered their house. With this act he gives a timeless response to the value of honor and ethical principles. Short Bio of the Director
NIKOLA VUKCEVIC DIRECTOR email@example.com
Nikola Vukcevic is filmmaker and professor of Film directing at the University of Montenegro, a delegate of the Federation of European film directors; directed two fiction films: A View from Eiffel’s Tower (2005) and The Boys from Marx and Engels Street (2014); Artistic director at City Theatre Podgorica (2003-2010); conducted more than 25 projects; he participated in International visitors leadership program of State department in 2006. (Los Angeles, New York, Washington). He took part at many international seminars and workshops. His film The Boys from Marx and Engels Street was a Montenegrin candidate for the Oscar in the category of the Best foreign film in 2014.
Director`s Statement The Term of SACRIFICE:THE ISSUE OF COLLECTIVE VS. PERSONAL INTEREST Through the story of sacrificing - our intimist historic drama about the value of honor reexamines the difference between collective and personal interests. The characters readiness to pay the most expensive price, will raise an antique question about the price of a single human life and measurability of ethical principles. From the aspect of film directing, I strive for the balance between Authentic and Divine in acting with a strong emotional answer based on love! Although set in the past of Montenegro, this narrative strongly corresponds with the current times: it is universal, relevant and suitable for the viewers identification regardless of their place or social background. It is equally understandable and meaningful for all as it deals with the best part of us: dignity, principles and ethical values which must not be forgotten. From the point of view of directing, the film is based upon three postulates: - AUTHENTICITY: Specific characteristics of the customs with all the details contained in “Besa” (Pledge of Honor), “tranquility of blood” and “Canon”, shooting at authentic locations and insistence on authenticity of the whole, reflexivity, and general expression. - DURABILITY: questions which deal with confrontation of personal and collective interest, family, and love. The characters, according to the principles of their dramatic task – striving to belong to something bigger than existence, are in quest for the timeless answer, ready to pay the highest price. - ATTRACTIVENESS: Apart from the film norms (ideas, characters, conflicts), we believe that the directing of the film as a whole will for sure be interesting both to the viewers and festival curators.
Secured Budget 244 500 € Total Budget 585 000 € Funding Body Film Center of Montenegro Ministry of Culture of Montenegro Film Center of Serbia Center for the Preservation and Development of Culture of Minorities of Montenegro Galileo production investment
MILORAD RADENOVIC PRODUCER firstname.lastname@example.org
GIANNIS IN THE CITIES
Logline A Greek civil war child grows up in Childcare Cities where cold war propaganda and feelings of abandonment, make him lose his inner self. He struggles to heal his wound. Short Synopsis On the aftermath of the Greek Civil War, Giannis (8 years old), the son of a rebel, is entrusted by his grandmother to the Childcare Cities within the period 1949-1955. Torn between the feeling of abandonment and the cold war propaganda, the boy is in search of his identity, ending up believing that his father, who he hopes is still alive, is not a rebel but a soldier of the National Army. It’s only after leaving the Childcare Cities that he discovers what the real world is like and succeeds, through internal struggle, to redefine his sense of identity and his personal political convictions. But in his heart persists a hidden anger and sorrow towards his father, who has been absent from his life. Only at the age of 35 Giannis manages to overcome his internal denial and travels to Varna to finally meet the absent father he has always longed for ... Alongside this narrative, other people share similar fates, by testify their experiences of lost childhood widespread during the second half of the 20th century. Short Bio of the Director
ELENI ALEXANDRAKIS PRODUCER & DIRECTOR email@example.com
Eleni Alexandrakis, born in 1957 in Athens, studied film at the Sorbonne University, Paris I and at the National Film and TV School of England. She has written, directed and produced fiction films and documentaries. Her films received prizes in Greece and abroad. Since 1986 she has the production company POMEGRANATE FILMS. Among her films: « A Drop in the Ocean» (Mionneto Film Award/ Forum / Berlin Film Festival, 1996), “Kostis Papagiorgis , the sweetest misanthrope” (Panhellenic Association Critic’s Award / 20th Thessaloniki Documentary Festival, 2018.)
Director`s Statement Between past, present, reality, dreams and fantasy scenes, the film will retrace the important moments of Giannis’ life, his coming of age and his journey through his country’s History. The visual atmosphere will reflect the boy’s psychology: the shots in the Childcare Cities will be tight and claustrophobic and in black and white, while Giannis’ idyllic dreams and ashbacks will be shot in wider angles, in color and warm lighting. His dreams will gradually turn into discolored and overexposed nightmares. The soundtrack will punctuate the narrative. To ensure resemblance of the three actors playing Giannis at different ages we will organize rehearsals for all three of them together, so as to create common details in their behavior. (They will all three bear a scar on their foreheads, first appearing on the child’s face in scene no25). My method for directing the children will be to explain to them in depth what is being done so as to build a relationship of trust and make them enjoy the process creatively. With a moving and alert camera, we will capture their acting/non-acting. As an introduction and inserted between chapters of the Giannis’ story there will be authentic testimonies of Europeans who suffered in their childhood similar experiences with Giannis, placing this Greek story into a wider context. Seven people from Spain, North Macedonia, Bulgaria, Poland, France/Reunion, East Germany and England, in close-up shots on neutral backgrounds, will give their own testimony in their respective languages. Like ghosts living within the ruins of their memory, the shots of their faces will be superimposed with a stonewall. Thus the documentary images of these witnesses will blend gently with the poetic ensemble of the fiction film, but always on the child’s side and from the child’s point of view.
Secured Budget 160 000 € Total Budget 1 250 000 € Funding Body Greek Film Center
Logline A young woman is stuck in the misogynistic web spun around her and squeezing her into a quicksand of desolation. She has to decide how deep does she have to sink, before she escapes. Short Synopsis EDONA a young woman in Kosovo is drifting between a university in disarray, exploring drugs in parties and anger fueled anti-establishment activism. Beside her macho boyfriend, she is having an affair with Sebastian, a German professor, who is also in charge of a scholarship program to Germany. Under pressure for her lifestyle from her conservative father in the village she grew up in, she has to turn into a chameleon to adapt. As a psychology student she confronts traumas and scars from the war in a crisis-hotline and develops a special bond with an ex-soldier with PTSD in his suicidal agony. She makes it her mission to make him to come out in public with the atrocities he saw as a healing process but when nevertheless loses him, her own hope and redemption fade away. Her brother turned into an Islamic fundamentalist abroad, comes back and wants to lock her at home and stop her from studying. Sebastian escapes away with Edona as her brother is chasing and threatening them and drive to a neighboring country, where in the end she even resorts to blackmailing to force Sebastian to sign her on that scholarship, on her only ticket out. Short Bio of the Director
DREN ZHERKA DIRECTOR firstname.lastname@example.org
Born 1980 in Kosovo. After he gathered experience in film at home in Kosovo in 2003 he moved to New York and since 2007 he is living in Berlin. Studied film directing in Filmarche in Berlin besides studying European Ethnology in Humboldt University.Â EhoÂ was his debut feature film in 2016, that went on to win the Silver Zenith in First Films Category in Montreal World Film Festival and was shown in several festivals like: Mumbai Film Festival, Hofer Filmtagen, Prifest, and Durban International, among others.
Director`s Statement Youth, so much youth! Kosovo has the youngest population in Europe with 53% of the population being under 25 years old, and that youth is touted as the only real resource the country has to offer. But it is also a generation caught between the dreams of freedom, and the reality of corrupted politics, a ruined education system, poverty, and high unemployment. Within that hopelessness of that generation a lot of them want to leave the country, and then young women find themselves in another battle with a huge wall of masculinity and patriarchal mindset. Like so many men growing up in Kosovo, it takes some time to step out of the picture and actually see the deeply ingrained patriarchal and the dominant sexism in a traditional society that women experience every day, and that men take so much for granted as a way of life, they don’t even actually notice it.
Secured Budget 286 00 € Total Budget 750 000 € Funding Body Kosovo Cinematography Center N’Art Films - Prishtina Municipality HAVC Woof Films
That’s why I want to tell a story about a young woman in Kosovo who faces these hurdles and sees escape as a way to survive. On the other hand, the ghosts of the war cling like a noose on the neck of societies keeping them in the shade of the past. It’s on the generation of my protagonist to face those ghosts, bring light and maybe in the future leave the past behind in a new understanding, even though they are reluctant to know much about war or care about something that for them is so far away in the past. All those experiences and poverty create underneath the warm surface a very transactional society a rigid hard system of corruption that is so difficult to overcome and where many see a way only in escaping from it. But it is clear to me that no one can come out of this system unscathed, and purely on his or her right. Edona doesn’t fight but gives in, and exactly bowing down to the pressure of the system and playing the game just to reach her goal of escaping it all, tells us more about the system and what it does to individuals and youth within it.
BUJAR KABASHI PRODUCER email@example.com
I LOVE YOU MORE
Logline Ben, a gay teenager from Kosovo, is exhilarated to finally meet his first love from Germany, Leo, when a green card lottery win causes his life to take an unwelcome detour to America. Short Synopsis Ben, a cute but shy boy from a small town in Kosovo, is eager to finally meet his first love from Germany, Leo. This excitement is quickly crushed when Benâ&#x20AC;&#x2122;s mom barges into his room shouting that they won the Green Card Lottery. This once dream of Ben turns into a nightmare because his family decides to move to America a month before Leoâ&#x20AC;&#x2122;s visit.
Short Bio of the Director
ERBLIN NUSHI DIRECTOR firstname.lastname@example.org
Born in Peja Kosovo in 1992, Erblin started acting at ten years old. He earned his B.A. from George Mason University where he studied film with a concentration in directing, and a minor in photography. His short film, BINI, won a Jury Prize at the 15th DC Shorts Film Festival and was nominated for a Student Academy Award.
Director`s Statement I grew up in a country where being queer was unheard of. I saw my first queer film when I was in high school. My life changed forever because it was the first time I saw myself in a character on screen and the way I was secretly feeling all those years. Even though the numbers of LGBTQ films have increased since then, the current desperation is the lack of relatable stories told and how we see ourselves presented in those films.
Secured Budget 150 500 € Total Budget 416 130 € Funding Body Kosovo Cinematography Center
I wish I grew up watching films like “Call Me By Your Name” or “Love, Simon” and find myself in those characters. With “I Love You More” I intend to do just that, because I’m telling a story that I experienced myself. Future teenage kids will not be the only ones that will see themselves in my film, but anyone from around the world that dreams to come to America. Kids whose parents work hard to bring their family to the land of opportunity. For those that struggle assimilating in a foreign country and starting over from ground zero. I want to shine the light on those families that were lucky to move to America through the Green Card Lottery. I want to also show the hardships those families face when traditional parents have not been exposed to LGBTQ communities or films to know anything about how their queer child feels. This story examines the joyous feelings of our first romantic love as teenagers. How teenagers are willing to risk everything to be with someone because at the time they are convinced they found the one that truly cares for them.
LULZIM GUHELLI PRODUCER email@example.com
Logline Anna and her son Andrea, who survived a tragic car accident, devise a cruel and psychological revenge against the man who caused the death of their loved ones. Short Synopsis Anna is the only one that survives unharmed the accident that takes the lives of her husband and her daughter, while the youngest son Andrea loses both his lower limbs. After five years, mother and son are enclosed in a profound incommunicability, sheltering feelings of revenge towards the man who caused the accident. Andrea’s only lifeline is music; the boy is part of a youth choir, as Agata is. An understanding is established between them. What Agata ignores is that due to a fortuitous circumstance Andrea began to doubt precisely her father Augusto, a tenor of international fame, considering him guilty of the accident, that makes him the only one responsible for the fate of his family. Thus, during an important concert held by Augusto, many miles away, Anna and her son, holding under threat the whole man’s family, put him in front of a choice: to publicly confess in front of his audience that he is guilty of the double homicide or his family will die. The man, even in this circumstance, will show his cowardice and incredibly he will not be able to confess betraying his family, which in turn and without his knowledge will not die but will abandon him forever, leaving him alone struggling with his conscience full of shame. Short Bio of the Director
ANTONIO DE PALO DIRECTOR firstname.lastname@example.org
Antonio De Palo graduated in directing at the European Rosebud Academy for Cinema and Television in Rome. His short films have been presented in over 50 countries and in over 200 festivals. His latest short film “Le Abiuratrici”, with Valeria Solarino, is currently being distributed. The short film will have its premiere at the 33rd edition of the Braunschweig Film Festival.
Director`s Statement The Judas Tree refers to the legendary episode according to which Judas Iscariot gave the kiss of betrayal to Jesus under the tree of the same name. Later, tormented by guilt, he hanged himself. The vivid color of its flowers has remained in the memory like the color of the blood of Judas, a symbol of betrayal: the sin of all sins. The Judas Tree is the interpretation of the contemporary world in which the measure of revenge lies in the unveiling of the man’s infidelity. The loyalty, before being a bond with one another, to which one relies, is an inner bond, a deal with yourself, which can manifest its weakness in the moment of trial. As it happens to Augusto, who could have behaved in another way, choosing to try to save his family, at least tried to do something. The loyalty is measured by actions, facts, the possibility to choose, without betraying yourself. And this is how the betrayal of himself, of his conscience, as in Augusto, announces the future betrayal of the others, of the good; or of his family.
Secured Budget 62 000 € Total Budget 610 500 € Funding Body Mediterraneo Cinematografica
In this way, Anna and her son Andrea pursue a psychological and profound revenge, they put the man in front of his conscience, they put him once again in front of the possibility of choosing. The project reminds the American Realism of Edward Hopper, in which the subjects, set inside architectures and rigid geometric shapes, come to light in sense of isolation, of solitude, given precisely by the surrounding space. A representation in which the profound sense of malaise of the onscreen characters of the story is manifested.
FRANCESCO LATTARULO PRODUCER email@example.com
COUNTRY NORTH MACEDONIA
Logline A small town girl, who is infertile, becomes obsessed with her friend’s newborn son, to a degree that she develops phantom pregnancy. Short Synopsis Mimi, an introvert girl who studies in Skopje, after a messy abortion in her home town, became infertile. She begins a toxic friendship with Sara - a restless extrovert, who seems to have everything that she doesn’t. But, most importantly, she has a baby. Mimi’s repressed maternal instincts wake up, to the degree that her body starts to physically change – her belly gets swollen, her breasts bigger and full with milk - she develops a phantom pregnancy. Her delusion results in total destruction of Sara, and stealing her son. It is a psychological thriller about a young girl’s obsession, provoked by the gender prejudice, and a society that is dominantly driven by greed and superfluity.
Short Bio of the Director Born in 1983, Darijan Pejovski is a writer/director based in Skopje, Republic of North Macedonia. After graduating Film and TV directing, he has made seven short films, a TV feature, and numerous commercials for some of the most prominent clients in the country.
DARIJAN PEJOVSKI DIRECTOR firstname.lastname@example.org
In 2015, his first feature film “Three days in September” had its premiere at the Montreal World Film Festival. The film was also shown at the Chicago International Film Festival, Filmfestival Cottbus etc. He also directed three TV series, most notably “The Family Markovski” in 2017. The second season of the series is set to air in autumn, 2019.
Director`s Statement I live in a city that’s constantly and dramatically changing, not only demographically, but also architecturally. The turbulent social and political events, the endless transition, the erosion of aesthetic and moral qualities brought a rise in chauvinism and conservative gender prejudices. All of that made me create a character in which all of these problems will reflect. It is not an accident she’s female, at an age when most of us face the “big” life challenges for the first time.
Secured Budget 736.000,00 € Total Budget 1.086.000,00 € Funding Body North Macedonia Film Agency
That’s Mimi, a small town girl studying in Skopje. Instead of starting over, away from the conservative macho community where women are pointed at and stigmatized, she soon faces the same nightmare. Deprived from motherhood, and surrounded by people who have everything that she doesn’t, she is unable to achieve an emotional balance in the new environment. Mimi dives more into her twisted, dark world that eventually leads her to self-destruction. This film treats provincialism, not like someone’s geographic origin, but as a general comment on the time we live in. It is a dark fairytale about greed as a dominant force in today’s society. Although the story is pretty realistic and happens in today’s Skopje, it will be told quite stylistically, through the eyes of Mimi: claustrophobic interiors, crowded pavements, distorted reflections. In this film, the city of Skopje echoes the confused emotional state of the quiet and introvert girl, but also of the cynicism, hypocrisy, false friendships. It may sound like a cliché, but the city is actually one of the main characters. Mimi is a film about the superfluity, about the false facade we show to others. Usually, when the facade shines, the inside is rotten.
TOMI SALKOVSKI PRODUCER email@example.com
NO GOD, NO MASTER
Logline No God no Masters” a relentless twisted class-related melodrama of endless demolition and renovation work, between reality and fantasy, in a Athens basement fat. Short Synopsis Andi, an Albanian worker, is taken on by a young French-Greek anarchist, to renovate with him his two broken-down lower-ground floor apartments : time seems suspended, oscillating between thirst for emancipation and need for deviation. A film about twisted class relations, endless demolitions and renovations, between reality and fantasy.
Short Bio of the Director
LOUKIANOS MOSHONAS DIRECTOR firstname.lastname@example.org
Born in 985 in Athens , he attended the Ecole des Beaux-Arts in Lyon, and Le Fresnoy in Lile. His shorts have been screened and awarded in numerous festivals – New Directors New Films in NY, Janela, Angers Documenta Madrid, Olhar de Cinema. Vila do Conde – while his last two shorts “Manodopera” (2016) and “Young Man at Their Window” (2017 ), both premiered at Locarno Film Festival. The later won the EFA award for Best European short film .
Secured Budget 10 000€
With this film, I’d like to show an astray part of Athens, Its dark streets, its derelict bourgeois apartment buildings —once vacant fields—, Its walls covered with posters or graffiti, as if to mask poverty, resist anonymity,
Total Budget 616 063 € Funding Body CNAP
Its streets, submerged by immigrants who fled dying regimes, Dreaming of a better life, living out of parallel economies, Its feeble shop window’s neon lights, shining in the night like a constellation, Its streets, hallways, lower-ground floors leading nowhere, where solitary souls roam, Where bitterness prowls, out of frustration and resentment, Where someone feels as if he’s disappearing into vastness, And can go crazy, violent. It’s in the shadows of a building like this, that Andi and Lucio meet. They have nothing in common, but neither one wants to disappear crushed, forgotten in the meanders of their worksite. They’d like to break free from their past, give themselves, body and soul, to a land, to another identity, a passion, a war — or alienate themselves.
EMMANUEL CHAUMET DIRECTOR email@example.com
COUNTRY NORTH MACEDONIA
Logline …story of two beautiful women, whose dreams have been destroyed by the brutal men they are connected to, and of their ultimate liberating revenge. Short Synopsis PERHAPS… is a Macedonian neo noir set in the exotic and ethnically diverse Old Turkish Bazaar of Skopje. It is a story of two beautiful women, whose dreams have been destroyed by the three brutal men they are connected to, and of their ultimate liberating revenge. Ana, was a promising young painter, who is now literally the “slave” and “prostitute” of her half-brother, the vicious Macedonian racketeer Aco. Arta, was a talented Belgian ballerina who dreamt of a career on Broadway. But, the material safety she hoped to find when she married Refet, an Albanian antiques dealer she met in Bruxelles, came with a heavy price tag. When he promised to take her to New York immediately after a short stop in his native Macedonia, where he was to do a small business deal with his childhood friend Aco, she had no idea that she’d spend the next 3 years of her life inside the walls of a traditional Albanian house in the Old Turkish bazaar. To get back at her husband for her ruined life, Arta slept once with his cousin and smuggling partner, Visar, who now uses that to force her into having sex with him regularly, threatening to tell Refet everything if she refuses. When there is no way out, her it takes a friend like Ana to do whatever’s necessary to over the enslavement from the clutches of these men. Short Bio of the Director
KASTRIOT AVDYLI DIRECTOR PRODUCER firstname.lastname@example.org
Born in 1972 in North Macedonia, Kastriot Avdyli holds a BFA degree in acting from the State University of Tetovo, in Macedonia; and MFA in Directing from the Faculty of Arts at the University of Kosova in Pristina. After producing and directing several film and documentaries, his first feature film The Return (2017) made the festival round in International Filmfestival Mannheim-Heidelberg, Oldenburg International Film Festival etc. “Perhaps” is his second feature film.
Director`s Statement PERHAPS is a story of this battle and its protagonists – the criminal structures and honest people, whose dreams and moral virtues vanish daily before the onslaught of the spiritual degradation created by those criminal structures. Such are the circumstances of harsh materialism and ruthless treatment of others - prostitution, theft, drug trafficking, racketeering, corruption and despair - which surround the two heroines of our film. As they both find themselves trapped by circumstances which are destroying their lives, their only hope lies within their true friendship, and the false one existing amongst the men who have enslaved them. Needless to say, the above battle, which forms the basis of our story, must be expressed visually. So, to depict the world of our female protagonists (their softness, the light and warmth which still shine inside them) we will use warmer lights and counter lighting. On the other hand, for the dark and brutal materialistic world which surrounds them we will use neon/dedo lights. The clash between the two will create a rich visual experience.
Secured Budget 487 805 € Total Budget 802 452 € Funding Body North Macedonia Film Agency
Logline What is so called ‘ progress’ for him, is a threat for her. Short Synopsis The long Motorway crosses the city from one side to the other. It oats like a river while it connecting two poles of two diﬀerent worlds: the modern world of the airport and the malls with the isolated, working class settlements. What is “progress” for Makis, is a threat for Maria. A car accident brings them closer. McNuggets even closer. But it takes much more to be together.
Short Bio of the Director Born in Athens. He studied Sociology at the University of Crete and History of Cinema (MA, University of Crete). His short, mid-length and documentary films True Blue (2016), Democracy: The Way of the Cross (2013), A Silent Sea (2012), Seeders’ Seed (2011), On the Butcher’s Bench (2006), and The Long Hall (2005)were selected for numerous European film festivals and awarded in Greece.
HARIS RAFTOGIANNIS DIRECTOR email@example.com
Director`s Statement The River is an existential love story of two people, who struggle to ﬁnd themselves and their position in the world. A tragicomedy, about two diﬀerent worlds, two “opponents” and their way to be one. Makis’ world is a colorful, Americanized place of wealth and much waste, with typical road-movie spots: the big motorway, the big cars, the fast food diners, the huge parking lots. Makis, devoted on serving the common good, drives up and down the Motorway as a lonely knight.
Secured Budget 100 000 € Total Budget 750 000 € Funding Body The Greek Film Center
On the other pole lies Maria‘s tiny and isolated world, a Mad Maxlike community, that survives mostly from the modern world’s waste. Both worlds seem as solid environments for the two characters to live in, as “a place to be”. But life is more chaotic. Just as like the carefree birds that ﬂy around. Their unique and strong eyesight will warn them if something is wrong. But birds cannot discriminate a very simple thing that stands in front of their eyes: the transparent sound barriers along the Motorway (the River). Makis and Maria will go on after their own crash, till they ﬁnd their way to be free.
ELENI KOSSYFIDOU PRODUCER eleni.kossyﬁdou@gmail.com
COUNTRY NORTH MACEDONIA
Logline A troubled teenager disturbs the fragile balance of a married couple when she moves in to stay with them for couple of days. Short Synopsis University professors, Anna and Fillip are at a decisive point in their marriage: Fillip wants children and Anna is not ready for that. Their differences are clearly visible…. Their peace is disturbed by the arrival of Maya, the daughter of their longtime friends, whom they haven’t seen in a long time. What it starts as a couple in trouble evolves into interesting and intriguing triangle that finally forces Anna decision to leave, but not just from the house, but from their marriage that just doesn’t make any sense any longer.
Short Bio of the Director Eleonora Veninova is a screenwriter/director of award-winning short fiction films, documentary films and TV Series. Her last film “The Sign” has premiere at Director’s Fortnight in CANNES. Her films ‘Hairs’ and ‘Fighting for Death,’ both financed by the Macedonian Film Agency, have won a dozen awards and screened at over 60 festivals around the world, including Oscar/BAFTA/EFA qualifying festivals.
ELEONORA VENINOVA DIRECTOR firstname.lastname@example.org
Eleonora graduated from California State University Northridge with MA in Screenwriting. She is the co-creator/writer/director of the TV Series ‘Prespav,’ and a writer for several other Macedonian TV series. She is currently developing her own series at Serial Eyes program in Berlin, where she is currently based. Eleonora is working on her first feature film ‘Sabattier Effect,’ financed by the Macedonian Film Agency, to be shot in 2020
Director`s Statement Sabattier Effect is a story about a love triangle between a married couple and a teenager who’s just started to discover love and sex. I like exploring love triangles because they are closest to what I believe relationships would be like if it weren’t for the socially imposed mores about monogamy. The problem with this triangle is that Maya, the teenager, is not only underage, but she is also the daughter of Anna and Fillip’s close friends. What complicates their relationship more is the fact that for Fillip Maya’s visit is a test for whether he and Anna are capable of looking after a child, something that he desperately wants, but which presents a terrible burden for Anna in their relationship.
Secured Budget 381 264 € Total Budget 910 000 € Funding Body Macedonian Film Agency Film Center Serbia DNF Films Living Pictures
I see this film as an intimate portrait of the three characters where their inner conflicts and dilemmas would be explored through details, pouring of vine, chopping tomatoes, handling of photographs, unintentional physical interaction and similar gestures that reflect their inner state. The dominant emotion that I want to capture with camera is the restrained desire for someone/something that troubles all three. The camera follows them in order to capture their intimate moments, so I would feature many shots where the characters are alone, doing their thing, while actually having a silent monologue that’s a continuation of the conversations from previous scenes and dialogues. The film is equally focused on the relationships between all three characters, with Anna in the middle of the triangle, whereas Maya with her sexual confusion is a catalyst for the conflict between Fillip and Anna. There are a lot silent moments in the film. Whenever there is music, it’s Maya’s music, the melancholic ambient pop sounds that captures her mood and desire for intimacy.
GOCE KRALEVSKI PRODUCER email@example.com
Logline VERA embarks on a personal fight. A young woman trying to question and discover her own freedom, in a moralistic, misogynistic society packet with rules. Where there is no room for individualism and sexual desires are subdued, she manages to come out as winner, only to remain a victim of her own passion. Short Synopsis At the height of the Cold War, Vera, 27, works at the Public Television in the censorship department. Her daily task consists of watching foreign feature films before movies are screened to the public, edit and cut all erotic scenes, and even alter the end of the films if necessary. But when Vera tries to emulate the sexual fantasies she’s censoring, her husband starts to believe she’s having an affair. In a dictatorship, where discussing SEX is considered taboo, Vera falls into jeopardy from powerful people who misinterpret her desire of freedom. Short Bio of the Director
ENO MILKANI DIRECTOR firstname.lastname@example.org
Eno Milkani was born march 5, 1969 in Tirana, Albania. After the high school studies for Fine Arts continued the Academy of Arts of Tirana for theater directing. After the studies he followed the European Film College in Ebeltoft Denmark, during the year 1992. Returning back in Albania he started working as a cameraman for several documentaries and promotional material. He is a co-founder of the film company “Bunker Film”. In 2001 his first short film “Abandoned Eden” was in competition in Karlovy Vary IFF and multi awarded in several Film Festivals as Molodist IFF in Ukraine, Brindisi Film Festival, Tirana IFF etc. In 2008 together with Piro Milkani released the film “Sorrow of Madame Shnajder” as a co-director and editor of the film. In 2007 he wrote and directed “The Saint” a short film. As Producer he produced the short films “Beyond the River” and “ANA”. His latest feature as Producer is OPEN DOOR an Albanian, Kosovo, Italian, Macedonian coproduction Directed by Florenc Papas, which had the World Premiere in Sarajevo IFF in 2019.
Director`s Statement Visually the film be characterized from a smooth long shot trying to present at its best the characters in what they do and how they live and the environment, according its historical period. The color palette will change from warm to green by the end of the film. The opening scene will be quiet and simple in order to accommodate and explain to the audience the lifes and personalities of the characters that step by step will enter in conflict with each other. In the film there is two worlds for Vera. One is at home with her husband where she builds her life and feels very comfortable. Her home and at her parents are the places where she feels loved, especially at night where she thinks that she can control her life. Peace in a shallow warm light fuel these living places. In the opposite the place of work and outside is the other world where she does not feel comfortable. The outside is very harsh because she is told all the time what to do. At the moment she decides to oppose the others she will not be the same, and all this will be noticeable by the photography point of view and colors. Almost every scene will start peacefully to later escalate in a small conflict, and altogether by the end will grow up into a bigger conflict where resolution is very imminent. The scenes at open sea on the ship the camera will wobble following the waves to bring the feeling of freedom. The shots will be wide and colorful where everybody wants to be, but this privilege is given not to anyone. Returning from the ship and the trip on the open sea the shots will be more closeups in a way to feel the difference. In some scenes the film will deliberately will use the magic realism in order to explain better the inner world of the main character, and visually going beyond the real world where the main characht6er is forced to live. However the magic realism will not be used on its own but it will evolve inside specific scenes. This will be used in order to point more to the audience the real feel of the main character and explain more her general fear. Every scene will be connected by the logical joints of the dramatic structure by not allowing harsh jump cuts in the story telling, though the whole story evolves in a period of six weeks.
Secured Budget 61 500 â&#x201A;Ź Total Budget 581 500 â&#x201A;Ź Funding Body Bunker Film Albascript Lupin Film, Italy
VINCENZO FILIPPO PRODUCER email@example.com
Logline What happens when team-building stops being a game? In an isolated mountain cabin, seven elite lawyers get to know the real answer. Short Synopsis In an isolated mountain cabin, seven arrogant lawyers discover that their team-building is not a reward, but a punishment for their wrongdoing. When presented with the task of finding the culprit, a whirlwind of calamitous events begins. After the snowstorm passes, they realise they have become dependent on the only other human being around - a mysterious foreigner, whose dark skin is in stark contrast with the snowy whiteness surrounding them.
Short Bio of the Director
VIDA BREŽE DIRECTOR firstname.lastname@example.org
Vida Breze is a director / writer / actor based in London. She holds a Master’s Degree in Directing Fiction in Goldsmith College, University of London. With her acting background she’s passionate about achieving genuine and fresh performance of actors that she works with. She also has an equally deep commitment to achieving highest value of visual aesthetic based on a compelling storytelling. She has been working through wide range of visual formats and genres from documentary, drama, to variety of videos and adds and achieved high acclaim for her work.
Director`s Statement The story of The Vultures completely enthralled me because of its emotional intensity, how it relates to my own personal experience and the incredible aesthetic opportunities that it has to offer. It also dissects modern society through the language of the psychological thriller. My aim is to pull the viewer out of their comfort zone and take them on a rollercoaster ride where the rules of society get overrun by the savageness of human nature.
Secured Budget 34 500 € Total Budget 650 000 € Funding Body Blade Production Motion Viktorija Films
The film will have two aspect ratios. 2.35:1 at the beginning and the end and 1.37:1 in the middle in order to emphasise the feelings of the struggle that our characters must go through. My intent is to use central framing, a carefully chosen colour palette, with soft light at the beginning of the film which gradually increases in contrast. In building the atmosphere, suspense, and spectators’ identification with characters, I want to place high importance on the sound design. I also want to use a jazzy sounding accordion as a lead instrument because of its vast emotional range of expression. The explicit portraying of gore will be avoided as much as possible. The cast will be led to a minimalist and genuine performance, which will convincingly convey the interrelations of the characters and express the uniqueness and emotional spectre of each of them.
ZORAN DŽEVERDANOVIĆ PRODUCER email@example.com
Logline Women in the patriarchal society of Albania. Different lifes, one mutual decision: to give up femininity in the name of honor, freedom and responsibility - to live as a man, to be a Sworn Virgin. Short Synopsis woMEN is a film about the “Sworn Virgins” of Albania, who have chosen to live their lives as men, each driven by a different cause. Predominantly, this is not a sexual decision, but based on social and economic needs. In Albania, women have very limited rights. Few of them are not willing to accept these restrictions. They fall back on a 600 years old tradition, swear an irreversible oath, become a sworn virgin and get the same rights as men. Over time the women change not only mentally but also physically. Our documentary accompanies the audience into the world of the sworn virgins. It is a movie about freedom and suppression, about the search for individual happiness, about overcoming natures given but also about the risk of failing existentially due to this non-reversible life decision. Short Bio of the Director
KRISTINE NRECAJ BIRTHE TEMPLIN DIRECTOR firstname.lastname@example.org
Kristine Nrecaj studied Film Science at Freie Universität Berlin. She produced and directed the documentary KOSOWO that received a theatrical release in 2003. She graduated from the screenwriter school Berlin in 2010. 2014 her short film OF DOGS AND LIONS was shown at national and international film festivals. The film received awards for Best Director and Best Actress. Birthe Templin grew up in Northern Germany and Argentina. She studied at the London Film Academy and the Andzrej Wajda Master School of Film Directing, Warsaw. After the fiction short LÜBBOS WIFE IS WAITING, she changed to the documentary format. Her movies are shown on TV, at international film festivals, have won awards. The documentary WHAT REMAINS is acclaimed at important Holocaust Memorials and libraries worldwide.
Director`s Statement My great-aunt was a Burrnesha from Mirdita. This tradition will always be a part of my family history. Although I was born in Germany, it was always my profound need to dive into the country of my ancestors and show their stories to the world. In our work we attach great importance to treat our protagonists respectfully, to offer them a space where they can show themselves and tell their story. Without being commented from the outside. We give the dramaturgical structure, yet we work with what shows up rather than following fixed guidelines. Tradition and modernity are combined, such as the adaptation of the fairy tale “The girl that became a boy”, which is recorded as a musical theme by classical Albanian instruments like the Cifteli, Kaval, the Lodra but composed in a modern way.
Secured Budget 275 000 Total Budget 340 000 € Funding Body FFA Treatment Development Fund German Ministery of Culture (BKM) Nordmedia- DFFF Germany (automatic fund) Medienboard Berlin Brandenburg FFF Bayern Presales Own Investment
We combine fine, intimate portraits with large cinemascope images, to give the audience mental space. The visual expressiveness of the Burrneshas in combination with the Albanian landscape, which contrasts the architecture of New York. The film will be poetic, beautiful, funny and painful. But it gives hope for what is to come.
KATRIN SPRINGER PRODUCER email@example.com
Ministry of Cultural Heritage, Activities and Tourism
Since 1974, Direzione Generale Cinema – MiBACT DirectorateGeneral Cinema (DG Cinema) is one of the 11 Directorate-Generals of the Ministry for Cultural Heritage and Activities (MiBACT), DG Cinema. MiBACT supports the creation, production, distribution and circulation of film and audiovisual works, supports the opening and modernisation of cinemas and the adaptation of technical industries to technological developments, and helps to establish Italy’s position in relations with the institutions of the European Union and other international institutions. It also promotes Italy’s image (including for the purposes of tourism) through film and audiovisual works, supports professional training and moving image education, and studies and analyses the film and audiovisual sector. The main legislative tool the State uses to intervene in the sector is Law No. 220 of 14 November 2016 which governs financial support for the sector and all the administrative functions for granting acknowledgments and administrative procedures. As well as managing the funds provided for by the Law, DG Cinema – MiBACT represents Italy before EU, the Council of Europe, other international bodies and international funds that issue supranational support to the sector (Eurimages, Ibermedia, Creative Europe – the MEDIA subprogramme). DG Cinema – MiBACT also manages bilateral funds with similar institutions
in other countries to support the development of international coproductions. DG Cinema – MiBACT supports Istituto Luce-Cinecittà S.r.l., the Fondazione La Biennale di Venezia, the Centro Sperimentale di Cinematografia, the Museo nazionale del Cinema Fondazione Maria Adriana Prolo-Archivi di fotografia, cinema ed immagine, and the Fondazione Cineteca di Bologna. DG Cinema – MiBACT hosts the Film Commissions’ coordination body and, in partnership with DG Tourism and the Film Commissions themselves, oversees the portal on locations and on national and regional production incentives https://www.italyformovies.it/
Contact info: Ministero dei Beni e delle Attività Culturali e del Turismo Direzione Generale Cinema Address: Piazza Santa Croce in Gerusalemme, 9A 00185 Rome, Italy Telephone: +39 06 67233400 Email: firstname.lastname@example.org Website: www.cinema.beniculturali.it
Anica, Associazione Nazionale Industrie Cinematografiche Audiovisive e Multimediali
Italian Film And Audiovisual Multimedia Industries Association Founded in 1944, ANICA (National Association of Film and Audiovisual Industry) is the association which represents Italian film and audiovisual multimedia industries when dealing with political and union institutions; while also establishing relations with all the key players in the promotion of films and communication products in Italy and abroad. ANICA is member of Confindustria (the Italian Industry Confederation), actively representing the film industry. The association is divided into three sections: producers, distributors and technical enterprises (printing and development, film studios and soundsets, equipment rental, editing, audio and video post-production, dubbing and transport). ANEM (the National Association of Theatre Owners), Cartoon Italia (Association of Animation Producers), and UNEFA (Union of Film and Audiovisual Exporters) are all adherents of ANICA. As the Academy of Motion Picture Arts and Sciences’ representative in Italy, ANICA selects Italy’s Oscar candidate for Best Foreign Film. It is also a founding partner of the “David di Donatello” Award, as well as, being a part of AGICOA (the Association for the International Collective Management of Audiovisual Works).
Furthermore, ANICA is a permanent member of FAPAV (the Italian Audiovisual and Multimedia Protection Federation). It has enhanced offices, offering services required to meet the needs of its members, that deal with the changing economic and technological environment: tax benefits for those who invest in the production and distribution of Italian cinema, access to credit, relations with regional and local institutions, studies, quantitative analysis and context information related to specific instruments for the audiovisual sector. In terms of International promotion, ANICA, in collaboration with the public institutions in charge, is consolidating itself in seasoned markets and opening new opportunities for the internationalization of audiovisual companies, and particularly, of Italian audiovisual products. With this goal in mind, ANICA – in conjunction with the APT (Association of Television Producers), with the support of the Ministry for Economic Development, the Ministry of Cultural Heritage and Tourism, Italian Trade Agency (ICE) and Regione Lazio – has developed MIA, the International Audio-Visual Market, which takes place in autumn in Rome.
Italian-Albanian Co-Productions FEATURES
L’America by Gianni AMELIO Mario e Vittorio Cecchi Gori / MIBAC ANCC – 1994
Sworn Virgin by Laura BISPURI Vivo Film, Colorado Film Prod., Bord Cadre Films, Erafilm / MIBAC - 2015
Hotel Dajti by Carmine FORNARI CAVIAR PRODUZIONI / MIBAC Fasada – 2001
Distant Angels by Gjergj XHUVANI Cineteca di Bologna / ANCC -2015
Letters In The Wind by Edmond BUDINA ASP, Dodici Dicembre, Erafilm MIBAC -2003
Broken by Edmond BUDINA B Film, Revolver, K.T.FILM&MEDIA MIBAC / ANCC – 2016
Dear Enemy by Gjergj Xhuvani Akkord Film, AGV, Les Films de Cinéma ANCC -2003
Forgive Us Our Debts by Antonio MORABITO La Luna Srl, Peacock Film Ag, SkaNdal, Agresywna Banda MIBAC / ANCC -2016
East West East by Gjergj XHUVANI High Point, AGV & Fast Rewind / MIBAC ANCC – 2009 HoneyMoons by Goran PASKALJEVIC Nova Film, SkaNdal AFC / ANCC -2009
A Shelter Among the Clouds by Robert BUDINA Erafilm, / ANCC – 2017
Ballkan Bazar by Edmond BUDINA Erafilm, Mediaplex Italia / ANCC -2011
The Unfinished Portrait of C. B. by Namik AJAZI Mediavision, Movimento Film MIBAC / ANCC -2017
The Last Wish by Namik AJAZI Mediavision, C.I.C. Communications \ ANCC – 2014
Money Game by Antonio MORABITO Filter Film MIBAC 2017/ ANCC -2017
Bota by Iris ELEZI & Thomas LOGORECI Erafilm, Partner Media / MIBAC ANCC -2014
My Lake by Gjergj Xhuvani Cineteca di Bologna MIBAC/ANCC 2017
SHORTS, REALIZED IN COLLABORATION WITH AFC* Contromano by Andamion MURATAJ Lissus & AFC – 2014 Sue Proprie Mani by Adrian PACI & Roland SEJKO Propaganda & AFC – 2014 HUMANISTA by Nico ANGIULI & Fabrizio BELLOMO OnFilm Prod. & AFC -2014
FULL LENGTH DOCUMENTARIES La Nave Dolce by Daniele VICARI Indigo, AFC, Rai, SkaNdal – 2012 The Ship by Roland SEJKO Propaganda, Ist. Luce / ANCC – 2012 The Awaiting by Roland SEJKO Digitalb, Ist. Luce / ANCC – 2015
*AFC - Apulia Film Commission *MiBACT - Ministry of Cultural Heritage, Activities and Tourism *ANCC - Albanian National Center of Cinematography
BAL KAN FILM CEN TER FOC US MON TEN EG
The Film Centre of Montenegro has been in existence for over a year, which may sound somewhat unbelievable. Among many positive outcomes, the most important is the promotion of Montenegro as a ready and committed partner on the regional and European scene. In the previous period, which, in terms of rhythm and challenges on the road, reminds us of John Fordâ&#x20AC;&#x2122;s â&#x20AC;&#x153;Stagecoachâ&#x20AC;?, we managed to form a team, set up a new film fund, organize support for film production at different stages and types, cooperate with regional and European institutions and participate in various initiatives and projects.
We are proud that we succeed in supporting and cooperating, in different ways, with our neighboring countries: Albania, Bosnia and Herzegovina, Croatia, Kosovo, Macedonia, Serbia and Slovenia, and slowly, I hope, expand the framework of co-production cooperation. Soon, Montenegro becomes a member of Eurimages, and thus rounds up the international network framework.
The future of the cinema of the region is, above all, in cooperation at all levels and in different models, which stands as the most important goal in front of us. As the best examples from Europe prove time and again, the limited capacity production countries, among which Montenegro is a specific micro-cinema, increase their professional capacities, create more attractive contents and realize the interested market only through comprehensive collaboration and exchange. In the following period, we must further explore models of possible cooperation and learn through the exchange of experience. The Balkan Film Market is, in this sense, a great place to meet and launch new initiatives.
Sehad Cekic Director Film Center of Montenegro
FILM PRO DUC TION
COM PAN I ES N
90 Production Bujar Alimani 0697252161 email@example.com
Big Screen Production Gerian Kuka 0692021870 firstname.lastname@example.org
A. A. Aida Kasemi 0682048417 email@example.com
BLACK BOX Tan Kazazi 0676094339 firstname.lastname@example.org
A.B FILM Adele Budina 0693531988 email@example.com
Black Stubborn Sheep Saimir Gongo 0683830248 firstname.lastname@example.org
A.R Production Ajola Daja 0695203319 email@example.com
Bota Shqiptare Genti Gjonaj 0682065280 firstname.lastname@example.org
Action Production Gerta Qurku 0692039544 email@example.com
Bunker Film + Eno Milkani 0682080356 firstname.lastname@example.org
ALBASKY FILM Paskal Semini 0684626416 email@example.com
CINEMANIA Jaklid Gace 0685098650 firstname.lastname@example.org
Albimazh (albimages) Studio Kreshnik Hashorva 0692031531 email@example.com
CREATIVE BOX Ermir Destani 0692277994 firstname.lastname@example.org
Anima Pictures Amantia Peza 0696086005 email@example.com
Dâ&#x20AC;&#x2122;ART+ Gledis Bica 0676013103 firstname.lastname@example.org
Ardit Sadiku Films Ardit Sadiku 0685743312 email@example.com
Eclipse SA Film Production Spartak Pecani 0692081784 firstname.lastname@example.org
ART FILM Emir Gramo 0684016821 email@example.com
Edit 4 Vjolana Murataj 0676356969 firstname.lastname@example.org
ARTALB Film Production Gentian KoĂ§i 0692321352 email@example.com
EJF Production Jonid Jorgji 0694063304 firstname.lastname@example.org
B&G Film Production Besnik Bisha 0692059993 email@example.com
ELEMENT STUDIOS Regis Canaimeri 0692318142 firstname.lastname@example.org
Emblem Eliodor Markja 0682000678 email@example.com
KAVALO STUDIO Endri Dani 0693014189 firstname.lastname@example.org
Era Film Sabina Kodra 0692055550 email@example.com
Kinostudio DarDan Ina Zoto 0696090690 firstname.lastname@example.org
Erë Film Mihal Rama 0682169171 email@example.com
KKOCI Productions Fatmir Koci 0698805026 firstname.lastname@example.org
EuroFilm Vladimir Prifti 0674155207 email@example.com
KONCENTRAT Ervin Çoba 0695243841 firstname.lastname@example.org
Filterfilm Parid Andoni 0692030309 email@example.com
Kube Studios Erfort Kuke 0672050031 firstname.lastname@example.org
Fotokozmos Dhori Jano 0675566806 email@example.com
Lissus Media Andamion Murataj 0697447031 firstname.lastname@example.org
Gentius Film Genti Kame 0694030120 email@example.com
Makers Production Mateus Çingi 0694333345 firstname.lastname@example.org
Grishaj Film Production Adi Grishaj 0675507633 email@example.com
Maku Artan Maku 0672021634 firstname.lastname@example.org
Gulf Production Omid Karimi 0696002000 www.gulfproalbania.com
Media Vizion Genc Dulaku 0692026371 email@example.com
Hija Film Irdit Kaso 0696740567 firstname.lastname@example.org
MEDIAVISION Namik AJAZI 04 2415996 email@example.com
Idea Ilir Harxhi 0672000099 firstname.lastname@example.org
Mov(i)e On Artan Malaj 0692184338 email@example.com
Kaçak Anila Balla 0697537338 firstname.lastname@example.org
ULTI MEDIA STUDIO NOSITI Edmond Topi 0692036190 email@example.com
O2 Movie Production Erion Bubullima 0672326002 firstname.lastname@example.org
Silver Dream Productions Artur Gorishti 0674646099 email@example.com
ON FILM PRODUCTION Dritan Huqi 0692056175 firstname.lastname@example.org
SKA-NDAL Elida RASHA 0692238956 email@example.com
ORA FILM Kujtim Ã&#x2021;ashku 0692057119 firstname.lastname@example.org
SOFILMS Lorina Pepo 0685050445 email@example.com
Papadhimitri Film Production Dionis PAPADHIMITRI 0672060422 firstname.lastname@example.org
TEO FILM Atina Laco 0697574968 email@example.com
PARTIZANI PRODUCTION Herta Basha 0696568971 firstname.lastname@example.org
Tirana Film Institute Agron Domi 0672088771 email@example.com
Pika Pro Albert Malltezi 0692086666 firstname.lastname@example.org
Tunnelfilm Florenc Papas 0699337607 email@example.com
Pro Motion Studio Valbona Xhelili 0689010854 firstname.lastname@example.org
VIDEOLINE Endrit Delisula 0692269858 email@example.com
Production Cinemania Steljo Gace 0675629285 firstname.lastname@example.org
YLLIRI Films Astrit Hykaj 069427045 email@example.com
PROJEKT-SXHJ Elida Maku 0672070957 firstname.lastname@example.org
Zig-Zag Film Mevlan Shanaj 0686047877 email@example.com
R&T ADVERTISING Adrian Ruci 0692032073 firstname.lastname@example.org S K FILM Saimir Kumbaro 0692092001 email@example.com SHOWS AND PUBLICITY PRODUCTION Marco Truppa 0693070200 firstname.lastname@example.org
FILM FES T IVAL S IN ALB ANI
Contact Njësia 5, Pall.1 Maji Shk.18/54, 01101 Tirana-ALBANIA +355672088771 email@example.com www.tiranafilmfest.com
Contact +355 (0) 682147062 www.anifestrozafa.al firstname.lastname@example.org email@example.com
Contact +355682070701 firstname.lastname@example.org www. filmfreeway.com
Contact Email: email@example.com firstname.lastname@example.org Tel: +355 69 20 36 90 facebook: deafilmfestival
Contact Rruga Aleksandër Moisiu nr.78, Kinostudio Tirana, Albania +35542365188 email@example.com www.ihrffa.net
Contact Korça, Albania firstname.lastname@example.org www.koshfest.com
AUD IO V SUA I L S RVI E CES
Contact +355 68 20 48 417 email@example.com firstname.lastname@example.org www.aafilmfilmcompany.com
Contact Str Myslym Shyri, P. 55/1 Shk1 Ap 3 Tirana, Albania +355672060422 www.papadhimitriproduction.com
Contact Tel:+355 69 20 22903 Mail: Info@provideo.al email@example.com www.provideoalbania.com
Contact Autostrada Tr-Dr, Km 7 Tirana, Albania +355 696090690 firstname.lastname@example.org www.dardan.al
Contact Rr. Mihal Duri No. 123/3 Zip. 1000, Tirana, Albania + 355 67 20 21 649 www.kubestudios.com email@example.com
OTH E CINE R M TOG A RA PHIC INST I T TION U
Contact Rr .AleksandĂŤr Moisiu, No.76/1, Tirana, Albania firstname.lastname@example.org www.aqshf.gov.al
Contact Addr: Rr. Abdyl Frasheri, P. Pegaso, Shk.1, Ap.35, Tirana, Albania +355 672088771 albaniafilmcommission.com
Contact thealbaniancinemaproject.org Facebook The Albanian Cinema Project
OUR AIM IS TO ACCOMPANY OUR CLIENTS THROUGHOUT THE ENTIRE PROCESS
BFM PROJECT MANAGER
BFM DIGITAL MARKETING
This catalog and other promotional materials for BFM 2019 were made possible thanks to the contribution of the following institutions, to which we are deeply grateful: